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Devoted readers of The Mix (hi, mom!) might remember that my last Friday Mixtape was called Piano Jamz, and consisted of jams featuring pianos. That playlist was kind of a happy accident: by simply culling together a bunch of songs I dug that featured one or more of those 88 keys, I managed to crisscross a whole slew of genres, eras, sounds, etc. It was a neat exercise, and so I've tried again, this time with horns. The brass in these jams is all over the place -- it's featured front and center, during solos, and is occasionally so cleverly deployed you won't even recognize it as brass at all (dig experimental saxophonist Colin Stetson's mind-bending "Judges," which is one guy, one horn, and no effects or loops (seriously)). Stylistically, we range from classic brawny rock to excitable indie rock to orchestral trip-hop to hip-hop to, of course, jazz. No Horn Jamz playlist would be complete without Gerry Raferty and Chuck Mangione, and for those who didn't know Biggie sampled it, be sure to check out Herb Alpert's "Rise." Finally, having come of age in the '90s Orange County ska revival scene, I had to throw in some No Doubt and Mighty Mighty Bosstones. Here's to stuff that blows.

Click here to listen to the entire playlist: Friday Mixtape: Horn Jamz

We all reacted to the horrible events of September 11, 2001, in our own ways — wherever we were, whatever we were doing, whichever CD or radio station or fizzy pop single we first reached for to help us cope. Here, Rhapsody's editors offer their own musical perspectives, from saber-rattling country to hopeful worship music, from pop-punk bromides to plaintive protest songs, from the momentary tentativeness of comedy to the fieriness of hip-hop to the transcendence of jazz. As Sonny Rollins put it, "Maybe music can help. I don't know, but we have to try something." Here's what we tried.

Sifting Through the Ashes in New York City

I was in Park Slope, Brooklyn, that morning, about to board the subway for work in Lower Manhattan, when my roommate told me I should turn the TV on. After the second plane hit, I went up to the roof of our apartment building and watched the smoke. Cars were dusted with ashes as far south as where I lived. I spent the day switching between staring at TV news and trying to drown out the hell in my head (and the fear that the Army might call me back up) with desolate ambient doomsday metal: Neurosis, My Dying Bride, Amorphis droning about mushroom clouds.

Live from Lollapalooza, here's our interview with singer-songwriter Ryan Bingham in which he discusses hanging with The Dude, T Bone Burnett's imposing stature, and the commonality between rodeos and the music business. Enjoy. Ryan Bingham Junky Star Fresh off of a most impressive Oscar win, Ryan Bingham doesn't use his time in the spotlight to write catchy, upbeat songs to expand his fan base. Instead, he lays out a sepia-toned world of down-and-out characters, desperate souls gone astray by design or circumstance. Producer T-Bone Burnett creates a crisp, uncluttered musical path for Bingham's gritty voice to wander. As Bingham introduces us to his set of characters, he weaves an intoxicating spell of desperation and heartache that sucks you in and changes your mood, making Junky Star an oddly powerful release. -LINDA RYAN

Interview with Titus Andronicus from Lollapalooza in which they discuss the unsung heroes of New Jersey, round-robin solos and quitting or not quitting the band (we're not sure). Titus Andronicus The Monitor Titus Andronicus are what happens when you combine literary nerdiness and history geekdom with punk zeal and an attitude perpetually set at pissed off. In other words, great music to get a little wild with, to blast when CNN is just too much to handle, and to shout along with (particularly with lyrics like "The enemy is everywhere"). The Monitor is the Jersey band's sophomore release and features guests by members of the Hold Steady, Vivian Girls, Ponytail, Wye Oak and more. As far as that history geekdom, the album's central theme is the American Civil War. Finally the 1800s are back in style. -STEPH BENSON

Interview with Dallas Green of City and Colour from Lollapalooza in which he discusses the Canadian folk festival circuit, winning over audiences and coming out as a musician with a diverse taste in musical genres. City and Colour Little Hell When Dallas Green isn't fronting post-hardcore troublemakers Alexisonfire, he can be found crafting melancholic acoustic balladry with a decidedly Jeff Buckley/Nick Drake vibe. Though Green's City and Colour project has all the feel and maturity of an idea born fully formed, it actually began as a casual affair around 2004. With his limited free time, the Canadian singer and songwriter would record rough demos, eventually filtering them out to fans via the Internet. The response was more than positive. In fact, it wasn't long before he decided to release a full-length, 2005's Sometimes. The album started off as a sleeper hit of sorts but eventually went platinum in his native land. Due to Alexisonfire's hectic touring and recording schedule, Green took nearly three years to release a follow-up. Bring Me Your Love came out in 2008, and unlike the intimate Sometimes, the record is an utterly grand affair, featuring a dizzying number of guest musicians and broad instrumentation. With its mix of tender folk and near-orchestral introspection, it has been compared to the Neil Young classic Harvest. Not bad for what began as a side project.

Interview with Cage The Elephant at Lollapalooza in which they discuss video games and other on-the-road distractions. Cage The Elephant Thank You Happy Birthday On their sophomore album, these Kentucky boys downplay the White Stripes inclinations of their 2008 debut, instead spreading their sound across the alt-rock map: Pixies, Flaming Lips, Modest Mouse, jangle-pop, ska, noise, grunge. Opener "Always Something" moves from "Rock the Casbah"-style Middle Eastern reggae to Beck-like rapping; the hipster-chiding "Indy Kidz" mixes dub with surf guitars; "Sell Yourself" is punk-funk about selling out; "Japanese Buffalo" starts out doo-wop, then stage-dives into the moshpit. The punk's more fun than the ballads, but even the latter get plenty of angst on. -CHUCK EDDY

Ellie Goulding interview from Lollapalooza in which she discusses a writing retreat in Ireland, American architecture and her quest to find suitable collaborators. Ellie Goulding Lights If nothing else, Ellie Goulding's debut proves how translatable the concept of an icy blonde singer with a feathery gasp of a voice and a pleasant, polite beat is. Lights takes that core concept and runs it through frosty Euro-dance, otherworldly indie electro, mournful alt-rock (think: Cranberries), slightly creepy alt-rock (think: Kate Bush), even a wee bit of rom-com soundtrack-ready adult alt. A girl could get lost in all those stylistic twists and turns! Goulding, however, is a quietly compelling presence who subtly makes each song, each style bend to her wistful, winsome will. - RACHEL DEVITT

Slug of Atmosphere interview from Lollapalooza in which he discusses the last ten years of Indie hip hop, unwritten rules about wearing shorts and what to do if your boyfriend leaves you. Atmosphere The Family Sign With a sound reminiscent of 1990s slacker rock, the Atmosphere of 2011 has strayed far from Lucy Ford and its "emo-rap" salad days. No longer just Slug and Ant, the group has expanded to a five-piece band, and it makes a racket of loose grooves and echoing guitars on The Family Sign. Slug remains an underrated storyteller, delivering a haunting tale of a camper eaten by wolves on "Became," and cautioning an abused woman on "The Last to Say." Sometimes he undermines himself with corny hooks, though, adding "Bad Bad Daddy" to a decent lyric about an alcoholic father. - MOSI REEVES

The Pretty Reckless Light Me Up Interview with The Pretty Reckless at Lollapalooza during which Taylor Momsen debunks internet rumors and shares the wonders of lights for rock bands.

Mayer Hawthorne interviews Rhapsody at Lollapalooza. Discussion topics include fashion (boat shoes), politics (running for office, the debt ceiling) and Peanut Butter Wolf. Mayer Hawthorne A Strange Arrangement The debut from this white, Michigan-bred former hip-hop DJ re-creates the sound of Motown classics and other falsetto-laden AM-radio gems, complete with sparkling, horn-specked production and G-rated come-ons. With his thin but sweet croon, Mayer Hawthorne floats over the ballads, but the two best tunes are uptempo: The killer-chorused "Your Easy Lovin' Ain't Pleasin' Nothin' " and "One Track Mind," a Temptations-style plaint about a high-maintenance lady whom you'll swear you've heard on an oldies station — and liked a lot. - CHRISTIAN HOARD

Interview with Tinie Tempah from Lollapalooza 2011 in which he talks festival survival tips (baby wipes!), progress on his next album and possible collaborators like Lykke Li and Skrillex. Tinie Tempah Disc-Overy For the U.S. version of his U.K. hit Disc-Overy, London rapper Tinie Tempah fashions himself as a hitmaker like B.o.B and Wiz Khalifa (the latter of whom guests on "Till I'm Gone"). He proves it with electro-tinged rockers like "Illusion" and progressive house anthems like "Miami 2 Ibiza." Save for the autobiographical "Let Go," most of his songs revolve around partying in the club and the hookups that follow. "Tic-toc, check my Rolie wristwatch/ F*ck how much a drink costs we about to kick off," he promises on "Simply Unstoppable." Disc-Overy is lightweight fun. --Mosi Reeves

Black Cards Dr. Jekyll And Mr. Fame Watch Bebe Rexha and Pete Wentz from Black Cards talk about their new project at Lollapalooza 2011.

Interview with The Naked and Famous from Lollapalooza 2011 in which they discuss pants-wearing in extreme heat, the perils of wearing black boots on stage and the moment the call came telling them to quit their day jobs. The Naked And Famous Passive Me, Aggressive You They have a name that'll turn up some questionable web search results, but that's not what this New Zealand bunch is positioned to capitalize on. It's the fat beats, electro flashes, abrasive guitar static and catchy, shout-along choruses that are as in-your-face as a rave doused in glow-stick goo. The Naked and Famous have the youthful giddiness of Passion Pit and just a bit of MGMT's sarcasm, but they also channel NIN's The Fragile on tracks like "The Source" and "The Sun." And it works, because anything lit with so much neon shines brightest in the dark. --Steph Benson

Interview with Grace Potter of Grace Potter & The Nocturnals from Lollapalooza 2011 in which she reveals the contents of her festival satchel, talks Kenny Chesney, and the spirits of Red Rocks. Grace Potter & The Nocturnals Grace Potter & The Nocturnals In the burlesque-themed video for "Paris (Ooh La La)," Grace Potter and the Nocturnals' breakout single in 2010, the band is framed as sassy rockers. Dancing underneath shimmering chandeliers, Potter and bassist Catherine Popper are wild and scandalous, sporting an enticing miniskirt and sequined hot pants, respectively. Ironically, the group's roots are way earthier than this slice of sexiness implies. Based in Waitsfield, Vt., Potter and the Nocturnals originally made a name for themselves on the jam-band scene. Tallying an average of 200 shows a year in the mid-2000s, the group honed its 1970s-loving fusion of Americana and soul-funk while sporting more, uh, modest apparel. After signing with Hollywood Records, they released 2007's This Is Somewhere. It sold well enough, but it was obvious the label wanted to make the band -- Potter in particular -- into pop stars. For a follow-up, the group decided to overhaul both their image and sound. They also replaced bassist Bryan Dondero with their second bombshell (Popper). Grace Potter & the Nocturnals, released in 2010, found the band taking a stab at Black Keys-inspired rock 'n' roll. It's hip, groovy and decidedly retro.

Interview with Cults from Lollapalooza 2011 in which they discourage anyone from moving to New York, relate the joys of noise canceling headphones and the emphasize importance of scheduling time to do absolutely nothing. Cults Cults Couple/duo Brian Oblivion and Madeline Follin started Cults as a way to test out the playful experiments conducted in their NYU digs. Single "Go Outside," a soul-pop confection laced in glockenspiel, brought on blog buzz; roughly a year later came this, their full-length debut. Cults is shamelessly retro, fluttering between the reverb flush of The Raveonettes and the bittersweet effervescence of '60s girl groups. Follin's coos are alternately pining and distant, as the rhythms rock flirtatiously and the guitars jangle in a reverb haze that occasionally dips its toes in the Cali surf. - Steph Benson

When I tell people I work in the music biz, the first question they ask is the obvious one: "What types of music do you like?" I find this akin to asking a chef their favorite food, or a pedophile their favorite Haley Joel Osment movie. I didn't gravitate toward this field because I wanted to lobby for the cultural merits of early-'80s straight-edge or West Coast cool jazz (though I would, happily, for both). I landed here because I find it endlessly fascinating that so many different types of folks choose to express themselves so differently using music, and that they do it over and over again, and have been for literally millennia. I love the mess of it all, not to mention the fact that it thrives in spite of -- at least in the last 100 or so years -- a massive capitalist machine whose inner workings are as calculating and mechanical as an auto mill's (and this is coming from someone who's part of that machine). It's pretty amazing when you think about it. I mean, like -- take that, painting.

Anyway, I'm rambling. The point I'm trying to make is that I listen to a lot of different sh*t. For my Friday Mixtape, I chose to slice that mélange according to a single criteria: piano. The tracks featured here all feature piano. They span decades and genres, styles and themes. And someone else, using the exact same criteria, would choose a completely different set of them. Mine is special to me for no coherent reason I can discern. Perhaps it'll be special to you too, and if not, well, there's plenty of other good sh*t out there.

Click here to listen to the entire playlist: Friday Mixtape: Piano Jamz