It was just last June that Miley Cyrus released both a new album and an accompanying film in the ambitious, genre-spanning Something Beautiful. But not even 18 months back, Miley is back — though this time she has a new label, having made the switch from Columbia to Atlantic earlier this year, and she also (sort of) has a new name, having officially dropped the “Cyrus” from the album’s promotion.
So, now officially just being “Miley,” the longtime pop icon has returned this Friday (Sept. 17) with Bass Persuades, a 10-track set co-written and produced by Cyrus along with collaborators Kid Harpoon, Maxx Morando, Michael Pollack and The Monsters & Strangerz. Miley will showcase the set this weekend with two shows at the Hollywood Bowl, with Brooklyn-based post-punk quartet Model/Actriz — who also appears as a featured artist on the album, as does longtime Miley collaborator Andrew Wyatt — serving as the opening act.
“Music takes hold of us,” she posted on Instagram when announcing the album. “We feel it, sing it, sometimes dance to it, let it out and carry on. It is powerful, vulnerable, sweet and strong.” The album’s title and lead single — as well as some of the comments Miley’s made about it — may have suggested a more clubby sound for the full Bass Persuades, but while some of the songs definitely do some working out on the dancefloor, there are also ballads marked by woozy synths and breezy acoustic songs with classic pop melodies.
See how Billboard ranks all 10 of the set’s tracks below.
Billboard’s Friday Music Guide serves as a handy guide to New Music Friday’s most essential releases each week — the key music that everyone will be talking about today, and that will be dominating playlists this weekend and beyond.
Last week, we featured Jhené Aiko, Bleachers, Dove Cameron and more.
This week, Miley (sans Cyrus) releases her Atlantic debut Bass Persuades; Carly Rae Jepsen shares her anticipated double album Day and Night; and country star Riley Green’s fourth album, That’s Just Me, is out… plus much more. Check out all of this week’s picks below:
Miley, Bass Persuades
Ahead of her 10th studio album, the pop star ushered in some changes — as she’s wont to do. She signed a new record deal with Atlantic Records and is just Miley now, no Cyrus. While the album’s lead single and title track is a full-on dance-pop banger, second single “Let’s Get Married” slows it down as Miley adoringly sings of wanting to wed her fiancé Maxx Morando. The rest of the album’s 10 tracks (including a “Bass Persuades Remix”) fluctuate between these two realms, largely united by the idea that Miley is, without a doubt, in love and looking forward to all that is yet to come her way as a result. — LYNDSEY HAVENS
Carly Rae Jepsen, Day and Night
Pop star Carly Rae Jepsen is on her eighth studio album — and as a gift, it’s a two-for-one special. The two-disc album fittingly features one set that’s full of “daytime” songs that explore varied tempos and spotlight songwriting, while the second set is purely sundown dance-pop productions. Together, the 24 songs make for a stellar one-and-a-half hour long sonic journey. — L.H.
Rosé, “New Trick”
Rosé’s latest is a pop-rock hit that is begging for a remix with Olivia Rodrigo, with its grungy, high-energy production and scream-along chorus bookended by syrupy sweet vocals on each verse. As Rosé works on her upcoming second full-length album, she’s teamed back up with Amy Allen — and the two co-wrote “New Trick” together just a few days after this year’s Met Gala in May (though a statement confirms this isn’t the album’s official comeback single, which will come next year). Though, considering how well the new tricks on this single land, here’s hoping she explores it more on whatever comes next. — L.H.
Freya Skye, “bad taste”
Rising pop star Freya Skye’s latest is an ode to not knowing how to pick ’em — and owning it. As she told Billboard of the song, “‘Bad Taste’ is the first time I was a bit less serious. What meets the eye is a playful, kind of sarcastic tone that I’ve never gone into before.” Now that she has, she’s hoping the song will get her fans excited “for the next shift…I do think it will feel more elevated than anything before.” — L.H.
Kim Petras, Detour (Rare N’ Deluxe)
Nearly four months after the release of her third album Detour this May, Petras is sharing its deluxe version led by focus track “Autobahn,” one of four new songs. The melodic pop song is the most downtempo of the deluxe additions (most in line with “Jeep” from the original album) and is a refreshing peek into Petra’s lesser-shown artistic side. — L.H.
Riley Green, That’s Just Me
On Green’s fourth studio album, he’s remained focused on the main thing: continuing to cement his reputation as a musical purveyor of timeless-feeling country songs. He also continues his penchant for heartfelt heartbreak ballads, but also ventures into more humorous musical territory such as the clever “Beach Happy” and “Think As You Drunk” (which is also a nod to the musical influence of Toby Keith). Some of the album’s most impactful songs are from Green’s own writing, such as the solo writes “Well Well Whiskey” (featuring Jake Worthington) and “More Of A Man Than Me,” while he also picks up solid songs from other writers, including “Ol’ Stray Dog.” —JESSICA NICHOLSON
AZ Chike, No Rest for the Wicked
Almost exactly two years after he stole the show on “Peekaboo,” a standout track from Kendrick Lamar’s Grammy-winning GNX album, AZ Chike has finally unveiled his debut solo studio album. With the South Central LA rapper at the helm of a creative team comprised of Lamar, Sounwave, Pharrell, Hit-Boy, JMSN, Terrace Martin and Tyler, the Creator, No Rest for the Wicked arrives as mature, clear-eyed introduction to an MC with boundless ambition and a West Coast-honoring style that’s unafraid of evolution. — KYLE DENIS
Travis Scott, “RHYNO” (from Grand Theft Auto VI: The Album)
What do you get when you throw Travis Scott and Daft Punk’s Guy-Manuel de Homem-Christo in a blender? Apparently, one of the first six singles from the forthcoming soundtrack for the long-awaited Grand Theft Auto VI video game. The new track fuses Scott’s trap foundation with Homem-Christo’s cinematic electronic soundscape, making for what’s sure to be a knockout background song for the beloved game. — K.D.
Rosé has a new trick.
The superstar BLACKPINK singer drops her latest single, “New Trick,” which arrives with an official music video directed by Dave Meyers (Taylor Swift, Harry Styles and Kendrick Lamar) and filmed entirely on Apple’s newly unveiled iPhone 18 Pro.
Rosé gave BLINKS a tease of the track earlier this month, by way of Apple’s latest “Shot on iPhone” campaign, which has previously recruited some of pop’s biggest names, including The Weeknd (“Dancing in the Flames”) Olivia Rodrigo (“Get Him Back!”) and Lady Gaga (“Stupid Love”).
With “New Trick,” Rosé dives headlong into pop-punk territory. On it, she sings: “Maybe I’m emotional, I lay my dreams out on the table, love is unconditional, it disappears just like a rainbow.” Our sassy hero has more energy than the rest of us, as she kicks dents in a car door, and kicks back with a full band for rehearsals in a gym. Rosé lives the California dream, as her buddies drop into empty swimming pools on skateboards, bounce on mattresses and get up to good, clean fun.
Forget Rosé the K-pop star. This is Rosé the rock star.
In a recent interview published in Vogue, Rosé described “New Trick” as “possibly the cutest thing [she and songwriter Amy Allen] have ever made together.”
The record-smashing singer is enjoying a major run as a solo artist, including a top 10 hit with her 2024 single “APT.,” a collaboration with Bruno Mars. “APT.” peaked at No. 3 on the Billboard Hot 100 and logged 45 weeks on the chart. The track appeared on her debut album, Rosie, which debuted at No. 3 on the Billboard in December 2024.
Born in New Zealand and raised in Melbourne, Rosé ranks as Australia’s most famous musician and most famous person, boasting a global social media audience of more than 156 million followers and “strong online visibility worldwide,” according to research published by Rocket Agency.
A followup to Rosie ought to boost that sizeable following, and it isn’t that far away. “I’ve been working on new music for quite some time now, and I’m still in the process of finding the perfect fine line between the world I want to create,” Rosé tells Vogue, “how much of that expresses who I am today, and who I, personally and as a musician, am evolving into. I’m excited to see where this journey continues to take me, what sort of sound resonates [with] me, and to introduce a new era of my music next year.”
Watch the music video for “New Trick” below.
Maroon 5 calls up 1 billion views on YouTube with “Payphone,” the pop-rock band’s collaboration with rapper Wiz Khalifa.
Released back in April 2012 with an official music video directed by Samuel Bayer, “Payphone” (via A&M/Octone Records) becomes Maroon 5’s sixth entry into the streaming giant’s Billion Views Club.
A payphone was already a thing of the past when Maroon 5 dropped the single, but that didn’t stop it from ringing up new sales records.
The cinematic video finds Levine in a miserable mood. At the top, he sings: “I’m at a payphone trying to call home, all of my change I spent on you.”
Misery loves company, as we know. In its opening week, “Payphone” shifted some 493,000 digital downloads — remember them? — for a No. 3 entry on the Billboard Hot 100, and a No. 1 start on the Digital Songs chart. That hot opening was, for its time, the best digital sales frame by a group, bettering the 465,000 sold by the Black Eyed Peas’ “Boom Boom Pow” from three years earlier.
“Payphone” got its premiere on that year on NBC’s The Voice, where Maroon 5 frontman Adam Levine had a second gig as a coach. The song was housed on the band’s fourth studio album, Overexposed, which was executive produced by Max Martin, with additional cuts produced by OneRepublic’s Ryan Tedder. Overexposed peaked at No. 2 on the Billboard 200. Shellback and Benny Blanco produced “Payphone,” which also reached No. 2 on the national singles chart, one of the band’s 15 top 10 hits.
Maroon 5 has also enjoyed entry into YouTube’s Billion Views Club with “Sugar,” “Memories,” “One More Night,” “Girls Like You (Volume 2),” and “Girls Like You.” The band’s eighth and most recent album, Love Is Like, dropped in 2025.
Watch the music video for “Payphone” below.
Shakira and Maluma are turning up the heat with “Agua,” their new collaboration, released Thursday (Sept. 17). The steamy merengue-fueled single marks the latest chapter in the Colombian superstars’ enduring creative relationship — and their first major duet since 2018’s “Clandestino.”
Produced with a contemporary tropical edge, “Agua” blends Caribbean-rooted rhythm with sleek pop production, creating a soundtrack for surrendering to attraction. Throughout the song, water and thirst become metaphors for overwhelming desire, with the singers acknowledging that their connection is powerful enough to extinguish — or ignite — the fire between them.
“Porque cuando me miras se hace agua la boca / Calmá’ mi sed desde que estás aquí,” they sing in the catchy chorus, translating to: “Because when you look at me, my mouth waters / You’ve quenched my thirst since you’ve been here.” Maluma’s playful, confident verses add another layer of flirtation, while Shakira’s unmistakable vocals bring both sensuality and command to the track.
The accompanying music video, directed by Hannah Lux Davis, builds a glossy, tropical world around the song’s central metaphor. Reflections, liquid surfaces, shimmering light and fluid choreography underscore the magnetic tension between the two artists, who share the same effortless chemistry that powered their previous global hits.
“Agua” follows Shakira and Maluma’s “Chantaje,” “Trap” and “Clandestino,” as well as their collaboration on the remix of Carlos Vives’ “La Bicicleta.” “Chantaje” topped the Hot Latin Songs chart for 11 nonconsecutive weeks and reached No. 51 on the Hot 100, while “Clandestino” reached No. 9 on Hot Latin Songs and topped three Billboard airplay charts.
Listen to “Agua” and watch the official music video for the Colombian superstars’ latest reunion below.
Miley Cyrus is cranking the volume up to its fullest. The Grammy-winning pop star — now known simply as Miley — has officially released her 10th studio album, Bass Persuades, on Friday (Sept. 18).
The 10-track set comes after Miley kicked off the album’s rollout earlier this month with its electrifying title track, a synth-driven pop song that finds the singer inviting listeners to give in to the music and “surrender to the night.” The song debuted on the Billboard Hot 100, giving the singer the spot of No. 35. The accompanying music video put Miley squarely in pop-star mode, with the singer dancing her way through a bustling city and delivering some hypnotizing choreography.
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Miley first announced Bass Persuades on Sept. 1 after a week of cryptic teases, including a billboard and a social media post simply reading “Miley”; she also dropped “Cyrus” from her Instagram handle and began referring to herself mononymously as Miley as she prepared to enter the new era.
“Music takes hold of us,” she wrote when announcing the album. “We feel it, sing it, sometimes dance to it, let it out and carry on. It is powerful, vulnerable, sweet and strong.”
“Heart full, heartache, every part of life in between,” she continued. “That’s what the title means to me. Thank you for being a part of making my wildest dreams come true. I sincerely hope you love this album.”
The project’s release trails after Miley’s 2025 album Something Beautiful, which debuted at No. 4 on the Billboard 200. Before that, she released 2023’s Endless Summer Vacation, which spawned “Flowers” — her eight-week Billboard Hot 100 No. 1 and Grammy-winning song of the year.
The superstar is also set to headline two rare shows at Los Angeles’ Hollywood Bowl on Oct. 16 and 18 in celebration of the new album. The dates mark her first major public performances since her 2022 Attention Tour.
The new album also comes at a somewhat emotional time for Miley. At the beginning of the Bass Persuades rollout, tragedy struck with the passing of her godmother and country music legend Dolly Parton. Following Parton’s death, Miley shared an emotional tribute to her longtime family figure, writing, “I have an angel by my side. I always have.”
With Bass Persuades officially out in the world, Miley is allowing herself to feel the bitterness of heartache and blissfulness of love.
Listen to Bass Persuades below.
Riley Green has steadily forged a reputation as a multimedia artist and businessperson, taking on a role as a coach on The Voice and previously landing a role on the Yellowstone spinoff Marshals. He launched Duck Club Bourbon last year and in 2024 opened Riley Green’s Duck Blind in Nashville. Those roles build on the headliner status he’s already built over the past several years. He was also just revealed as a headliner at 2027’s California’s country music festival Stagecoach, alongside Zach Top and Garth Brooks.
And yet, he’s remained focused on the main thing: continuing to cement his reputation as a musical purveyor of timeless-feeling country songs, and a writer on many of them, in the tradition of artists such as Alan Jackson and Toby Keith.
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Green’s fourth studio album That’s Just Me, which arrived Friday (Sept. 18) via Nashville Harbor Records & Entertainment, focuses heavily on heartbreak, longing, temptation and also romantic freedom, while elsewhere leaning into stories of small-town nostalgia and nodding to the wanderlust of musicians and creatives.
The album follows Green’s Don’t Mind If I Do, which included the Billboard Country Airplay chart-toppers “Worst Way” and the album’s title track. Don’t Mind If I Do reached the top 10 on Billboard’s Top Country Albums chart last year, and to date, he’s earned four Country Airplay chart-topping hits.
The recent Billboard cover star’s new album, produced by Dann Huff, aims to continue his winning streak, balancing the heartbreak songs with comedic gems. He is a writer on the bulk of the songs, including five solo writes. The album is also solidly collaborative, with Green welcoming Hannah McFarland, Jake Worthington, Brooks & Dunn and Alabama’s Randy Owen. In the album’s initial radio single release, “Think as You Drunk” (which is at No. 13 on the Country Airplay chart), Green pays homage to another musical influence: the late Keith.
Below, Billboard ranks all 19 tracks on Green’s new album That’s Just Me, from good to best.
Desde “Para qué?”, esa conmovedora pieza interpretada por Alejandro Sokol (1960-2009) que le daba título a su disco de 1998, Las Pelotas abordó el existencialismo en forma de baladas. A casi cuatro décadas de su fundación y a casi treinta años de aquel álbum, su nuevo trabajo profundiza en esas indagaciones filosóficas. “Unos te dicen por aquí, otros se apoyan en un Dios, pero nadie en este mundo sabe por qué, sabe por qué está aquí”, canta Germán Daffunchio, con el respaldo vocal de la bajista Gabriela Martínez, en “Cuando ves alrededor”, la canción que abre Sin la piel.
El título del álbum es un alegato sobre uno de los males de esta época, en la que las apariencias y la vida artificial en las redes adquieren una importancia desproporcionada. No es un diagnóstico novedoso, pero todo parece exacerbado. En la era en que los filtros de Instagram funcionan como un maquillaje artificial, la crueldad neoliberal se expande en el mundo y la frivolidad del menemismo vuelve en forma de tragedia, Las Pelotas propone un viaje introspectivo. Las preguntas han sido una constante en el estilo poético del grupo, y parece haber un trabajo en espiral, un eterno retorno a preguntas casi arcaicas, como la que ya se hacían en “¿Qué podés dar?”, incluída en Despierta (2009): “Que podés dar, realmente dar, que está en tu corazón, y no en aparentar”. Un truco letrístico que Daffunchio suele repetir: apelar a la interpelación de uno mismo, pero enunciada en la segunda persona del singular.
Es un arranque delicado, no exento de cierto dramatismo, que marca la tónica del disco. La furia que ostentaba el grupo en otros tiempos, parece encausada hacia formas amables. La línea de bajo y la pulsión de la batería de “Esperar el tiempo”, el segundo movimiento del álbum, refuerzan ese sonido épico que caracteriza a la banda. Había mugre antes; ahora hay un sonido puro, con un delicado trabajo en las voces, una producción impoluta. “Sin la piel”, la canción que no casualmente le da título al álbum, remite instantáneamente a himnos de The Cure como “Lovesong”. Una cruza exacta de new wave, aires góticos, ecos de post-punk sumada a una melodía pegadiza y los teclados sutiles y precisos de Sebastián Schachtel, que son una evocación de ese sonido que marcó los años 80. Pero a pesar de todas esas referencias pretéritas, ni esta canción, ni el disco en general, son un mero gesto de nostalgia o de reconstrucción. Las referencias ochenteras no funcionan como un ancla estética, sino como un punto de partida para canciones que funcionan en la guitarreada, por fuera de todo artificio, de cualquier oropel.
El gesto de Germán Daffunchio es casi gardeliano: cada día canta mejor. Con los años, su voz ha encontrado en la dulzura un refugio luminoso. Y luminosa es, también, la portada del álbum, diseñada por Juan Daffunchio (hijo de Germán, también responsable de las visuales en los conciertos). La foto con los gajos de mandarina en una bandeja de supermercado dialogan con las formas geométricas de la pintura abstracta de Corderos en la noche (1991), y es junto con la de Despierta la más refulgente de toda su discografía. El reggae, piedra angular del sonido del grupo, aparece en “Tanto más”, con una melodía irresistible del “Pollo” Gómez, que reaparece en “Los dos”, una pieza que parece aplicar la lógica inversa al día de la marmota: “Me encantaría que me digas cómo hacer para que este día nunca se termine”. Definitivamente cancionero, Sin la piel está lleno de sutilezas. Buena parte de ese sonido, delicado y poderoso a la vez, es responsabilidad del entramado de guitarras que construyen el histórico Tomás Sussman y Gaspar Daffunchio, otro de los herederos de Germán. “La bruma de otoño” tiene una base que coquetea con el jazz rock y la intro de fingerpicking de “Las cosas como son” tienen algo de country, pequeños detalles sonoros que condimentan al fogón, origen y, a la vez, destino final de estas piezas sofisticadas.
El sentido trascendental de la vida, la indagación profunda del ser, la eternidad y la pulsión existencialista son inquietudes universales que marcan el derrotero temático del álbum. Pero a pesar de la hondura intelectual, lo que prima es la sensibilidad. Su gran virtud es el equilibrio, esa amabilidad pop y el devenir luminoso de una de las bandas más longevas, prolíficas y vigentes del rock en esta parte del mundo.
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Manny Cruz está de celebración. El cantante, compositor y productor dominicano conmemora 10 años de trayectoria artística y, como parte de este aniversario, presenta su nuevo sencillo, ‘Nieve en Verano’, una colaboración con el maestro Juan Luis Guerra.
Para Cruz, compartir por primera vez una producción con Guerra representa la materialización de un sueño y un momento de especial significado en su trayectoria. El maestro Juan Luis Guerra ha sido una de las figuras más influyentes en su carrera y uno de los artistas que admira desde siempre. Por ello, ‘Nieve en Verano’ trasciende el ámbito musical para convertirse también en una pieza cargada de emoción y valor conmemorativo para Manny Cruz.
El artista dominicano confesó que aún le cuesta encontrar las palabras para describir lo que este momento significa para él. Aseguró que su corazón está lleno de gratitud, pues detrás del artista permanece aquel niño que creció escuchando, admirando y disfrutando las canciones de Juan Luis Guerra.
“Poder mirarlo hoy a mi lado y decir que hicimos una canción juntos —y no cualquier canción, sino un merengue— es algo que todavía estoy procesando. Es el vivo ejemplo de que no hay nada imposible bajo el cielo, que es precisamente de lo que habla el tema. Vale la pena creer, trabajar y esperar en Dios. Solo puedo darle gracias a Él por permitirme vivir este momento y disfrutar de este gran regalo”, compartió.
‘Nieve en Verano’ nace de la idea de aquello que parece inalcanzable y hace honor a su propio título: la aparición de la nieve en la época más calurosa del año. La canción narra una historia de amor que desafía toda lógica y, al mismo tiempo, se convierte en una metáfora del momento que hoy vive Manny Cruz, demostrando que incluso aquello que parece imposible puede hacerse realidad.
Sobre la colaboración, Juan Luis Guerra expresó que recibió la propuesta con alegría y cariño, destacando la trayectoria y el aporte de Manny Cruz al merengue dominicano. “Siempre recibí con mucha alegría y con mucho cariño el trabajar con Manny, sabiendo lo buen artista que es y lo mucho que representa para el merengue en República Dominicana”, señaló el maestro.
‘Nieve en Verano’ llega acompañado de un videoclip oficial protagonizado por ambos artistas y por la reconocida comunicadora y personalidad dominicana Francisca, quien da vida a la historia que acompaña la canción. Bajo la dirección de Jean Guerra, la producción audiovisual aporta una dimensión visual a esta propuesta que celebra el amor, la cultura y la identidad dominicana.
Escucha aquí ‘Nieve en Verano’:
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La historia de The Beatles aún tiene mucho por contar. Su música guarda un legado asombroso y, ahora, sale a la luz una versión temprana de una de sus canciones más icónicas: ‘Norwegian Wood (This Bird Has Flown)’. En esta adaptación, George Harrison amplía el alcance de su talento al incorporar el sitar, aportando una nueva dimensión al sonido de la banda.
Para continuar explorando la historia de la agrupación, el próximo 2 de octubre se publicará una edición especial y ampliada de Rubber Soul. El material reunirá una selección de grabaciones de sesiones y demos caseros inéditos, además del nuevo sencillo de doble cara A, ‘Day Tripper / We Can Work It Out’.
Como primer adelanto, se reveló cómo The Beatles dieron forma a uno de sus grandes clásicos, ‘Day Tripper’. La canción tiene su origen en una antigua composición de folk que John Lennon había escrito tiempo atrás. Un mes después, Lennon y Paul McCartney retomaron la idea y trabajaron en ella en Kenwood, la casa de Lennon en Weybridge, Surrey, antes de llevarla al estudio para completar la grabación.
Ahora, el nuevo adelanto de Rubber Soul ofrece una mirada a las primeras etapas del proceso creativo de la agrupación con ‘Norwegian Wood (This Bird Has Flown)’. La grabación, titulada ‘Segunda versión – Toma 2’, fue registrada durante el primer día de sesiones del álbum de 1965 y presenta uno de los primeros acercamientos de George Harrison al sitar, un instrumento que años más tarde se convertiría en una de sus grandes pasiones.
Más tarde, se realizaron nuevas grabaciones en las que participaron la guitarra acústica de John Lennon, el bajo de Paul McCartney, la batería de Ringo Starr y George Harrison, quien aportó notas de acompañamiento con el sitar. En la versión final de este clásico, la melodía instrumental acompaña al verso, mientras que el sitar aparece con una doble pista durante la sección del puente, aportando una textura distintiva al tema.
“Me resultó muy familiar escuchar esa música. Por esa época, había comprado un sitar barato en una tienda llamada Indiacraft, en Londres. Cuando estábamos trabajando en ‘Norwegian Wood’, sentíamos que a la canción le faltaba algo, así que todo surgió de manera bastante espontánea. Tomé el sitar y encontré las notas. Lo pusimos a tocar y pareció encajar a la perfección; eso fue todo”, recordó Harrison anteriormente al hablar sobre ‘Norwegian Wood (This Bird Has Flown)’.
Rubber Soul Special Edition, la nueva edición del álbum de 1965, llegará el 2 de octubre en distintos formatos de LP, CD y Blu-ray. Para esta reedición, Giles Martin y Sam Okell estuvieron a cargo de una nueva mezcla del material, disponible en estéreo y Dolby Atmos. La edición también conserva la mezcla mono original y la versión estadounidense publicada por Capitol.
La nueva colección permitirá redescubrir el álbum a través de una renovada mezcla estéreo, elaborada directamente a partir de las cintas máster originales de cuatro pistas. Por primera vez, las 14 canciones se presentan reunidas en esta nueva mezcla, mientras que las ediciones ampliadas ofrecen una mirada más profunda a las sesiones de grabación y al proceso creativo detrás del disco.
Por ahora, ya puedes escuchar escuchar la versión temprana de ‘Norwegian Wood (This Bird Has Flown)’:
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