The Life and Death of Grunge

Get ready for a doozy of an entry, readers. This week, I’m going to tackle an entire genre of music: grunge (the genre part is questionable). So let’s take a close look at the ‘90s phenomenon we all know and (possibly) love.

Where Did Grunge Come From?

Grunge (or the Seattle sound) emerged in--you guessed it--Seattle in the mid-‘80s. The term was first used in 1981 by Green River vocalist Mark Arm in a letter he wrote to Seattle zine Desperate Times. Mark was “criticizing” his first band, Mr. Epp and the Calculations, calling them “Pure grunge! Pure noise! Pure shit!”

But Mark admitted that he had snagged the term from Australia, and didn’t use it as the official name of the genre. It was Sub Pop founder Bruce Pavitt who actually popularized the term by dubbing the bands on his label as “grunge.”

Grunge as a genre was a result of Seattle’s isolated music scene. It evolved from the punk scene, inspired by bands like The Fartz, The U-Men and the Fastbacks. Bands outside the Pacific Northwest (Sonic Youth, Pixies, Dinosaur Jr.) also influenced the grunge scene, along with Black Flag’s change of pace on 1984’s My War.

How Would You Describe Grunge?

This genre definitely has a specific sound. It’s kind of a mix of hardcore punk, heavy metal and the general “alternative” sound.

Grunge is typically characterized by sludgy guitars, fuzz pedals, a ton of distortion and growly, almost incomprehensible vocals. It shares more in common with punk than anything else. The only differences between punk and grunge are tuning and tempo. And like punk, grunge puts on this air of not giving a fuck about melodies while still having discernable melodies.

Most grunge songs address some form of alienation or apathy. There isn’t much rebellion behind tunes like “Smells Like Teen Spirit” and “Black Hole Sun.” But of course there’s some humor behind all that lethargy. Soundgarden’s “Big Dumb Sex” satirizes hair metal (fairly accurately, too).

Jon Wiederhorn of Guitar World once wrote, “So what exactly is grunge? Picture a supergroup made up of Creedence Clearwater Revival, Black Sabbath and The Stooges, and you’re pretty close.” And you know what? That’s a pretty accurate statement.

So Who’s Grunge Again?

Some of the first bands labeled as grunge were Green River, Soundgarden, Melvins, Malfunkshun and Skin Yard. Notice that Nirvana is nowhere in that lineup because they came after the establishment of the genre.

At first, the term “grunge” only applied to bands from the Seattle area, including Alice In Chains, Mudhoney, Screaming Trees, Pearl Jam and yes, Nirvana. As the Seattle sound began to creep out of the Pacific Northwest, similar-sounding bands (not necessarily copycats) fell under the same label, including Babes in Toyland and Stone Temple Pilots.

People like to argue over which bands are really grunge and which bands are “posers.” (Do people still use the term “poser,” or is that just a middle school thing?) Though I believe it’s just plain silly to be so concerned over a certain band’s genre, it’s my understanding that only bands that came out during a specific time frame (and a specific area, to a certain extent) can be classified as grunge.

As a serious ‘90s scholar (can I put that on my résumé?), I would put the official grunge reign between 1984 and 1994. It all started with Green River and Soundgarden, and officially ended with Kurt Cobain’s suicide in 1994.

Anything after 1994 is post-grunge, a more radio-friendly version of its gnarly predecessor. Post-grunge bands include Bush, Collective Soul, Foo Fighters and Creed (all of which I enjoy, so sue me).

Is Grunge Dead?

Yes. Yes, it is.

Grunge as a music genre has been dead since 1994 and I will fight anyone who disagrees with me. Though I don’t really like to make it seem as if Kurt Cobain was the only guy in the scene who mattered, his death definitely marked the end of an era. Sure, other Seattle bands went on to release more albums (Pearl Jam has had a pretty lucrative career), but grunge was done for.

So what happened?

Well, the alternative music scene of the ‘90s was exploding with a variety of bands hitting it big. As grunge’s popularity began to wane, it was usurped by post-grunge, Britpop and pop-punk. Everything suddenly became more radio-friendly and much less angsty. Britpop bands brought back keyboards, post-grunge bands asserted some masculinity and pop-punk bands picked up where The Ramones left off. Nobody was jamming to songs like “I Hate Myself and I Want to Die” anymore.

Blur frontman Damon Albarn commented on grunge’s decline in a 1993 interview, saying, “If punk was about getting rid of hippies, then I’m getting rid of grunge.” And a year later, it was all over.

Another contributing factor to this genre’s demise is its quick and ruthless commoditization. By the time Nirvana found its way into the mainstream, Kurt’s hobo-chic style was already being sold to Generation X. When the dress code becomes more important than the music, you’ve got a problem on your hands.

MTV also had a hand in destroying the scene. The rise of music videos meant the rise of exposure, and ultimately the rise of an entire culture based on television. MTV sold a product, and that product was alternative culture. (If you’re interested in a more in-depth analysis of MTV in the ‘90s, take a peek at this entry.)

☯✞ Follow for more Soft Grunge ✞☯

Nowadays, grunge is kind of a punch line. Even I tend to joke about feeling “grunge” on a daily basis. And with the rise of Internet culture and the burgeoning market of ‘90s nostalgia, we’ve strayed so far from the original meaning behind the term. There’s even this weird subculture lurking on Tumblr that labels itself as “soft grunge.” (Spoiler: it has nothing in common with ‘90s grunge and it’s kind of hilarious.)

Grunge was a fad that ended at an appropriate time, as most fads tend to do. You don’t have to like it, but you have to admit it had a huge impact on popular culture. So don’t cry because it ended, dear readers. Smile because it happened. And maybe cry a little because Kurt Cobain died 20 years ago this month.

-- Sam Boyer, reporting from the ‘90s

The MTV Generation

Well, hello there, loyal readers! In case you haven’t already noticed, I’ve decided to do something a little different this week. In lieu of the usual artist spotlight, this week’s entry will be about a little something called MTV—more specifically, about how MTV shaped the music industry in the ‘90s.

We will delve deep into a time when MTV actually played music (and why it makes sense that they don’t anymore), with emphasis on the most successful directors, VJs, music series and original programming. So let’s get to it!

A Brief History

Some of you may already be familiar with MTV’s beginnings. Since we’re only looking at one decade of programming, I’ll brief you on the embarrassing early years of MTV in the ‘80s.

The concept of a music-based television channel started with Sight On Sound, a specialized channel available on the interactive QUBE service based out of Columbus, Ohio. That channel only played live band footage, but it was an inspiration nonetheless.

Music videos weren’t a new concept by the ‘80s, either. Back in the ‘70s and even in the late ‘60s, very cheap (and very cheesy) videos were used as promotional material for bands. Even The Beatles had music videos (and boy, were they weird).

MTV premiered on August 1, 1981 with perhaps the most presumptuous (and coolest) broadcast intro in history—a proverbial “lift-off” featuring footage from the first Space Shuttle launch of the Columbia. The words, “Ladies and gentlemen, rock ‘n’ roll” ushered in a new medium of music consumption.

The very first music video ever played on MTV was The Buggles’ “Video Killed the Radio Star” (an appropriate choice). The network’s effect on record sales was almost immediate—artists such as Men at Work, Bow Wow Wow and The Human League got exponentially more attention, and MTV’s attention on non-US bands sparked the Second British Invasion.

Most of the early programming consisted of your run-of-the-mill promotional videos with some live footage thrown in for good measure. To break up the 24-hour music video format, MTV hired VJs (or video jockeys) to introduce new videos, relay music news and just generally promote the network. The original five MTV VJs were Nina Blackwood, Mark Goodman, Alan Hunter, J.J. Jackson and Martha Quinn.

MTV started broadcasting special events in the mid to late ‘80s, including the Video Music Awards (started in 1984) and Spring Break (started in 1986). Other original programming soon followed, and by the early ‘90s, MTV had become an entity much larger than anyone could have predicted.

The Alternative Explosion

Punk really didn’t break until 1991, but MTV was ahead of the curve in 1986. The network began airing an original show called 120 Minutes, which catered to alternative and “underground” bands of the late ‘80s and early ‘90s, such as The Jesus and Mary Chain, New Order and Butthole Surfers.

In 1991, a little ditty called “Smells Like Teen Spirit” premiered on 120 Minutes, but soon became so popular that it was moved to regular daytime rotation. Once Nirvana proved successful, MTV added bands like Soundgarden, Alice In Chains and Nine Inch Nails to their regular rotation. Soon, alternative rock and grunge had become as mainstream as Madonna.

I think we all like to point to Nirvana as the instigator of all this mainstream business, but let’s be honest—MTV was really the mastermind behind it. Nirvana’s success was directly affected by the video for “Smells Like Teen Spirit.” Sure, the song was getting airplay on radio stations, but the band’s image was a huge contributing factor.

And that’s what MTV sells—not necessarily music, but an image. It was more about the music in the ‘80s, but by the ‘90s, everything kind of shifted to the artist as a product. Grunge (which I typically characterize as a fad rather than a music genre) was everywhere in the early ‘90s, and MTV helped cultivate it, package it and sell it to its viewers.

Now, this doesn’t make MTV the enemy (though I’m sure some would disagree with me). There’s nothing wrong with being mainstream, despite what your unfriendly neighborhood music elitist might tell you. MTV just embraced “alternative” culture because, well, it looked cool. In fact, the term “alternative” is kind of ironic considering just how popular the “alternative” style was in the ‘90s. (Side note: There’s a wonderful article by Thomas Frank called “Alternative to What?” that addresses this issue perfectly. Unfortunately, I don’t have a link for it here, so you’ll have to go hunting for it.)

The Music Video as an Art Form

Yes, the primary purpose of any music video is to promote a band, but that doesn’t mean a video can’t be cinematic masterpiece. By the early ‘90s, MTV was playing a plethora of new and interesting music, which required new and interesting videos to promote it.

Enter the music video director. After pressure from the Music Video Production Association, MTV began listing the names of directors at the bottom of videos, beginning in 1992. As a result, MTV’s audience became acutely aware of who exactly was making these short spectacles.

The ‘90s spawned some incredible music video directors, including Spike Jonze, Michel Gondry, Anton Corbijn, Samuel Bayer and Mark Romanek, to name a few. Soon, music videos became more like short films than promotional snippets of live footage.

I appreciate music videos more than I think I should. I think it’s because I enjoy film in general, and after all, music videos (well, most of them) are basically just short films. Though I could go on and on about videos of the alternative variety, I have to give props to the rap and hip-hop videos of the ‘90s. Some of the best ones were directed by Hype Williams, including Biggie and P. Diddy’s “Mo Money Mo Problems” and Missy Elliott’s “The Rain (Supa Dupa Fly).” Even if you don’t like hip-hop, you have to admit those are incredible videos (especially Missy Elliott).

Why Doesn’t MTV Play Music Anymore?

I’m sure everyone’s uttered this question aloud before. Even those of us who didn’t grow up with classic MTV seem to ponder this.

So what exactly happened to MTV after the ‘90s?

Well, once everyone started pirating music, the record companies lost a shit ton of money, which left almost nothing to spend on music videos. The only videos MTV can actually play are from mainstream artists you probably don’t like (i.e. Justin Bieber, Katy Perry, Miley Cyrus) because they have the money to pay for the videos. And even those videos are awful because they’re usually made up of 90% product placement (again, because of the whole no money thing).

Sure, we all miss watching music videos on MTV, but can’t you do the same thing with YouTube or Vimeo? You may miss the sometimes brilliant “alternative” programming of the ‘90s, but isn’t that just your nostalgia clouding your judgment?

But if you don’t believe me, give this video a gander. It explains everything (in a delightfully sardonic way).

-- Sam Boyer, reporting from the ‘90s. 

Sam's Top 24 Favorite Music Videos of the '90s (Part 2)

As a special Thanksgiving treat, here’s part two (the final part) of my Top 24 Favorite Music Videos of the ‘90s! Gobble gobble, my darlings.

12. “I Miss You” by Björk (1997), dir. John Kricfalusi (NSFW)

Björk has a lot of great videos, but I’ve always been drawn to this animated masterpiece. It has the same animation style as The Ren & Stimpy Show (probably because it was directed by the show’s creator, John Kricfalusi), which means it’s packed full of crude humor and surrealism. This animation style definitely suits an artist like Björk because it’s off-kilter and kind of unnerving. Warnings for cartoon nudity and some strange imagery that may not fly at work.

11. “Liar” by Rollins Band (1994), dir. Anton Corbijn

Henry Rollins is a god amongst men, and this video proves it. It starts simply enough—Henry struts around doing his jazzy, spoken-word thing in a couple different costumes (including a superhero and a cop). But as soon as the chorus kicks in, he goes full ape-man, jumping around the set covered in red body paint. If you want to know what Henry Rollins is all about, look no further than “Liar.”

10. “Intergalactic” by Beastie Boys (1998), dir. Nathaniel Hörnblowér

Ah, the Beastie Boys. I was torn between this video and “Sabotage,” but I have to be honest—I just love “Intergalactic” more. I mean, what’s not to love about this video? You’ve got robots, a giant squid monster and it’s all set in Japan. It’s the Beasties at their most irreverent, and boy, is it entertaining. The corniness of the special effects just makes it all the more hilarious.

9. “Let Forever Be” by The Chemical Brothers (1999), dir. Michel Gondry

You will see Michel Gondry again on this list because he’s just an amazing director. “Let Forever Be” is one of his best videos because it’s a perfectly synchronized, surreal dance epic. His work has a lot to do with dreams, and this video is no exception. It just looks like a dream with the camera angles, the color scheme and all the cool effects.

8. “Smack My Bitch Up” by The Prodigy (1997), dir. Jonas Åkerlund (NSFW)

Okay, this video is 100% not safe to view at work. Just warning you now. I actually did a presentation with “Smack My Bitch Up” in an English class last year, and let me tell you, the looks on people’s faces were absolutely priceless. Controversy aside, this video is incredible. It’s shot from a first-person perspective, which gives the whole thing a more intimate feel. We follow a particularly rowdy individual on a night out and things get a little extreme. This also has a great twist ending, but I won’t spoil it here. (Note: You may have to sign into YouTube to watch it, since it's age-restricted.)

7. “Closer” by Nine Inch Nails (1994), dir. Mark Romanek (NSFW)

Here’s another one you might want to save for a home viewing. “Closer” is a visually stunning video because it has a 19^th century torture chamber motif. Okay, so it’s just really creepy and I dig creepy videos. The editing in this video is pretty cool, too. In order for it to be shown on MTV, certain scenes had to be removed. They were replaced by a title card reading “Scene Missing.” And every time the word “fuck” had to be censored, the video appeared to stop, like a defective filmstrip. The film stock Mark Romanek used gives the whole video a nice vintage look.

6. “Losing My Religion” by R.E.M. (1991), dir. Tarsem Singh

This is a video that’s heavy in metaphorical imagery, but that’s what makes it great. There’s a lot of religious imagery here, but it’s not of the sacrilegious variety, as shown in “Closer.” The color contrasts are what really sold me—the video shifts between dark grays and browns in the band scenes and oversaturated colors in the other scenes. “Losing My Religion” is a gorgeously haunting song with an equally gorgeous music video.

5. “Everlong” by Foo Fighters (1997), dir. Michel Gondry

Didn’t I tell you that you’d see Michel Gondry again? This is definitely my favorite Gondry video. He still plays with the dream motif (this time by actually structuring the events of the video within a dream), but it has that trademark Foo Fighters humor to it. Also, Taylor Hawkins makes a surprisingly pretty woman.

4. “Longview” by Green Day (1994), dir. Mark Kohr

What’s a ‘90s countdown without Green Day? This was the band’s first music video, and it’s pretty underrated, if you ask me. It doesn’t have the cool special effects of “Basket Case” or the nice tracking shots of “When I Come Around,” but it perfectly captures the snotty essence of Dookie-era Green Day. Billie Joe Armstrong still has a nose piercing and the remnants of dreadlocks. Mike Dirnt and Tré Cool have enough pent up energy to rock out in a closet. This is what Green Day is all about.

3. “Heart-Shaped Box” by Nirvana (1993), dir. Anton Corbijn

Kurt Cobain had a particular vision for this video and Anton Corbijn executed it perfectly. “Heart-Shaped Box” is a surreal trip into Kurt’s imagination, complete with hospital beds, poppy fields, little girls in KKK uniforms, human fetuses dangling from trees and an old man representing Jesus in a Santa Claus hat. It’s creepy, but visually stunning.

2. “Criminal” by Fiona Apple (1997), dir. Mark Romanek

So if you read this blog on a regular basis, you already know that I’m in love with Fiona Apple. This is one of her best videos because turns the whole female exploitation thing on its head. Fiona was barely legal at the time, making the scenes of her mostly naked a little risqué. Though it was deemed controversial, the video was all Fiona’s idea. She said, “I decided if I was going to be exploited, then I would do the exploiting myself.” Nicely played, Fiona.

1. “Tonight, Tonight” by Smashing Pumpkins (1996), dir. Jonathan Dayton & Valerie Faris

There are too many things to love about this video. Based on the groundbreaking silent film, George Méliès’ A Trip to the Moon, “Tonight, Tonight” successfully evokes a sense of whimsy and pure magic. It’s almost frame-for-frame identical to the film, with shots of the band performing in the clouds added for good measure. I’m actually speechless when it comes to this video. It’s just perfect, okay? 

Sam's Top 50 Favorite Albums of the '90s (Part 5)

Here it is, folks—the final installment of my top 50 favorite albums of the ‘90s! Here you’ll see the coveted Top 10. Make sure to check out parts one, two, three and four before you start to complain about an album that appears to be missing.

10. OK Computer by Radiohead (1997)

This is a pretty obvious choice for a ‘90s Radiohead album. While I do like The Bends (and kind of, sort of enjoy Pablo Honey), OK Computer is by far the superior album of the three. Before this album, Radiohead was just another Britpop band trying to make it big across the pond. OK Computer has a much more experimental sound (though not nearly as experimental as something like Kid A or Amnesiac, both of which came right after this album), but it’s surprisingly accessible. “Airbag” is a killer opening track, and songs like “Karma Police” and “Lucky” have the power to reach a wide audience. Since I have a thing for long, multi-part songs, my favorite song on this album (and favorite Radiohead song in general) is “Paranoid Android,” a track with so many layers that I just want to curl up and live in it. While OK Computer isn’t my favorite Radiohead album of all time (that title belongs to Hail to the Thief), it’s still a flawless record in an objective sense.

9. The Downward Spiral by Nine Inch Nails (1994)

I’ve gushed about Nine Inch Nails plenty in my NIN entry, but let me just tell you how incredible The Downward Spiral is. The first NIN song I ever heard was “Closer,” and my little pre-teen mind was fascinated by the creepiness this band exuded. The Downward Spiral was recorded in the house where Sharon Tate was murdered by the Manson family, which makes the album all the more frightening. This is supposedly a concept album following an unnamed protagonist through his descent into his own psyche--and boy, is it twisted. The lyrics are pretty dark (see “Heresy” and “Hurt,” especially), but the instrumentation is really the most menacing aspect. Listen to the clicking backbeat in “Closer,” or the swirling chorus of screams in “The Becoming.” Scary, ain’t it? If I were able to include EPs in this list, Broken would probably top this album, but The Downward Spiral is an obvious winner for best NIN album of the ‘90s.

8. The Holy Bible by Manic Street Preachers (1994)

Oddly enough, I don’t think I’ve ever mentioned Manic Street Preachers on this blog before. The Holy Bible is honestly the only Manics album I really enjoy, and I think that’s because it’s one of the darkest. Musically, it’s deceptively catchy. But lyrically, it deals with everything from British imperialism and fascism to anorexia and the Holocaust. It’s very much a politically charged album, taking on both the British and American governments. “Ifwhiteamericatoldthetruthforonedayitsworldwouldfallapart” is an especially biting criticism of racism in the US (though bassist Nicky Wire has said it’s not a completely anti-American song). “4st 7lb” is a fairly intense portrait of an eating disorder. (Warning to readers who are sensitive to mentions of anorexia: DO NOT listen to “4st 7lb.”) The Holy Bible sounds a lot like a post-punk album, but it also invokes new wave, industrial, art rock and goth rock styles. It’s an unapologetic album and I really admire the band’s audacity to write about such serious subjects on a rock record.

7. The Fat of the Land by The Prodigy (1997)

I’ve always loved this album for nostalgic reasons, but now that I’m older, I can really appreciate how great of a record this is. I grew up listening to a lot of electronic music and The Prodigy eventually became one of my favorite bands. The Fat of the Land was always on repeat in my mom’s car, and I remember being so entranced with songs like “Breathe” and “Narayan.” This album has the perfect mix of pumped up tracks (“Smack My Bitch Up,” “Firestarter”) and musically layered spectacles (“Narayan,” “Climbatize”). The Fat of the Land, like The Downward Spiral and The Holy Bible, is a fairly controversial album (mostly because of “Smack My Bitch Up”), but don’t let that deter you. Even if you don’t like electronic music, you’ll probably like this.

6. Jagged Little Pill by Alanis Morissette (1995)

Angsty female singers of the ‘90s are my lifeblood. When I was younger, I wanted to be Alanis Morissette. Jagged Little Pill was Alanis’ first foray into alternative music, as her first two albums were of the dance-pop persuasion. But she sounds at home with the distorted guitars and harmonicas. The lyrical content always hits me hard, especially on tracks like “Perfect” and “Mary Jane.” There’s really a song for every mood on this album—“Mary Jane” is for those rough patches in life, “You Oughta Know” is for that awful breakup and “Head Over Feet” is for those special occasions when you find yourself in love with someone who really cares about you. So no, not all of Jagged Little Pill is endless angst, but even the slower songs have a certain intensity to them. Alanis isn’t afraid to get personal on this album and it definitely pays off.

5. Porno for Pyros by Porno for Pyros (1993)

I said this in my Jane’s Addiction entry, but I’ve always preferred Porno for Pyros over Jane’s Addiction. Perry Farrell is an entertainer, and Porno for Pyros always seemed like a better outlet for all that creativity than his first project. Of course, I still enjoy Jane’s Addiction (though not the more recent stuff), but this album just blows me away. When I went through my Woodstock ’94 phase (which I guess I’m still going through), I watched Porno for Pyros’ performance of “Cursed Female” and “Blood Rag” for the first time on YouTube. Both songs included a bit of performance art and I thought that was so rad. This band was edgy and psychedelic without trying too hard. Porno for Pyros is a fairly chill album compared to a typical Jane’s Addiction album, but the laid-back atmosphere is perfectly executed. The band’s second album is good, but not nearly as fantastic as this one. But apparently Perry and the gang are reuniting for a new PFP album soon. Fingers crossed.

4. In the Aeroplane Over the Sea by Neutral Milk Hotel (1998)

Let me just crack open a PBR and put on my hipster glasses for this one. But in all seriousness, In the Aeroplane Over the Sea is life-changing. I discovered this album during my senior year in high school, and I shit you not, it changed my life. Senior year was a really weird time for me and this album helped me get through it. I know it’s the quintessential “hipster” record (and yes, before you ask, I have it on vinyl), but that doesn’t make it any less amazing. Sure, Neutral Milk Hotel is not everyone’s cup of tea. I can understand why some people just don’t dig anything this band has every done. Jeff Mangum’s voice isn’t always pitch-perfect and the instrumentation is sometimes off. But the first time I heard the title track, I was somehow able to ignore all those minor issues. It’s very rare for me to fall in love with an album upon first listen, but In the Aeroplane Over the Sea won me over on the first try. I love the strange instrumentation (the band used everything from a singing saw to a shortwave radio) and I adore Jeff’s cracking voice. And yes, I still cry every time I listen to “Oh Comely” and “Two-Headed Boy Part 2.”

3. Mellon Collie and the Infinite Sadness by Smashing Pumpkins (1996)

This album is 100% nostalgia for me. I mean, a track like “1979” just sounds like how nostalgia feels. It’s so comforting. I feel like I could wrap Mellon Collie around me like a big fluffy blanket and just sleep in it. And if I haven’t already mentioned this about a million times already, I really love concept albums. According to Billy Corgan, this isn’t really a concept album, though—the two halves (Dawn to Dusk and Twilight to Starlight) represent day and night. Nevertheless, the musical diversity on Mellon Collie is impressive. The Smashing Pumpkins go from moody, hard rock riffs on “Zero” to string arrangements on “Tonight, Tonight” to playful electronic effects on “Lily (My One and Only).” Mellon Collie was the last really great Pumpkins album, in my opinion. This record, along with Siamese Dream, really defines the band.

2. In Utero by Nirvana (1993)

Yes, I’m one of those people who likes In Utero more than Nevermind. But that’s not because I think I’m too cool to like Nevermind (if you recall, it still made my Top 20). I prefer In Utero because it’s so much darker and definitely more personal than its predecessor. I like dark things—who knew? This album kind of hearkens back to Nirvana’s Bleach days, but it’s not as sludgy. There are some delicate tracks on here (see “Dumb” and “All Apologies”), but the majority of the album is a heavily distorted punch in the face. The opening track, “Serve the Servants,” uses a droning guitar riff that’s almost hypnotizing, “Tourette’s” is one big feedback fest and “Scentless Apprentice” features some of the dirtiest drum work (and gnarliest screams) I’ve ever heard. Whether we know the true meanings of these songs or not, I still believe Kurt Cobain bared his soul on this record.

1. Dookie by Green Day (1994)

Was there anyone out there who didn’t see this one coming? As I have mentioned countless times on this blog, Green Day is my favorite band, so of course Dookie is my favorite album of the ‘90s. Sorry that I’m just too predictable (but I’m not really sorry). But come on—Dookie is a really fun record. Even if you hate everything Green Day’s ever done, you probably still have a soft spot for this album. It’s snotty and brash while still being radio friendly. It has a song with one of the best bass lines I’ve ever heard (that would be “Longview”). It just makes me really happy, okay? “When I Come Around” was one of the first songs I ever remember hearing on the radio, and I would make up words to sing just so I could sing along. While Dookie isn’t necessarily the one album that truly defines me (if I had to choose one, it would probably be American Idiot), it’s still an amazing album. I can listen to every song about a million more times and I would still never get sick of any of them.

Sam's Top 50 Favorite Albums of the '90s (Part 4)

Sorry for no entry last week, my dear readers. I’ll make it up to you by skipping a regular entry in favor of part four of my ‘90s albums countdown! Check out parts one, two and three first.

20. When the Pawn… by Fiona Apple (1999)

If you were not already aware of how much I adore FionaApple, prepare for ultimate fangirl mode. Fiona is a queen and When the Pawn… is quite possibly my favorite album from her (her newest release, The Idler Wheel…, is a very close second). This album isn’t as jazzy as her debut, but Fiona manages to find the right mix of soulful and poppy. But there’s still some angst underneath all those gorgeous piano hooks, especially on tracks like “Limp” and “Get Gone.” Of course there are some general crowd pleasers (“Paper Bag,” “Fast As You Can”), but I think the real highlight on When the Pawn… has to be the final track, “I Know.” I saw this live and I won’t lie—I cried. “I Know” is a strikingly heartbreaking tune that shows off Fiona’s incredibly sultry voice perfectly. If you only know Fiona Apple for “Criminal,” you’re really missing out on her best stuff (though “Criminal” is still a fantastic song).

19. Mezzanine by Massive Attack (1998)

Didn’t I say you’d see more electronic artists as the countdown went on? I grew up listening to this album in my mom’s car (even though I had no idea what I was listening to at the time), but you might recognize one of these songs as the theme tune to House (that song is “Teardrop”). The rest of Mezzanine isn’t as delicate as “Teardrop,” but it’s still brilliant. Most of the tracks are sexy as hell, as is the case for most trip-hop bands. Just take a listen to “Inertia Creeps” or “Risingson” and try to tell me you don’t get all hot and bothered. Massive Attack has a way of making even the most complicated hook sound effortless—in fact, most of the beats in the band’s songs are a little weird, but in a good way. If you’re just starting to get into electronic music (or you’re only versed in dubstep), put on Mezzanine and prepare to have your mind blown.

18. Homogenic by Björk (1997)

Björk appeared earlier on this countdown with Post, but Homogenic is definitely my favorite album of hers. From the menacing opening track (“Hunter”) to the heartbreakingly beautiful closing track (“All is Full of Love”), this album is just flawless, and it’s Björk at her very best. Homogenic is the perfect mix of pop hooks and experimentation—it’s weird, but not too weird. The Icelandic pixie shows off her incredible vocal talent on tracks like “Joga” and my personal favorite, “Bachelorette.” Homogenic is full of stuttering beats, chilly string arrangements and lyrics that make you believe in love. I still think this is Björk’s best album and I will fight anyone who says otherwise. Some may be turned off by her more recent stuff (see the highly experimental and polarizing Biophilia), but Homogenic captures the true essence of this lovely lady.

17. Darkest Days by Stabbing Westward (1998)

Taking a detour from critically acclaimed albums for a second, let’s talk about Stabbing Westward. Not all of my favorite ‘90s albums are Pitchfork-friendly (see Creed and Dave Matthews Band), but they’re still perfect 10’s to me. I grew up thinking everyone knew who Stabbing Westward was because my parents let me listen to music I probably shouldn’t have been listening to at such a young age. My mom played the shit out of Darkest Days and I eventually fell in love with it. In case you weren’t aware, Stabbing Westward was an industrial band (though not quite as heavy as Nine Inch Nails or Ministry) that had a “Brandon Lee in The Crow” vibe. You may know for their arguably biggest hit, “Save Yourself.” The rest of Darkest Days is basically a dark concept album that follows four phases of going through a nasty break-up. It’s loud, emotionally raw and just plain badass.

16. Dirty by Sonic Youth (1992)

To me (and I guess to most critics), Dirty ranks pretty high on the list of great Sonic Youth albums. The title is also the perfect description of the noise you’ll hear for one solid hour. It opens with a solid wall of sound on “100%” and continues to let the guitars buzz, even on slower tracks like “Wish Fulfillment” and “JC.” If you don’t like distortion, I’d stay away from Dirty (but you’re totally missing out on some of the best noise rock you’ll ever hear). Kim Gordon and Thurston Moore trade off vocal duties throughout the album (Lee Ronaldo only gets one song, but it’s actually one of my favorites), and even though their vocal styles are different, I don’t prefer one over the other. I keep thinking, “Oh, well I like Kim’s songs more because of ‘Swimsuit Issue’ and ‘Drunken Butterfly.’ But wait, Thurston sings really well on ‘Sugar Kane’ and ‘100%.’ THEY’RE BOTH SO PERFECT.”

15. Vegas by The Crystal Method (1997)

More electronic artists! Like Massive Attack’s Mezzanine, this album was always on repeat in my mom’s car. Vegas was TheCrystal Method’s debut album, and remains the group’s most successful album to date. I think the record’s appeal stems from the totally random samples used in almost every song. For example, the album’s opening track, “Trip Like I Do,” samples dialogue from the ultra-cool Jim Henson movie, The Dark Crystal. “Keep Hope Alive” samples a Jesse Jackson speech. But perhaps the weirdest sample is in “Bad Stone,” which uses dialogue from a couple of Bill Cosby’s stand-up routines. Other than the samples, Vegas is just a rich electonic album with a huge sound. It reminds me of a massive wave that continuously crashes around me.

14. Californication by Red Hot Chili Peppers (1999)

Okay, so I know including this album is really cutting it close in terms of the time frame. Californication was released at the tail end of the ‘90s and its major singles didn’t even make it to the radio until 2000. But dammit, this is my favorite Red Hot Chili Peppers album and I will include it in this list if I so choose! I’ve heard a lot of criticism about this album, and I can see where it comes from. Yes, it’s not as funky as, say, Blood Sugar Sex Magik. And yes, it does sound a bit overproduced. But I’ve always had this strange connection to it since the day I first heard “Otherside” (also, this album’s predecessor, One Hot Minute, is pretty awful). John Frusciante comes roaring back to the band with some crazy awesome riffs, especially on “This Velvet Glove” and “Around the World.” Many of these tracks are a bit more personal than tracks on previous Chili Peppers album (even though a lot of critics called it “false empathy”), and I think that’s what makes Californication stand out to me. Yes, Blood Sugar Sex Magik is still an amazing album (and it’s probably objectively better than this one), but I will always prefer Californication.

13. Insomniac by Green Day (1995)

Finally, Green Day makes its first appearance on this countdown. You saw it coming. While most people tend to remember Dookie as one of the best Green Day albums, Insomniac is probably the most underrated album in the band’s catalog. This was kind of a big “fuck you” to all the punks back home who cried, “Sell-outs!” Insomniac is raw, nasty and honestly has some of the best Green Day songs ever. Billie Joe Armstrong and company manage to pack a metric ton of angst into just 32 minutes of music. The lyrics are so much darker than the songs on Dookie—“Geek Stink Breath” tells the story of a meth addict and “Brat” tells the story of a kid waiting for his parents to die so he can get his inheritance. “Brain Stew/Jaded” was the most successful single (they’re technically two separate songs, but they were released as a single track for radio play), but the real highlight on Insomniac (for me, at least) is “Panic Song.” That track was written by both Billie Joe and bassist Mike Dirnt as kind of an homage to panic attacks, and that really hits home for me.

12. Rubberneck by The Toadies (1994)

I’m fairly certain that I mentioned multiple times in my Toadies entry that this band is probably the most underrated band of the ‘90s. You know these Texas post-grungers for their hit “Possum Kingdom,” but the rest of the album it came from is beyond brilliant. The Toadies inject some Southern charm into their strange, post-grunge sound, and it’s kind of unnerving (in a good way). I mean, just listen to the lyrics on “Tyler.” That song is about some guy who stalks a girl and breaks into her house. “Possum Kingdom” is (supposedly) about vampires. And Todd Lewis really knows how to wail (with his voice, that is). There’s an underlying creepiness to Rubberneck that’s hard to find on other albums, and I just wish more people listened to this band and appreciated it. I saw the Toadies live quite a few years ago and they sounded incredible. Even their most recent album is almost Rubberneck quality. It’s really too bad they’re considered a one-hit-wonder.

11. Nevermind by Nirvana (1991)

Before you go shunning me for not putting this in the top 10, let me just remind you that these are my personal preferences. You’ll see Nirvana again, I promise. As for Nevermind—well, what can I say about this album that hasn’t already been said? The first time I listened to it, I felt like I had found the Holy Grail. I was a pre-teen with some manufactured angst and I absolutely worshipped this band in 5^th and 6^th grade. I remember listening to Nevermind with my friend Alex and deciding to start a band (that obviously fell through because neither of us could play an instrument). I also remember being completely devastated when I found out Kurt Cobain has died almost a decade prior to the first time I heard “Smells Like Teen Spirit.” Even though this album belongs to Generation X, I can still feel the impact. I still love the three-chord simplicity, the gruffness of Kurt’s vocals, the often-nonsensical lyrics. Nevermind may be as old as me, but it feels new every time I hear it.

Nirvana

Sound Familiar?

“Smells Like Teen Spirit,” “Come As You Are,” “Heart-Shaped Box”

Who Are They?

Now honestly, if you haven’t heard of Nirvana, just leave now. No excuses.

Innovators. Definers of grunge culture. This blog’s namesake. When discussing ‘90s music, Nirvana is usually the first band to come to mind. “Smells Like Teen Spirit” regularly graces “Greatest ‘90s Songs” lists as the #1 choice, and 1991’s Nevermind is often cited as one of the greatest albums of all time. Twenty years ago, Nirvana was the biggest band on the face of the earth. And Kurt Cobain realized how much he absolutely hated that fact.

Nirvana didn’t actually start as Nirvana. Before Kurt became good buddies with bassist Krist Novoselic in 1987, he was involved in a short-lived project with Buzz Osborne, founding member of The Melvins. This project became known as Fecal Matter. Catchy, eh?

After such name considerations as Pen Cap Chew and Ted Ed Fred, Kurt and Krist settled on Nirvana and proceeded to go through drummers like tissues. Aaron Burckhard, Dale Crover, Dave Foster, and Chad Channing took turns sitting behind the drum kit. Chad stuck around long enough to lend his skills on the band’s debut, Bleach (which was recorded for a mere $606.17).

After touring being Bleach, Nirvana went back to the studio to work with the almighty Butch Vig. During these sessions, Chad became increasingly frustrated about not being involved with the songwriting. So he ditched the band and Kurt and Krist were left to recycle drummers. Following repeated recommendations from Sonic Youth’s Kim Gordon, a relatively unknown musician by the name of Dave Grohl auditioned. Turns out he was pretty damn talented.

The sessions with Vig produced Nevermind, and “Smells Like Teen Spirit” was chosen as the album’s first single. And all was right with the world. Angsty teenagers finally had a theme song and bands like Poison and Twisted Sister were left in the (glittery) dust.

As Nirvana began to conquer the world, Kurt quickly became disenchanted with his newfound fame. He was the anti-star, which ironically just made him even more famous. He resented being compared to other rock idols and even refused to ride in a limo to his own performance on Saturday Night Live. By 1992, Kurt had begun to withdraw from the rest of the band, causing Dave and Krist to become closer.

Incesticide, a compilation album, was released in 1992. Because everyone was still drooling over Nevermind, Incesticide wasn’t heavily promoted (which is a shame because there are some gems on that album).

In an attempt to distance themselves from the glossy sound of Nevermind, Nirvana chose to work with underground producer Steve Albini to record In Utero. The album was miles away from its predecessor. Christopher John Farley of Time put it quite simply: “Nirvana hasn’t gone mainstream, though this potent new album may once again force the mainstream to go Nirvana.”

The band appeared on MTV Unplugged in late 1993, and in typical Nirvana fashion, opted not to play their most popular songs. Instead, they performed several covers, most notably a rendition of David Bowie’s “The Man Who Sold the World.”

After a suicide attempt in early 1994, Kurt was convinced to commit himself into rehab, but escaped after less than a week. On Friday, April 8, he was found dead of a self-inflicted shotgun wound to the head in his Seattle home. And so ends the legend of Nirvana.

Where Are They Now?

Gone, but the music lives on.

Because of the tragic loss of their front man, Dave and Krist thought it only appropriate to retire Nirvana for good. Of the two, Dave found the most success. He formed Foo Fighters in 1994, and also teamed up with Josh Homme to record with Queens of the Stone Age and Them Crooked Vultures (for the full story/my witty banter on Foo Fighters, click here).

Krist continued with music for a short time, forming various short-lived bands with old friends. He became a full time member of the band Flipper in 2006, but departed two years later. Krist is also active in politics as an elected State Committeeman, most famously supporting libertarian Republican Congressman Ron Paul in the 2008 Presidential election.

Dave and Krist recently teamed up on Foo Fighters’ upcoming album Wasting Light. Krist plays bass and accordion on the song “I Should Have Known.”

But Why Nirvana?
This week marks the 17^th anniversary of Kurt Cobain’s death, which still remains one of the most devastating tragedies in music history. Also, Nevermind will be celebrating its 20^th birthday later this year. So break out the flannel and light a candle for Kurt.

What Does Sam Think?

I’m just gonna put it out there: Nirvana is one of my favorite bands of all time. Whether you like them or not, there’s no denying how much of an impact they made in the music industry. Without “Smells Like Teen Spirit,” without Kurt’s sense of anti-fashion, without all that feedback, a lot of the younger bands today wouldn’t exist. So yeah, they’re kind of a big deal.

But I’m sure a lot of people wonder how the hell Nirvana got so big. Some write off Nirvana’s sound as just plain noise. I can see where you’re coming from, anonymous music-basher. Kurt definitely wasn’t the greatest guitarist in the world, and he really couldn’t sing either. But that didn’t matter. It was his songwriting that caught people off-guard. He had the power (and the background story) to engage the social misfits of the world. To them, he was the ultimate symbol of despair and alienation. His words reached kids some would deem unreachable, and, whether he liked it or not, Kurt became the ultimate idol.

But it’s not all about Kurt. Nirvana was a group, not just one man with a guitar. Without Krist, we wouldn’t have the tasty bass lines in “Sliver” and “Lounge Act.” Without Dave, we wouldn’t have the overall incredible drum work that glued everything together. It all sounded so wrong, but when everything was said and done, it just worked.

Nirvana took the raw energy from punk rock, injected some smoky metal undertones, and packaged it all together with a few simple chords. It sounds easy, sure. But if that’s the case, why didn’t someone else think of it first?

This band did what other bands wish they could do, and that’s introduce a whole new side to music that no one had experienced yet. Kurt, Krist, and Dave single-handedly defined an entire decade. What have you done lately?

--Sam Boyer, reporting from the ‘90s.