The world of music is filled with unforgettable names. But for some musicians, achieving success comes with the need to shed, or at least obscure, their real identities. Whether it’s to dodge contractual restrictions or to prove a song’s merit on its own terms, there are plenty of reasons why a rockstar might choose to operate under a pseudonym.
Take Elton John, for example. Before becoming a household name, the legendary musician donned the alias “Rockaday Johnnie” to contribute to a Jackson Browne song. This wasn’t a whimsical choice – it was a necessity to avoid work permit issues in the US.
Similarly, Paul McCartney once concealed his involvement in a hit song for Peter and Gordon, opting for the pseudonym “Bernard Webb” to see if the music itself could stand out, independent of his established fame.
Intrigued by these musical chameleons? Dive into our list below to discover 16 rock stars who rocked out under pseudonyms. You might be surprised to learn the true identities behind some of your favorite songs!
Bob Dylan: Jack Frost
Bob Dylan’s search for a fulfilling recording experience has been a long and winding road. In a 1999 interview with Guitar World, he expressed frustration with early producers who focused solely on capturing his vocals and original songs. “There was never enough work put into developing the orchestration,” Dylan lamented, “and that always made me feel very disillusioned about recording.”
This dissatisfaction may have been a catalyst for Dylan taking more control behind the scenes. Starting in 1990, he began self-producing a significant portion of his music. To mark this shift, Dylan adopted the intriguing pseudonym “Jack Frost” on the credits of many subsequent albums.
Paul McCartney: Bernard Webb, Apollo C. Vermouth, Paul Ramon, Clint Harrigan, Percy ‘Thrills’ Thrillington
Paul McCartney wasn’t afraid to shed his famous persona for some creative projects. Throughout the years, he donned various pseudonyms. In 1965, he wrote “Woman” for Peter and Gordon under the name Bernard Webb. He used Apollo C. Vermouth for producing the Bonzo Dog Doo-Dah Band’s “I’m the Urban Spaceman” in 1968.
The following year, he became Paul Ramon while contributing to Steve Miller’s “My Dark Hour”. Other aliases included Clint Harrigan for Wings’ Wild Life sleeve notes and Percy “Thrills” Thrillington, who produced the instrumental Thrillington album in 1977.
The Rolling Stones: Nanker Phelge
In the early 1960s, the Rolling Stones sought a way to ensure all members – Mick Jagger, Brian Jones, Keith Richards, Charlie Watts, Bill Wyman – and their manager, Andrew Loog Oldham, benefited from their songwriting. The solution? Nanker Phelge, a funny pseudonym used between 1963 and 1965 for group compositions.
As Bill Wyman explained, it ensured “the entire band would share writing royalties.” The name itself was a playful combination: “Phelge” came from a flatmate, while “Nanker” was a silly face the band members liked to pull. Songs like “Little by Little” and “2120 South Michigan Avenue” were credited to Nanker Phelge, reflecting the band’s collaborative spirit.
Prince: Jamie Starr, The Starr Company, Joey Coco, Alexander Nevermind, Christopher
Prince, much like Paul McCartney, wasn’t content with just one name. Throughout his career, he adopted various pseudonyms for his songwriting and production work. Between 1981 and 1990, he used the name Jamie Starr to produce all four albums by The Time.
He also used pseudonyms like The Starr Company, Joey Coco, and Alexander Nevermind to write songs for artists like Sheila E., Kenny Rogers, and Sheena Easton. Perhaps most surprisingly, he used the simple name Christopher when he wrote the Bangles’ hit “Manic Monday.”
Neil Young: Bernard Shakey
Neil Young isn’t just a legendary musician, he’s also a filmmaker with a hidden identity. For over four decades, he’s directed five films under the pseudonym Bernard Shakey. These films include cult classics like Rust Never Sleeps and Human Highway.
The nickname “Shakey” came from his friends’ observations of his, well, shaky home movie camera work. As Jimmy McDonough, author of Neil Young’s biography Shakey, told NPR in 2002, Young’s camerawork had a certain… distinctive quality.
U2: Passengers
U2 decided to shed their usual sound for a creative detour in 1995. Partnering with Brian Eno, they recorded an entire album under the name Passengers called Original Soundtracks 1. The album featured a collection of songs, mostly for imaginary films.
The band embraced improvisation, letting ideas flow freely in the studio. “We wanted to work with Brian Eno on something that wasn’t a U2 album,” explained guitarist The Edge. “We had been fans of his work for such a long time. We went into the studio with Brian, really just to explore this idea of collaborating, songwriting, composing, whatever you want to call it together.”
George Harrison: L’Angelo Mysterioso
George Harrison wasn’t afraid to break the mold, even with simple songwriting credits. In 1969, he co-wrote the Cream song “Badge” on their album Goodbye. However, contractual limitations kept him from using his real name. Enter L’Angelo Mysterioso, the alias Harrison donned for the occasion.
This practice of using pseudonyms was fairly common in the 60s and 70s, as artists from different labels often faced restrictions on collaborations. Ironically, Eric Clapton, who played the iconic solo on Harrison’s “While My Guitar Gently Weeps”, went uncredited for his contribution.
Thom Yorke: Sisi BakBak
In 2012, a head-scratching remix of Sbtrkt’s “Hold On” hit the internet. Credited to the enigmatic Sisi BakBak, the track sent music fans on a wild goose chase to uncover the remixer’s identity. For two years, speculation swirled, with some even questioning if Sisi BakBak was a real person.
The mystery was finally solved in 2014 when the remix mysteriously appeared on Radiohead’s website, nestled under the “Thom Yorke / Atoms for Peace” section. This revelation sent shockwaves through the music world, proving that the enigmatic Sisi BakBak was none other than Radiohead’s own frontman, Thom Yorke.
Elton John and Bernie Taupin: Ann Orson and Carte Blanche
Even legendary duos like Elton John and Bernie Taupin enjoy a bit of creative anonymity sometimes. Their smash hit “Don’t Go Breaking My Heart” wasn’t credited to them at all, but rather to the pseudonyms Ann Orson and Carte Blanche. This playful wordplay references “a horse and cart” and “carte blanche”, hinting at their songwriting partnership.
John, however, wasn’t new to using aliases. A few years earlier, he played piano on Jackson Browne’s “Redneck Friend” under the name Rockaday Johnnie. This was reportedly because he hadn’t secured his U.S. work permit yet.
John Lennon: Dr. Winston O’Boogie, John O’Cean, Dwarf McDougal, Reverend Fred Gherkin, Mel Torment, Etc.
John Lennon, the undisputed pseudonym king of the Beatles, used a dizzying array of aliases throughout his career. His playful personality shone through in these fictional names. Some highlights include Dr. Winston O’Boogie, his chosen credit for contributions to Elton John’s recording of “Lucy in the Sky With Diamonds”.
He also donned the persona of John O’Cean for Yoko Ono’s 1973 single “Woman Power”. The Walls and Bridges album became a playground for his creativity, featuring names like Dwarf McDougal, Rev. Thumbs Ghurkin, and even Mel Torment, a cheeky nod to singer Mel Torme.
The Traveling Wilburys: Lucky, Otis, Charlie T., Lefty, Nelson
The Traveling Wilburys weren’t your typical supergroup. Sure, they boasted a collective resume that could break the internet – George Harrison, Bob Dylan, Tom Petty, Roy Orbison, and Jeff Lynne. Rock and roll royalty, all under one roof. But the Wilburys transcended mere musical pedigree. They brought a sense of fun and camaraderie to the project, a spirit perfectly captured by their use of pseudonyms.
These weren’t just stage names; they were a wink to the fans, a way of saying, “Hey, we’re just a bunch of guys having a blast making music together.” The lightheartedness of the Wilburys’ alter egos perfectly complemented their easy-going sound, making them a true musical gem.
The Clash: The Lash
The Clash, known for their rebellious spirit, even found a way to bend the rules with pseudonyms. In 1983, contractual obligations forced them to adopt a temporary alias: The Lash. This one-off name change came for a collaboration with cabaret singer Janie Jones (a friend of Joe Strummer’s) on the single “House of the Ju Ju Queen.
It wasn’t a complete departure from their identity, though. Interestingly, the Clash’s debut album opened with a song titled “Janie Jones”, a connection that hints at a playful in-joke with their short-lived pseudonym.
Freddie Mercury: Larry Lurex
Before Queen’s meteoric rise, Freddie Mercury dabbled in a little-known side project. In the early 70s, Robin Geoffrey Cable, a house engineer at Trident Studios (owned by Queen’s manager), was working on his own music. He enlisted a young Freddie, alongside Brian May and Roger Taylor, to contribute.
To keep things lighthearted, Cable crafted a playful pseudonym for the frontman: Larry Lurex. “Robin liked the idea of spoofing Gary Glitter and the Glam Rock movement,” Brian May later recalled, “so he came up with ‘Larry Lurex!’ So in a sense, our first ever release on vinyl was under the name ‘Larry Lurex’.”
Ringo Starr: Richie Snare
Ringo Starr’s musical ventures weren’t always under his famous name. Back in 1972, he lent his drumming talents to Harry Nilsson’s song “Spaceman”. But on the album credits? Look for Richie Snare – Ringo’s playful pseudonym for the occasion.
Interestingly, this wasn’t the only time a Beatle went undercover on Nilsson’s Son of Schmilsson album. George Harrison also made a guest appearance, laying down some smooth slide guitar on the track “You’re Breakin’ My Heart”. To keep the surprise going, he used the alias George Harrysong.
Dave Grohl: Dale Nixon
Before achieving rock royalty status with Foo Fighters, Dave Grohl dabbled in creative anonymity. In 1992, he donned the pseudonym Dale Nixon when drumming for Buzz Osbourne’s project, King Buzzo. This playful alias may have been a way to avoid conflicts with Nirvana’s record label at the time.
Interestingly, this wasn’t Grohl’s only foray into hidden identities that year. He also unleashed his own solo cassette album, Pocketwatch, under the name ‘Late!’. These early experiments hinted at Grohl’s diverse musical interests and his willingness to explore beyond the confines of his main band.