Jack Johnson — Rodeo Clowns
It’s an overused device, sure, but imagine for a second that Bob Marley, Bob Dylan and Tony Hawk had a lovechild. It would probably look a lot like Jack Johnson.
I first got turned on to Johnson through G Love, who featured Rodeo Clowns and Jack on his 1999 album Philadelphonic. The syncopated acoustics are just low-key enough to trigger visions of morning-after-prom sunrises or 11 p.m. tiki lounge acts. That’s fitting, since Johnson is Hawaiian. I think it’s that island mentality that appears to me. It’s hard to imagine him playing anywhere far away from a body of water.
Another thing that I like about his music is that it’s always so understated. He has a habit of singing close to the mic, which lends a bit of intimacy — perfect for a love song or soulful disclosures about loss and healing.
Echo & the Bunnymen — The Killing Moon
For years I confused Echo & the Bunnymen for The Cure. That’s not a bad thing in my book.
Both bands are products of the post-punk move into the early 80s movement that would eventually become alternative. And both Robert Smith and Ian McCulloch sport periods of very pointy hair. But moreover — in case you haven’t noticed — I have a crushing weakness for very dark new wave ballads, and the Bunnymen deliver with The Killing Moon.
The single from the Liverpool boys’ 1984 album Ocean Rain didn’t exactly catch fire in the States until much later than The Bunnymen were hits in the UK. But as America gradually grew more aware of The Smiths and Joy Division, the band gained a foothold on top 40 radio. It even provided a niche for psychedelic hold-overs not quite ready to embrace the goth aesthetic.