Thisisrnb.com is one of the best R&B fan sites on the Internet, and its recent post on Jeremih’s influences is proof. Short but sweet, these 10 tracks reveal that many if not most of the singer’s recent hits rely on samples for songwriting inspiration. It’s obvious that Whitney Houston’s deathless hi-NRG chestnut “I Wanna Dance With Somebody” informed the hook for the 2015 Jeremih smash with Natalie La Rose, “Somebody”; and that Snap!’s Euro-rave conqueror “Rhythm is a Dancer” led to his chorus on “Don’t Tell ‘Em.” But did anyone know that he copied a vocal line from Shai’s sappy a cappella ballad “If I Ever Fall In Love” for the hook of his most recent chart smash, “Oui”? One can conclude from this list that the “Birthday Sex” king has grown a little derivative, but leave it to Thisisrnb.com to assess his recent creative direction more kindly. “Some writers are just naturally gifted with the ability to remix, remake or flip a set of lyrics into a different melody or copy a melody with different lyrics,” goes the post, which is unsigned. “We’d be interested to know if he has been consciously doing remakes of big hits to hopefully land another big hit, or if it’s been more organic and just came out during sessions.”
This playlist from Beatport imagines the perfect 10 tracks for a sunrise set at Berlins legendary Panorama bar. As you can imagine, these tracks are bright, anthematic excursions into deep house, nu-disco and funky house, and include Omar S, Pépé Bradock and Todd Terje.
Beatport Editorial Director Jack Tregoning reports on the songs that rocked the first day of the 2015 iteration of Detroits legendary Movement festival. There are some gems in there!
New Order may have recorded indifferent songs, but I could only think of a handful of terrors before scouring their solo careers.Visit our affiliate/partner site Humanizing the Vacuum for great lists, commentary, and more.
Considering how young the members of the band are, its amazing just how influential Jamie XX and his crew have been in popular music in the past five years. You can hear echoes of their work in everyone from FKA Twigs to Drake. This cool playlist from Complex offers a tribute to band by Nosaj Thing, John Talabot and others.
In May 2017, LCD Soundsystem released “Call the Police," their first new music in seven years. An indulgent self-lament that morphs into a middle-aged rallying call, the song is both brilliant and heartbreaking—that is, once you finish rolling your eyes at the fact that it exists in the first place. Since the first LCD Soundsystem reunion show was announced at the start of 2016, James Murphy spent the next year doing exactly what he told everyone he wouldn’t do: cashing in on the residual fervor generated by his past success, and on the reunion economy at large. Its in this transitional period of Murphy’s career that his playlist for the Ten Songs That Saved Your Life site (he actually chose 15*) take on a new context. His list includes the obvious forebearers of traditional rock, LES post-punk, and quintessential European electronica. They are highly indicative of his own music, which has often subtly reimagined sounds already thought to have hit their apex. But keep in mind that on this mix, Murphy is not flaunting his inspiration; he’s talking salvation. So much of his music has dressed itself in sardonic humour before it sucks all the air out of the room with its unabashed honesty. It’s a skill that the best of the best share. Whether it’s coming from Roberta Flack or David Bowie, there is something both comforting and emancipatory about someone else speaking your truth better than you ever could. Perhaps this is why Murphy’s own resurgence has been so unnervingly easy to swallow. When artists are this impressive, sometimes catalyzing entire subgenres through their work, it’s difficult to argue why you shouldn’t pedestalize them. On the other hand, it makes it similarly easy to give them a pass when they get under your skin.* Some of Murphys selections are not available on Spotify and thus not included on this playlist. You can listen to his original version here.
Nineteen-seventy-seven was a year of styles congealing and pointing beyond themselves, musical moments coming into focus and then, just as quickly, getting blurry. Four decades later, this single year of music continually haunts us with its greatness through deaths and rebirths, reissues, and reunion tours. With the Sex Pistols’ Never Mind the Bollocks…, the Ramones’ Rocket to Russia AND Leave Home, and The Clash’s self-titled album, it was a major year for punk; through Television’s Marquee Moon and Wire’s Pink Flag, we glimpsed the dawn of post-punk. And I, for one, still don’t know what to call Iggy Pop’s dual masterpieces from that year, The Idiot and Lust for Life, two records that strayed far enough outside the conventions of rock, proto-punk, and post-punk that they should maybe just be left under the art-rock banner. Likewise, Suicide’s ghostly, self-titled classic could be called anything from proto-punk to post-punk to synth-pop; its mercurial nature only amplifies its staying power as we continue to struggle to digest it in light of Alan Vega’s 2016 death.Also along the lines of the weirder, more avant-garde pop: David Bowie (who produced Iggy Pop’s two releases from that year) dropped Berlin-trilogy classics ”Heroes” and Low—the latter produced by Brian Eno, whose own Before and After Science came out that December. These records, alongside Talking Heads: 77, Kraftwerk’s Trans-Europe Express, and Elvis Costello’s debut LP, My Aim Is True, pointed clearly and forcefully toward the New Wave of the ‘80s.Nineteen-seventy-seven also saw rock continuing to explode into a vast diaspora of sub-genres: disillusioned folk rock (Neil Young’s American Stars ‘n Bars, Fleetwood Mac’s Rumours), politicized prog rock (Pink Floyd’s Animals), country-inflected jam rock (Grateful Dead’s Terrapin Station), smooth jazz rock (Steely Dan’s Aja), and whatever you’d call Billy Joel’s The Stranger. (Oh yeah, and John Williams’ Star Wars: Episode IV — A New Hope soundtrack came out.)This (incomplete, to be sure) list has probably inspired thoughts of nostalgia, as well as, possibly, some feelings of melancholy about the music of our own time. If strong opinions about any of these records have surfaced, it’s because 1977 is still very alive today. The year still guides the rock we make, and it still infiltrates our playlists. The political and social issues of 1977 still, in many ways, exist, and we still struggle to respond to them in ways that are appropriate and meaningful. This playlist isn’t going to change the world, but if it leads to a new way of understanding the present, that’s a good thing. Or, if you just jam out to it while cleaning your house or going for a run, that’s fine, too.
In 1987, heavy-music scenes were strictly divided and definitely did not play nice with each other. But looking back on such a landmark year some three decades later, we can now appreciate the influence of Guns N Roses Appetite for Destruction alongside the impact of Deaths debut and the bombast of Candlemass—because not only can those records be seen in a clearer context, they also proudly share some of the same fans. And thats the beauty of time: things marinate and evolve. Ideas change, mentalities change, landscapes change. But when it comes to the heavy-metal revolution that was happening around the world 30 years ago, what was rad stayed rad—and thats what were celebrating with this playlist.Thrash adheres to the same face-ripping formula today as it did back then, and those who are into it are still completely stoked to be caught in a mosh. Monster ballads are now less polarizing to Beavis and Butthead types because most of us decided its not only okay to have guilty pleasures, it actually might be a lot cooler if you did. And yeah, there might still be some purists who will forever ignore the fact that Whitesnakes finest hour came at the same time as Napalm Deaths (and who think the two bands have no business being on the same playlist), but the variety of heavy music and abundance of killer guitar solos that define 1987 are actually pretty impressive to see in one place.It was a year where you could venture deep into the darkness with Sodom and Bathory, glimpse the future of extreme music with Death, scale the highest heights (and notes) on King Diamond and Helloweens most iconic albums, or maybe even get a little emotional with Def Leppards biggest commercial hit. You also got essential records from one of the greatest metal singers of all time (Dio), one of dooms most prolific bands (Candlemass), one of extreme metals sacred godfathers (Celtic Frost), not to mention a few of thrashs big guns (Testament, Anthrax, Death Angel, Overkill). It wasnt all just happening then; much of it was still emerging then, taking shape and branding its scorched mark on heavy and popular music worldwide. Heres a 30-year flashback of all the awesome varieties of metal from 1987.This feature is part of our Thrash 101 online course that was produced in partnership with the good rocking folks at GimmeRadio, a free 24/7 metal radio station hosted by heavy-music experts like Megadeths Dave Mustaine and Lamb of Gods Randy Blythe. Check them out here and sign up for the Thrash 101 course here.
1992 was a transitional year for R&B and hip-hop. The first wave of bass was coming to an end, New Jack swing was beginning to wane, and East Coast and mainstream hip-hop had yet to transition between the golden age of the ‘80s and the boom bap of the mid-90s. One era hadn’t quite ended, and another hadn’t quite begun, and there was a bit of schizophrenia; the charts were populated by Southern rap bohos (Arrested Development), and Northwestern rappers who appropriated the sound and subjects of Miami bass. This truly awesome playlist by Spotify user John Cunningham is interesting because it captures this dynamic and operates from a very specific critical perspective and rejects the usual nostalgia associated with these type of playlist. It also really bangs. His original playlist was originally named simply “B96,” and we cleaned the title up a little bit to be more descriptive.
In January 2017, 2 Chainz launched “Pretty Girls Like Trap Music,” a weekly Spotify playlist that doubles as promotion for his similarly titled upcoming album. Each list nominates a different woman to select new and recent raps: The inaugural edition showcased Karrueche Tran, and subsequent collections featured Amber Rose, Lauren London, Erykah Badu, and Nicki Minaj. Even Golden State Warriors forward Kevin Durant curated a March 19 installment, but he’s the sole outlier of the playlist’s “thirst trap” theme.While “Pretty Girls” operates under the glare of the male gaze, the lists expand beyond trap. An April 20 installment by New York radio personality and Breakfast Club host Angela Yee includes Fabolous’ Summertime Shootout series, low-denominator wavy rapper NAV, and Tee Grizzley’s school of hard knocks gem “First Day Out,” as well as customary trap selections from Migos, Future, Jeezy, 2 Chainz (of course), and, uh, Drake. Sample from this wide-ranging buffet of mainstream rap’s super-lit highs and mediocre lows.Click here to follow this playlist on Spotify.
The ’90s have never sounded better than they do right now—especially for modern-day indie rockers. There’s no shortage of bands banging around these days whose sound suggests formative phases spent soaking up vintage ’90s indie rock. Not that the neo-’90s sound is itself a new thing. As soon as the era was far enough away in the rearview mirror to allow for nostalgia to set in (i.e., the second half of the 2000s), there were already some young artists out there onboarding ’90s alt-rock influences. But more recently, there’s been a bumper crop of bands that betray a soft spot for a time when MTV still played music videos and streaming was just something that happened in a restroom. In this context, the literate, lo-fi approach of Pavement has emerged as a particularly strong strand of the ’90s indie tapestry, and it isn’t hard to hear echoes of their sound in the work of more recent arrivals like Kiwi jr. or Teenage Cool Kids. Cherry Glazerr frontwoman Clementine Creevy seems to have a feeling for the kind of big, dirty guitar riffs that made Pacific Northwestern bands the kings of the alt-rock heap once upon a time. The world-weary, wise-guy angularity of Car Seat Headrest can bring to mind the lurching, loose-limbed attack of Railroad Jerk. And laconic, storytelling types like Nap Eyes stand to prove that there’s still a bright future ahead for those who mourn the passing of Silver Jews main man David Berman. But perhaps the best thing about a face-off between the modern indie bands evoking ’90s forebears and the old-school artists themselves is the fact that in this kind of competition, everybody wins.
It may be that 2019 was the best year for ’90s metal since, well, 1999. Bands from the decade of Judgment Night re-emerged with new creative twists and tweaks: Tool stretched out into polyrhythmic madness, Korn bludgeoned with more extreme and raw despair, Slipknot added a new drummer (Max Weinberg’s kid!) who gave them a new groove, and Rammstein wrote an anti-fascism anthem that caused controversy in Germany (and hit No. 1 there too). Elsewhere, icons of the era returned in unique ways: Nine Inch Nails’ Trent Reznor scored a superhero TV series, Primus’ Les Claypool teamed up with Sean Lennon for some quirky psych rock, and Faith No More’s Mike Patton made an avant-decadent LP with ’70s soundtrack king Jean-Claude Vannier. Finally, the soaring voice of Linkin Park’s Chester Bennington returned for a moment thanks to Lamb of God guitarist Mark Morton, who released a song they recorded together in 2017.
Taking a look at the playlists for my show on Boston’s WZBC might give the more seasoned college-radio listener a bit of déjà vu: They’re filled with bands like Versus, Team Dresch, and Sleater-Kinney, who were at the top of the CMJ charts back in the ’90s. But the records they released in 2019 turned out to be some of the year’s best rock. Versus, whose Ex Nihilo EP and Ex Voto full-length were part of a creative run for leader Richard Baluyut that also included a tour by his pre-Versus outfit Flower and his 2000s band +/-, put out a lot of beautifully thrashy rock; Team Dresch returned with all cylinders blazing and singers Jody Bleyle and Kaia Wilson wailing their hearts out on “Your Hands My Pockets”; and Sleater-Kinney confronted middle age head-on with their examination of finding one’s footing, The Center Won’t Hold.
Italian guitar heroes Uzeda—who have been putting out proggy, riff-heavy music for three-plus decades—released their first record in 13 years, the blistering Quocumque jerceris stabit; Imperial Teen, led by Faith No More multi-instrumentalist Roddy Bottum, kept the weird hooks coming with Now We Are Timeless; and high-concept Californians That Dog capped off a year of reissues with Old LP, their first album since 1997. Juliana Hatfield continued the creative tear she’s been on this decade with two albums: Weird, a collection of hooky, twisty songs that tackle alienation with searing wit, and Juliana Hatfield Sings the Police, her tribute record to the dubby New Wave chart heroes (in the spirit of the salute to Olivia Newton-John she released in 2018). And our playlist finishes with Mary Timony, formerly of the gnarled rockers Helium and currently part of the power trio Ex Hex, paying tribute to her former Autoclave bandmate Christina Billotte via an Ex Hex take on “What Kind of Monster Are You?,” one of the signature songs by Billotte’s ’90s triple threat Slant 6.
