5 Songs I Love w/ Goodwin

Following the release of their latest single 'Friend', Flex caught up with Michael E Goodwin from the Massachusetts-based collective Goodwin to find out what influences their folk, art-rock sound. If you enjoy Goodwin's picks, be sure to check out 'Friend' at the end of the article.

1. “Sucker Row” Mark Knopfler

Sitting in the third position on one of my favorite albums of all time, “Sucker Row” is the quintessential Knopfler tune. One of the things I admire most about Mark is that despite his technical prowess, he is always restrained and understated, never flashy nor showy. His voice seems to sit just barely on top of the music, like the egg of a bird peeking out of its nest. Each member of his band, as well, is always there to serve the song, never themselves. It is evident that these musicians are free to bring their own spin to his songs, and are not compelled to follow an overly detailed blueprint dictated by Mark. This dynamic is evident in every one of the Knopfler albums, and has fundamentally altered the way I think about leading a band through the recording process. A final note about this particular song: the chorus, with its luscious hook, appears only once, leaving me wanting more  - every single time. I enjoy that longing. 

2. “Flowers of Guatemala" REM

It is hard to overstate the influence of REM  - not just on my songwriting, but on my life as a whole. I have always relished the way Michael Stipe’s voice sits in the mix as another instrument. As a kid, I clearly remember spending hours just trying to figure out what the heck he was saying on these early records. I loved the challenge of it! And, of course, when the words did come to light, I was often faced with such jolting juxtaposition. Here, the flowers are described in such tender melodic form, yet the particular flower described here - amanita - is one that grows on graves. A haunting song about genocide that almost feels like a lullaby. When the song resolves with such quiet grace and the final bell chimes, we are left with much to ponder. As with all REM compositions, Mike Mills’ backup vocals are anything but “backup.” His contributions are anything but ancillary, they are vital. The relationship between these voices has fundamentally altered the way that we compose vocal arrangements, and is a part of the reason that Emily and I are inspired to offer something a bit different. 

3. “Nothing” Edie Brickell and The New Bohemians

Edie’s voice has a haunting, mysterious, ethereal quality that pulls me in every single time. She is one of those singular voices that one only needs to hear one note from to know who is behind the microphone. The same is true of guitarist Kenny Withrow, who - in my estimation - is one of the greatest living players out there. His solo here on “Nothing” captures everything I love about him - his phrasing, his tone, and the way he seems to give the song exactly what it needs. Nothing more, nothing less. And don’t even get me started on Brad Houser’s bass playing! I so miss the playful command he had of his instrument, and the deep joy he brought to this music. I will never forget the moment I bought this album in 1988 on the same day I purchased “Green” by REM and “Vivid” by Living Colour. What a critical moment in my musical journey!

4. “Glass/Film” S. Carey

The chief architect of sonic landscapes, Sean Carey evokes synesthesia from bar one. Here, I particularly admire the patience he exhibits while bringing us into the opening track of “Range of Light.” Instruments enter methodically, building a layered sense of anticipation that does not find full expression until close to 3 minutes into the track. And  - as soon as we get there - it is stripped down once again - passing just as quickly as the light the album aims to describe. Many of us know Sean from his work with Bon Iver (which, of course, is crushing), but I strongly encourage listeners to get a sense of Sean in his own world in which melodies are unexpected, and one must be ready to be firmly embraced and stabbed in the chest at the same time.

5. “Drink Water” Jon Batiste feat. Jon Bellion and Fireboy DML

Such simple advice: “Take a deep breath, drink water.” Yet, it is somehow a reminder that we all need. That this maxim sits in the middle of one of the most creative albums of the last decade is just right. Batiste has a pointed way of simultaneously offering deep complexity and stark simplicity. This track sits on “New World Music Radio,” which along with Jacob Collier’s “Djesse” albums, introduced me to entirely new geometric shapes. Listening to these artists reminds me that we are only constrained by our imaginations; that with intense focus and relentless passion, whatever we are able to dream up can find expression. 

Listen to Goodwin 'Friend'

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