Recording engineer Humberto Gatica shares why "We Are The World" was the most significant, precious and satisfying job in his storied career.

Producer/engineer Bill Szymczyk looks back at capturing the Eagles' evergreen, number-one single, "Hotel California."

When Paul Davis played engineer Ed Seay his new song, neither could have known the track would eventually run 40 weeks in the Billboard Hot 100.

The studio version of The Tubes’ anthemic, zany, crowd favorite was also Al Kooper's "greatest engineering feat"—and it features one of The Eagles on it, to boot.

Producer Jim Rooney shares how Iris DeMent nearly left 'Let The Mystery Be' off her debut, 'Infamous Angel.'

A Friday night house session and an unforgettable bass line led to hip-hop’s most joyfully irresistible hit.

Tony Visconti pulls back the veil to reveal how David Bowie's seminal "Heroes" was created in the shadow of the Berlin Wall.

Randy Newman's "Sail Away" is a classic that probably couldn't get airplay today.

An U.S. folk trio managed by Brian Epstein and named by John Lennon, The Cyrkle had a hit on its hands with "Red Rubber Ball."

When Mike Thorne first heard Soft Cell’s version of the song “Tainted Love” on a demo, it was missing the crucial "bink bink."

Charged with turning a half-written Prince demo into a full-fledged track, David Z went to sleep one night and woke up to find Prince had radically reworked—and reduced—the song, resulting in a massive hit.

A stinging critique of the 1980s even as they happened, Dire Straits' "Money For Nothing" had a lengthy genesis, as related here by engineer Neil Dorfsman.

Not too many people these days know about the Chamber Brothers, but when their first Columbia album, The Time Has Come, was released in late 1967, it was a very big deal.

Not too many people these days know about the Chamber Brothers, but when their first Columbia album, The Time Has Come, was released in late 1967, it was a very big deal.

Whether you label it power-pop, rock or AOR, Rick Springfield's "Jessie's Girl" is a classic mix of a memorable hook, taut storytelling and producer Keith Olsen's clean production style.

It's not surprising that decades down the line many people don't realize that Peter Gabriel was once a driving member of Genesis—an effort that arguably met its apex with The Lamb Lies Down on Broadway.

"For the Love of Money" had interesting audio trickery in it, most famously the ghostly refrain of "Money, money, money" blowing through the song like an ill wind.

Neil Sedaka shares how he made a smash out of four tracks and a vocal he taught the background singers while driving them to the studio.

Jennifer Warnes, bassist Roscoe Beck and engineer Billy Youdelman share how the unlikely Leonard Cohen cover—and the album around it—came to be a hit.

“To me, those Charlie Rich sessions were so special,” recalls engineer Lou Bradley.

“You've Lost That Lovin' Feelin'” was one of the most perfectly realized examples of the “Wall of Sound” technique that Phil Spector refined.

The sublime studio concoction of "She Drives Me Crazy" involved a trip to Minneapolis, that signature falsetto and an unmistakable snare hit known to this day.