‘Meet Me In The Bathroom’ Author On Essential NYC Rock

‘Meet Me In The Bathroom’ Author On Essential NYC Rock

Journalist Lizzy Goodman’s Meet Me in the Bathroom: Rebirth and Rock and Roll in New York City 2001-2011 traces the New York music explosion of the early ’00s — a scene that spawned the Strokes, the Yeah Yeah Yeahs, LCD Soundsystem, Interpol and Vampire Weekend. Goodman conducted 200 interviews for the book with the likes of James Murphy, Julian Casablancas, Karen O, Ezra Koenig, all resulting in a tale of creativity and rock and roll.

Goodman created a playlist of essential tracks from the book, which is out May 23 via HarperCollins.

“Give Me Daughters,” Jonathan Fire*Eater

The great New York band that never was. Everyone from Karen O to Paul Banks agrees that you wouldn’t have their music without this music.

“The Modern Age,” the Strokes

The beginning of it all. When the Strokes wrote this song, lightning struck and New York City rock and roll was never the same again.

“NYC,” Interpol 

A deliciously maudlin and remote sound to match the tantalizing aloofness of the band that made it. This is the Interpol song that first made a generation of rock girls’ hearts skip a beat.

“Maps,” Yeah Yeah Yeahs

Leave it to the greatest performer of this era to woo the masses not (at first) with her beer-spitting, ripped-fishnet wearing alter ego but her inner balladeer. Karen O gave us two of the era’s great mantras, “They don’t love you like I love you” and “It’s our time to be hated,” but the intimate and vulnerable one connected first.

“What a Waster,” the Libertines

The most ecstatic early synthesis of the New York sound being reflected across the pond by two avatars of the dirty glee that made London so much fun at the time, Pete Doherty and Carl Barat. “Where does all the money go? Straight up her nose.”

“House of Jealous Lovers,” the Rapture

The first song to truly capture James Murphy and Tim Goldsworthy’s signature DFA sound, delivered by an incomparable showman in Luke Jenner. Finally, dangerous rock music you could dance to.

“Mr. Brightside,” The Killers

Well, there you have it: big, splashy, sparkly, stadium-ready quality commercial rock and roll is back and here to stay.

“Losing My Edge,” LCD Soundystem

Freedom’s just another word for nothing left to lose? Indeed. Deserted by “his rockstar,” the Rapture’s Luke Jenner, James Murphy turned inward, and in exposing his most frustrated, angry, insecure self a star was born.

“Wolf Like Me,” TV on the Radio

The beginning of the “Brooklyn Band” concept. One of the smartest, most sophisticated groups of any era was shocked to discover a rabid audience for their signature aesthetic: weirdness.

“Cape Cod Kwassa Kwassa,” Vampire Weekend

This is what happens when you plug four great musical minds into the internet during their formative adolescent years — a sound made up of thousands of tiny samples from ’90s R&B to ’70s disco to ’80s hip-hop to Paul Simon’s Graceland.

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