“There was no middle eight, and ‘sail away’ was after every line – it drove me crazy, but there was something there”: The making of Enya's Orinoco Flow, the unexpected No. 1 hit that created a New Age superstar

Read more at Keyboard Magazine

Related News

“The record company thought I was mad – but sometimes you sign acts to make money, and sometimes you sign acts to make music”: The making of Enya's Orinoco Flow, the unexpected No. 1 hit that created a New Age superstar

Keyboard MagazineSep 26

“My brother took me there and we waited in line when I was 14 years old, and I’ve been a fan ever since”: 30 years after queuing for his autograph, The Killers’ Brandon Flowers has the "honour" of performing with ‘80s synth-pop legend Howard Jo

Keyboard MagazineSep 24

"THANK YOU for making my amazing kid's dream come true”: Green Day facilitate a mother and child reunion

Keyboard MagazineSep 24

The making of Sequential’s all-analog, polyphonic, expressive Fourm

Create Digital MusicSep 23

“I was driven to Ritchie’s house in Surrey. That was the big test. Sitting in his crazy bar, listening to his amazing demos on a Revox tape machine”: David Coverdale recalls his baptism of fire with Deep Purple

Keyboard MagazineSep 21

“Prince was always borrowing my car because it was awesome. I imagine he was making out in the back seat when he got the seed of the idea. But it's not a red Corvette – it's a pink Mercury!”: The inside story of Prince's first major hit

Keyboard MagazineSep 19

“The Life of a Showgirl takes center stage”: An exclusive paid-for download version of Taylor Swift’s new album has sparked a high-kicking, unexpected iTunes revival

Keyboard MagazineSep 18

“I don’t know what he was thinking, but he went into the little kitchen behind the control room and returned with a carving knife”: How David Byrne, Tina Weymouth and Chris Frantz created a sinister new wave classic

Keyboard MagazineSep 18

Bass Gym: Making Black Sabbath’s “Iron Man” Even Heavier on Bass

No TrebleSep 17

“The whistling was a result of me having no guitar when I was writing it. The record company called me and said: 'You have to take the whistle out.' I said: ‘No way’": The Scorpions' Klaus Meine on the making of Wind Of Change

Keyboard MagazineSep 17

“It’s clear that the influence of the Custom Shop’s attention to detail is now making its way to the Mexican-made instruments”: Fender Limited Edition Vintera II Jazzmaster Road Worn review

Keyboard MagazineSep 16

“All major keys are created equal, but Eb is the best”: Jon Batiste answers the internet’s piano queries and agrees with one potentially controversial musical statement

Keyboard MagazineSep 15

"I thought I was amazing at making garage – then I tried to make DnB": Flava D on why drum & bass is the toughest genre to produce

Keyboard MagazineSep 15

“I’ve never fully gelled with Logic and Pro Tools – they kind of feel like Microsoft Excel to me”: Jacques Greene and Nosaj Thing on the making of their new collaborative project, Verses GT

Keyboard MagazineSep 13

“There were 300,000 people there, so just the adrenaline rush alone was making for some great music”: Warren Haynes on putting his stamp on Allman Brothers' classics, Woodstock ’94, and finishing what Gregg Allman started with Derek Trucks’ help

Keyboard MagazineSep 13

“In the actual song you hear today, the guitars, the riff, the bass, the drums and all the vocals are from those initial takes I did in my bedroom”: Sombr on the making of viral hit Undressed, and his formula for creating "a legendary indie rock son

Keyboard MagazineSep 13

“We’d done 11 songs. Nobody wanted to do another except me and Mutt. But I said, ‘Sorry, boys – you can’t turn this chorus down!’”: How Def Leppard created a mega-hit song in 10 days after spending three years on an album

Keyboard MagazineSep 11

Oh, No! My Amp Is Making Noise!

Premier GuitarSep 11

“We’re rebuilding the middle class of artists and giving fans the power to shape what gets heard. It’s a return to authenticity, driven by community”: New streaming platform launches - and it promises fair compensation for artists

Keyboard MagazineSep 11

"I looked on Reverb for a Yamaha CS-80 – we drove out to get it and its sound became a key part of the movie’s soundtrack": Mark Ronson reveals how the classic synth heard on the Barbie OST was picked up in "an hour and a half" on Rev

Keyboard MagazineSep 10