Even among music meant for children, it's been noticeably absent from Billboard's best-selling Kid Albums chart, probably since babies can't, you know, demand to listen to the Frozen soundtrack (charting for almost three years) for the 12th time that day unlike a tiny human with language can. Popular music-turned-lullabies may never break out in a meaningful way. Admittedly, if you know the words to the song (you know the words to the song!), the contrast of the daydream and the manic lyrics of "Basket Case". Playing over a dream sequence wherein Rami Malek's Elliot fantasizes about atonement, finding love, and opening up to the people he cares about, it takes a second to place the twinkly glockenspiel and harp as the melody to Billie Joe Armstrong's song about coming to terms with his panic disorder. Robot licensed the lullaby version of Green Day's "Basket Case," produced by another label imprint called Twinkle Twinkle Little Rock Star, for an episode in the second season. Foregrounded by previously unreleased home videos of Cobain as a toddler, the track felt a natural fit, if not a spooky indulgence in foreshadowing. The Rockabye Baby! version of "All Apologies" was scored in early scenes of the documentary Montage of Heck in 2015. There is an incorrect, albeit justifiable, sense that babified rock music cropped up out of left field. How well did the fluffy grunge cover play? Traffic to the Rockabye Baby! website jumped 75% the day after the Super Bowl. The company’s back catalog was ready for the demand. According to Lisa Roth, creative director of Rockabye Baby! (and David Lee Roth's sister), the agency hired to find a song for the commercial contacted the company just a week and a half before the air date. But no: the cover is from 2006's Nevermind-heavy Lullaby Renditions of Nirvana, one of the first releases by the imprint Rockabye Baby!. Surely, it was made special for the commercial itself? you might have assumed. The masterpiece is set to a nursery-friendly cover of Nirvana's "All Apologies," In Utero's A-side companion to "Rape Me," and wildly considered an augury of Kurt Cobain's suicide. Of the many befuddling commercials that aired during this year's game, there was one especially puzzling T-Mobile ad promoting gender and racial equality, in which a camera slowly hovers over a rainbow of baby faces as the narrator whispers a few apolitical lines about how everyone deserves a fair shot in life. Icons like Beyoncé, David Bowie, and Jennifer Lopez glockenspieled pop-punk bands like Blink-182, Green Day, and Rancid gently woodblocked grunge bands like Stone Temple Pilots, Soundgarden, and Smashing Pumpkins xylophoned to put the 0-to-9-months crowd to sleep.īeneath the hit-filled playlists of Spotify and YouTube is an entire shadow world of babified rock, pop, hip-hop, EDM, country - really, most any genre of music - swimming concurrently to adult-person music, most recently broaching the surface of public consciousness during this year's Super Bowl. Songs by metal bands like Iron Maiden, Slayer, and (deceptively) Babymetal have been decelerated and marimbafied for the ears of infants. There is not one, nor two, but at least three albums of Tool songs transposed into lullabies.
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