The British Are Charting Edition Part 2

If an instrumental tops the charts, it’s probably an earworm: “Tequila.” “Wipeout.” “Dueling Banjos.” “The Hustle.” “Feels So Good.” “Chariots of Fire.” “Axel F.” You can probably whistle or hum several of those from memory. But do you remember the artists? All were one-hit wonders. By and large, instrumental hits throughout chart history were flukes. But there were exceptions: a trumpet player from Los Angeles who pretended to be Latin, made up a fake mariachi band, put sexy models on his album covers and topped the charts almost as much as the Beatles. Or, a try-hard, perm-headed soprano saxophone player from Seattle, who turned holding his breath while playing dizzying runs of notes into an athletic feat. How do songs without words become hits? Why were Herb Alpert and Kenny G so good at it? Why did instrumentals fall off the charts after the ’80s—and who is bringing them back? (Hint: think oontz-oontz-oontz.) Join Chris Molanphy as he throws away the lyric sheet and explains how a catchy melody can be worth a thousand words. Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

If an instrumental tops the charts, it’s probably an earworm: “Tequila.” “Wipeout.” “Dueling Banjos.” “The Hustle.” “Feels So Good.” “Chariots of Fire.” “Axel F.” You can probably whistle or hum several of those from memory. But do you remember the artists? All were one-hit wonders. By and large, instrumental hits throughout chart history were flukes. But there were exceptions: a trumpet player from Los Angeles who pretended to be Latin, made up a fake mariachi band, put sexy models on his album covers and topped the charts almost as much as the Beatles. Or, a try-hard, perm-headed soprano saxophone player from Seattle, who turned holding his breath while playing dizzying runs of notes into an athletic feat. How do songs without words become hits? Why were Herb Alpert and Kenny G so good at it? Why did instrumentals fall off the charts after the ’80s—and who is bringing them back? (Hint: think oontz-oontz-oontz.) Join Chris Molanphy as he throws away the lyric sheet and explains how a catchy melody can be worth a thousand words. Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

Talk about ’90s rap, and most music fans will throw around the word “gangsta” and talk about the East Coast–West Coast feud that tragically brought down Biggie and Tupac. But one rap group, OutKast, quite literally rose above the fray: At the 1995 Source Awards, while East and West were bickering with each other, OutKast’s André Benjamin took the mic and told the rap faithful that hip-hop’s future was in the South. For the next quarter century, he was proved indisputably correct. OutKast brought about this sea change by conceiving of hip-hop as everything music: funk, soul, pop, club, even country and indie all found their way into André and Big Boi’s music. By the time of their final studio album, they had pulled away almost fully from pure rap—and were rewarded with their biggest hits ever, a No. 1 smash each for Big Boi and André. Including that immortal jam that taught you, the fellas and the ladies—including all Beyoncés and Lucy Lius—what’s cooler than being cool. Podcast production by Benjamin Frisch and Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

Talk about ’90s rap, and most music fans will throw around the word “gangsta” and talk about the East Coast–West Coast feud that tragically brought down Biggie and Tupac. But one rap group, OutKast, quite literally rose above the fray: At the 1995 Source Awards, while East and West were bickering with each other, OutKast’s André Benjamin took the mic and told the rap faithful that hip-hop’s future was in the South. For the next quarter century, he was proved indisputably correct. OutKast brought about this sea change by conceiving of hip-hop as everything music: funk, soul, pop, club, even country and indie all found their way into André and Big Boi’s music. By the time of their final studio album, they had pulled away almost fully from pure rap—and were rewarded with their biggest hits ever, a No. 1 smash each for Big Boi and André. Including that immortal jam that taught you, the fellas and the ladies—including all Beyoncés and Lucy Lius—what’s cooler than being cool. Podcast production by Benjamin Frisch and Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices

What do Lenny Kravitz, a hitmaker primarily in the ’90s and ’00s, and Bruno Mars, a 2010s–20s hitmaker, have in common? It turns out, a lot: Each man has a wide-ranging ethnic and musical background, with early exposure to unusual sides of showbiz. Each has scored hits in a variety of styles. They are admirers of each other’s work and have even performed live together. But the main thing Lenny and Bruno have in common is their skill—some might say habit—of borrowing tropes and styles from hitmakers of the past. Kravitz from the very start of his career emulated the rock stylings of his heroes, like John Lennon and Sly Stone. And Bruno Mars—talk about an Unorthodox Jukebox: His career has been a parade of hits whose sound has spanned from the Police to Rick James to Michael Jackson. Are they cultural appropriators, or genius style chameleons? Join Chris Molanphy as he chronicles two premier pop stylists of the last 30 years who wore genres like costumes and rebooted oldies into modern hits. Don’t believe them? Just watch. Podcast production by Kevin Bendis. Learn more about your ad choices. Visit megaphone.fm/adchoices