B-Sides + Guest Spots

Anderson.Paak is a hip-hop renaissance man. When I first saw him at SXSW in the spring of 2016, he would veer between singing, dancing, playing drums, and rapping, often within the span of a few minutes. At that festival, he was seemingly everywhere -- I saw him at least five times over the course of four days -- and he was also indefatigable. His debut album, Malibu was quickly rising the charts, and he was easily the most buzzed about rapper there. This playlist collects his appearance on other people’s tracks. His raspy, slightly nasally voice fits well with both the robust, electro-powered production of TOKiMONSTA and KAYTRANADA and the skeleton lo-fi soul of Blended Babies. It’s a really compelling collection, and an introduction to both the breadth of his talent and some of the better West Coast underground musicians of the past few years,

On Double Booked, his 2009 concept album for Blue Note records, pianist Robert Glasper played around with the idea of being torn between two venues-slash-identities: the dance club and the jazz hall. The first half of Booked found Glasper playing in a hard-swinging acoustic trio anchored by his fearsome piano chops. (That’s where he turned it loose on Monk’s “Think of One.”) And the second half of this double-album set was the debut of Glasper’s electric-fusion “Experiment” ensemble. (This is the band that frequently works with emcees like Snoop Dogg and Yasiin Bey, as well as R&B talents like Erykah Badu and Brandy.) The brief skits on Double Booked were meant to be excerpts from messages left on Glasper’s voicemail (ah, the 2000s!), evidence of different collaborators pulling an over-stretched keyboardist in one stylistic direction or another.But the not-so-well-kept secret is that this creative hustle is the way Glasper prefers to live his artistic life. He signaled his interest in blowing past archaic genre-divisions back in 2007, on his trio album In My Element — also known as the album where he created a medley from Herbie Hancock’s “Maiden Voyage” and Radiohead’s “Everything in Its Right Place.” Since then, he’s used his supposedly “jazz coded” acoustic trio to cover works by Kendrick Lamar (“I’m Dying of Thirst”), while also putting some extended, exploratory soloing into his “Experiment” ensemble (see that group’s performance of the Glasper original tune “Festival”). On the occasion of Glsaper’s latest release with the Experiment, we’ve collected some of his best compositions and performances, whether they draw inspiration from pop, rock, rap, jazz—or all of the above. Naturally, we’ve included his bravura guest-artist appearance on Kendrick Lamar’s To Pimp A Butterfly, too.

Lil Wayne became the best rapper alive in the mid-2000s with an amazing run that culminated in the 2008 blockbuster Tha Carter III. Since then, Weezy’s star has dimmed somewhat as proteges like Drake and Nicki Minaj have taken over the rap game, but he’s remained a voraciously prolific MC who can still surprise fans with flashes of the brilliance of his peak period. And the highlights of his post-C3 albums, as well as the posse cuts where he still regularly upstages younger stars, display the punchlines and melodies we’ve come to expect from the living legend. He’s taken to frequent promises to retire, but these tracks affirm that he’s still got plenty of gas left in the tank. -- Al Shipley

Subscribe to the Spotify playlist here.Just as the Flamers mixtape series from 2008 to 2010 made Meek Mill the toast of Philadelphia, the Dreamchasers series became the franchise that made him a national star. The first volume in 2011 celebrated Meek’s signing to Rick Ross’s Maybach Music Group and featured his breakthrough single “Ima Boss,” as well as the first of his narrative “Tony Story” tracks, demonstrating the MC’s commanding voice and his chemistry with Philly producer Jahlil Beats. 2012’s Dreamchasers 2 was so highly anticipated that its arrival crashed the servers of mixtape sites, and 2013’s third installment was a star-studded affair with multiple appearances from Nicki Minaj and French Montana. And 2016’s DC4 was a confident comeback after a year of beef and controversy.

Subscribe to the Spotify playlist right here.Tom Waits has not only one of the most distinct voices of all folk-rock crooners, he also has one of the most nuanced and studied approaches to narrative and musical accompaniment of any modern songwriter. His gravelly, whiskey-soaked voice, one whose every forlorn syllable bears witness to a lifetime of tragic loss, conjures somber and lamenting narratives almost effortlessly and constructs unmistakably American stories with vivid language and crushing pathos. The content he takes up, which ranges from hobo adagios and flower funerals to tearful reflections on missed opportunities, moves even the most stoic of listeners. His relatable melodies and his jazz- and blues-flavored progressions and cadences meld into a strange and unmatched sound—one of a singular, time-worn voice gliding sympathetically above 88 melancholy black and white keys, ever-searching for the heart of Saturday night.

The despair in our world is not enough for Bruce Springsteen—he’s spent his entire career constructing heartbreaking narratives and fateful losses in parallel worlds, and each song is a complete, grim universe in itself. In the tempestuous “Lost in the Flood,” a soldier drives a racecar directly into a hurricane and evaporates into a tableau of detritus in which oil and blood are indistinguishable. In the dour and menacing songs of Nebraska, he sings about the never-ending crisis of faith that plagues the working man: “Reason to Believe” sees a bystander staring despairingly at a dead dog, trying to will it back to life; in “Atlantic City,” a phantom protagonist becomes involved with organized crime, knowing full well that it will kill him. In Springsteen’s vast repertoire of harrowing misfortune, it is often the living who are dead, and yet his faith in the possibility of emancipation is soothing.

Springsteen believes deeply in the power of faith and overcoming, and many of his songs embody these messages. Built on the ruins of unspeakable tragedies, much of his music sees heroic protagonists escaping desolate conditions, leaving bad relationships, and coming to terms with the despair of their everyday lives. In the timeless, anthemic “No Surrender,” a duo of protagonists remind each other to give themselves up to the thrill of being alive and feelin’ it, to bailing out of school with virtue in their hearts and rock n’ roll at the foreground. His late-career powerhouse “We Take Care of Our Own” holds a fist up in national solidarity, submitting that nobody fights alone when they’re on American soil. For The Boss, unbounded optimism and raging passion are the formula for overcoming the overwhelming suffering embedded in contemporary life.

Nas may be known primarily for classics albums such as Illmatic and It Was Written, but his work on other people’s tracks reveals new dimensions of his work. On earlier classics such “Verbal Intercourse” or the vastly underrated AZ collaboration “Mo Money, Mo Murder (Homoside),” Nas seems primarily concerned with sensory detail and pure sound -- the clanging consonants and sly insertions of internal rhymes that melt the rusted metal of his harrowing imagery into pure liquid poetry. As his career would progress, he became more interested in carving out meaning, and tracks such as “Road to Zion” -- his collaboration with Damian Marley -- and “Music for Live” are thoughtful post-colonialists critiques set to boom bap. His recent verse of DJ Khaled’s “Nas Album Done” verifies that, 20+ years into an already legendary career, the rapper is still near the top of the game. The power of his voice is matched by the subtlety of his language as he pushes for equality through economic re-investment in black communities. Yeah, it’s admittedly strange this is taking place on a DJ Khaled track, but the track has to be encouraging for all Nas fans.

Vince Staples came to prominence as an associate of the L.A. underground rap collective Odd Future, making multiple appearances on Earl Sweatshirt’s 2013 album Doris. Two years later, Staples released the acclaimed album Summertime ’06 on Def Jam, which featured an appearance by frequent collaborator Jhene Aiko and established the Northside Long Beach rapper as a brilliant and distinctive voice in hip hop. Despite his irreverence toward traditional hip hop gatekeepers, Staples has proven an able collaborator for conscious veterans like Common and Dilated Peoples, as well as an agile MC who can tackle adventurous tracks from producers like Flume and Clams Casino. With the sheer variety of collaborators he sounds at home with, Vince Staples has enhanced the unique place his solo work occupies in the musical landscape and the ways he can express his sense of humor and political perspective.

There is only one dude in rock who has Miley Cyrus, Tame Impala, Yoko Ono and Lightning Bolt all on speed dial, and that is Wayne Coyne. His long list of BFFs and partners in crime is just as phantasmagoric and unpredictable as the psychedelic murals splashed across the façade of The Womb, The Flaming Lips’ art space in Oklahoma City. One would think a playlist featuring such a motley assortment of musicians would yield to musical chaos, but that’s not the case at all. It doesn’t matter if he’s crafting high-polish chart pop with Kesha or unleashing noise-rock tantrums with Yoko — the trippy, alt-rock messiah has a way of drawing those around him deep into his Day-Glo surrealism and candy-coated, kaleidoscopic wondrousness. You will be, too, after hitting play.