
Generator (First Floor)
Queens kids who met on Craigslist and busked subway platforms, then made banjo and glockenspiel sound euphoric.

Queens kids who met on Craigslist and busked subway platforms, then made banjo and glockenspiel sound euphoric.

Critics heard the Kinks' Lola in the strum, and a Dancing on Ice slot lifted it to number fourteen.

Fink wrote the whole album around his split with Laura Marling; this became its first single, and its way out.

Richard Linklater put it in Boyhood and its trailer, and the Keefe brothers' harmony now sounds like growing up.

Ten winter days in a Block Island basement, a pump organ, and a hush Emmylou Harris later covered.

Cut in a converted basement on Block Island, sung in falsetto with the drums stripped out; the Mayflower never sounded lonelier.

Schultz wrote those shouts to snap indifferent Brooklyn crowds to attention; the record sat sixty-two weeks on the Hot 100.

Two competing stories about who the town was named for, one a Black preacher, and Stevens sounds delighted by both.

Markus Dravs produced Babel; the video was shot at Red Rocks, banjo running flat out under a vow.

Kozelek grew up in Massillon, Ohio, and this is what he sends back: an apology set to ringing acoustic guitars.

Written at a soundcheck in an Edinburgh pub, open-D guitar and banjo climbing into a stomp that drew four Grammy nominations.

Smith recorded Either/Or in Portland friends' houses and mixed this one himself, a parade watched through sour eyes.

Mike Mogis produced it; the Söderberg sisters name Gram and Emmylou, June and Johnny, and sing harmony like devotion.
Homesick for his brother Sean, Pecknold buried the vocals in reverb and block harmony that swells like Sacred Harp singing.
Beam slowed Gibbard's synth-pop into hushed acoustic guitar for a Sub Pop B-side, then Garden State put it everywhere.

In his father's Wisconsin hunting cabin, Vernon shaped the melody wordlessly, then wrote his gambling losses into it.

Four lines, no instruments, one voice stacked through Auto-Tune into a choir Kanye West later built a song from.

Cut in September 1994 at bandmate Tony Lash's house, trumpet and harmonica stripped away until only guitar and dread remain.
One classical guitar, no drums, and the Knife's synth-pop single reduced to a whisper that reached UK number nine.

An earlier version with different lyrics sat unreleased until Good Will Hunting sent Smith to the Oscars in white.

Pecknold called it an anti-protest song, a plain opinion with no poetry, and gave it away free in January 2011.

Four guitar chords never change while Stevens sings a Bible study, a friend's death, and a question for God.

Banjo hammering under a chorus that needed a radio edit, produced by Markus Dravs and voted Australia's song of 2009.

Pecknold rebuilt a piano soul demo with Phil Ek at Bear Creek, and the harmonies own the second half.

A round about snow that the band never once played together, its voices stacked from first takes in production.

Three months alone in his father's Wisconsin hunting cabin, and falsetto stacked until one voice becomes a choir.

A lullaby melody hiding a song about alcohol, and one of three Either/Or tracks in Good Will Hunting.

Sleigh bells, trumpets and a choir stacked into one crescendo, and Stevens cut five different versions of it.

Horns and clarinets swell over guitar in a converted Wisconsin veterinary clinic; Grammy voters nominated it for record and song.

Vernon cut it alone in his father's Wisconsin hunting cabin over a winter, and the falsetto still sounds snowbound.