9 rock music alter egos that created some great music

What’s the advantage of adopting an alternate persona as a rock artist? Many personal, creative, or other motives might be behind this, and some even argue that the use of alter egos in rock music is one of its defining characteristics. This perspective is shared by numerous rock critics and academic scholars.

Rock musicians and bands often decide to adopt a different persona for various reasons. One common reason is to broaden their creative horizons or, put simply, to experiment with something new. Another reason might be more personal – they may want to create a separation between their public image and their real self, especially as fame can bring unwanted attention.

Alternatively, it’s possible that the variety in your behavior stems from distinct characteristics embedded within you. It could also be that you wish to express your thoughts on society, the music industry, or any other topic you haven’t previously voiced under your (or the group’s) banner.

Alter egos of rock gods that were part of making great music

Indeed, some artists may choose to adopt a pseudonym, an alias, or an alter ego from the very beginning of their careers. For instance, Don Van Vliet launched his career as Captain Beefheart, but used his real name solely for visual artworks. Similarly, Charles Thomson debuted in music as Black Francis with the Pixies, later opting to be known as Frank Black when he embarked on a solo journey.

Typically, musicians or bands often adopt pseudonyms as they progress in their careers, looking to experiment with new styles or ideas. This approach has led to some exceptional music being produced. The band we’re discussing is one such example.

David Bowie as Ziggy Stardust/Aladdin Sane/Thin White Duke

Certainly, David Bowie is widely recognized as a pioneer in adopting different stage personas within the realm of rock music. He produced remarkable music under his own identity or any of the multiple ones listed below, with Ziggy Stardust being his most famed. Unlike typical alter-egos, Bowie’s creations encompassed more than just musical experimentation; he developed comprehensive personas and theatrical concepts that existed independently.

Here’s a brief list of some of his notable personas:

1. Ziggy Stardust
2. Aladdin Sane
3. The Thin White Duke
4. Jareth the Goblin King (from the film Labyrinth)

Neil Young as Bernard Shakey

Young’s musical talent was unique and distinct, making it challenging to produce something different while still using his real name. Instead, he adopted the persona of Shakey as an experiment in film directing. The three films he directed under this pseudonym, “Journey Through the Past” (1973), “Rust Never Sleeps” (1979), and “Human Highway” (1982), were all marked by their musical themes and individuality.

Paul McCartney as Percy Thrillington/The Fireman

In 1971, Paul McCartney’s “Ram” album faced a lot of criticism from several critics. Perhaps this influenced his decision to re-record the album as a big band version titled “Thrillington” (released in 1977) under an alias, Percy ‘Thrills’ Thrillington. It wasn’t until 1989 that he revealed it was actually him who made the album.

About a year after, he too felt compelled to explore electronic or ambient music. Under his pseudonym, The Fireman (produced by Youth), they began collaborating on this new venture. Their works, such as “Strawberries Oceans Ships Forest” and “Rushes,” were an amalgamation of loops, textures, and experimental soundscapes.

Prince as Jamie Starr and Camille

Back in the day, much like how Bowie transformed his soundscapes, I found myself yearning for change too. As Prince, I kicked off my musical journey, but eventually felt the itch to explore different personas, just like the Chameleon himself. So, I dabbled in creating tunes not only for me, but also for a handful of other artists.

As Camille, I underwent a total transformation and even though no official music was credited to this persona, some tracks I had originally created under that alias, with my vocals sped up, found their way onto “Sign o’ the Times” (1987), one of my most celebrated works. Simultaneously, I was using Jamie Starr as a pseudonym to produce and mentor the soul/R&B legends, The Time.

Paul Westerberg as Grandpaboy

When Paul Westerberg, the lead singer of The Replacements, opted to leave the band (as their last album was essentially his work), he embarked on a two-pronged solo recording journey. Using his own name, he carried forward the musical path initiated with the final iteration of The Replacements. Meanwhile, under the pseudonym Grandpaboy, he chose to explore a more gritty, loud, and bluesy sound.

XTC as The Dukes of Stratosphear

Through their 1982 album “English Settlement”, XTC earned the title of a serious and sophisticated pop/rock band with a strong emphasis on melody, according to some rock critics. However, in the mid-1980s, they chose to produce two albums that were entirely dedicated to psychedelic rock, complete with a temporary overhaul of their image. Remarkably, these experimental albums were just as successful and even outperformed their ‘official’ releases, offering a comprehensive psychedelic review of sorts.

Todd Rundgren as Nazz / Runt / Utopia

Rundgren consistently proves himself to be a master of transformation, continually evolving musically. As the founder of Nazz, he pioneered power pop. Transforming into Runt, he honed his skills as a studio whiz, enhancing his music with available resources. Under the Utopia moniker, he explored the expansive realms of progressive rock. And under his own name, he’s added some unique twists – such as his bossa nova album, “With A Twist,” released in 1997.

David Johansen as Buster Poindexter

As a die-hard rock enthusiast and fan of the glam era, I’ve seen my share of bands that were more famous for their flashy looks than their music. However, the New York Dolls bucked this trend – they owned it all: the raw, gritty sound, the electrifying energy, and the iconic image that still resonates today.

But when the band disbanded, their charismatic frontman, David Johansen, seemed to distance himself from both the original hard-rocking spirit and the distinctive identity of the Dolls.

He chose to adopt the role of a crooner, using Buster Poindexter as his stage identity, which brought him success, but eventually he grew tired of it and returned to performing under his original name.

Will Oldham as Bonnie “Prince” Billy

In the ’90s, Joseph Will Oldham embarked on his musical journey under various Palace aliases: Palace Brothers, Palace Songs, Palace Music, and just Palace. While these names might suggest different groups, they were essentially Oldham working with assistance from other musicians.

Later on, he released one album under his personal name, Joya, in 1997. However, he mostly returned to being recognized as Bonnie “Prince” Billy. Throughout this time, his distinctive voice, unconventional lyrics, and eclectic songwriting style-ranging from alt-country to psych rock, with numerous collaborations, and even venturing into electronics alongside Bitchin’ Bajas-remained consistent.

2025-09-10 13:00