{"id":231965,"date":"2025-06-18T19:19:19","date_gmt":"2025-06-18T18:19:19","guid":{"rendered":"https:\/\/www.musicbusinessworldwide.com\/?p=231965"},"modified":"2025-06-18T19:49:20","modified_gmt":"2025-06-18T18:49:20","slug":"key-songs-in-the-life-of-josh-abraham","status":"publish","type":"post","link":"https:\/\/www.musicbusinessworldwide.com\/key-songs-in-the-life-of-josh-abraham\/","title":{"rendered":"Key Songs In The Life Of&#8230; Josh Abraham"},"content":{"rendered":"<p><strong>MBW&#8217;s Key Songs In The Life Of&#8230; is a series in which we ask influential music industry figures about the tracks that have \u2014 so far \u2014 defined their journey and their existence. In the hot seat this time is Josh Abraham, co-CEO of Pulse Music Group. The Key Songs\u2026 series is supported by <a class=\"link-external\" target=\"_blank\" href=\"https:\/\/www.sonymusicpub.com\/en\" rel=\"noopener\">Sony Music Publishing<\/a>.<\/strong><\/p>\n<hr \/>\n<p><span style=\"font-weight: 400;\">Josh Abraham has spent his career championing the outliers.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">&#8220;I&#8217;m drawn to those who lead the way by not following trends,&#8221; says PULSE Music Group&#8217;s co-CEO, before we dig into his Key Songs choices and the stories behind them. <\/span><\/p>\n<p><span style=\"font-weight: 400;\">&#8220;There was also always a danger in what I listened to,&#8221; he adds. &#8220;That&#8217;s what led me to rock and hip-hop becoming such big parts of my life.&#8221;<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Abraham&#8217;s gravitation to music\u2019s non-conformists has served him well throughout his career, both as a highly sought-after producer and co-head of one of the world&#8217;s hottest independent publishers and record companies.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">PULSE, co-founded by Abraham with hit songwriter Scott Cutler in 2008, has seen significant success with writers behind hits for artists like Miley Cyrus, Harry Styles, Katy Perry, and others. The company has also been enjoying a run of recent success with Tommy Richman&#8217;s viral smash <\/span><i><span style=\"font-weight: 400;\">Million Dollar Baby<\/span><\/i><span style=\"font-weight: 400;\"> (via Pulse Records, a JV with Concord).<\/span><\/p>\n      <div class=\"mb-advert__incontent\">      <div class=\"mb-advert mb-advert__tweeny hidden-xs hidden-ms hidden-sm\" data-loaded=\"no\" data-sizes=\"992 1200 1440\" data-name=\"628x90 Sponsor banner #9 (992+1200+1440)\" data-params=\"dfp_sponsor9_628\" id=\"dfp_sponsor9_628\"><\/div>      <div class=\"mb-advert mb-advert__banner mb-advert__banner--inline hidden-xs hidden-sm hidden-md hidden-lg\" data-loaded=\"no\" data-sizes=\"480\" data-name=\"468x60 Sponsor banner #9 (480)\" data-params=\"dfp_sponsor9_468\" id=\"dfp_sponsor9_468\"><\/div>      <div class=\"mb-advert mb-advert__mobile mb-advert__mobile--inline hidden-ms hidden-md hidden-lg\" data-loaded=\"no\" data-sizes=\"320 768\" data-name=\"300x50 Sponsor banner #9 (320+768)\" data-params=\"dfp_sponsor9_300\" id=\"dfp_sponsor9_300\"><\/div>      <\/div>      \n<p><span style=\"font-weight: 400;\">Abraham&#8217;s own journey in music began and continues in Los Angeles, where he grew up with a guitar in his hands and an ear that naturally deconstructed music into its component parts.\u00a0 As a teenager, he recalls listening to music in a different way from his friends: &#8220;They&#8217;d talk about how they liked a song, but I would break down music, following the kick pattern, understanding what the drums were doing, separating instruments,\u201d he recalls.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">This innate ability to dissect sound eventually led him into the studio. With his foundations in guitar-led blues and rock combined with a passion for early hip-hop, Abraham produced landmark rock and nu-metal albums from Orgy to Limp Bizkit, Staind, Linkin Park, and more.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">His work on those albums eventually led to producing Slayer&#8217;s <\/span><i><span style=\"font-weight: 400;\">Christ Illusion<\/span><\/i><span style=\"font-weight: 400;\"> in 2006 with executive producer Rick Rubin, a full-circle moment for Abraham, who had long admired Rubin&#8217;s pioneering work with Def Jam and hip-hop in the &#8217;80s. &#8220;It was cool to come back and make a Slayer album where he was executive producer and I was producer,&#8221; he says.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Abraham would start working with Rubin again in 2014 via PULSE Music&#8217;s JV with American Songs, which led to signings with Turnstile, Freddie Gibbs, Kaytranada, and more.<\/span><\/p>\n<blockquote><p>&#8220;These songs are all gifts, showing how each artist influenced the next, creating this beautiful continuum of music that I&#8217;ve been lucky enough to be a part of.&#8221;<\/p>\n<p><span style=\"color: #000000;\">Josh Abraham\u00a0<\/span><\/p><\/blockquote>\n<p><span style=\"font-weight: 400;\">The songs that have shaped Abraham&#8217;s musical journey are as eclectic as his production credits and publishing roster, with his choices spanning blues, funk, rock, hip-hop, and even yacht rock.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">As Abraham explains below, each represents a period in his life when music introduced him to different scenes, new creative possibilities, or simply comforted him.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">&#8220;When I look back at all these songs now, I realize they&#8217;re like photographs,&#8221; he says. &#8220;If I wasn&#8217;t a music producer, I would have been a photographer. When I recorded a song as a producer, it was no different than taking a picture, capturing a great take, and then moving on.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">\u201cThese songs are all gifts, showing how each artist influenced the next, creating this beautiful continuum of music that I&#8217;ve been lucky enough to be a part of.&#8221;<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Here, in his own words, are the key songs that have defined Josh Abraham&#8217;s life and career so far\u2026<\/span><\/p>\n<hr \/>\n<h6><b><figure class=\"mbw-articlepic mbw-articlepic--right\"><img  class=\"lazyload\" data-srcset=\"https:\/\/www.musicbusinessworldwide.com\/files\/2025\/06\/Screenshot-2025-06-18-at-18.40.36-80x80.jpg 80w, https:\/\/www.musicbusinessworldwide.com\/files\/2025\/06\/Screenshot-2025-06-18-at-18.40.36-160x160.jpg 160w, https:\/\/www.musicbusinessworldwide.com\/files\/2025\/06\/Screenshot-2025-06-18-at-18.40.36-320x320.jpg 320w, https:\/\/www.musicbusinessworldwide.com\/files\/2025\/06\/Screenshot-2025-06-18-at-18.40.36-418x418.jpg 418w\" data-sizes=\"auto\"><\/figure>Albert King, I&#8217;ll Play The Blues For You (1972)<\/b><\/h6>\n<p><span style=\"font-weight: 400;\">I went into a deep dive with blues. For every genre, I went through a rabbit hole of discovery.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Albert King was a Memphis player. The way he played was unique \u2013 he was left-handed, so he&#8217;d take a right-handed guitar, flip it upside down, and didn&#8217;t restring it. So he could pick up any guitar, and his tone was just rowdy.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Other players like B.B. King were clean and proper, but Albert influenced players like Stevie Ray Vaughan to some degree. Blues is part of the lineage to hip-hop and everything else in rock.<\/span><\/p>\n<hr \/>\n<div class=\"mb-embed-container\"><iframe src=\"https:\/\/www.youtube.com\/embed\/4-apz26BfHY?si=1l4SsfL2sIIfjoFV&amp;t=3463\" frameborder=\"0\" allowfullscreen><\/iframe><\/div>\n<hr \/>\n<p><span style=\"font-weight: 400;\">I probably discovered Albert King when I was in high school, around when I learned to play guitar in middle school. He played more noisy than the rest, and it was threatening. There&#8217;s a blues pentatonic scale, and if you play guitar, you know it \u2013 Albert played it harder. He wasn&#8217;t a fast player, but his notes, his bends were different.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">The first time I heard <\/span><i><span style=\"font-weight: 400;\">I&#8217;ll Play The Blues For You<\/span><\/i><span style=\"font-weight: 400;\"> was on a compilation in the &#8217;80s. I think I might have been listening to a B.B. King record or a Muddy Waters record. I had a stack of blues records, but this was the one that caught me. In one Stevie Ray Vaughan interview, they talked about Albert King, and that&#8217;s what I was focused on at the time.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">There&#8217;s a video on YouTube of Stevie Ray Vaughan and Albert King together. It&#8217;s them jamming for about 40 minutes, trading licks and solos. It&#8217;s one of the most fascinating things to watch.<\/span><\/p>\n<hr \/>\n<p><iframe loading=\"lazy\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/playlist\/4Nh3sopcOAVqkWYqeBPgdd?utm_source=generator&amp;theme=0\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<hr \/>\n<h6><b><figure class=\"mbw-articlepic mbw-articlepic--right\"><img  class=\"lazyload\" data-srcset=\"https:\/\/www.musicbusinessworldwide.com\/files\/2025\/06\/Screenshot-2025-06-18-at-18.40.09-80x80.jpg 80w, https:\/\/www.musicbusinessworldwide.com\/files\/2025\/06\/Screenshot-2025-06-18-at-18.40.09-160x159.jpg 160w, https:\/\/www.musicbusinessworldwide.com\/files\/2025\/06\/Screenshot-2025-06-18-at-18.40.09-320x319.jpg 320w, https:\/\/www.musicbusinessworldwide.com\/files\/2025\/06\/Screenshot-2025-06-18-at-18.40.09-418x417.jpg 418w\" data-sizes=\"auto\"><\/figure>Prince, Controversy (1981)<\/b><\/h6>\n<p><span style=\"font-weight: 400;\">Picking a Prince song is really hard, but I was really influenced by the album <\/span><i><span style=\"font-weight: 400;\">Controversy<\/span><\/i><span style=\"font-weight: 400;\"> and the song <\/span><i><span style=\"font-weight: 400;\">Controversy<\/span><\/i><span style=\"font-weight: 400;\">.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Prince came out with this leather, see-through outfit \u2013 he was so opposite of what was going on at the time. He represented danger in his music, but he was just so funky and prolific and such a great songwriter, from his lyrics to the music. He was a 100% songwriter \u2013 he didn&#8217;t have people writing songs for him.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Sonically, the song <\/span><i><span style=\"font-weight: 400;\">Controversy<\/span><\/i><span style=\"font-weight: 400;\"> used to be a good reference point for how kick drums should sound. There&#8217;s not a lot of room mics \u2013 it was like post-disco, so it had some of that warmth to it. The first few Prince albums were all done this way. Sonically, they were almost like disco mixes, but they weren&#8217;t. The drums are all smaller, the bass always direct, the guitars sounded direct.<\/span><\/p>\n<hr \/>\n<div class=\"mb-embed-container\"><iframe src=\"https:\/\/www.youtube.com\/embed\/4gazNwzC4H0?si=3dnS4iQkugyLENxe\" frameborder=\"0\" allowfullscreen><\/iframe><\/div>\n<hr \/>\n<p><span style=\"font-weight: 400;\">I didn&#8217;t always discover songs when they came out. I probably discovered Prince during the Purple Rain era, and that led me back to <\/span><i><span style=\"font-weight: 400;\">Controversy<\/span><\/i><span style=\"font-weight: 400;\">. So that was probably the mid-80s, when I was in middle school in Los Angeles.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">In middle school, between 1981 and 1984, I was heavily influenced by both punk rock up to 1981 and post-punk, and then right into the pioneering hip-hop. I remember 1984 there was a tour with Run-DMC and the Beastie Boys. This was the first time I connected a producer to music because people were talking about Rick Rubin bringing the Beastie Boys and Run-DMC together.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Growing up in LA, the scene around that time was great \u2013 dancing, clubs, Afrika Bambaataa came out here, there was a club called Water the Bush . It was an emerging scene of hip-hop, and that&#8217;s where I was rooted. That was a big part of my life. But I also played guitar, which led me down other paths like Prince.<\/span><\/p>\n<hr \/>\n<h6><b><figure class=\"mbw-articlepic mbw-articlepic--right\"><img  class=\"lazyload\" data-srcset=\"https:\/\/www.musicbusinessworldwide.com\/files\/2025\/06\/Screenshot-2025-06-18-at-18.39.37-80x77.jpg 80w, https:\/\/www.musicbusinessworldwide.com\/files\/2025\/06\/Screenshot-2025-06-18-at-18.39.37-160x154.jpg 160w, https:\/\/www.musicbusinessworldwide.com\/files\/2025\/06\/Screenshot-2025-06-18-at-18.39.37-320x309.jpg 320w, https:\/\/www.musicbusinessworldwide.com\/files\/2025\/06\/Screenshot-2025-06-18-at-18.39.37-418x403.jpg 418w\" data-sizes=\"auto\"><\/figure>Pink Floyd, Time (1973)<\/b><\/h6>\n<p><span style=\"font-weight: 400;\">I look at each Pink Floyd album as one song. <\/span><i><span style=\"font-weight: 400;\">Dark Side of the Moon<\/span><\/i><span style=\"font-weight: 400;\"> is one song to me. But if we have to isolate a track, it&#8217;s <\/span><i><span style=\"font-weight: 400;\">Time.<\/span><\/i><\/p>\n<p><span style=\"font-weight: 400;\">I know it&#8217;s blasphemous to say this, but I was a Floyd guy, not a Beatles guy. I&#8217;ll never forget listening to Dark Side of the Moon for the first time. It&#8217;s the reason why, when I produced music, it was all about production. It wasn&#8217;t just about a song. I couldn&#8217;t believe what I was listening to, and I became a massive Pink Floyd fan, which led me to David Gilmour and his guitar solos.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">I still loved hip-hop; that was my social life, driving around with friends or going to clubs. But I had this secret life of playing guitar. I was passionate about music and learned playing by figuring out solos from Gilmour.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">It&#8217;s actually funny, I produced a record with Slash, and when we recorded his solos, he looked at me and asked, &#8220;How do you hear that?&#8221; I told him I was a major Gilmour fan, and it turned out he was Slash&#8217;s favorite guitar player as well. We noticed that the way Gilmour bends notes, he doesn&#8217;t go all the way \u2013 he just slowly bends into this half-bend. It&#8217;s something Slash does too.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">I wish YouTube existed back then as a way to learn some of the solos properly. You&#8217;d wait for <\/span><i><span style=\"font-weight: 400;\">Guitar World<\/span><\/i><span style=\"font-weight: 400;\"> to come out, where they&#8217;d break down three songs, and a small social group of guitar-playing friends would learn those solos. Of course, everyone played them differently, and we&#8217;d compare techniques.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Playing guitar then was either you were Eddie Van Halen, some genius, or you made your way to a certain level, which is where I plateaued. That&#8217;s why I thought, &#8220;I&#8217;ll just produce,&#8221; and I&#8217;m glad I took that path. But I understand the guitar, which has served me well.<\/span><\/p>\n<hr \/>\n<h6><b><figure class=\"mbw-articlepic mbw-articlepic--right\"><img  class=\"lazyload\" data-srcset=\"https:\/\/www.musicbusinessworldwide.com\/files\/2025\/06\/Screenshot-2025-06-18-at-18.41.01-80x78.jpg 80w, https:\/\/www.musicbusinessworldwide.com\/files\/2025\/06\/Screenshot-2025-06-18-at-18.41.01-160x156.jpg 160w, https:\/\/www.musicbusinessworldwide.com\/files\/2025\/06\/Screenshot-2025-06-18-at-18.41.01-320x312.jpg 320w, https:\/\/www.musicbusinessworldwide.com\/files\/2025\/06\/Screenshot-2025-06-18-at-18.41.01-418x408.jpg 418w\" data-sizes=\"auto\"><\/figure>The Notorious B.I.G., Hypnotize (1997)<\/b><\/h6>\n<p><span style=\"font-weight: 400;\">I spent a lot of time in the \u201890s in New York, and that was a big part of my life \u2013 just being in the scene, going to clubs. The \u201890s era in New York hip-hop was probably one of the best, at least from my experience.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">When tracks like <\/span><i><span style=\"font-weight: 400;\">Hypnotize<\/span><\/i><span style=\"font-weight: 400;\"> or <\/span><i><span style=\"font-weight: 400;\">Juicy<\/span><\/i><span style=\"font-weight: 400;\"> came on, the feeling you&#8217;d get in the room or club was unlike anything else. Whether you were drinking or not, those songs just set off the mood in the club.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">I first visited New York to see my sister who was in school there in the early \u201890s. Then I was doing demos with a band called Limp Bizkit, and I remember we were in Florida at Fred Durst\u2019s house when I called the label and said we needed studio time. So I rented a bus and we drove into New York City. It was my first real time working there, and we stayed for a while.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">New York in the \u201890s was the first time I saw a DJ being the focus of the club. It was the first time I saw a VIP section. All of a sudden there was this roped-off section behind the DJ booth. And it was the first time I saw people ordering bottles in clubs. I don&#8217;t think it was called &#8220;bottle service&#8221; yet, but you know, VIP sections with bottles.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">I went to The Tunnel and saw Gang Starr perform there, which was a standout show. I also met Mark Ronson around that time.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Hip-hop was a big part of the backbone of music for me. The rhythm of music for me always is R&amp;B and hip-hop. The way I approach music always starts with the beat. That influenced a lot of the records I worked on later.<\/span><\/p>\n<hr \/>\n<h6><b><figure class=\"mbw-articlepic mbw-articlepic--right\"><img  class=\"lazyload\" data-srcset=\"https:\/\/www.musicbusinessworldwide.com\/files\/2025\/06\/Screenshot-2025-06-18-at-18.41.32-80x80.jpg 80w, https:\/\/www.musicbusinessworldwide.com\/files\/2025\/06\/Screenshot-2025-06-18-at-18.41.32-160x160.jpg 160w, https:\/\/www.musicbusinessworldwide.com\/files\/2025\/06\/Screenshot-2025-06-18-at-18.41.32-320x320.jpg 320w, https:\/\/www.musicbusinessworldwide.com\/files\/2025\/06\/Screenshot-2025-06-18-at-18.41.32-418x418.jpg 418w\" data-sizes=\"auto\"><\/figure>Depeche Mode, Enjoy The Silence (1990) \/ The Cure, Just Like Heaven (1987)<\/b><\/h6>\n<p><span style=\"font-weight: 400;\">When I think about the \u201880s, I think of Kraftwerk, The Smiths, Roxy Music, Bryan Ferry. My challenge for picking songs that represent the \u201880s was quite difficult.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">[Depeche Mode\u2019s] <\/span><i><span style=\"font-weight: 400;\">Violator<\/span><\/i><span style=\"font-weight: 400;\"> was an insanely influential album to me, so<\/span><i><span style=\"font-weight: 400;\"> Enjoy The Silence<\/span><\/i><span style=\"font-weight: 400;\"> is one key song from that era. The other is The Cure&#8217;s <\/span><i><span style=\"font-weight: 400;\">Just Like Heaven.<\/span><\/i><span style=\"font-weight: 400;\"> The overall flanged-bass color and everything The Cure did with Robert Smith&#8217;s vocals was just quintessentially 80s.<\/span><\/p>\n<hr \/>\n<div class=\"mb-embed-container\"><iframe src=\"https:\/\/www.youtube.com\/embed\/n3nPiBai66M?si=XbKTo1LsSyntM4Zt\" frameborder=\"0\" allowfullscreen><\/iframe><\/div>\n<hr \/>\n<p><span style=\"font-weight: 400;\">You also had that whole New Romantic scene [like] The Smiths. I love that scene, and I went on a deep dive with all those records.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">That influence shows up in my production work too. I did a record for Thirty Seconds to Mars, <\/span><i><span style=\"font-weight: 400;\">A Beautiful Lie,<\/span><\/i><span style=\"font-weight: 400;\"> and there wouldn&#8217;t be any of that electronic stuff in there had I not been influenced by Depeche Mode.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Same thing with Nine Inch Nails, all that industrial music came out of the genesis of \u201880s keyboards.<\/span><\/p>\n<hr \/>\n<h6><b><figure class=\"mbw-articlepic mbw-articlepic--right\"><img  class=\"lazyload\" data-srcset=\"https:\/\/www.musicbusinessworldwide.com\/files\/2025\/06\/Screenshot-2025-06-18-at-18.41.56-80x79.jpg 80w, https:\/\/www.musicbusinessworldwide.com\/files\/2025\/06\/Screenshot-2025-06-18-at-18.41.56-160x159.jpg 160w, https:\/\/www.musicbusinessworldwide.com\/files\/2025\/06\/Screenshot-2025-06-18-at-18.41.56-320x317.jpg 320w, https:\/\/www.musicbusinessworldwide.com\/files\/2025\/06\/Screenshot-2025-06-18-at-18.41.56-418x415.jpg 418w\" data-sizes=\"auto\"><\/figure>Korn, Ball Tongue (1994)<\/b><\/h6>\n<p><span style=\"font-weight: 400;\">With Korn \u2013 sometimes it&#8217;s their self-titled debut album from 1994 that I consider as a whole, but if we have to isolate a song, it&#8217;s <\/span><i><span style=\"font-weight: 400;\">Ball Tongue<\/span><\/i><span style=\"font-weight: 400;\">.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">I was doing events in LA around 1994 \/ 1995, working on the Limp Bizkit album too. That Korn album and that song had 808s in it. The way it was recorded, it must have been mixed on big speakers, not little speakers, because if you hear it loud, it makes sense. On small speakers, you can&#8217;t really get it.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">It shattered me. Probably what happened to The Beatles when they heard the Beach Boys, it did that to me. I thought we were doing something novel with the band Orgy because we tuned down to B. Some of the other bands, like Korn, had a lower, growly density.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Somehow, with Korn, they managed to have a bass guitar, a low string on a regular guitar playing chords, and there&#8217;s not a lot of space sonically to fill in with an 808 \u2013 but they did it. They did it great. It was incredible work. That album influenced me to produce more.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">The Korn sound was very hip-hop influenced. It\u2019s very rhythmic, very beat-driven, very 808-heavy, but with guitars creating a different sound altogether.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">I think what connects hip-hop and rock is the rhythm. If you take the hip-hop out of rock, you have more straightforward heavy metal \u2013 just straight riffs, no funk, no head-bobbing. Guitar riffs can only go so far, but if you change the beat, the rhythm can follow that beat. The genres complement each other.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">When you saw Walk This Way with Run-DMC and Aerosmith, that fused both scenes of music into one. It really brought attention to the fact that it&#8217;s just one thing.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">I remember being at a club when DJ AM was still alive \u2013 he was a friend \u2013 I&#8217;ll never forget, he went from a Biggie song right into AC\/DC&#8217;s<\/span><i><span style=\"font-weight: 400;\"> Back in Black,<\/span><\/i><span style=\"font-weight: 400;\"> and it just worked. It was a straight-up transition, and the whole club kept bobbing their heads. The evolution of this genre blending was organic.<\/span><\/p>\n<hr \/>\n<h6><b><figure class=\"mbw-articlepic mbw-articlepic--right\"><img  class=\"lazyload\" data-srcset=\"https:\/\/www.musicbusinessworldwide.com\/files\/2025\/06\/Screenshot-2025-06-18-at-18.42.16-80x78.jpg 80w, https:\/\/www.musicbusinessworldwide.com\/files\/2025\/06\/Screenshot-2025-06-18-at-18.42.16-160x156.jpg 160w, https:\/\/www.musicbusinessworldwide.com\/files\/2025\/06\/Screenshot-2025-06-18-at-18.42.16-320x312.jpg 320w, https:\/\/www.musicbusinessworldwide.com\/files\/2025\/06\/Screenshot-2025-06-18-at-18.42.16-418x408.jpg 418w\" data-sizes=\"auto\"><\/figure>Hall and Oates, Sara Smile (1977)<\/b><\/h6>\n<p><span style=\"font-weight: 400;\">This is a yacht rock era song.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">It was my &#8220;calming song&#8221; when I was younger. If I felt anxious at some point, I&#8217;d listen to things that would soothe me, and this song, to this day, I&#8217;ll play on an airplane.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">It&#8217;s that cool, easy-listening but yacht-rock from the 70s. Again, these guys looked dangerous to me when I first discovered them because they weren&#8217;t really sweet, but they had this Patrick Nagel-style album cover look.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">All these artists I&#8217;ve mentioned were leaders in their own arena, Albert King, Prince, Biggie, The Cure.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">They just did whatever they wanted to do.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">They created a whole space for themselves. Biggie was literally pictured with a crown! Korn had an album called <\/span><i><span style=\"font-weight: 400;\">Follow The Leader.<\/span><\/i><span style=\"font-weight: 400;\">\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">These were all people who did their own thing.<\/span><\/p>\n<hr \/>\n<p><strong><figure class=\"mbw-articlepic mbw-articlepic--right\"><img  class=\"lazyload\" data-srcset=\"https:\/\/www.musicbusinessworldwide.com\/files\/2022\/11\/Sony-Music-Publishing-logo-80x45.jpg 80w, https:\/\/www.musicbusinessworldwide.com\/files\/2022\/11\/Sony-Music-Publishing-logo-160x91.jpg 160w, https:\/\/www.musicbusinessworldwide.com\/files\/2022\/11\/Sony-Music-Publishing-logo-320x181.jpg 320w, https:\/\/www.musicbusinessworldwide.com\/files\/2022\/11\/Sony-Music-Publishing-logo-418x237.jpg 418w, https:\/\/www.musicbusinessworldwide.com\/files\/2022\/11\/Sony-Music-Publishing-logo-648x367.jpg 648w, https:\/\/www.musicbusinessworldwide.com\/files\/2022\/11\/Sony-Music-Publishing-logo-836x473.jpg 836w, https:\/\/www.musicbusinessworldwide.com\/files\/2022\/11\/Sony-Music-Publishing-logo-1296x733.jpg 1296w\" data-sizes=\"auto\"><\/figure>At Sony Music Publishing (SMP), we believe every voice matters. We are the #1 global music publisher, advancing the artistry of the world\u2019s greatest songwriters and composers for over 25 years. We keep songwriters at the forefront of everything we do, and design our suite of services to amplify opportunities, build connections, and defend their rights. Our roster benefits from an international team committed to providing support at every career stage. From classic catalogues to contemporary hitmakers, history is always being written. We are a part of the Sony family of global companies. Learn more about SMP <a href=\"https:\/\/www.sonymusicpub.com\/en\" target=\"_blank\" rel=\"noopener\" data-saferedirecturl=\"https:\/\/www.google.com\/url?q=https:\/\/www.sonymusicpub.com\/en&amp;source=gmail&amp;ust=1727964820657000&amp;usg=AOvVaw1Kn1OTtTjLy1cWzy_-xeZR\">here<\/a>.<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>MBW&#8217;s Key Songs In The Life Of&#8230; series meets Josh Abraham, co-CEO of Pulse Music Group<\/p>\n","protected":false},"author":15,"featured_media":233743,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[8],"tags":[130138,4047],"class_list":["post-231965","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interviews","tag-key-songs","tag-pulse"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.musicbusinessworldwide.com\/wp-json\/wp\/v2\/posts\/231965","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.musicbusinessworldwide.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.musicbusinessworldwide.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.musicbusinessworldwide.com\/wp-json\/wp\/v2\/users\/15"}],"replies":[{"embeddable":true,"href":"https:\/\/www.musicbusinessworldwide.com\/wp-json\/wp\/v2\/comments?post=231965"}],"version-history":[{"count":0,"href":"https:\/\/www.musicbusinessworldwide.com\/wp-json\/wp\/v2\/posts\/231965\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.musicbusinessworldwide.com\/wp-json\/wp\/v2\/media\/233743"}],"wp:attachment":[{"href":"https:\/\/www.musicbusinessworldwide.com\/wp-json\/wp\/v2\/media?parent=231965"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.musicbusinessworldwide.com\/wp-json\/wp\/v2\/categories?post=231965"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.musicbusinessworldwide.com\/wp-json\/wp\/v2\/tags?post=231965"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}