In 1915, the American Humane Society designated the first full week in May as Be Kind To Animals Week. Its intent was to combat the widespread cruelty that animals—particularly workhorses—faced at the time. The goal was to build a “national culture of compassion” and bring issues of animal welfare to the public consciousness.
While the specific challenges animals face have evolved, the core mission of the week remains the same: to encourage kindness, compassion, and better treatment for all animals, including pets, wildlife, and farm animals.
The need for kindness is as relevant today as it was over a century ago. Some ways to practice this, per the AHS, are to adopt a pet from a local animal shelter or rescue group; ensure your pets are spayed or neutered, have proper identification (like microchips and ID tags), and are given plenty of love and exercise; support companies that are committed to animal welfare; protect wild animals by respecting their habitats, observing them from a safe distance and never feeding them; and educate children about the importance of being kind and gentle with all living creatures.
Celebrate Be Kind To Animals Week by being kind to animals (including your fellow humans) this week and every week. To accompany your celebration here is a playlist of music made by some very talented animals:
April 28 is International Astronomy Day, and today on the old blogorooni is a playlist of 30 kick-asteroid songs. Songs with titles mentioning the moon, planets, stars, and all that other scientific jargon. Hope you find it out of this world!
The second week of January is Letter Writing Week. I’m celebrating, not by writing a letter, as that would be too obvious. I observe the occasion by creating a playlist of 30 great songs that involve writing a letter.
Of all the bands that filled the airwaves in the 1970s, perhaps none had a sound as instantly recognizable as Electric Light Orchestra. You know it the moment you hear it: the soaring strings, the stacked vocal harmonies, the crisp, thumping drum beat, and a rock and roll foundation holding it all together. A glance at a playlist of their work, with hits like “Mr. Blue Sky,” “Livin’ Thing,” and “Don’t Bring Me Down,” reveals a remarkable consistency. This wasn’t the sound of a band finding its way; it was the execution of a singular, ambitious vision. That vision belonged to one man: Jeff Lynne.
To understand ELO is to understand Lynne’s role not just as a songwriter and frontman, but as a master producer and arranger. He aimed to create a band that would, as the initial concept went, “pick up where The Beatles left off.” Listening to early tracks like “10538 Overture” or their grand re-imagining of “Roll Over Beethoven,” you can hear that idea taking shape. The music is a deliberate fusion of rock band energy and classical grandeur. Songs like “Telephone Line” and “Can’t Get It Out of My Head” aren’t just pop tunes with strings layered on top; the orchestral elements are woven directly into the song’s emotional core, as essential as the guitar or bass.
What’s particularly interesting is how this sound evolved while remaining unmistakably “ELO.” The band could deliver a straightforward, string-less rocker like “Don’t Bring Me Down,” then pivot to the disco-infused pulse of “Shine a Little Love” or “Last Train to London.” They could craft elaborate, charming narratives in songs like “The Diary of Horace Wimp” or deliver the operatic flair of “Rockaria!” Through it all, Lynne’s production—those tightly harmonized backing vocals, the precise layering of instruments, and an impeccable sense of melody—acts as the common thread, giving the entire catalog a sense of cohesion.
The true scope of Jeff Lynne’s influence, however, becomes clear when you look at the songs on this playlist that aren’t by ELO. Listen to Roy Orbison’s “You Got It” or Tom Petty’s “I Won’t Back Down.” The sonic fingerprints are all there: the clean acoustic guitars, the punchy rhythm section, and the rich vocal arrangements are pure Lynne. His sound became so respected that when The Beatles needed a producer to help them complete “Free as a Bird” for their Anthology project, they called him. George Harrison not only enlisted him for his own solo work, like the affectionate “When We Was Fab,” but also made him a bandmate.
That brings us to the Traveling Wilburys. Hearing songs like “End Of The Line” alongside ELO tracks feels less like a departure and more like a family reunion. In this supergroup, Jeff Lynne wasn’t just a producer for his heroes—George Harrison, Tom Petty, Roy Orbison, and Bob Dylan—he was their musical partner, an equal architect of their sound. The playlist, taken as a whole, tells a story not just of a great band, but of a distinct musical creator whose unique approach to record-making left a lasting mark on the work of his peers and the sound of popular music itself.
Welcome to a journey through rhythm. November is International Drum Month, and this collection honors the masters of the drum kit, the players whose feel, power, and ingenuity define the songs we love. From the tightest pockets to the most explosive solos, these are the heartbeats of modern music. Let’s give the drummers some.
Good Vibrations – The Beach Boys The legendary session musician Hal Blaine provides the sharp, inventive percussion, using everything from sleigh bells to a detached kick drum to build the song’s complex and sunny atmosphere.
Cissy Strut – The Meters Joseph “Zigaboo” Modeliste, the architect of New Orleans funk, creates a syncopated, greasy, and endlessly influential groove that has been the blueprint for funk drummers ever since.
Smells Like Teen Spirit – Nirvana Dave Grohl’s performance is a masterclass in quiet-loud dynamics, with his simple, powerful groove in the verse exploding into a torrent of raw energy for the iconic chorus.
One – Metallica Lars Ulrich’s machine-gun double bass drumming on the intro is one of metal’s most defining moments, perfectly mimicking the sound of battlefield artillery.
Superstition – Stevie Wonder The irresistible funk pattern that drives this track was played by none other than Stevie Wonder himself, who laid down the clavinet, bass, and drum parts to create a perfect storm of groove.
The Glamorous Life – Sheila E. A tour de force from the legendary percussionist and drummer Sheila E., this track is a showcase of her technical virtuosity and incredible funk sensibilities.
In The Air Tonight – Phil Collins For three minutes, Phil Collins builds unbearable tension before unleashing the most famous drum fill in history, a thunderous burst of gated reverb toms that everyone has air-drummed to.
Rosanna – Toto The late, great Jeff Porcaro gives a masterclass in the half-time shuffle, creating a feel so iconic and difficult to replicate that it’s now simply known as the “Rosanna shuffle.”
Come Together – The Beatles Ringo Starr’s signature swampy, tea-towel-dampened tom groove is the unmistakable foundation of this track, proving that feel and creativity are more important than flash.
Brick House – The Commodores Walter “Clyde” Orange not only provides the lead vocals but also lays down a funk groove so solid and deep you could build a house on it, proving that sometimes the simplest beat is the most effective.
Rock With You – Michael Jackson Session giant John “JR” Robinson creates a beat that is smooth, sophisticated, and impossibly deep in the pocket, providing the perfect shimmering pulse for dancing.
Sing, Sing, Sing (With A Swing) – Benny Goodman & His Orchestra Gene Krupa became music’s first superstar drummer with this performance, his primal, floor-tom-driven solo setting the standard for all drum features to come.
Voodoo Child (Slight Return) – The Jimi Hendrix Experience Mitch Mitchell’s jazz-influenced, wildly improvisational drumming is the perfect foil for Hendrix’s guitar, a chaotic and conversational force of nature.
When The Levee Breaks – Led Zeppelin Recorded in a stairwell with two microphones, John Bonham’s colossal, booming groove is arguably the most recognizable and revered drum sound ever committed to tape.
Message in a Bottle – The Police Showcasing his unique, reggae-infused style, Stewart Copeland’s intricate hi-hat work and signature use of the splash cymbal give this song its nervous, driving energy.
Funky Drummer – James Brown Here, Clyde Stubblefield plays what is perhaps the most-sampled drum break in history, a 20-second piece of rhythmic perfection that became a cornerstone of hip-hop.
Gimme Shelter – The Rolling Stones The picture of restraint and taste, Charlie Watts enters the song with a deceptively simple beat that carries all the dread and swing the track demands.
I’ve Seen All Good People – Yes Bill Bruford’s crisp, creative, and complex drumming is on full display, navigating the song’s shifting sections with technical precision and musical grace.
50 Ways to Leave Your Lover – Paul Simon Steve Gadd lays down one of the most recognizable and clever marching-band-inspired beats in popular music, a sophisticated and instantly memorable pattern.
Think (About It) – Lyn Collins Another gift to hip-hop from the James Brown band, this track features John “Jabo” Starks’s impossibly tight groove and a legendary drum break that keeps on giving.
White Room – Cream The inimitable Ginger Baker announces this psychedelic classic with a powerful 5/4 tom-tom intro, setting the stage with his heavy, melodic, and groundbreaking style.
Hot For Teacher – Van Halen Alex Van Halen’s frantic, shuffling intro sounds like a barely-contained engine, kicking off one of the most exhilarating double-bass-fueled drum tracks in rock history.
Sunday Bloody Sunday – U2 Larry Mullen Jr.’s militaristic, unrelenting snare drum pattern, recorded in a reverberant stairwell, serves as the song’s defiant and unwavering backbone.
Schism – Tool A master of complexity, Danny Carey navigates the song’s dizzying array of shifting time signatures with a tribal power and mathematical precision that is simply breathtaking.
Baba O’Riley – The Who The untamable Keith Moon crashes and tumbles through this rock anthem, playing with a frenetic energy that threatens to send the song flying off the rails at any moment.
Dig Me Out – Sleater-Kinney Janet Weiss is the roaring engine of this track, playing with a ferocious power, impeccable timing, and creative fills that drive the song forward relentlessly.
I Heard It Through the Grapevine – Gladys Knight & the Pips Funk Brothers drummers Uriel Jones and the great Benny Benjamin create a powerhouse rhythm section, delivering a performance full of simmering tension and explosive release that punctuates the song’s raw emotion.
Dancin’ Fool – Frank Zappa Terry Bozzio is the manic force behind this track, navigating Zappa’s absurd rhythmic twists and turns with an explosive combination of power, precision, and theatrical flair.
One Love/People Get Ready – Bob Marley & The Wailers Carlton “Carly” Barrett, the originator of the “One Drop” rhythm, gives this song its iconic reggae heartbeat, where the accent is on the third beat of the measure.
Footprints – The Miles Davis Quintet At just 20 years old, Tony Williams redefined jazz drumming with his explosive and interactive playing, shattering old conventions and pushing the entire band to new heights.
It’s interesting to start a playlist of John Lennon songs with David Bowie’s “Fame.” It feels like an outlier at first, until you remember Lennon co-wrote the track, contributed guitar, and sang backup vocals. It’s one of just a handful of songs on this list that isn’t a straightforward cover, and its placement at the top serves as a great reminder: one of the best ways to understand a songwriter’s impact is to see how their work thrives in the hands of others. Listening to a collection like this isn’t just about nostalgia; it’s an active exploration of how durable and adaptable Lennon’s compositions truly are, revealing the deep-seated melodic and lyrical strengths that invite constant reinterpretation.
The sheer variety of artists drawn to his work speaks volumes about its fundamental structure. A Lennon song can be a sturdy vessel for almost any style. In its original form, “Help!” was a desperate plea disguised as an upbeat folk-rock hit. But when Tina Turner gets ahold of it, she strips away the disguise, transforming it into a full-throated, soulful cry for salvation. Similarly, Johnny Cash takes “In My Life,” a song of youthful reflection, and imbues it with the profound weight of a long life lived, making each line land with a different, more somber gravity. From the raw R&B groove Otis Redding finds in “Day Tripper” to the cool, atmospheric poise Roxy Music brings to “Jealous Guy,” these songs prove to be exceptionally resilient, their core emotions accessible to any genre.
Beyond musical versatility, the playlist highlights the different facets of Lennon’s lyrical persona. There’s the acerbic political commentator, whose pointed dissatisfaction is channeled perfectly by the punk sneer of Generation X on “Gimme Some Truth” and the world-weary defiance of Marianne Faithfull on “Working Class Hero.” Then there is the deeply vulnerable Lennon, the man wrangling with insecurity and fame. You can hear this in the anxious, propulsive energy The Feelies bring to “Everybody’s Got Something To Hide (Except Me And My Monkey)” or the stark, pleading quality Maxïmo Park finds in the solo track “Isolation.” He could be pointedly political or achingly personal, and both modes have continued to resonate with artists who have their own truths to tell.
Of course, no look at Lennon’s work would be complete without touching on his more surreal and experimental side. These are often the songs that seem most tied to a specific time, yet they possess a dreamlike logic that continues to inspire. Elton John, a friend and collaborator, treats “Lucy in the Sky with Diamonds” not as a museum piece but as a glam-rock epic. R.E.M. leans into the hypnotic, floating quality of “#9 Dream,” while Fiona Apple’s take on “Across the Universe” honors its ethereal nature while grounding it with her distinctive emotional intensity. These artists don’t just copy the psychedelia; they find new ways to access the spirit of imaginative freedom that fueled the original recordings.
Ultimately, listening through these interpretations feels less like a tribute and more like a conversation across decades. We hear Billy J. Kramer’s simple pop charm on “Bad to Me,” a song Lennon wrote for him in 1963, and then Glen Campbell’s posthumous, heart-rending version of “Grow Old With Me,” one of Lennon’s last compositions. The journey between those two points is remarkable. This collection of songs, re-shaped by everyone from The Breeders to Bettye LaVette, demonstrates that the power of Lennon’s work isn’t just in his own iconic recordings. It’s in the bones of the songs themselves—the unforgettable melodies, the honest lyrics, and the restless spirit that others can’t help but be drawn to, again and again.
