Investigation

Out of the hard rock swamps of the early 1970s rose a new form of guitar music that wanted to turn everything up to 11. Mark Craven searches for the origins of heavy metal

While music historians debate when and where exactly the heavy metal genre began – some cite songs from the 1960s and even the 1950s – what is inarguable is that by the early 1980s the name was well established. And what did it mean? A particular breed of guitar music where the tempos were faster and the solos were longer, accompanied by lyrics that touched on more than the usual rock ’n’ roll tropes. Singing about sex and drugs had become, for the most part, passé.

Like asking to choose your favourite food or movie, narrowing down 15,000 CDs and SACDs to a mere 20 is torture. The brief was to cite those I use regularly for reviewing purposes and which can reveal the qualities of a component or system. That said, this is also the stack of CDs which never gets filed with the rest, sitting there ready for action.

As the jazz world celebrates Miles Davis’ centenary, Ken Kessler brings you 20 recent vinyl releases that showcase him at his best – and the artists that he influenced

It will not go unnoticed by the jazz community nor the record industry that 2026 marks Miles Davis’ centenary. Leading up to it, Mobile Fidelity, Craft and other labels have been rewarding audiophiles with beautifully remastered LPs from all points in his career, among them stunning box sets from 1950s sessions, major albums reissued in One Step form, live recordings, Davis’ forays into rock/fusion and much more. He produced – according to the best sources – over 60 studio albums and at least 35 live albums. The actual amount of his output is a conundrum, like the man himself.

Bob Dylan, fire-breathing dragons and a certain bespectacled wizard... Ken Kessler spotlights 20 recent stage and screen soundtrack albums available on vinyl and SACD

Who can explain the raft of ultra-desirable, super-luxurious soundtracks released this past year or two? If anyone thought the genre – once a dependable source of demo LPs and tapes for audiophiles – was past its best, this batch is so on trend that one can only imagine an invasion of Gen Zers taking control. Soundtrack albums have made a comeback and I for one am not complaining.

Apiece of art that can today be found in 45m homes around the world was kick-started by a simple, none-too-detailed instruction to 'do something clean, elegant and graphic'. The instruction came from Pink Floyd keyboardist Rick Wright, and was given to Storm Thorgerson and Aubrey Powell, the founders of Hipgnosis, a London-based art and design group whose first sleeve design had been for the Floyd's 1968 album A Saucerful Of Secrets.

The artist formerly known as Robert Zimmerman broke new ground in all kinds of ways. But one field where his pioneering role isn't often acknowledged is sleeve art. By the early 1970s, it was standard practice for fans to pore over LP covers pondering the significance of the imagery presented to them. But in 1965 the profundity of most popular music album artwork didn't extend much further than a shot of the band looking mean and moody, or happy and playful depending on the image they'd chosen to portray.

For a man not blessed with the kind of appearance naturally lending itself to the limelight, Elvis Costello always did a damn good job of promoting himself. It helped that those around him were past masters of pop marketing. After all, music lovers of a certain age will recall the infamous t-shirt of his first label Stiff, bearing the deathless slogan: 'If it ain't Stiff, it ain't worth a f**k'.