Artists

In the mid-2010s, high school friends Stefan Blair and Liam Parsons began tinkering with a 4-track tape machine, crafting hazy, lazy lo-fi melodies under the name Good Morning. The Melbourne duo have since come into their own, releasing three full-length albums in a span of under 18 months. Their most recent release, <I>Basketball Breakups</I>, was recorded in just four days while the band were on tour in Japan in 2018. That rapid recording process gives the songs a sort of looseness that evokes the detached coolness of The Velvet Underground and the melodic whimsy of The Kinks. As the duo prepare for their North American tour in support of the album, Liam shares with us the songs he relies on to help calm his nerves.Says Liam of the playlist: “Music that I have been playing for the week commencing September 30 as I’ve been moving out of my house and packing up my stuff to go on tour. Some of it makes me dance alone in my kitchen (Pet Shop Boys) and some makes me cry a little (Weyes Blood), but it’s all part of the same process.”

Despite its reputation as the No. 1 music-industry disruptor of 2019, Lil Nas X’s honky-hop hybrid “Old Town Road” owes a great deal of its success to an age-old formula: the promotion of the chorus from cleanup hitter to leadoff batter. Although its usage has gained considerable traction in the streaming era (when shortened attention spans demand that artists engineer their tracks to elicit love-at-first-click), you can find examples of chorus-verse-chorus songwriting throughout pop history. This playlist provides a brief history of songs in which the first verse is secondary, chronologically charting how the practice has evolved over time. Back in the days of Elvis and The Beatles, it was an instant invitation to get up and dance to the devil’s music. For iconoclastic rockers like Neil Young and The Clash, it was a means of putting their social messaging front and center. At the height of hair metal, bands like Bon Jovi and Twisted Sister put their shout-along refrains up front in anticipation of engaging with their arena-size audiences. And as hip-hop and R&B have become the dominant forms of pop music in the 21st century, it’s becoming increasingly common for artists in the former camp to lure you in with hooks steeped in the latter.

You know the segment of the horror and sci-fi movie spectrum we’re talking about here. The worse they are, the better they are; the lower the budget, the higher the entertainment value. And the more goofy and outlandish the plot, the more there is to love about it. They operate in an entirely different universe than venerated, “legit” horror films like, say, The Exorcist or Rosemary’s Baby. They’re the kind of movies that turn up in the wee hours on TV, or maybe in a cult film festival if you’re lucky.Some of the songs assembled here pay direct homage to some of those films. For instance, Roky Erickson’s “I Walked With a Zombie,” John Cooper Clarke’s “(I Married a) Monster from Outer Space,” and Screaming Lord Sutch & The Savages’ “Dracula’s Daughter” are all inspired by the films that bear those titles. And after recording “House of 1000 Corpses,” Rob Zombie took matters into his own hands and directed his own movie of the same name.Then there are the tunes that suggest an alternative history of cheesy horror movies, ones that never actually existed but sound like they should have. Blondie’s “The Attack of the Giant Ants,” The Hollywood Brats’ “Vampire Nazi,” and The Cramps’ “Burn She-Devil, Burn” are creations that originated entirely in the minds of the musicians, but after you hear them it’s hard to resist imagining them coming to life at three in the morning on your TV screen.It’s the perfect playlist to fire up when All Hallows’ Eve rolls around, but if you’re a lover of B movies and vintage cinematic kitsch, these tunes will do the trick whenever you’ve got the urge to get gloriously tacky on the scary side.

Second-guessing Ken Burns documentaries has become a national pastime, especially when they focus on something close to viewers’ hearts, like music. When he tackled jazz years ago, naysayers ran rampant, and his 2019 PBS doc Country Music is similarly fodder for Monday-morning quarterbacks.Even when you’re making an eight-part miniseries in which each episode runs about two hours, if you’re tackling a topic as monumental as country music, some things are bound to end up on the cutting-room floor. Burns did a bang-up job overall, but that doesn’t mean there weren’t some inevitable omissions.You don’t have to go digging back through all eleventy-jillion hours of Country Music to figure out which important country artists didn’t make the final cut. We’ve done the heavy lifting for you with this playlist of the people who were left out. While some of the artists Country Music forgot might be familiar only to hardcore country fans, others are bound to induce a major amount of bemused head-scratching.Let’s look at some of the legendary, enormously influential artists who fall into that latter camp, for starters. We’ve got the likes of Billy Joe Shaver, who’s as responsible for the outbreak of outlaw country in the ’70s as anybody. Then there’s rock ’n’ roll giant Jerry Lee Lewis, who managed a remarkable comeback as a country hitmaker in the ’60s and ’70s. And speaking of hitmakers, how about Don Williams, whose sonorous baritone brought him dozens of Top 10 country singles in the ’70s and ’80s? That’s saying nothing of country/pop crossover queen Linda Ronstadt, one of the biggest superstars of the ’70s.Lesser known but equally important names like country-soul pioneer Tony Joe White, trucker-country hero Del Reeves, and bluegrass star Jimmy Martin are conspicuous in their absence from the series too, but you’ll find them right here. You’re bound to come away with a wider view of country than what Burns’ narrative encompasses.

Former Dead Astronauts singer and producer Hayley Stewart continues to explore whole new worlds as Mecha Maiko. Her latest album, Let’s!, slips frequently between dark, brooding synthwave and bright, danceable disco-infused pop on tracks like “Alive” and “End of Your Life.” This melding of opposites embodies everything about Mecha Maiko, down to the name itself, which was inspired by Stewart’s fascination with Japanese culture: Mechas are giant robots controlled by humans, while a maiko refers to a geisha in training. A similar theme runs through this handcrafted playlist she put together for us—a synth-laden soundtrack that blends mechanical rhythms with sensual melodies to get you dancing like it’s the end of the world.Says Stewart of the playlist: “Dance tracks for people who want to tell the apocalypse to fuck off. These unapologetically catchy Italo/dance/electro songs will help us ganbatte [translation from Japanese: ‘do your best’] while we change the world.”

Prince was nothing if not prolific, but turning out material at a breakneck pace didn’t necessarily gel with the marketing agenda of a major label. Prioritizing creativity over commerciality, he began warring with said label over its refusal to release as much material as he wanted. That’s when he began rebelling by adopting his famously unpronounceable symbol, with the world consequently calling him The Artist Formerly Known As Prince. But beginning with 1996’s aptly titled Emancipation, Prince (who eventually reverted to his given name) was freed from his contract. Releasing records through his own NPG imprint—sometimes distributed through other labels—he opened the floodgates and a startling torrent of music flowed through.Even in his earlier days, Prince had always put out records at a pretty constant pace, but it was only after he entered his indie phase that it really became apparent just how much material he was producing. It wasn’t merely the amount of music that was overwhelming; it was the broad range of styles. He worked in a multiplicity of formats, sometimes on his own and sometimes backed by groups ranging from the rocking 3RDEYEGIRL to the funkier New Power Generation, and occasionally joined by guests including Sheryl Crow, Kate Bush, and Maceo Parker. In these settings, Prince slipped into R&B, rock, hip-hop, funk, jazz, electronics, and more.The trouble is—and this is where Prince’s former label’s concerns were not entirely unfounded—wading through that much music can be a daunting, even confusing process. A lot of people had trouble keeping up with the emancipated Prince’s output. To this day, it can be a challenge, so here’s a handy guide hitting plenty of the highlights, from the steamy funk of “Black Sweat” to the smooth soul of the Stylistics cover “Betcha By Golly Wow,” the blistering rock of "PLECTRUMELECTRUM," the supple jazz of "Xemplify" and beyond.

DJ and producer Adrian Sherwood has long been at the forefront of the British dub scene as the founder of the influential On-U Sound label. One of his most treasured relationships over the years has been with Jamaican icon Lee “Scratch” Perry. Here, Sherwood explains their first momentous meeting:“Our mutual friend, the radio DJ Steve Barker, first introduced me to Lee in the mid-1980s. He said, ‘Look, you guys have got to get together.’ Steve was in Lancashire, but we agreed to meet at Southern Studios. Lee turned up with Rudy, who is married to Max Romeo’s sister. Rudy was driving him around, and he turned up with some multitracks and said, ‘Put these on.’ So I put them on, and they were him doing cover versions of Bob Marley songs. I think he had a real beef with Bob Marley at that point. I said, ‘Hang on a minute, check some of these rhythms.’“Style had recorded some rhythms in Jamaica that I’d been overdubbing and processing in London. I also had some other rhythms that I’d recorded with Style and the crew in London. So I played them to Lee. Lee loved them and said, ‘Get the mike,’ and that was the start of the Time Boom X De Devil Dead album, which we spent a year making. We’ve gone on to work together a lot since, and I’m particularly proud of Rainford, which I think is the most intimate album that Lee has ever made and one of my best productions.”Sherwood worked with Perry on Rainford and another album released in 2019, Heavy Rain. To celebrate both releases and the duo’s long-standing partnership, the English producer put together a playlist spanning the 35 years they’ve worked together, in which they’ve defined—and continually redefined—the sound and feel of dub music.

Photo Credit: Kishi Yamamoto

Swans have occupied a significant nook in experimental music since the early 1980s, when singer/songwriter/multi-instrumentalist Michael Gira formed the first iteration of the band in New York City. Since, Swans have been a continual artistic study in evolution and adaptation, as they’ve dived into the wild depths of no wave, post-punk, and noise rock and taken us on nearly maniacal explorations of sound where terror meets transcendence (see the 34-minute epic “Bring The Sun/Toussaint L’Ouverture”). In 2019, Gira returned with a new lineup for his band’s 15th studio album, Leaving Meaning, and that fall he announced a 2020 tour. To celebrate, the influential leader shared with us a playlist of mind-bending sounds, from artists like Pink Floyd, Frank Zappa, and Swans themselves.Says Gira of the playlist and his 2020 plans: “Here is some music I chose... I hope you enjoy it. The newly refurbished Swans will be touring beginning early next year. In Europe, the stalwart Norman Westberg will be our support. In the USA, the fabulous Anna von Hausswolff will support. In the meantime, my best wishes to you."

Brooklyn-based band BODEGA create a breezy yet brazen mix of art rock and post-punk that covers topics ranging from modern consumer malaise to the sad, salty fate of “Jack in Titanic.” At their sharpest and most sardonic, they offer some of the more biting social commentary this side of the Atlantic: “Everyone is equally a master and a slave,” they ruminate on the punchy “How Did This Happen?!” Not surprisingly, the quintet soak up wide influences, many with a distinct ability to translate the beauty and sorrow of life into their own poignant languages. They compile quite a few in this set.Says BODEGA’s Ben Hozie about the playlist: “I think the function of art is to remind us of what we value most in the world and in ourselves. There’s a great Radiohead B-side called ‘A Reminder’ with this lyric: ‘If I get old, remind me of this/The night we kissed and I really meant it/Whatever happens, if we’re still speaking/Pick up the phone, play me this song.’ All of the songs I chose for this playlist are personal reminders. Some of these are hard-hitting, whereas some are silly fun, but each one crystallizes some aspect of what I love in art and life.”

Jimmy Flemion of The Frogs shares his 20 most epically captivating live song performances by his fellow musician artists.Says Flemion, "As you bear witness to ones vulnerability & essence...a mere glimpse into anothers soul, wonderment exchanged knowing you are somehow connected. Gospel received! Here are my top 20 ranked in order."1. Bruce Springsteen "Backstreets""1976, I felt a need to get out of my seat & as close to the stage in the aisle as I physically could as he delivered this song. It was unforgettable, a sermon that moved me to tears & had the hairs on my skin standing up. The spirit move through him & he felt the need to share it. His performance inspired me to practice, sing & scream at the top of my lungs in our garage in my teens & my first songs revealed a tinge of his style."2. Gary Numan "This Wreckage""1980, the lights go down, auditorium is dark, in anticipation the opening synthesizer notes are played & the drums & band kick in & the lights behind Gary shine simultaneously, shivers run down my spine."3. Lene Lovich "Bird Song""1988, the otherworldly screeches fly from inside her mouth & are echoed & released into the crowd in full wedding dress regalia."4. Klaus Nomi "Cold Song""1980, Milwaukee . Klaus 12 minute performance stopped traffic, turned heads & dropped jaws. The Frogs opened this show & I sang in a lounging lawn chair, a takeoff of Carpenters song, Close to You, turning it into Klaus to You."5. XTC "Complicated Game""1979, Andy Partrridge, unhinged, inside the song, expelling demons, ghosts & letting it all out on display."6. Cheap Trick "Stop This Game""1980, the intro music droned, Robin Zander made his way to the mike & laid into the most beautiful piercing vocal imaginable."7. Patti Smith "Easter""1978, a master class in delivery & recitation, Patti saw to it that you felt what she felt & placed you in person at the resurrection."8. David Bowie "Heroes""1997, sound check for his 50th birthday party. One of the most effortless vocal performances I’ve ever heard. Don’t know if he was holding back because it was rehearsal but it was amazing & flawless."9. The Kinks "Everybody’s a Star (Starmaker)""1976, Ray Davies showmanship unparalleled, prancing playing the part of a star to perfection."10. Prince "God""1997, Prince’ piano & voice in touch with creation at his most expressive continued taking the music & the crowd higher & higher."11. Jethro Tull "Wind Up""1974, Ian Anderson multi directional strums set the tone as he winds the song & the audience up into a frenzy."12. Elvis Costello & The Attractions "Lipstick Vogue""1979, one of the tightest combos ever in all of rock. This version was full speed ahead blistering."13. The Police "Invisible Sun""1981, the hypnotic mood generated combined light & darkness to the point of transcendence."14. The Pretenders "Message of Love""1981. Chrissie & the band were at their finest with their raw guitar attack & solo back beat shining & encased in beauty."15. Donovan "Lalena""1988, a special song for me since I used to sing The Frogs 1980 punk cover version. Donovan explained the back story of the song, Lalena being a prostitute & then proceeded to dazzle with breath conscious breathtaking vocals."16. Lou Reed "Street Hassle""1978, Lou was getting ready to exude his two word punch phrase “Bad luck”, he sings the last line before this, You know what it’s called... the venue is absolutely silent , a guy in the crowd yells out at the top of his lungs, Bad luck, beating him to the punch. Lou got furious, raving mad, pissed off, started playing his guitar louder & louder, it became the last song of the night & he walked off after only 7 songs."17. Todd Rundgren "Real Man""1978, From the moment the show started, you couldn’t take your eyes off him, as he commanded & demanded attention, simply gripping & riveting."18. Alice Cooper "Only Women Bleed""1977, Alice stages a gritty, emotional, engaging prominence of vulnerability."19. ELP "Knife-Edge""1977, Keith Emerson’s showcase, 360 degree spinning Hammond organ, wildly stabbing with knives extending note sustain."20. Roger McGuinn "Chestnut Mare""1988 Roger or rather Jim if you will, captivated with his Wild West storytelling & guitar picking prowess."The Frogs have recently announced an upcoming release of the originally intended first Frogs album, titled 1st. And will be going on tour to promote the album while celebrating 40 years of Frogs music.The Frogs singer, guitarist Jimmy Flemion is joined by Evan Dando of The Lemonheads on drums as well as guitars & vocals.