@Israel Garcia

This playlist was created by https://www.tunemymusic.com that lets you transfer your playlist to Apple from any music platform such as Spotify, YouTube, Deezer etc.

Whether it’s a weekday morning or Saturday night, get going with this personalized mix of upbeat music. Refreshed every Monday.

Songs to help you relax and unwind. Updated every Sunday.

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As hard as it is to believe now, Radiohead’s “Creep” didn’t hit until nearly a year after its 1992 release, eventually recasting the Oxford ensemble as inheritors to the kind of alternative anthem championed by U2. The worldwide success of this disarmingly intimate ode to alienation would have proven a fluke if the band hadn’t repeated the trick with 1995’s “Fake Plastic Trees,” a strummed then string-swept daydream through eerily glossy surfaces both human and otherwise. Even then, few could have predicted the dystopian scope and artistic ambition of 1997’s <i>OK Computer</i>, which later made it onto Apple Music’s 100 Best Albums list. Heralded by the gorgeous yet outright ominous “Paranoid Android” and still another generational lost-soul ballad in “Karma Police,” that record announced Radiohead as The Beatles of their era, in terms of balancing both commercial and critical success with emboldened experimentation. Free to transform at will from song to song, the band began a new era with 2000’s <i>Kid A</i>, releasing no singles and embracing abstract electronics on opener “Everything in Its Right Place” and “Idioteque.” If their next few albums seemed to shrug off commercial concerns entirely, they still yielded such indelible turns as 2001’s stumbling piano amble “Pyramid Song,” 2003’s quiet-turned-loud “There, There,” 2009’s anti-gravity phantom “All I Need,” 2011’s squelching “Lotus Flower,” and 2016’s urgent “Burn the Witch.” All explored anew while deepening the alchemy between unmoored singer/lyricist Thom Yorke, shape-shifting guitarist Jonny Greenwood, and the other players. No wonder Radiohead still remain the high-water mark for bands who can do exactly what they want and still enjoy a decades-spanning audience.

Before The Beatles, you had pop music and you had art; after The Beatles, the idea that you could get both in a single three-minute shot became commonplace. If “I Want to Hold Your Hand” made the competition look quaint, “Strawberry Fields Forever” made it look obsolete: stone bowls in an era of cupped hands. They were around for 10 years, and the culture has been reeling ever since. Formed in Liverpool, England, in 1960, the band—John Lennon, Paul McCartney, George Harrison, and Ringo Starr (the replacement for Pete Best)—didn’t have big plans at first. In 1962, they were still ducking beer bottles at late-night shows in Hamburg; six months later, “Beatlemania“ was a safety concern. Listen to that opening chord on “A Hard Day’s Night” or the proto-psychedelic vibe of “Ticket to Ride” and you can already hear them pushing against the confines of pop’s sound and form. By the mid-’60s, they’d become ambassadors for the counterculture, tackling drugs (“Lucy in the Sky With Diamonds”), Eastern spirituality (“Tomorrow Never Knows”), and the limits of consciousness (“Because”). They also became one of the first bands to use the studio as an instrument, creating works whose density and complexity (“I Am the Walrus,” “Ob-La-Di, Ob-La-Da”) couldn’t be replicated onstage.

Pink Floyd are notable not only for what they popularized (immaculate hi-fi production, elaborate concept albums, planetarium laser shows) but for what they negated: Their sense of mystique proved they didn’t need to mug for the camera to become one of the world’s most famous rock bands. Which is ironic, given that they were initially led by the charismatic Syd Barrett, whose madcap genius spawned 1967’s psychedelic triumph <i>The Piper at the Gates of Dawn</i>. After Barrett’s 1968 exit, the band entered a new era, led by Roger Waters, David Gilmour, Richard Wright, and Nick Mason, and embraced expansive progressive rock. But with 1973’s <i>The Dark Side of the Moon</i>, Floyd refined their experimental ethos into a cohesive masterpiece. Anchored by songs like “Time,” “Us and Them,” and “Money,” the album spent 14 years on the Billboard charts. Waters’ lyrical depth took center stage on 1975’s <i>Wish You Were Here</i> (which featured the mildly funky “Have a Cigar” and the Barrett tribute “Shine On You Crazy Diamond”) and 1977’s politically charged <i>Animals</i>. Their colossal 1979 rock opera <i>The Wall</i> solidified their legacy as cultural icons with tracks such as “Hey You” and “Another Brick in the Wall, Pt. 2.”