Artist-Curated Playlists

India-born, Oakland-based musician Kabir Kumar is Sun Kin, an ever-evolving project that’s as personal as it is community-based. It’s an outlet for Kumar to express his own musical voice, but also a good reason to bring together fellow artists from the Bay Area indie-pop scene to round out his vision. In 2020, he returned with his third album, Private Time, a collection of intimate bedroom pop that’s rich in soulful grooves and heavy with tales of bucking tradition, confronting trauma, and letting go. Even with its weighty themes, there’s an undeniable silkiness to the album’s overall flow, which is influenced by a number of artists—old and new—that Kumar has compiled for us with this buttery-smooth mix.Says Kumar of the playlist: “It’s called ‘Still Smooth After All These Years’ because I’ve grown increasingly enamored of smoothness in music. When you can combine an effortless listen with subtle sonic complexities, you get songs from which you can pick up new details and feel something new years after your first listen. Moving from the psychedelic bossa nova of Triste Janero, ’80s sophisti-pop of Prefab Sprout, and Japanese city pop of Taeko Onuki to more modern takes by DIY institutions like Mr Twin Sister, Ava Luna, and Benny Sings, this playlist should hopefully shine a light on what we’re going for in Private Time.”

Canadian band Loving make music just as soft and gentle as their name suggests—except it all comes with an unexpected existential twist. The trio’s dreamy, melancholic pop slips between cozy acoustic melodies and blissed-out arrangements that defy (as they also question) the concepts of time and space. On their 2020 debut full-length album, If I Am Only My Thoughts, their songs radiate with a warm, vintage glow influenced as much by classic singer/songwriters as psych-pop pioneers. Here, they’ve compiled a playlist of favorite tracks—old and new—that fits with that aesthetic beautifully.Says band member David Parry of the playlist: “Here are some favorites from playlists friends have made and shared with us for good listening in the tour van ... with some of our current faves thrown in. I’ve been playing that Nilsson song real loud these days!”Photo Credit: Ft Langley

The Pogues have proved themselves a crucial part of punk history. By throwing seemingly innocuous instruments—like the tin whistle, accordion, and banjo—into a fiery mix of boisterous Irish ballads and anarchic attitude, they challenged every assumption about the power and potency of punk. Now, original members Spider Stacy and Cait O’Riordan have united with the GRAMMY®-winning Cajun group Lost Bayou Ramblers under the name Poguetry to pump new life into some of The Pogues’ classic songs. They’ll be taking their spirited party on the road for a short tour in early 2020, starting on February 28 in singer Stacy’s adopted home of New Orleans. To celebrate, he shared with us an eclectic playlist of songs—the kind of stuff he likes to kick back with at home.

Says Stacy of his Lid of Me Grannies Bin playlist: “[It] should be played loud and on shuffle! As for the songs... I think they speak for themselves.” He further adds: “A playlist is not a playlist without The Fall, and ‘There’s A Break In the Road’ should be the national anthem.”

My own personal peep into the strange and beautiful heart of Arkansas music. Whether it’s the butter-knife slide of CeDell Davis, Pharaoh Sanders’ sheets of sound, Jim Dickinson’s irreverent approach to recording or the prepared-piano-player compositions of Conlon Nancarrow, Arkansas has always produced sounds that ignore the rules. I left off a few of the unusual suspects in favor of curve balls like The Insect Trust whose founding member Robert Palmer not only was the first full-time rock writer for the New York Times but also grew up next door to Pharoah Sanders. I also wanted to highlight a few of the early architects of rock-n-roll like Sister Rosetta Tharpe and Louis Jordan as well as a few familiar names like Glen Campbell and Al Green. Some entries might need a little explaining. For instance, I had somehow missed the fact that Little Rock native, Al Bell, the founder of Stax Records, was also the songwriter behind songs like Eddie Floyd’s Raise Your Hand as well as the Staple Singers smash I’ll Take You There. One of the gifts of growing up in a state that often flies under the cultural radar is that you can let your freak flag fly and with that in mind I close out the list with incomparable Elton and Betty White.Photo Credit: Bobby Fisher

As Forever, Canadian artist June Moon takes us on a musical experience that comes off both sincerely sweet and slyly seductive. Since releasing a self-titled EP in 2016, Moon has subtly shaped and reshaped Forever’s sound to reflect her own emotional journey, especially after experiencing a devastating heartbreak. The result is her second EP, Close to the Flame, a six-track set that transforms her woe into woozy, almost euphoric productions that meld hints of velvety R&B, soulful pop, and slinky trip-hop beats—just experience the opener “Blur” to fully sink into Forever’s luxurious grooves. To get a feel for what inspires Moon herself, we asked the singer/songwriter to make us a quick mix of what makes her tick—or rather, lick. Says Moon of her playlist entitled I’ve Tried to Recite the Makings of You: “I made it in bed thinking about licking the air. These songs are good for that.”

The Michigan-based duo Windy & Carl have been making mesmerizing music since 1992, yet their songs remain utterly timeless. Shifting between spaced-out guitar reveries and dense ambient waves, their hypnotic, often wordless pieces have the power to lift you off your feet. Eight years after their previous album, the pair returned with Allegiance and Conviction in 2020. The six-track collection offers a mix of what their longtime label Kranky aptly describes as “shoegaze minimalism and stargaze drift.” To go alongside the release, Windy & Carl have put together a collection of tracks meant to help you unwind—and it’s just as blissful as you could imagine.Say Windy & Carl of the playlist: “We picked a mixture of favorites from a wide timeline—some new, some old, and all pieces we have given many multiple listens to. It’s a long playlist—perfect for a relaxing afternoon or a post-party comedown. Each of these artists has a catalog worth looking into, each of them creating music that is multidisciplinary. Take a deep dive and enjoy!”

Chris Maxwell has consistently stretched the boundaries of his own sound and vision as a singer, songwriter, guitarist, and producer, starting in the late ’80s as frontman for Little Rock, Arkansas’ Gunbunnies, and then later with NYC band Skeleton Key, crafting raucous rock experimentations. More recently, Maxwell has helped create music for several commercials and TV series, including Bob’s Burgers and Anthony Bourdain’s No Reservations, and has worked alongside artists like They Might Be Giants and Fiona Apple as one-half of production duo Elegant Too. In between, he’s written and recorded two solo albums, 2016’s Arkansas Summer and 2020’s New Store No. 2, the latter a cozy mix of lush indie pop and rock. In the homespun spirit of both, the Arkansas-born artist has put together a comprehensive playlist featuring musicians who hail from his native state.

Says Maxwell of the playlist: “My own personal peep into the strange and beautiful heart of Arkansas music. Whether it’s the butter-knife slide of Cedell Davis, Pharoah Sanders’ sheets of sound, Jim Dickinson’s irreverent approach to recording, or the prepared-piano-player compositions of Conlon Nancarrow, Arkansas has always produced sounds that ignore the rules. I left off a few of the unusual suspects in favor of curveballs like The Insect Trust, whose founding member Robert Palmer not only was the first full-time rock writer for The New York Times but also grew up next door to Pharoah Sanders. I also wanted to highlight a few of the early architects of rock ’n’ roll like Sister Rosetta Tharpe and Louis Jordan as well as a few familiar names like Glen Campbell and Al Green. Some entries might need a little explaining. For instance, I had somehow missed the fact that Little Rock native Al Bell, the former owner of Stax Records, was also a songwriter behind songs like Eddie Floyd’s ‘Raise Your Hand’ as well as the Staple Singers smash ‘I’ll Take You There.’ One of the gifts of growing up in a state that often flies under the cultural radar is that you can let your freak flag fly, and with that in mind I close out the list with the incomparable Elton and Betty White.”

Since forming in the early ’90s, the musical collective Lettuce have been pushing the boundaries of sound itself with their skillful and often futuristic blend of funk, jazz, hip-hop, soul, psychedelic rock, and myriad microgenres in between. In 2020, they received a much-deserved GRAMMYⓇ nomination for Best Contemporary Instrumental Album for their sixth studio album, Elevate. To celebrate that honor, we turned over our playlist-making machine to Lettuce’s keyboardist and vocalist Nigel Hall, a GRAMMYⓇ winner and unofficial professor of all things Quincy Jones. Here, he gives us an in-depth lesson on the music legend’s deep catalog, including his 21 favorite Quincy Jones songs and some important notes to go with each.

Without further ado, let’s hand this over to Professor Hall:

The following is a list of my favorite Quincy Jones music. Unless you’ve been under a rock for the past 70 years or so, you know that Quincy Jones is one of the most recognizable names in music and one of the most successful producers in music history. If they had smartphones back in the day, his contacts would be only the most famous and dopest musicians, singers, activists, and artists in the history of—well, history! None of these are in any particular order.

Smackwater Jack: Released in October 1971 on the A&M label, this is Quincy’s 21st solo record. (Go ahead and read that again.) It’s really amazing to reflect on the body of work of such an OG. Anyway, here we go. It must be nice to have all the greatest musicians of the day on your Rolodex, itching to play with you. You realize that by this point, Quincy had been on the scene making music for the very fabric of this country’s culture for 20 years. His film score résumé was “ice cold,” and he had spent the better part of 10 years touring with Sinatra. So this record represents a very well established producer, conductor, and arranger. Basically, he had already established himself as the master, and everyone else knew it, too. My favorite songs are: “Smackwater Jack,” “What’s Going On,” and “Theme from ‘The Anderson Tapes.’”

You’ve Got It Bad Girl: This record was only a couple of years after Smackwater Jack, and he’d also issued a compilation on Mercury Records the year prior. A lot of the same people from the last record. You see that this is George Duke’s first run with him, so that always makes for a happy Nigel. It sounds to me like Quincy is very much in his film vibe, although on his version of Stevie’s “You’ve Got It Bad Girl” he shares a modest vocal, while still creating a very conducive vibe that fits any situation. In English, you’ll hear on this record that Quincy is in fact the Golden Child and can do no wrong. Here are my favorite tunes from this record: “You’ve Got It Bad Girl,” “Sanford & Son Theme,” “Chump Change,” and “Summer In The City.”

Sounds… And Stuff Like That!: If I had to choose one record of Quincy’s to take on a desert island, this would be the one. A headphone record for sure. This record I affectionately call the “Oz” record. I feel like he recorded this record in the land of Oz because it sounds so much like The Wiz. It makes sense because he recorded The Wiz the same year. Take a look at the personnel, though. Again, the baddest people in musical history. My favorite moment of this record: On “Tell Me A Bedtime Story,” Herbie’s solo is transcribed and performed by an entire fucking orchestra. You can only do something like that to Herbie’s solo if you’re Quincy Jones. Herbie wouldn’t let you. My favorite songs are: “Superwoman (Where Were You When I Needed You),” “Tell Me A Bedtime Story,” and “I’m Gonna Miss You In The Morning.”

Walking in Space: This record reflects his amazing abilities as a conductor and arranger. Certainly, my favorite arranged record. This record was actually produced by Creed Taylor (from the famous CTI label). Lots of classics on this record too. I listened to this record only the last time I was in Japan. It helped to provide such a vibe! My favorite songs are: “Love And Peace,” “Killer Joe,” and “Walking In Space.”

Mellow Madness: This is Quincy’s 25th record. This is also the record that he had after his double aneurysm. Let me just say, to make a record after surviving something like that is more than a blessing. But this also showcases a different side of Quincy thus far: Quincy’s funky side. If you look at the players on this record, you can see immediately how it differs from the other records. You wanna make a funky record, you gotta go where the grease is. BTW, this is also the debut of The Brothers Johnson. My favorite songs are: “Cry Baby” (featuring Wah Wah Watson), “Is It Love That We’re Missin’,” My Cherie Amour,” “Bluesette,” and “Tryin’ To Find Out About You.”

Body Heat: This record came before Mellow Madness and Q had not had his aneurysm yet, so as you see in the credits, he’s still playing trumpet. But if you listen closely, you can hear the funky side of his nature starting to show—a budding example of his producer skills starting to come alive while adding to the arranger and conductor that he was naturally. My favorite songs are: “Everything Must Change,” “If I Ever Lose This Heaven,” and “Body Heat.”

Lettuces new album Resonate is out May 8^th.

Photo Credit: Jay Sansone, Human Being Media

Made up of vocalist and pianist Jenny Marie Sabel and multi-instrumentalist Eirik Vildgren, Norwegian duo Kondradsen make soft music that soothes with the freshness of a minty balm. Minimalist piano and synths create a vast landscape as gentle horns, strings, beats, samples, and field recordings fill it in with pastel colors. Sabel’s lullaby croons wrap around it all like a warm hug. It’s a sound and feeling that infuses every minute of their 2019 debut, Saints and Sebastian Stories, and extends into their 2020 EP, Rodeo No. 5, a five-song collection that they say tries “to capture the raw fragments that drift by in everyday life.” To go along with this theme, the pair put together a playlist for us that also attempts to encapsulate a moment in time.

Says Sabel of the playlist: “Here’s a playlist of songs much listened to the last few days—some new releases and old gems. Since we’re not supposed to travel much in these special times, the band doesn’t get to meet and make music. We live in different parts of the country at the moment. But what a perfect time to listen and get inspired by other musicians and work on some demos until we can meet again. This playlist is the latest inspiration blown through our ears.”

Rafael Anton Irisarri treats every song as if it’s meant to contain all of Earth’s sounds. The prolific Seattle-based artist records shoegaze-infused techno as The Sight Below and ethereal dream pop with Benoit Pioulard as Orcas. He’s also collaborated with various electronic artists from different corners of the globe. But Irisarri tends to save his most cathartic compositions for work under his own name, creating droning ambient epics that feel infinite in texture. On his 2020 album Peripeteia, he weaves field recordings through an intricate mesh of keys, strings, and indefinable electronic effects that render the listener nearly numb. It’s both hypnotically dreamy and devastatingly dreary—seemingly the complete opposite to the bubbly bounce of a genre like reggae, which happens to be one of his biggest influences. Says Irisarri of his East of the River Hudson playlist: “This mix harkens to sounds I heard in the Caribbean growing up, which shaped the way I make music today. I was born on the island of Puerto Rico—that U.S. territory ‘surrounded by water, big water, ocean water’—and grew up in the 1980s, splitting time between Florida, New York, and San Juan, amongst other places. Growing up, my access to recorded music was fairly limited—scarce resources is certainly not a friend of the arts and culture. Most of the records and tapes I listened to consisted of hand-me-downs from either older cousins or friends. I had an uncle who was very much into reggae and used to make me mixtapes from songs he’d record from the radio. He could pick up a station based in nearby British Virgin Islands where they played this music on a regular basis. That’s how I taught myself to play the bass guitar, listening to reggae cassettes. Half of the time, I didn’t even know who the artists were, and only found out about them way after the fact. Thirty years later, I still enjoy hearing these songs; in some cases the production and aesthetic (heavy use of effects and sound processing, for example) have been incredibly influential in my own work. Hope you enjoy!”Photo by Nikita Grushevskiy