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The third annual Holiday Auction for the ASCAP Foundation is now open and this year’s items up for bid include a boatload of one-of-a-kind keepsakes from a variety of pop, rock, hip-hop and country stars. Explore See latest videos, charts and news See latest videos, charts and news Topping the list of collectibles whose sales […]
The Album
Yard, out now on ANTI- Records.
The Origin
Guitarist-producer Henry Stoehr and drummer Teddy Matthews met as youngsters in a McDonald’s ball pit in their native Madison, Wis., and they’ve been playing music together almost as long. They formed a band with buddy and future Slow Pulp bassist Alex Leeds as preteens and kept making music as teens and, later, students at University of Wisconsin, Madison. That’s where they met singer-guitarist Emily Massey, who was in another band, but began writing with Stoehr for fun.
The creative relationship blossomed and Stoehr invited Massey to join the nascent Slow Pulp. Initially, Massey explains, she “was just kind of an auxiliary member,” helping with rhythm guitar and backing vocals. But while recording 2017’s EP2, Stoehr and Leeds asked Massey to sing lead on a couple of their songs. “They were like, ‘How about you sing this song as well?’ And then we started sprinkling in the songs that we had been writing together,” Massey, now 28, recalls. “It just kind of slowly transitioned into me kind of taking the frontperson role.”
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The Sound
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“Lucinda Williams’ album Car Wheels On A Gravel Road, that’s my gold [standard], like, this is how I like music to sound, production-wise” says Stoehr, 29, who produced Slow Pulp’s debut full-length, 2020’s Moveys, and its follow-up, September’s Yard. Massey shares the affinity: She wrote some of Yard‘s songs at a cabin where Williams’ Grammy-nominated 2001 album Essence was one of the few CDs on hand. “She’s just an incredible songwriter,” says Massey, noting the “production cues that [Slow Pulp] took from that Americana world for some of the songs” on Yard.
Stoehr and Massey also gush about the soundtrack to seminal ’00s teen TV drama The O.C., explaining the impact the set of canonical alt-rock and indie-pop songs had on them as younger Millennials. “Overall, on [Yard], there’s a little more earnestness and exposed emotion. And I feel like that [O.C.] era of music was all about that.”
And when it comes to the tried-and-true “Artist A x Artist B = Artist C” equation, one could do worse than encapsulating Slow Pulp’s emotional and vibrant indie-rock than “Lucinda Williams x The O.C. soundtrack.” On Yard, the band’s upped the rootsy quotient – like on late-album standout “Broadview,” a gem laden with steel guitar, harmonica, and banjo that sounds like Slow Pulp exhumed and rerecorded a lost demo from Neil Young’s Harvest.
The Record
Like many young bands, Slow Pulp’s rise is forever linked to the pandemic. The quartet finished its debut, Moveys, in the early months of COVID; around that time, Massey says her own health issues and a serious car accident involving her parents were among the factors that forced the band to “take a breather for a second.”
Writing for Yard began in earnest in early 2022, and by February 2023 the band had submitted the record – and signed with eminent indie label ANTI-, currently home to an eclectic roster that includes Fleet Foxes, Mavis Staples, MJ Lenderman and Japandroids. “They were very down for just letting us take a lot of creative control, which is something that was really important to us,” Massey says.
As she did for Moveys, Massey tracked many of Yard‘s vocals in her musician father’s home studio – “It wasn’t all sunshine and rainbows; we definitely are good at arguing,” she says with a laugh – and Stoehr ornamented tracks the band recorded with “sound candy type of stuff” to make them pop. The technical prowess helps Slow Pulp’s sharper-than-ever songwriting, chock-full of huge hooks and vivid lyrics, shine.
“Songs like ‘Broadview’ and ‘Yard’ have a different flavor than some of the music that we’ve done before,” Massey says. “And ANTI-, those were some of their favorite songs, like from the jump. That felt cool to have a label be excited about new things and new sounds that are kind of taking a risk.”
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The Breakthrough
When Slow Pulp released EP2, influential YouTuber thelazylazyme gave its closing track, “Preoccupied,” a boost by sharing it. “That was the turning point of, like, ‘Maybe we should look into taking this a little bit more seriously,’” says Massey, explaining how the recognition prompted Slow Pulp to relocate to Chicago.
In 2019, the band opened for Alex G on tour – and noticed a pronounced change in the audiences compared to other support slots it had played before. “That was the first tour we went on where the person we were opening for’s fans were pretty receptive,” Stoehr says. “People were liking it.”
And when touring opened back up following the pandemic, Slow Pulp shored up its indie-rock bona fides with coveted slots supporting Alvvays, Pixies and Death Cab For Cutie.
The Future
In early November, Slow Pulp took the stage – to Phantom Planet’s O.C. theme “California,” naturally – for a sold-out show at New York’s Bowery Ballroom, the third of three sold-out Manhattan club shows. The raucous Big Apple crowd has been the norm since Slow Pulp hit the road days after Yard’s release.
“One of our favorite shows that we played on this tour was in Minneapolis,” says Massey, recalling the band’s second stop this fall. “The album hadn’t even been out for a week, and the crowd sang every song. It was just like, ‘What?! How is this happening?’”
The band’s wrapping the year with a European tour – and is already booked for Spain’s Primavera Sound and the Netherlands’ Best Kept Secret in June 2024. Says Massey: “It feels like this big dream is coming true.”
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The Piece of Studio Equipment They Cannot Live Without
Stoehr: “The AKG C414 [microphone]. The gold and black one.”Massey: “My MacBook.”
The Artist They Believe Deserves More Attention
Massey: “Ratboys. They could be huge. The record they put out this year is really so, so cool.”Stoehr: “They’re an amazing band. There’s this other small band from Madison called She’s Green that I think are really sick.”
The Advice Every Indie Artist Needs to Hear
Massey: “Have fun. That’s something that we like have to remind ourselves of sometimes. I’ve had a really hard time letting myself just fail and make things that are horrible. That’s OK! Make stuff that’s really bad. Make bad songs and it gets you to the good ones. Don’t be so hard on yourself.”
The Most Surprising Thing About the Music Industry So Far
Massey: [long pause] “People listen to our music.” [laughs]Stoehr: “Yeah, probably that.”Massey: “That’s pretty surprising, always.”
The Thing They Hope Fans Take Away From Their Album
Massey: “Letting yourself have a certain compassion for yourself. That’s the big takeaway. We all have moments of a lot of self-doubt; there are a lot of things that we’re so hard on ourselves for. And to be able to work towards finding the places where you feel you’re able to care for yourself, outside of all the things that are happening. A lot of this record is about gratitude and reflecting on relationships and things that get you to the place you are now.”
Phish are the next major act booked to play Las Vegas’ eye-popping Sphere venue. The band announced on Thursday (Nov. 30) that they will do a four-show run at the building from April 18-21, 2024, with each night set to feature a unique setlist and visuals. Explore Explore See latest videos, charts and news See […]
Shane MacGowan, the legendarily shambolic, magnetic frontman of Celtic rock band The Pogues, died on Thursday (Nov. 30) at age 65 following a recent hospitalization. The band confirmed the passing of their notoriously hard-living vocalist, whose yearning, howling vocals super-charged the Pogues’ meld of traditional Irish music and punk rock spirit on such beloved songs as “Dirty Old Town” and “A Pair of Brown Eyes.”
The group issued a statement in honor of their beloved bandmate on behalf of MacGowan’s wife, Victoria Mary Clark, sister Siobhan and father, Maurice. “It is with the deepest sorrow and heaviest of hearts that we announce the passing of SHANE MACGOWAN. Shane died peacefully at 3am this morning (30 November, 2023) with his wife Victoria and family by his side. Prayers and the last rites were read which gave comfort to his family,” it read, alongside a picture of MacGowan in his prime, a cigarette and glass of wine in hand, flashing his signature infectious, crooked smile.
In an Instagram post, Clark wrote, “I don’t know how to say this so I am just going to say it. Shane who will always be the light that I hold before me and the measure of my dreams and the love ❤️ of my life and the most beautiful soul and beautiful angel and the sun and the moon and the start and end of everything that I hold dear has gone to be with Jesus and Mary and his beautiful mother Therese.”
The singer, who the BBC reported had been unwell for quite a while, struggled openly for many years with drugs and drink and was booted from the band in 1991 after his alcohol abuse made him unreliable; he returned to the fold in 2001 for a final thirteen-year stint before the band split for good in 2014. MacGowan was hospitalized in Dec. 2022 with viral encephalitis and spent several months in intensive care earlier this year as a result.
MacGowan was as mythical a figure on the British music scene as the grizzled characters he inhabited in the Pogues’ songs, which were inspired by figures from literature, the Bible, mythology and the hard-scrabble lives of working class heroes. His vocals, filled with a mix of anger, pugnaciousness and sad-eyed resignation, could swing from a howl and a growl to a grizzled tenderness in the span of a single track.
His death just weeks before Christmas added an extra layer of poignancy to the loss, as this is the season when the Pogues’ 1987 holiday standard, “Fairytale of New York,” is often in heavy rotation. The swaying, sentimental ballad featuring MacGowan trading vocals with the late singer/songwriter Kirsty MacColl has been in the UK’s top 20 19 times since its release, perennially charting around Christmastime and peaking at No. 2 on the UK charts during the year of its release.
After an opening scene in which MacGowan’s characer laments sleeping off a drinks binge in a New York drunk tank, the tune has the two trading (not-PC) insults as they lament dreams deferred by addiction, brought home by the crooned chorus, “The boys of the NYPD choir/ Still singing Galway Bay/ And the bells are ringing out/ For Christmas day.”
Born Shane Patrick Lysaght MacGowan on Dec. 25 1957, in Kent, England to Irish parents, MacGowan showed creative promise from a young age, earning a scholarship to the prestigious Westminster school for his literary skills, only to be expelled in his second year for drug possession. He burst onto the English music scene in an incident that was fittingly chaotic and tinged with punk-fueled violence when he was photographed covered in blood while attending a 1976 gig by The Clash at which his ear was ripped open, spawning the NME headline “Cannibalism at Clash Gig.”
After briefly joining a punk band called The Nipple Erectors (aka “the Nips”), MacGowan formed The Pogues in London in 1982 with tin whistle player Peter “Spider” Stacy, banjo player Jem Finer and former Nips accordion player James Fearnley; they were originally known as “Pogue Mahone,” a winking twist on a Gaelic phrase that roughly translates to “kiss my arse.”
With the addition of bassist Cait O’Riordan and drummer Andrew Ranken the band began playing London pub gigs and signed to punk label Stiff Records, which released their 1984 debut, Red Roses For Me. The album set the table for the Pogues’ signature sound from the very first song, “Transmetropolitan,” a rousing pub rocker featuring MacGowan’s excitable vocals, which fronted a collection of originals mixed with a number of traditional Irish songs.
Quickly establishing a reputation for high-energy, chaotic live shows, the group’s profile was kicked up several notches when Elvis Costello signed on to produce their breakthrough 1985 album, Run Sodomy & the Lash, which featured such classics as the lament “A Pair of Brown Eyes,” “Sally MacLennane,” “The Old Main Drag” and the frenetic pirate tune “Billy’s Bones,” all written by MacGowan.
Their next album, 1987’s If I Should Fall From Grace With God, (which featured “Fairytale”) was their best-seller and their most eclectic, swapping some of the traditional Irish sounds with more world music touches, including a epic take on the the Australian anti-war lament “And the Band Played Waltzing Matilda.”
That was followed by 1989’s Peace and Love and 1990’s Hell’s Ditch, whose U.S tour was scotched due to MacGowan’s unreliability, which led to his sacking in 1991. The singer quickly formed the solo band Shane MacGowan and the Popes, with whom he released two studio albums and a live album. In 2000, Sinead O’Connor reported MacGowan to the police for heroin possession, which angered the singer at first, though he later thanked her for helping him kick the drug; when O’Connor’s son Shane, 17, died in 2022, MacGowan paid tribute to the “Nothing Compares 2 U” singer, writing, “You have always tried to heal and help.”
MacGowan returned to the Pogues in 2001 and the group toured for much of the next decade while stories of MacGowan’s life and times were chronicled in the autobiography A Drink With Shane MacGowan and the 2020 film Crock of Gold: A Few Rounds with Shane MacGowan.
Hailed by late Clash singer Joe Strummer — who briefly joined the band in 1991 — as one of England’s greatest songwriters, MacGowan won the prestigious Ivor Novello songwriting award in 2018. His passing was honored by Irish president Michael Higgins, who said, “His words have connected Irish people all over the globe to their culture and history … The genius of Shane’s contribution includes the fact that his songs capture within them, as Shane would put it, the measure of our dreams – of so many worlds, and particularly those of love, of the emigrant experience and of facing the challenges of that experience with authenticity and courage, and of living and seeing the sides of life that so many turn away from.”
See the family’s statement and listen to some MacGowan’s most beloved songs below.
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Jimmy Barnes has fallen ill just days after opening the Mushroom 50 Live concert in Melbourne.
The Australian rock legend was hospitalized and received treatment after contracting bacterial pneumonia, forcing the cancelation of a planned performance on the seas.
“I’m sorry to let you know that I’ve been receiving intravenous antibiotics over the last 36 hours to treat bacterial pneumonia,” he writes on a social post.
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“Unfortunately,” he continues, “this has stopped me travelling to Noumea to join Rock The Boat 2023 as planned. My band will still perform on board, together with my daughter Mahalia and other special guests.”Barnes went on to apologize “for the inconvenience and disappointment this has caused,” and points out his doctors have ordered two days’ bed rest. “The timing couldn’t be worse.”
He’s expected to make a full recovery in time to perform live at By The C in Torquay, on Saturday, Dec. 2.
When it comes to dominating the national charts, no one can touch Barnesy, as he’s affectionately known in these parts.
The Scotland-born singer has 15 leaders on the ARIA Chart, an all-time record, most recently topping the tally last December with Blue Christmas (via Liberation/Universal). Including his five leaders with Cold Chisel, Barnes boasts an unprecedented 20 No. 1s, comfortably eclipsing the Beatles (with 14), Madonna (12), Eminem and U2 (11).
Barnes has overcome several health issues in recent years. In 2022, he wiped clear his touring schedule when surgeons gave him the news that he required back and hip surgery.
He also underwent back surgery in 2014, which kept him in hospital on Fathers Days (Sept. 7)
The 67-year-old singer is twice inducted into the ARIA Hall of Fame, first with Cold Chisel (in 1993), and again as a solo artist (2005), and is the first Australian solo act to have a No. 1 album in every decade since the 1980s.
The rocker was in full voice at the top of the Mushroom 50 Live concert at Melbourne’s Rod Laver Arena, where he delivered a two-song performance of “No Second Prize” and his signature song, “Working Class Man.”
A week after making their first appearances on Billboard charts, Jason Kelce and Travis Kelce are No. 1 for the first time. The brothers’ “Fairytale of Philadelphia” rises from No. 2, where it debuted, to No. 1 on the Rock Digital Song Sales tally dated Dec. 2. It also lands at No. 1 on the […]
The lineup for the 2024 edition of the French hard rock festival Hellfest will featuring a quartet of heavy hitters headlining from June 27-30, including Foo Fighters, Metallica, Machine Head and Avenged Sevenfold.
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The first night — topped by A7X — will feature support from Megadeth, Dropkick Murphys, Bad Omens, Baby Metal, Enter Shakari and more. Machine Head top the Friday night lineup, with Rage Against the Machine guitarist Tom Morello on the bill along with The Prodigy, Fear Factory, Steel Panther, Ice-T’s Body Count, Shaka Ponk, Biohazard, 311, Fu Manchu, Corrosion of Conformity and others.
Metallica will headline on night three, along with Mass Hysteria, Extreme, Mammoth WVH, Black Stone Cherry, The Dead Daisies, Saxon, Bruce Dickinson, Accept, Yngwie Malmsteen, Suicidal Tendencies, The Interruptors, Mr. Bungle and more. Foo Fighters do the honors on the final night, with support from Queen of the Stone Age, Royal Blood, Heart, Nova Twins, High on Fire, The Offspring, Corey Taylor, Frank Carter & the Rattlesnakes, Simple Plan, Neck Deep, Madball, Rival Sons, Therapy?, Dimmu Borgir and many more.
The 17th edition of Hellfest will take place outside the western French city of Clisson with more than 160 bands setting up on six stages. Weekend tickets are already sold out and single-day tickets slated to go on sale early next year.
Last year’s event featured sets from Kiss, Motley Crue, Iron Maiden, Slipknot, Def Leppard, Tenacious D, Sum 41, Pantera, Rancid, Black Flag and more.
Check out the full lineup and the Hellfest 2024 poster below.
Rob Reiner is ready to turn it up to 11 again. The writer/director revealed on the RHLSTP with Richard Herring podcast this week that he will revisit one of his most iconic projects when he gets the band back together next year for a sequel to his legendary rock mockumentary This Is Spinal Tap.
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The beloved 1984 film that skewered all things rock is slated to begin filming in February with original stars/writers Christopher Guest (Nigel Tufnel), Michael McKean (David St. Hubbins) and Harry Shearer (Derek Smalls) repriseing their roles as the hapless metal band who once lost a drummer in a “bizarre gardening accident.”
Reiner said he will revisit his role as documentarian Martin “Marty” Di Bergi, telling Herring, “We’re making a sequel… everybody’s back.” Like the original — which featured cameos from Ed Begley Jr., Fran Drescher, Dana Carvey, Billy Crystal, Angelica Huston and Fred Willard — the reboot will feature some even heavier hitters making cameos, including Paul McCartney, Elton John and Garth Brooks, plus a “few other surprises.”
The original found Reiner filming a documentary on one of “England’s loudest bands,” in a film in which most of the dialogue was improvised, with some of the iconic catchphrases — including “turn it up to 11” — becoming part of modern rock parlance; not for nothing, radios in Teslas go to 11.
It follows the self-important rockers on a 1982 U.S. tour to promote their Smell the Glove album, which some retailers refuse to stock because of its sexist cover image. Along the way there is a scheming astrology-obsessed girlfriend, a ill-fated, accidentally, hilariously tiny Stonehenge stage prop and a classic scene where the band loses their way to stage that was inspired by a real-life video of Tom Petty getting mixed up backstage at a show in Germany.
The accompanying soundtrack album featured such ridiculously over-the-top metal anthems as “Hell Hole,” “Tonight I’m Gonna Rock You Tonight,” “Big Bottom” and early hit “Gimme Some Money,” all performed by the movie’s stars.
Though the film did modest box office at the time, it has since blossomed into a midnight movie must-see, even making it onto the Library of Congress’ list of culturally significant artifacts. “No, we never did,” Reiner said of whether he thought the comedy would have such long legs and garner such accolades as the Library honor and making the list of movies worth preserving from the National Film Registry.
In essentially creating the rock mockumentary genre, Reiner recalled screening the film in Dallas and having confused theatergoers coming up to him after and asking, “I don’t understand, why would you make a movie about a band that nobody’s ever heard of? And they’re so bad!”
In an interview with Deadline last year, Reiner hinted at the direction of the sequel. “I can tell you hardly a day goes by without someone saying, ‘why don’t you do another one?,’” Reiner said of the idea to revisit the film for its 40th anniversary. “For so many years, we said, ‘nah.’ It wasn’t until we came up with the right idea how to do this. You don’t want to just do it, to do it. You want to honor the first one and push it a little further with the story.”
At the time, Reiner said the second Tap would follow the band after a long break. “They’ve played Albert Hall, played Wembley Stadium, all over the country and in Europe,” Reiner said. “They haven’t spent any time together recently, and that became the premise. The idea was that Ian Faith, who was their manager, he passed away. In reality, [actor] Tony Hendra passed away. Ian’s widow inherited a contract that said Spinal Tap owed them one more concert. She was basically going to sue them if they didn’t. All these years and a lot of bad blood we’ll get into and they’re thrown back together and forced to deal with each other and play this concert.”
Listen to Reiner talk Spinal Tap sequel here (movie talk begins around 2:00 mark).
Dolly Parton’s 30-song set Rockstar, released Nov. 17, blasts in atop Billboard’s Top Country Albums and Top Rock & Alternative Albums charts (dated Dec. 2). The legend adds her ninth No. 1 on the former and her first on the latter.
The rock-influenced LP earned 128,000 equivalent album units, with 118,000 in album sales, in the week ending Nov. 23, according to Luminate.
The album opens at No. 3 on the all-genre Billboard 200, marking Parton’s third top 10 and highest career rank. She previously visited the tier with Blue Smoke (No. 6 in 2014) and Trio, a collaborative set with Linda Ronstadt and Emmylou Harris (No. 16 in 1987).
Rockstar additionally debuts at the summit on the all-genre Top Album Sales chart, becoming Parton’s first No. 1. Its first-week sales were bolstered by its availability at outlets including Barnes & Noble, Cracker Barrel, Dollar General and Target.
The set more than doubles Parton’s previous biggest sales week for an album, notched when Slow Dancing With the Moon sold 50,500 copies in its second chart week (March 20, 1993).
The star-studded Rockstar is being promoted as Parton’s first rock album, its recording initiated following her induction into the Rock & Roll Hall of Fame in 2022. She initially declined the honor but after entering being enshrined went all-in with the release of Rockstar.
The collection mixes original songs and covers and boasts a long list of prominent credited guests, including Pat Benatar, Miley Cyrus, Melissa Etheridge, Mick Fleetwood, Peter Frampton, Joan Jett and The Blackhearts, Elton John, Lynyrd Skynyrd, Paul McCartney, Stevie Nicks, Chris Stapleton, Ringo Starr, Sting and Steven Tyler.
Parton first reached Top Country Albums with the aptly named Hello, I’m Dolly in November 1967. She scored the first of her 49 top 10s with Just Between You and Me, with Porter Wagoner (No. 8, March 1968), and her first No. 1 with her 34th entry, 1977’s New Harvest…First Gathering, which led for a week that May.
Rockstar is Parton’s first Top Country Albums No. 1 since A Holly Dolly Christmas in 2020. “I am so proud and humbled to have my album reach No. 1 on the Billboard country and holiday charts,” she beamed to Billboard that week. “Boy, what a great early Christmas present for me!”
Meanwhile, Parton leads Top Rock & Alternative Albums in her first appearance on the chart. (Rockstar also rules Top Rock Albums, likewise marking her first visit to the survey.)
The new album’s “World On Fire” debuted and peaked at No. 26 on Hot Rock & Alternative Songs in May.
Plus, Parton’s cover of Prince and the Revolution’s “Purple Rain” enters the Rock Digital Song Sales chart at No. 14 (1,000 sold). It’s the sixth song from Rockstar to make the ranking, with three having hit the top 10 prior to the album’s release. “World On Fire” led for a week in May and her versions of The Beatles’ “Let It Be” (featuring McCartney and Starr) and Cyrus’ “Wrecking Ball” (featuring Cyrus) hit Nos. 2 and 6 in September and November, respectively.
Kevin “Geordie” Walker, founding guitarist for English industrial rockers Killing Joke died on Sunday (Nov. 26) at age 64. The band confirmed the news on their official Instagram page, writing, “It is with extreme sadness we confirm that at 6:30am on 26th November 2023 in Prague, Killing Joke’s legendary guitarist Kevin ‘Geordie’ Walker passed away after suffering a stroke, he was surrounded by family. We are devastated. Rest In Peace brother.”
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Born in County Durham, UK in 1958, Walker joined Killing Joke in 1979 after responding to an ad in Melody Maker placed by singer Jaz Coleman, with the two men serving as the band’s only consistent members over the next four decades. Known for a distinctive low-end guitar turning that gave the band’s songs a massive sound, Walker’s playing was key to the post-punk group’s success, which folded grinding industrial sounds, dub reggae, new wave melodies and a goth sensibility into a roiling mix.
The band’s self-titled, self-produced debut full-length album was released in October 1980 and featured the singles “Wardance” and “Requiem.” The prolific act released six more albums in the 1980s, followed by three more in the 1990s (Extremities, Dirt and Various Repressed Emotions, Pandemonium, Democracy). The band briefly split in the early 1990s, then reunited and split again in 1996 before reuniting once more in 2002. A reformed version of the band released a self-titled album in 2003 featuring superfan Foo Fighters leader Dave Grohl on drums; since their get-back, KJ have released five more albums, with the most recent, Pylon, dropping in 2015.
According to the Guardian, in 2013 Walker reflected on what made the band such a powerful, unique presence during their long run. “When we started making records, playing gigs wasn’t that much different. You’d rehearse, you wrote the songs, you mic’d it up and you played it! And now if you’re not careful, you might not even see the f–king drummer and the maker of the f–king record. It’s all bits of this, cut-and-paste. It can sound impressive on first listen but after subsequent listens, it’s lacking human imperfection. The imperfection is what makes it magical somehow.”
In addition to his decades of touring and recording with Killing Joke, Walker was also a member of the industrial music supergroups Murder, Inc. and The Damage Manual.
Check out the band’s tribute to Walker and some of Killing Joke’s best-known tracks below.
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