Presenting the Eclectic Sounds of ZEN@

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A brand new artist, one who used Whyd as a tool to help start her career, presents herself after releasing her very first EP, say hello to ZEN@

Introduce yourself! 

I grew up in Shanghai, and went to the States for high school and college. I love wandering around, outdoors, tech and the cosmos. The most interesting thing to me at the moment is “time.” I like to think it as an object and pretending that some things in the scale of time are fixed. 

When did you start writing songs? Can you walk us through your songwriting process?

I started last fall when I was in Shanghai and traveling around Europe. I just write whenever I got an idea, and I picked four to make this album. They were all written in different ways. Both “SoundCloud" and "One Of A Million" had the chorus first, then I finished the whole songs weeks after. "Kairos" was written over an instrumental track that the producer Bravin, gave me. When I first heard this track, I had the melody of the song right away, so I just asked the producer if I can write a song over it. "Treasure Island" was fast. I wrote both the lyrics and melody in one morning. It’s not really or only about Pirates, but it’s based on an Oscar-winning documentary film.

I actually used Whyd to communicate ideas and inspirations with my producers. The playlist is the best feature for that!

Which artists have the strongest influence on your music?

Really a lot. I listen to a variety of very international music, from all over the world.

The strongest influence would be Sia. And even everything evolving around her music is so artistic.

Each of the 4 songs of your EP sound very different, what are some of the common themes that link them together?

Yes, they are! I wanted this album to have songs of very different styles initially, so it ended up like that. I worked with producers from three different countries to make them all sound different. I have many international friends and I love traveling. I guess it’s important for me to make music that has very diverse elements and feels like traveling. These four songs are still not enough to be diverse. It’s an experiment. It could be good or bad. A lot of the artists have their very distinctive music style, but I never want to have a specific style. I like changing, as long as the biggest goal is the true emotion with a good melody and lyrics.

One common theme is that they are all adventurous or about adventures.

Tell us about your song “SoundCloud.” What’s it about exactly?

It’s about graduation from college. I met many cool people in college. They have crazy hair, crazy outfit, crazy attitude, crazy dreams, and crazy cool everything. But when it’s their fourth year, everything changes. They cut their hair, start to wear black suits, delete all their social network accounts and hide in dorms to prepare for the next job interviews, mostly in finance or consulting. They said they want to work in those industries for two or three years. And afterwards, they would do whatever they are really passionate about. This is just blowing my mind.

Then I read two really good essays by Marina Keegan that talk about such phenomenon and graduation from college - “Even Artichokes Have Doubts” and “The Opposite Of Loneliness”. There are some references in “SoundCloud” from her essays. She was going to be a writer for The New Yorker, but died in a car accident just five days after her graduation from Yale in 2012. It’s really sad. She’s so talented and so inspirational.

What are your plans to develop and promote yourself in 2015?

I don’t know if I will have time to promote haha

The priority is to write more good music.

I definitely hope more people will hear my music. I am also designing and building some stuff. It is primarily about music, but it will also be some other things about creativity. I will probably share some of my crazy inventions there, too. I have more songs to be released very soon.

Thanks ZEN@!  

Detroit 2000s Hip Hop: Playlist of Reference

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We have the pleasure of continuing our awesome series featuring the stories behind some of the best playlists representing genres and subgenres of music on Whyd. Today, something that hits close to home for our Community Manager. Literally. 

Detroit is known around the world for the automobile industry. But there is something that Detroit has been producing this whole time as well, an equally international export: music. From the funky days of Motown, to the garage punk epoch, through the rise of electronic and most recently - the advent of Hip Hop, Detroit is in a constant state of creative evolution. Capturing an era that many can point to as its revival, The Backpackerz have put together their latest “Heavy Rotation” playlist around Hip Hop from the 2000s, “Detroit Hustles Harder.”  

Can you introduce yourselves? What is the idea behind The BackPackerz and when did you get started?

We are Antoine and Hugo, the two co-founders of The BackPackerz. We met at Toulouse Business School around 2012 and quickly discovered our common passion for Hip-Hop. Longtime rap addicts, we decided to create The BackPackerz while studying in Barcelona in 2013. In fact, we couldn’t find the type of content about Hip-Hop we’d like to read among the existing websites, especially in French, so we decided to create it ourselves!

The BackPackerz is a web-magazine dedicated to celebrating and educating its readers to Hip-Hop culture. Through in-depth analysis on cultural landmarks, interviews and reviews, the 12 members of our team are creating the freshest online resource for anybody interested in Hip-Hop culture. We also curate the best Hip-Hop events (concerts, festivals, exhibits) in France because HIP-HOP LIVES!

Where does your passion of Hip Hop come from?

Antoine: I was introduced to rap music very early, around my second year of middle school, by a friend’s brother who had me listening to NTM, IAM and the whole Hostile posse. At the beginning, I was on French rap mostly because I liked the rebel attitude that came along with it. Then I started to dig into the American rap from the 90s after I got struck by Cut Killer’s mixtape “Party Jam - 1989 1996, The Golden Age.” I was in high school when I first heard Nas’s “Illmatic,” A Tribe Called Quest’s “Midnight Marauders” and Wu-Tang Clan - “Enter the 36 Chambers” which are still my all-time favorite albums. At that time, I was spending hours translating lyrics and searching Urban Dictionary (a time before Rap Genius) to get a better understanding of what those cats were saying.

Later with Olivier Cachin’s books and films like “Wild Style,” I discovered Hip-Hop was not only a music genre but also a fascinating culture with other elements like graffiti and dance and tremendous impacts on our modern society. Since then, I kept reading and gathering artifacts (records, films and books) of this sublime culture. A few years ago, I realized this archiving work had to be shared so I decided to launch The BackPackerz with Hugo.

Hugo: My passion for Hip-Hop came later than Antoine’s. In High School, I began to listen to mainstream stuff such as 50 Cent or Eminem and I immediately fell in love with this music because it combined rhythms that made my head bang hard and dope lyrics spit with amazing technicality. Soon I would dig into the history of this genre and couldn’t stop, because every day I would discovered how deep and wide this culture was. At first, I was really into the producers (Preemo, Dilla, Pete Rock, Q-Tip…) and how they chopped samples etc..They were my entry door to real Hip-Hop, more than the MCs.

Tell us about the concept of your Heavy Rotation playlists?

The concept of the Heavy Rotation playlists is to bring to our readers 10 dope tracks every Monday, in order to soften the pain of this particularly hated day of the week. Most of the time you will find a selection of 10 hottest rap songs of the last couple of weeks but sometimes we build playlists around a specific subject: a genre (e.g beatmaking edition) a specific technique (e.g brass edition) or for a special occasion like this “Detroit Hustles Harder” edition for J Dilla month. There is no rule, it just depends on our mood! Now our readers are really looking forward for them to come out, because you know “Fuck it’s Monday…but at least I’m gonna hear dope music!”

What’s special about this Post 2000 Detroit Hip Hop playlist?

Originally, the idea of the post 2000 Detroit rap playlist came up while we were preparing our interview with Detroit superstars Phat Kat, Elzhi and Guilty Simpson (that we will drop in a couple of weeks). As we were deep-digging into our hard drives, we were amazed to see how prolific and brilliant the Detroit scene was in the 2K decade. From Slum Village, to Elzhi, Black Milk or the great Apollo Brown; it seems that Detroit has never stop shining since we changed millennium.

On top of that, releasing a fine selection of the dopest tracks from Detroit rappers was exactly what The BackPackerz is meant for: curate history to educate and entertain. The purpose of this playlist - along our article Detroit State Of Mind - is for our readers and followers to discover / remember the greatness of this scene over the past 20 years.

Curating the playlist, we realized this excellence would not have been the same without a man: James Dewitt Yancey a.k.a J Dilla or Jay Dee, one of the greatest producer of all time. If you look at the playlist, you’ll find Jay Dee’s legacy in almost every single track: as a producer, an influencer or in the lyrics. We decided to release this special Heavy Rotation in February since it is known among his fans as “J Dilla month” (as he was born and died during the month of February).

The Art of the Rework - The Avener Answers Your Questions [LONG FORM INTERVIEW]

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A heavily bearded technical team sets up instruments on a packed stage while multicolored lights reflect brightly from the walls of the popular French TV Show “C A Vous.” The kitchen of the hidden studio in the 11ème has elegant-looking appliances. Everything gleans in stark contrast to the rainy grey courtyard outside. 

The hubbub is all for their latest episode, featuring a true Whyd favorite: The Avener, whose track “Fade Out Lines" has been sitting in the top 10 of the Hot Tracks for months on end. It’s in a small office stocked with Mars bars to the side of the studio that we finally meet Tristan from Nice, the French artist who has just released his album "The Wanderings of The Avener,” and who is about to perform for the French public at large for the very first time. 

If he was nervous, it was transmuted into warm friendliness. He sits down, cigarette in hand, ready to answer the Whyd community’s questions. We have 10 minutes. The mic clicks on. 

This interview is translated from French. Tony Hymes for Whyd in bold. All photos, (except the selfie!) courtesy The Avener’s Facebook page.   

In your new album there are a lot of reworks. When you create a remix do you try to break something down, or do you try to build something on top of what exists? 

Tristan: That depends on the song that I use to do my rework. Sometimes I have to do a lot more, to change a lot of the arrangements, and sometimes just adding a bit of salt and pepper is all it takes to season the plate! So it depends, for example sometimes I’ll use a dozen or so tracks, and there are other times where I will use more than 50 tracks! 

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Let’s use your new remix of Rodriguez as an example. 

Tristan: Rodriguez’s (“Hate Street Dialogue”) was a song that was rather easy to create because the heart was already there. All I wanted to do was amplify the rock aspect and make it more appropriate for the club. For that one I used about a dozen tracks to modify it. 

How do you choose the songs that you remix?

Tristan: It’s really just music I like from my years as a DJ. With my DJ background I’ve played a lot of music, from funk to soul to house, and there are tracks that I can’t really play sometimes, because if I did it would empty the dance floor! So I tried to modify the tracks that I wanted to play, but wasn’t able to, and that’s how this album was born. 

You have a classic music formation, notably the piano, but it’s not something that we take from your latest album. So does that serve something for you?

Tristan: Classical music helps me with music in general, with the notes, understanding, and writing sheet music. For this album it helped from a technical standpoint, and didn’t really serve as a source of inspiration. Having a classical background is a big advantage to make music, but orchestrally speaking it’s difficult to bring that into this type of music. 

What do the artists that you remixed think of your remixes? Phoebe Killdeer (“Fade Out Lines”) for example? 

Tristan: She was the first test. Phoebe Killdeer loved the track, but at the beginning she didn’t want to have her name attached to it, because it wasn’t in her overall artistic direction. She was, however, really happy with it. For the other artists, some of whom were collaborators, like Rodriguez, they love it, so it’s a huge joy for me. 

Who are your influences? Who do you look up to? 

Tristan: My music comes from different places. I listen to a lot of music, I’m very eclectic, at home or when I’m DJing. There are a lot of artists that influence me. It’s true that I spent 10 years in classical music so I have a lasting adoration for Beethoven, and Bach, they are THE composers, and no one from today will arrive at their level, they have so much unique musicality. They are still my favorites to this day. 

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Are there artists that you don’t like? Maybe not artists, that might burn some bridges, but are there styles of music that you don’t like? 

Tristan: There are some genres that I appreciate a little bit less. But I am still a student of music, so when there is a style that I don’t like, I try to figure out what the artist was trying to do. I never say “that doesn’t sound good.” There are always good songs in every style of music, you just have to find them. 

You’re labelled as being deep house, but on the new album there is a lot more. Are there other styles that you are moving closer towards? A bit of folk maybe? 

Tristan: Yes! This album is sort of a voyage between different epochs and different styles. And finally I can re-vindicate my eclecticism because it’s not easy for an artist to be so diverse with their music to say “I make all music.” It’s complicated to say that. This album is about sharing, it’s surrounded by my influences, so it’s a journey among lot of different points.

Would you classify your music as being French? 

Tristan: I would like that! I definitely like the “French Touch” period, which had a big influence on me. But now do I bring anything new to this “French Touch” compared to other artists? I hope to have that energy. 

Now I have fans that come from all over the world, not just in France, like Germany, Switzerland, Australia, South Korea, there are lots of people that loved the first single, and that makes me happy! 

When you are aren’t making music, what do you do for fun?

Tristan: When I don’t make music I play music! :) 

I have a second passion, aviation, so I’m in the process of getting my private pilot’s license. 

Awesome! At least you’ll have a great soundtrack to fly to! 

Tristan: Voilà! 

Track of the Weekend #122: Kendrick Lamar - “The Blacker The Berry”

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We’re only at the middle of February, on the historically superstitious day of Friday the 13th, and already one of the year’s biggest releases has reverberated around the globe propelling the single to the top of the Hot Tracks here in Paris. Kendrick Lamar just scooped up a GRAMMY for best rap performance for “i” (for which he also claimed the much more prestigious Whyd Track of the Weekend), and his newest effort “The Blacker The Berry" encapsulates the perilous state of race, spitting his signature verses with anger across reggae calls all summed up with the proud statement: "The blacker the berry, the sweeter the juice.

A big thanks to Encee x Kalab’s for getting it to Whyd first! 

Music Creation, Heartbreak + Intercontinental Collaboration: DYLLAN Interview

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Hello DYLLAN! How’s it going? Can you take us through a quick recap of your musical life? You’ve been at this since you were quite young! 

Hello! It’s going well, thank you! Yes, I’ve been writing songs since I was twelve and started playing shows in my hometown (Los Angeles) at fifteen. In high school I recorded my first EP and I recorded my second, “Anything But Scared,” my first year of college. 

I studied music there but I also studied film and literature. I lived in Paris for a year where I studied le cinéma français and le dessin. I played some shows there and connected with some great musicians. After college I moved to Brooklyn where I’m now living, producing music out of my apartment. 

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Why did you start writing music? Were you inspired by themes in your life? Or were you inspired by other musicians? 

My first influence (and constant idol) is Joni Mitchell. And Jeff Buckley. There is so much depth to their work - their lyrics are poetry. I had always wanted to sing but I was too shy, so I picked up a guitar first. Eventually I sang along, and then started writing my own stuff. To this day I am constantly writing songs, and yes, they are usually about heartbreak. 

Songwriting is therapeutic for me. It’s a necessity. I am not a diligent worker, though, so going out and seeing shows is what inspires me to sit down and write. Or to go out and play!

How did you start working with THYLACINE? How did you end up coming to Paris in the first place? 

As I said, I moved to Paris for my junior year abroad in college. Ironically, it wasn’t until after I had left that I discovered THYLACINE’s music and decided to contact him. I thought he might be interested in working with me and he was. This was how we did our first collaboration, “Distance.” I had written a song called “NYLAPARIS" and sent it to him. He took my vocals and composed original music around it. I think the result was quite beautiful and unique. 

Our second collaboration, “Closing" was yet another virtual collaboration but with the opposite arrangement - he sent me an instrumental track he had produced and I wrote, recorded and arranged the vocals at home in Brooklyn. I’m also very pleased with the result and amazed that he and I have still never met in person! I look forward to him making a trip to New York soon so we can fix that. 

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What can we look forward to from you in 2015?

I have quite a few projects to release this year! Notably, the single and music video for my new song “Moments Like These” will release in March. We funded the whole thing through Indiegogo so I am really excited to share it. Following that, I’ll release my next new single “Try” in April. Stay tuned and thanks so much! 

Playlist of Reference: Jazz

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Onward. The next installment of our awesome Playlist of Reference series moves to the eccentric world of Jazz, curated by one of the Whyd team members, the one that wears bowties with ducks on them. Let’s get the story behind the playlist:

When did you start listening to Jazz? 

I went to a jazz club once on a high school trip to New York City. There was something so alluring about the environment. I felt like we were there to listen to the musicians, not just there to listen to a repertoire of music performed by a band I liked. No two performances can be the same. 

Did you ever have a moment when you felt like Jazz started speaking to you? 

Seeing Jazz live was always special, but I admit I didn’t listen to it much outside of those occasions. It wasn’t until I was working on art projects when I lived in New York City that I would put on Jazz radio as my soundtrack to creation. 

Recently here in Paris, the advent of Electro Swing and Electro Jazz, combined with the awesome Whyd community, have given me more reasons to listen to it! 

What are some example situations when you would listen to this playlist yourself? 

Jazz is Sunday afternoons. Painting, working on art projects, writing, reading. Jazz is unique in the sense that it can be the soundtrack to anything you want. For me, it fades into my thoughts, giving them a hop they wouldn’t normally have. 

If you had to choose just one track from this playlist, which one would be your favorite? 

God I hate this question! (And I wrote it!) but I just think that Duke Ellington hits the notes that I would hit if I were a legendary musician. Particularly “Jeep’s Blues.” It’s got a vibrancy in its sadness, and it’s catchy as hell. 

The Dreamy Electro Folk of Isaac Delusion [LONG FORM INTERVIEW]

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Rain patters quietly on the windows of La Fée Verte, a cozy café on the normally raucous Rue de la Roquette a few Eiffel Towers from Bastille. It’s late afternoon, some Parisians tap away their last work emails. The beer taps open for a couple of new arrivals. 

In through the door come two new visitors to the café, Loic and Jules, a.k.a. Isaac Delusion. Their friendliness is immediate. I explain to them that we had sourced questions from their fans on Whyd. They are excited to answer, at ease with anecdotes and information, outgoing and happy. 

The following is translated from French. Tony Hymes for Whyd in bold. All photos courtesy Isaac Delusion’s Facebook Page.    

Tell us about the origin of the group, was this originally something that kind of came together, or was it something that you were really trying to make work?

Jules: We have known each other since middle school in Vincennes, and we each made music in our own ways, we decided to do something together. 

And when you say “made music,” you played the violin? 

Jules: No, neither of us has a formal musical training, but Loic played the guitar, composed music, sang. He had a folk group. And I made electronic music, at home on my computer, making little tracks.

So it was really the desire to do something musical, not really something that came from the structure of formal musical training expectation. 

Jules: In fact we never thought about releasing an album, or how we would perform on stage. The music was between us, we saw each other on Sundays, went to the cinema, and afterwards made music together. 

So what was the first moment working together?

Loic: Jules had traveled a lot, and he had just come back from Australia, and I had advanced with my music group, and I started singing, because before then I didn’t sing, I just played the guitar. I started singing in a way that was heavily influenced by the jazz greats like Chet Baker, and Jules told me, “That sounds good! I like when you sing like that, let’s try to do something with it.” At the start it was just for fun. I went to his place, we played around for a few hours, singing “yogurt” and in doing that we succeeded in creating a song! 

What did you think about this first track? Did you think, “shit, we can share this with people?” 

Jules: I still love that first song, it has very few elements, it’s very simple, but it’s something that works. It’s really a chill track. Voice, guitar, a little beat. 

The style of your music is really the music of dreams, like a pillow on a Sunday morning, pleasant. Is that because you love to sleep? Or is it the style that you like the most? Or is it just because you’re really good at producing it? 

Jules: What I like in the music is a mix of grooves, sexy rhythms, and dreaminess, the mix of these emotions is something that I like to create. 

Loic: I think it’s also just the mix that we make, Jules has ideas that develop around the things that are more groovy, hip hop, soul. And I am a bit more indie, electro, listening to a lot of Postal Service. The more we listen to this type of music the more we get towards the groovier side, or listening to Thom Yorke, things where there is rhythm but it’s still floating. 

Yeah, it’s not music that’s really well-defined, crystalline, it’s more nebulous. 

Loic: Yes, that’s it!

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In about a month, you are going to play at the Olympia. You’ve already played at some awesome venues in Paris but the Olympia is still a rather mythical place. How do you feel about that concert? 

Loic: Create magic, that’s the most important.

Jules: We are going to try to deserve it. Do something that aligns with our styles: dreamy, mystique, nebulous. Something that comes out of the water. 

Is there pressure?

Jules: Yes there is a bit of pressure, but we don’t really feel it that way. 

Loic:  There is also the thing that because it’s the Olympia, we have to make sure that we are perfect, we have to come well-dressed, but the best way to succeed at a concert is to not stress, but to think about it as only happiness. For you, and for the people that are going to come and listen to you. If you think about things like “The Beatles played here…” no, you have to be cool. The music is cool, the music is relaxed, we have to be the same. 

Jules: That’s true, and in talking about the big venues, Trianon, etc. They were concerts where there was a pressure, it’s your head on the flyer, it’s a big room, and when we feel that stress we have the impression that it doesn’t go as well. We aren’t in the pleasure of the moment. As soon as there is a bit of stress there are emotions that become parasites, and we can’t let that block us when we plan for the concert at Olympia. 

You have to remain faithful to the music, it’s already made, so stick to it. Share the happiness. 

Loic: Voilà

We have a couple of questions from your fans about your cover of Lou Reed’s “Take A Walk on the Wild Side.” Which was a Whyd track of the weekend. How did you approach this cover? Where did the idea come from?

Loic: It was a track that I always listened to, it’s a monument. It’s true that I just started to pick up my guitar and I found the chords by ear. I started singing along and my girlfriend was behind me and she said “I really like how that sounds, that’s really cool. It’s great how you sing it.” So I thought OK! And I recorded the piece in one take that evening with my son singing along in his baby talk. 

In fact that’s the second question from your fans, because people didn’t recognize your voice. 

Loic: That was because my son, who has started to speak little words, was going “bah, bah, bah” and at the beginning I wanted to remove it. But I shared it with Jules and a few other friends and they said no! Keep it! 

Jules: It’s going to be difficult for the royalty payments…:)

After how well that cover worked out, do you plan on doing more of them? Maybe in the same style?

Loic: You know, with the Lou Reed cover, I thought it was a little presumptuous to take on a huge track like that. So I think the best way to approach a cover is to make it simple. Try to build something that works on top of the song that’s already been created, respecting it. 

Is that the same idea with remixes? Because you remixed La Fille aux Cheveux de Soie by Fránçois and the Atlas Mountains. Or is that something different?

Jules: To make a remix is to do something different, to leave the realm of the song for something different. It’s not the same as a cover. 

And do you continue to make remixes? There are demands now from fans to release new music. Do you feel like you have to release things?

Jules: No, not really. We’re going to release a new single very soon, that’s just a little track so that we continue to write and release music. We still do a few remixes, not a ton, but yes a few. We’ve got a new one coming out soon. You can’t disappear for too long. 

Loic: I think that the evolution of music is a path. It’s starting to become like a free-for-all, as soon as artists have ideas they communicate all the time, they release EPs, albums, there aren’t rules anymore. I think for us we try to stay in the cycle of creativity, always with new ideas but not necessarily thinking about the marketing behind it. 

Jules: And as soon as we do a track we can always find things wrong with it so we have to push it out otherwise it will never be released! 

Loic: I’m a huge fan of Sufjan Stevens, in terms of productivity the guy is incredible, he’s always releasing stuff and I appreciate his generosity. 

Last question. When you’re not making music, what do you do for fun? 

Jules: We love the cinema. 

Loick: Yesterday we went to see Whiplash, it was incredible. 

Track of the Weekend #121: L’Impératrice - “Vanilla Fraise”

The cold is instilled in our bones here in Paris. Our breaths smoke like dragons. Les chauffages are bien allumés. Luckily for us, there is sound, and when that sound is beautiful, with a little boogie, it’s enough to shake the chill from our souls. 

This week that funk is “Vanilla Fraise" (Strawberry Vanilla) by L’Impératice, a light-hearted romp that is reminiscent of the glory days of Rinôçérôse or Air, French electronica at its most delicious. It’s easy to see why it was the most popular track on Whyd this week. 

Thanks to Cédric L. for sharing it with us!  

  • February, 5 2015
  • music
  • ep review
  • thylacine
  • exil
  • closing
  • dyllan
  • whyd
  • critic

EP Review: THYLACINE - “Exil”

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The French artist THYLACINE, originally from Angers, just received the honor of the track of the weekend with “Closing” feat. Dyllan. It’s the third track on his new EP “Exil” which came out last week. So how does the EP stack up?

Released: January 26, 2015

Genres: Electronic, minimal, trip hop

Tracks: 4

Who would like this EP? 

Fans of Wood Kid’s orchestral harmonies, and people who like Kavinsky’s beats. 

Our thoughts: 

Though there are certainly some unique elements at play, mashing harmonies on top of the hollowness of something deep, this EP is a product of a lot that came before it. The highlight track, “Closing,” features the pleasantly subdued and haunting voice of Dyllan, an element that could’ve taken the other tracks on “Exil" much further. Instead the three other tracks swerve between strings, minimal beats, and trip, making for a pleasant listen but one that remains more shallow than complex.  

Listen to Exil by THYLACINE 

Playlist of Reference: Rock!

The next in our incredible series of Playlists of Reference we tackle a beast: the world of rock music. This week’s playlist is curated by Tom P. who has dedicated a significant amount of time into this monster of a playlist with 871 tracks for your listening pleasure. It has earned the exclamation point. But first, let’s get the story behind the playlist. 

When did you start listening to rock music?

In the late 60’s, a vibrant time with some great music. 

Did you ever have a moment when you felt like rock started speaking to you?

Yes, many of these songs spoke for a generation of your people then and left us with many good memories. For me, early favorites included Iron Butterfly - “In A Gadda Da Vida,” Uriah Heep - “Salisbury,” and later classics like Led Zeppelin’s “Stairway to Heaven” and “Black Dog.”

I really enjoyed classics from the Doobie Brothers and Kansas (especially “Dust in the Wind” and “Incomudro.”) Also can’t forget great jazz-fusion-rock from Santana and Jethro Tull, as well as hard-driving blues-rock from the Allman Brothers and Little Feat. Where do I stop? There’s also BTO, Bad Company, Lynyrd Skynyrd - “Free Bird,” Fleetwood Mac - “Hypnotized,” Van Halen & Sammy Hagar - “I Can’t Drive 55” and on and on. 

What are some example situations when you would listen to this playlist yourself? 

I enjoy many diverse musical styles now, including jazz, blues, gospel, world, and classical. But classic & fusion rock are still great for pumping up the adrenaline. Can’t think of a bad time to listen to good rock, except perhaps when it’s time to chill. Listening to many kinds of music now, occasionally I’ll “cleanse the palette” with some good rock. 

If you had to choose just one track from this playlist, which one would be your favorite?

Hard to choose, but I’ll go with “Salisbury” by Uriah Heep, for great musicality and an early mix of styles.