Sam's Top 50 Favorite Albums of the '90s (Part 2)

Here’s part 2 of my Favorite Albums of the ‘90s countdown! Check out part 1 here.

40. Weight by Rollins Band (1994)

Henry Rollins formed Rollins Band shortly after Black Flag broke up in 1986. Henry and company didn’t have much success in the mainstream until 1994’s Weight, carried by the MTV staple, “Liar.” My favorite thing about Rollins Band is the band’s tendency to go into jazz territory. You can definitely hear it on “Liar,” which is honestly one of the best songs of the ‘90s. Weight is a great album because it doesn’t try to be a Black Flag record. Henry’s biting self-examination and snark come through loud and clear, even with all that wonderful instrumentation. There are so many great songs on this album—“Fool,” “Wrong Man,” “Shine.” Henry, you clever bastard.

39. S.C.I.E.N.C.E. by Incubus (1997)

Most people tend to cite Make Yourself as Incubus’ best album and conveniently forget about S.C.I.E.N.C.E. This is a crime. Incubus used to be a funk metal band before they hit it big with “Drive.” This album (plus the first album, 1995’s Fungus Amongus) is some funky shit. There’s some fantastic bass work (and we all know how much I love bass guitar) and frontman Brandon Boyd lets it all hang loose like a young Anthony Kiedis. The energy never lets up, especially on songs like “Redefine,” “Glass” and “A Certain Shade of Green.” And what exactly does S.C.I.E.N.C.E. stand for? Southern California's Incubus Enters Nevada Carrying Equipment (among other things).

38. Becoming X by Sneaker Pimps (1996)

Have I mentioned how much I love ‘90s electronic music yet? No? Well, this is a good album to start with. I actually grew up listening to this album (and others like it), so I always assumed everyone knew the SneakerPimps. Becoming X was their first (and best) album. It mixes downtempo and trip-hop with a pixie-like female vocalist (the lovely Kelli Dayton). This album has always been one of my favorites because there’s so much going on. On one hand, you have ultra-cool electronic powerhouse tunes (“Low Place Like Home,” “Walking Zero”), and on the other hand, you have super sleek downtempo tunes (“Post Modern Sleaze” “How Do”). It’s equal parts badass and beautiful.

37. Evil Empire by Rage Against the Machine (1996)

Objectively, RATM’s self-titled debut is probably the better album. But I just love Evil Empire more. It’s just balls-to-the-wall, take-no-prisoners awesome. “Bulls on Parade” and “People of the Sun” are really strong singles, but “Tire Me” (which actually won a Grammy for Best Metal Performance) is a real highlight. “Roll Right” and “Year of tha Boomerang” are just as heavy. Evil Empire was the band’s second to last studio album (not including Renegades, which was a covers album), but it’s definitely better than the last album, 1999’s The Battle of Los Angeles (unpopular opinion?). And just try to tell me that you don’t immediately feel like a badass every time “Bulls on Parade” comes on in your car. “They rally round the family / With a pocket full of shells.” Ugh, that delivery. Zack de la Rocha is too cool for this world.

36. Call the Doctor by Sleater-Kinney (1996)

Sleater-Kinney kind of straddles the line between the riot grrrl movement and a more generalized form of punk rock (though this album was compared favorably to Heavens to Betsy’s Calculated, a riot grrrl staple). Either way, Sleater-Kinney definitely delivers on Call the Doctor. Clocking in at just 30 minutes long, the album goes beyond the common riot grrrl themes of gender roles and explores the commoditization of people. Call the Doctor just proves that maturity and raw anger are compatible with each other, especially when they come from girls like Corin Tucker, Carrie Brownstein and Lora Macfarlane.

35. Live Through This by Hole (1994)

Forget whatever qualms you may have with Courtney Love for a second and actually listen to this record. Surrounded by the death of two important people in her life (Kurt Cobain and Hole bassist Kristen Pfaff), Courtney and company churned out one of the most personal and painful albums of the ‘90s. Though not as visceral as Pretty on the Inside, Live Through This is a delicate mess (and I mean that in the best way possible). Courtney floats between deep-seated rage (“Violet,” “Gutless”) and subdued misery (“Doll Parts,” “Miss World”) so easily. She may not be the best singer in the world, but you can still hear every emotion in her voice. Whether you believe Kurt Cobain really wrote all the songs on the album or not, you have to admit that Live Through This is perfectly executed.

34. So Much for the Afterglow by Everclear (1997)

I think I mentioned Everclear’s appeal in my Everclear entry, but I’ll just reiterate it here: this band’s albums are great because they hide dark subject matter in poppy hooks. So Much for the Afterglow is a little more radio-friendly than Sparkle and Fade, but I still think it’s the better album. The singles are perfect because they have dark themes, but sound great on the radio. “Father of Mine” is my go-to example because, well, look: “Father of mine / Tell me, how do you sleep / With the children you abandoned/ And the wife I saw you beat?” Most of the songs on this album have the power to make me head-bang while sobbing—they’re so catchy, but the lyrics get me every time. “Amphetamine” is my personal favorite not just because of the lyrics, but also because of the string arrangement at the end. Gorgeous.

33. Crash by Dave Matthews Band (1996)

Yes, I genuinely like Dave Matthews Band. Why is that a problem? I know very few people who really dig DMB and I still don’t understand why people hate this band. Okay, maybe I have some idea—not everybody likes jam bands. Or bluegrass. Or jazz fusion. Wait, why do I like this band again? Oh right, because of this album. Crash is arguably DMB’s best album (though it may be tied with Under the Table and Dreaming). There’s just something whimsical about Crash, especially on my favorite song, “Crash Into Me.” It kind of sounds like a fairy tale (minus the creepy parts like, “Oh, I watch you there through the window / And I stare at you / You wear nothing, but you wear it so well”). I do realize there’s nothing I can really say about this album (or this band) to sway a non-fan’s opinion, but I will tell you that Crash makes me really happy whenever I hear it. After all, my happiness is really the deciding factor when it comes to choosing music to listen to, right?

32. Rid of Me by PJ Harvey (1993)

I had a really hard time choosing between this album and PJHarvey’s previous album, Dry. But when I really think about it, Rid of Me is stronger. It’s aggressive and distorted and just raw. I think having Steve Albini record the album was a great choice. He captures the primal qualities of each instrument so well, including PJ’s voice. And oh, her voice. Polly Jean has a vocal style all her own. She manages to sound both angelic and bitter at the same time. And there’s a sensual quality underneath that’s so smoky and mysterious. You can hear it on songs like “Rub ‘til it Bleeds,” “Rid of Me” and “Ecstasy.” Rid of Me as a whole is controlled chaos. It’s destructive, yet beautiful.

31. Post by Björk (1995)

Speaking of female artists with amazing voices, here’s Björk’s first (and definitely not last) appearance on this list. Post was the first Björk album I really got into, mostly because of the song “I Miss You” (along with the ultra-cool, ultra-weird music video). Even if you don’t like her music, you have to admit that this woman is incredibly talented. She has an amazing vocal range and a totally unique style. Post has some of the dance elements of Debut, but it leans more toward the experimental style of later Björk albums. There’s a healthy mix of heavier electronic tunes (“Army of Me,” “Enjoy”) and softer ballads (“Possibly Maybe,” “You’ve Been Flirting Again”), which just accentuates Björk’s versatility. This isn’t my favorite Björk album (you’ll see that one later), but it’s pretty close. 

Blind Melon

Sound Familiar?

“No Rain”

Who Are They?

The neo-psychedelic wet dream of every hippie in the ‘90s.

Three Mississippi transplants, a Pennsylvania misfit and some guy from Lafayette, Ind. got together in 1990 to start a band. And just where did a bunch of hippies get a name like Blind Melon? From a Cheech and Chong character, of course! (The character was Blind Melon Chitlin.)

After the band released a four-song demo called The Goodfoot Workshop in 1991, Capitol Records came running with a contract. Blind Melon gained even more industry attention from Guns N’ Roses’ Axl Rose, who just happened to be a good friend of frontman Shannon Hoon. (Fun fact: Shannon provided backing vocals on the GNR track “Don’t Cry,” along with other songs from Use Your Illusion I and II.)

The band hooked up with producer Rick Parashar (who produced Pearl Jam’s Ten) and released its self-titled debut in 1992. Blind Melon initially sold poorly, but once MTV got a hold of the video for “No Rain,” the album shot to #11 on the Billboard Top 40 chart the following year.

(Fun fact: The “Bee Girl” in the “No Rain” video is Heather DeLoach. She did a bit more acting after her debut, but eventually became a small business owner in California. She currently runs a company that makes specialized candy bars for special events: Sweet Bee Candy Stations.)

Blind Melon toured extensively in support of the album, landing opening slots with Neil Young, Lenny Kravitz and The Rolling Stones. Shannon and company even made an appearance at Woodstock ’94. (Watch this incredible performance of “Soup.”)

Unfortunately, Shannon had a major drug problem during this time, so he was in and out of rehab during the tour and the recording of the band’s second album, Soup.

Soup was released in 1995, but failed to achieve the same success as the band’s debut. Blind Melon went back on tour, which went against the advice of Shannon’s drug counselor. After just a few weeks on the road, Shannon was found dead on the tour bus of a heart attack caused by a cocaine overdose.

The surviving members of Blind Melon decided to continue without Shannon, but it would take them over ten years to find another vocalist. They released an album of outtakes and demos called Nico in 1996 (named after Shannon’s 13-week-old daughter).

The band officially disbanded in 1999 after failing to find a replacement vocalist.

Where Are They Now?

Back together (with a new vocalist) for the occasional one-off show.

Blind Melon reformed in 2006 with new singer Travis Warren. The new lineup released an album in 2008 called For My Friends, but chances are you’ve never heard of it. I’m sure most Blind Melon fans refuse to listen to releases that don’t include Shannon Hoon. But who can blame them?

The original members of the band dropped Travis shortly before the end of the new tour, then called it quits for a second time.

(Fun fact: During this second hiatus, rhythm guitarist Christopher Thorn briefly played with Awolnation.)

The band reunited yet again in 2010 with Travis as lead vocalist, but didn’t release any more new material. Instead, the grown-up hippies decided to play a handful of shows for fun. According to drummer Glen Graham, Blind Melon currently has no plans to record anything new.

But Why Blind Melon?

I guess because it just came to my attention that “No Rain” is 20 YEARS OLD. I am only two years older than that song. This is ridiculous.

What Does Sam Think?

Now, I’ll admit that I only knew Blind Melon for “No Rain” (and be honest, you probably did, too). But I started listening to the band’s discography recently and holy shit, it’s fantastic.

“No Rain” is much poppier than most of their other songs, but don’t let that deter you. If you’re a fan of jam bands, you’ll like this. Blind Melon isn’t necessarily a jam band, but it’s also not a pop rock band that plays songs exclusively about “tea for two.”

This is an alternative band that successfully incorporated neo-psychedelia, folk and blues into its music without sounding dated. Take the track “Sleepyhouse” from the self-titled album, for example. It features a sitar (which is honestly one of my favorite instruments), but it’s not trying to be Sgt. Pepper-era Beatles. There’s just enough sitar to make it interesting (and really soothing).

I don’t think Soup is as good as the first album, but it’s still great. It has more of a low-key sound. What’s missing is the experimentation of tracks like “Sleepyhouse,” along with a couple more lighthearted tunes. Granted, Shannon Hoon was dealing with a massive drug problem at the time Soup was recorded, so I guess asking for some happier songs is a little out of the question.

Speaking of Shannon, let’s discuss the politics behind replacing a deceased band member. Plenty of ‘90s bands have done this already (Alice In Chains and Sublime are prime examples). But can you really replace someone like Layne Staley or Bradley Nowell or Shannon Hoon?

I think the only way to look at this kind of decision is to think of the deceased member’s replacement as a completely different musician. Why? Because they are. Travis Warren isn’t trying to be Shannon Hoon, just like Rome Ramirez isn’t trying to be Bradley Nowell. You can’t blame the surviving members for wanting to continue making music.

Of course you’re allowed to believe that Blind Melon is not the same band without Shannon. That’s understandable. He was a great frontman and he wrote some amazing songs. But he succumbed to a problem that plagued many musicians in the ‘90s, and that is the greatest tragedy.

But remember Blind Melon for the good times, not the bad. And make it your goal in life to be as happy as the “Bee Girl.”

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

Sam's Top 50 Favorite Albums of the '90s (Part 1)

Greetings, my dear readers. If you’re a regular reader of this blog, you’re probably wondering why the format is different this week. Well, it’s because you’re in for a treat. This week, I’ll be starting a countdown series. The first countdown will be my Top 50 Favorite Albums of the ‘90s. Notice that I said “favorite” rather than “best.” These are my personal choices, so I don’t want to hear any cries of, “But why is this album higher than this album?” or, “Where’s this album by my favorite band?” If you don’t see your favorite album on my list, you can always suggest that I listen to it (if I haven’t already).

This list will be updated every other week because I’d like to do some regular entries in between. So next week, you will see another artist spotlight. The week after next, you’ll see the next part of the list, and so on. So sit back and enjoy my fangirlery!

50. Grace by Jeff Buckley (1994)

I need to get something off my chest, guys. Jeff Buckley’s cover of “Hallelujah” is the best version of the song. Period. If you don’t agree, you’re wrong. Sorry, not sorry. That will be my only objective statement on this list, I promise. But I just have strong feelings about that song. The rest of the album is just as gorgeous. Jeff can croon like an angel. His voice just tugs at my heartstrings. I’m not sure if that’s because he was genuinely talented, or if it’s just the mystical feeling of listening to a musician who died too young. I’ve heard the argument that most Jeff Buckley fans tend to glorify his music because of his early death (much like Nirvana fans tend to hold Kurt Cobain up as a “grunge messiah”). But I think Grace holds up as a solid, moving album. With songs like “Lover, You Should’ve Come Over” and of course “Hallelujah,” Jeff knows how to reduce even the most stoic listener to tears.

49. Enter the Wu-Tang (36 Chambers) by Wu-Tang Clan (1993)

I wasn’t really a huge fan of rap until I got to college and started listening to some old school ‘90s rap. A lot of my friends were really into Wu-Tang Clan, so I had to see what the big deal was. Enter the Wu-Tang is probably the rawest rap record I’ve ever heard. There’s no flashy production here—it’s all visceral. I know I’m just a middle class white girl, and I won’t pretend that I can relate to any of the songs on this album. But I can definitely appreciate the beats and the delivery. Enter the Wu-Tang takes no prisoners. The first track, “Bring Da Ruckus,” is basically a call to arms. These guys don’t fuck around and neither does this album.

48. Bridges to Babylon by The Rolling Stones (1997)

I grew up in a Rolling Stones household. My dad is the biggest Stones geek on the planet, so naturally, I’m familiar with the majority of the band’s extensive catalog. While I do appreciate classic Stones, my favorite album is (not surprisingly) their ‘90s release, Bridges to Babylon. These guys kind of took an awkward turn in the ‘80s (accentuated by the Mick Jagger/David Bowie phenomenon that is “Dancing inthe Street”), but by the time the ‘90s rolled around, the Stones got their groove back. This album is exactly like classic Stones, but it’s got enough of the old sound to complement the new sound. “Flip the Switch” and “Gunface” have some great guitar work from the great Keith Richards, and even the slower tunes (especially “Saint of Me”) have a quiet power. There are probably some Rolling Stones purists out there who like to ignore the band’s later work, but Bridges to Babylon can definitely stand up with the greatest Stones albums.

47. Red Medicine by Fugazi (1995)

As if this list wasn’t already all over the place genre-wise, here’s a post-hardcore album to throw into the mix. Punk rock took many forms in the ‘90s: grunge, pop-punk, emo and post-hardcore. Post-hardcore was a little harder for people to swallow, but it’s honestly the most interesting mutation. While I’m sure a lot of Fugazi fans wouldn’t choose this album as their favorite, it was my introduction to the band. I heard “Do You Like Me?” and I was hooked. Those messy, raunchy riffs at the beginning of that track definitely rubbed me the right way. A lot of the other tracks are a bit more experimental, and I think that turns off some of the pop-punk kids, for example. These aren’t three-chord races to the finish line—these songs are meticulous and aggressive.

46. Dear You by Jawbreaker (1995)

Speaking of punk rock subgenres, let’s talk about Jawbreaker and emo movement of the early ‘90s. When I say “emo,” the first band that probably comes to mind is My Chemical Romance. Am I right? Yeah, I thought so. Believe it or not, MCR didn’t start the emo movement. It started back in the mid-‘80s and it had nothing to do with eyeliner or vampires or bad haircuts. Though bands like Rites of Spring and Embrace actually pioneered emo (or “emotional hardcore”), Jawbreaker and another band called Sunny Day Real Estate (who also makes an appearance on this list) reinvented it. Jawbreaker was a bit closer to the original emocore sound than Sunny Day Real Estate, though. Dear You is the band’s most polished-sounding album, but that doesn’t lessen the impact of it. My personal favorite track is “Chemistry,” which has this perfect mix of aggressive guitar riffs and a nice, melodic chorus with clever lyrics.

45. Tragic Kingdom by No Doubt (1995)

If you read my entry on No Doubt, you’ll recall that I’m in love with Gwen Stefani. Tragic Kingdom-era Gwen is the best Gwen because she was just so spunky. And yes, I do realize there are other people in the band, so let’s just talk about Tragic Kingdom in a musical sense. Again, looking back to my No Doubt entry, it’s pretty obvious that I love this album. It’s one of the most inventive albums from the third wave ska movement because it incorporates more than just swing-style beats and a trumpet/trombone chorus. “Don’t Speak,” for example, is a gorgeous ballad that you wouldn’t normally hear on a ska album. There’s even a Spanish-style guitar solo. Beat that, Reel Big Fish.

44. Hello Nasty by Beastie Boys (1998)

I know most people would choose Ill Communication over Hello Nasty, but I’m not most people. This is my favorite Beastie Boys album because it features some of the best Beastie Boys songs. “Intergalactic,” “Electrify,” “Super Disco Breakin’”—these are fantastic tunes. When I was younger, I would attempt to dance to “Body Movin’” and my parents would laugh at me, but dammit, I loved that shit. If you get me drunk enough, I will dance to every single song, and I will do those horribly embarrassing moves that I probably shouldn’t do in public. The Beasties bring out the best in me, you know? And God rest MCA’s soul. That man helped create some awesome music and I still upset when I realize he’s gone. But we still have albums like Hello Nasty to remind us that the spirit of the Beastie Boys will never die.

43. Diary by Sunny Day Real Estate (1994)

Oh hey, remember when I said you’d be seeing Sunny Day Real Estate on this list? Didn’t think you’d see them so soon, huh? Like Jawbreaker, these guys reinvented emo in the early ‘90s. Diary was the band’s first (and probably most successful) album. There’s something urgent in its tone and the sound helps bridge the gap between post-hardcore and the later forms of emo. It’s powerful (even if you can’t understand most of Jeremy Enigk’s lyrics). Some personal highlights include “The Blankets Were the Stairs,” “In Circles” and “Pheurton Skeurto.”

42. Purple by Stone Temple Pilots (1994)

This band gets a lot of shit, but they made some damn good music back in the day. I’ll admit that STP’s first album, 1992’s Core, was kind of a grunge rip-off, but Purple, the second album, was so much better. The band incorporated some psychedelic rock influences and Scott Weiland’s lyrics and vocal delivery vastly improved. Purple also had three perfect singles: “Vasoline,” “Interstate Love Song” and “Big Empty.” I still believe “Interstate Love Song” is one of the best songs of the ‘90s because of its simplicity. It has a Southern rock feel to it, but there’s a pop undertone there that makes it so much more accessible. STP wasn’t a grunge band by any means and I think most people would agree with me. Scott Weiland and company were vastly more creative than their contemporaries. It’s a shame that Scott and the rest of the band went their separate ways (but I can always hope for a reunion).

41. Siamese Dream by Smashing Pumpkins (1993)

This album was tough to place on the list because on one hand, it’s technically perfect. On the other hand, there is one SmashingPumpkins album that I love way more than this one. But let’s concentrate on this one. Siamese Dream is the definition of a flawless album. I seriously struggle to find anything wrong with it (though I do know too many people who hate “Today,” but whatever—I like it). Billy Corgan was obsessed with making this a great album, so much so that he often overdubbed James Iha and D’arcy Wretzky’s guitar and bass parts with his own playing. But the result was a record that felt so incredibly massive, yet so controlled. “Geek U.S.A.,” along with being my second favorite Smashing Pumpkins song ever, is the perfect example of this sentiment. It condenses a three-part epic into five glorious minutes. And that’s what Siamese Dream is—a glorious epic. 

blink-182

Sound Familiar?

“Dammit,” “All the Small Things,” “What’s My Age Again?”

Who Are They?

Pop-punk hooligans with a middle school sense of humor (and later a penchant for writing semi-serious songs with Nightmare Before Christmas references).

Tom DeLonge and Mark Hoppus met in 1992 and began jamming and writing songs in Tom’s garage. The two recruited Scott Raynor on drums and began playing under the name Duck Tape. Mark’s girlfriend at the time hated how much time he was spending with the band and gave him an ultimatum: her or the band. So Mark left.

Shortly after Mark’s departure, Tom told him he was preparing to record a demo tape. Mark dumped his girlfriend and the trio recorded Flyswatter (a nice mix of original songs and punk covers) in Scott’s bedroom.

The band (known simply as Blink at this time) played its first shows in empty clubs, but its popularity gradually grew along with the ‘90s California punk scene.

(Fun fact: Tom would call up local high schools in order to score a gig. He told them Blink was a “motivational band with a strong anti-drug message.”)

Blink recorded a proper demo called Buddha in 1993, which got attention from Cargo Records. The band signed to the label and recorded its first album, Cheshire Cat, in 1994. Though the album wasn’t commercially successful, it helped Blink develop a much larger fan base.

Once Blink started gaining popularity, the trio had to change their name to avoid a dispute with an Irish techno band of the same name. So they randomly slapped “182” at the end. (Despite people’s attempts to give this a deeper meaning, “182” is just a random series of numbers. Proof.)

Tom, Mark and Scott embarked on their first national tour in 1995 with Unwritten Law, Sprung Monkey and 7 Seconds. During the tour, fellow California punks Pennywise flew Blink all the way out to Australia to tour with them. Pennywise guitarist Fletcher Dragge was pretty much a full-blown Blink fanboy, so he convinced Warped Tour founder Francisco Godinez to sign the band for the 1997 festival, saying, “They’re gonna be gigantic.”

After touring extensively, Blink went back to the studio to record Dude Ranch, which was released in 1997. Lead single “Dammit” received heavy airplay on Los Angeles radio station KROQ, and eventually made it on to rock radio playlists across the country.

Tensions between the trio mounted during the 1998 tour, and Scott was eventually fired. But Aquabats drummer Travis Barker came to save the day. He joined Blink full-time and followed Tom and Mark to the studio to record the group’s breakthrough album, Enema of the State.

The album, released in 1999, became a huge commercial success. Singles “All the Small Things,” “What’s My Age Again?” and “Adam’s Song” crossed over into Top 40 radio territory, resulting in Enema of the State selling over 15 million copies worldwide.

Where Are They Now?

Going strong after an “indefinite hiatus” and a mediocre comeback album (accompanied by a pretty awesome EP).

After the multi-platinum success of Enema of the State, Blink released Take Off Your Pants and Jacket in 2001. Songs like “The Rock Show” and “First Date” further fueled the band’s mainstream success. (Side note: The video for "First Date" has to be one of my favorite music videos of all time.)

During some much needed time off from the band, Tom started a side project called Box Car Racer and Travis hooked up with Rancid’s Tim Armstrong to form The Transplants. These side projects created a rift in the band, which possibly contributed to the darker follow-up to Take Off Your Pants and Jacket.

Blink’s eponymous fifth studio album was released in 2003 to generally positive critical reviews. Most critics praised the band for the more mature sound, but fans were split on the change.

The album’s second single, “I Miss You,” hit number one on the Billboard Modern Rock chart, and the accompanying video received heavy airplay on MTV and VH1.

But the success of blink-182 couldn’t diffuse the tension within the band. In 2005, Blink announced an “indefinite hiatus” and the trio went their separate ways for a few years.

Mark and Travis continued playing music together in the band +44 while Tom created Angels & Airwaves, a project that he called “the greatest rock and roll revolution for this generation.” (Tom later revealed that he was addicted to painkillers at the time, so his statement was bit ambitious.)

The three didn’t speak to each other until 2008 when Travis was involved in a grisly plane crash. That event brought the band back together, and plans for a reunion were under way.

Blink embarked on a North American reunion tour with Weezer and Fall Out Boy in 2009, and released Neighborhoods two years later.

But Why blink-182?

If you were as unimpressed with Neighborhoods as I was, you’ll be happy to know that Blink is back in the studio recording the follow-up.

What Does Sam Think?

It’s pretty obvious that I enjoy pop-punk. I think I’ve written about it enough for you to realize that. So let’s talk about the novelty of blink-182, shall we?

The band’s early albums (or at least the albums before 2003’s self-titled album) are brimming with toilet humor, three-chord riffs, and “I fucked your mom” jokes. Immature? Yes. Fun as hell to listen to? Absolutely.

I’d like to take this moment to compare Blink to Green Day. You saw it coming, so shut up.

These two bands are similar, yet very different in more ways than one. First of all, Blink has a more polished sound. That doesn’t make them a better band—it makes them more commercially appealing. But that’s definitely not a bad thing. I’m a fan of catchy pop-punk songs about prank calling your girlfriend’s mom.

Another major difference between Blink and Green Day is that Blink just took longer to mature. Now, I love Enema of the State, but when I heard that self-titled album, I was sold. Yes, I dedicated “I Miss You” to my boyfriend at the time, but the other songs are just so great. It’s a dark album, which is something I never thought I’d see from a band with a song about fucking a dog in the ass.

I do think Neighborhoods is a huge disappointment, though. I think even Tom said he wasn’t into it. But the Dogs Eating Dogs EP is pretty rad. If Blink can just summon the magic of that self-titled album again, they’ll have another great record.

But I’m all for musical growth. This is a band that has surprised me before, so I don’t doubt that they can do it again. They’ve gotten through the awkward reunion party, so now it’s time for the real comeback.

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

Bikini Kill

Sound Familiar?

“Rebel Girl”

Who Are They?

The frontrunners of the riot grrrl scene and symbols of third wave feminism.

Kathleen Hanna was introduced to feminism early on after her mother took her to a rally in Washington D.C. to see Gloria Steinem. Her interest grew when her mom checked out a copy of Betty Friedan’s The Feminine Mystique from the library. But the Hanna women had to keep their involvement with the women’s rights movement a secret from Kathleen’s father, who disapproved of such ideas (Kathleen’s parents later divorced).

Once Kathleen went off to college to study photography, she began working as a stripper to support herself. While at school, she worked with a fellow photography student to set up an exhibit that dealt with sexism and AIDS. The school administrators didn’t dig it, so they shut it down, which prompted Kathleen to create her own feminist art gallery with friends Heidi Arbogast and Tammy Rae Carland. The three eventually formed a band called Amy Carter.

In addition to fronting Amy Carter, Kathleen began doing spoken word performances that addressed sexism and violence against women. She later abandoned spoken word in favor of music. After touring with her new band Viva Knievel for a bit, Kathleen met punk zinester Tobi Vail. Kathleen and Tobi, along with guitarist Billy Karen and bassist Kathi Wilcox, formed Bikini Kill in 1990.

(Fun fact: Bikini Kill was originally the name of a band fronted by fellow riot grrrl musician Lois Maffeo. The name was inspired by the 1967 B-movie The Million Eyes of Sumuru. Tobi adopted the name for the band once Lois settled on a different name.)

Bikini Kill independently released a demo cassette called Revolution Girl Style Now! in 1991, followed by a self-titled EP in 1992 (released via the indie label Kill Rock Stars and produced by Minor Threat/Fugazi front man Ian MacKaye).

The band released its debut album, Pussy Whipped, in 1993 and began touring the UK with fellow riot grrrl rockers Huggy Bear.

(Fun fact: Bikini Kill’s most/only popular song, “Rebel Girl,” was produced by Joan Jett.)

By 1994, the riot grrrl movement was getting some intense media exposure, which was both a good and bad thing. On one hand, Bikini Kill’s message was being broadcast to a much wider audience. But on the other hand, that same message was being subverted by the Spice Girls and co-opted by the female artists of Lilith Fair. Kathleen called for a “media blackout” amongst riot grrrls on the basis that the movement was being misrepresented.

Bikini Kill released its final album, Reject All American, in 1996 and broke up a year later.

Where Are They Now?

Still broken up, but all members are still active in music and politics.

Once Bikini Kill called it quits, Kathleen, Tobi, Kathi and Billy all went their separate ways, all of which involved music.

Tobi played with Spider and the Webs and The Old Haunts, among other bands. Kathi joined the Casual Dots and Billy played in Ghost Mom. But it was Kathleen who found the most success.

After adopting the pseudonym Julie Ruin, Kathleen released a solo album in 1997. The project expanded past the album, resulting in a brand new band called Le Tigre.

Le Tigre mixed the politics of riot grrrl music with electronic and lo-fi beats, which was a pretty interesting combo. The band released three albums: Le Tigre in 1999, Feminist Sweepstakes in 2001 and This Island in 2004. This Island was the only album released on a major label.

In 2007, Le Tigre went on a hiatus and each member went on to pursue other things.

(Fun fact: Le Tigre most recently worked with Christina Aguilera on her album Bionic. The band co-wrote and produced the song “My Girls.”)

After her adventures with Le Tigre, Kathleen volunteered as a band coach for The Willie Mae Rock Camp for Girls, taught an art class at NYU’s grad school and married Adam Horovitz, a.k.a. Ad-Rock of the Beastie Boys.

In 2010, Kathleen announced that she would be turning her solo act Julie Ruin into an actual band, The Julie Ruin, with former Bikini Kill bandmate Kathi Wilcox.

But Why Bikini Kill?

The band isn’t getting back together anytime soon, but there’s a new documentary out about Kathleen called The Punk Singer. Plus, there’s always hope for some new Le Tigre material.

What Does Sam Think?

I didn’t get into riot grrrl music until I got to college (the only exception being Hole, but I’ve always considered them more of a grunge band). I took a women’s and gender studies class my freshman year and we spent a few classes talking about third wave feminism and the riot grrrl movement. I was instantly intrigued.

I had heard of Bikini Kill through my obsession with Nirvana (since Kathleen came up with the name for “Smells Like Teen Spirit” by writing “Kurt Smells Like Teen Spirit” on Kurt Cobain’s wall). That was back when I started listening to bands that I knew were huge influences for Nirvana because I was a weird kid and part of me wanted to be a female version of Kurt Cobain.

So I listened to “Rebel Girl” and loved it, but didn’t really delve into Bikini Kill’s discography until later on. When I finally gave the rest of their songs a chance, I fell in love. Everything was so brutal and angry and just true. And Kathleen has a voice that makes any guy’s dick crawl back up inside him (and I mean that as a compliment).

So yes, Bikini Kill is a feminist band with feminist lyrics and politics, but that really shouldn’t scare anyone away. I could write a whole rant about how silly it that feminism is considered a “bad word,” but I’ll save that for another time. Bikini Kill songs deal with real issues and real anger at those issues, including violence against women and sexuality.

My favorite Bikini Kill song, "I Like Fucking," is about, you guessed it, sex. But it dares to ask the question, “Why shouldn’t I be able to enjoy sex?” It’s empowering, as are most BK songs. The line, “I believe in the radical possibilities of pleasure, babe” really sticks with me.

Bikini Kill is raw, like most punk bands before them. This is music that lives in the moment and has something to say. I really wish every girl could listen to riot grrrl bands like this and feel empowered, but I know they’re not everyone’s cup of tea. Even if you don’t like the music, you have to appreciate the message.

And even though Kathleen Hanna can be a bit of hypocrite sometimes, I still like what she does (but maybe not everything she says outside of her music).

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

The Cardigans

Sound Familiar?

"Lovefool," "My Favourite Game"

Who Are They?

Swedish indie pop sweethearts with a hit sweet enough to make you forget about that whole suicide thing in Romeo + Juilet.

Guitarist Peter Svensson and bassist Magnus Sveningsson were really into heavy metal back in the day, but once they met up with drummer Bengt Lagerberg, keyboardist Lars-Olof Johansson and singer Nina Persson, they turned to pop music.

The Cardigans recorded a demo tape (with Nina only providing vocals on one track) and eventually got signed to a Swedish label to release their debut album, Emmerdale, in 1994. The album was only released in Sweden and Japan (rereleased internationally in 1997), but it scored the band its first radio hit, “Rise & Shine.”

Most of 1994 was spent touring Europe and recording the follow-up, 1995’s Life, which was released worldwide. The album became a huge success (particularly in Japan) and The Cardigans signed to Mercury Records.

A year later, the band released First Band on the Moon, which included their biggest hit to date, “Lovefool.” The song was literally everywhere, even in movies where it probably didn’t belong, like Romeo + Juliet and Cruel Intentions. (Okay, Romeo + Juliet I get, but Cruel Intentions? Really?)

(Fun fact: The Cardigans played themselves on the graduation episode of Beverly Hills, 90210.)

After more touring, The Cardigans released Gran Turismo in 1998. The (arguably better) album was a sharp contrast to the bubbly pop sensibilities of First Band on the Moon and spawned another minor hit, “My Favourite Game.”

(Fun fact: The video for “My Favourite Game” sparked a bit of controversy. It depicts singer Nina Persson joyriding in a car on the highway, causing multiple accidents and eventually killing herself. Director Jonas Åkerlund made five different endings, only one of which made it to air.)

Where Are They Now?

Recently reunited and playing various international festivals.

The Cardigans went on a short hiatus in 2000. Nina released a solo album under the name A Camp, Peter and Bengt worked on a project called Paus and Magnus recorded music under the name Righteous Boy.

But they couldn’t stay apart for long. The band reconvened in 2002 to release Long Gone Before Daylight, a noticeably darker album with an American country influence. (Nina actually dyed her hair from blonde to jet black at this time, supposedly to reflect the album’s sound.)

The Cardigans toured with Liz Phair, Katy Rose and Charlotte Martin in 2004 on the Chicks With Attitude tour, and ultimately released Super Extra Gravity a year later.

The band went on an even longer hiatus in 2007, during which Nina lent her vocal talents to a Manic Street Preachers album.

Last year (2012), The Cardigans reunited once again to play the Summer Sonic Rock Festival in Tokyo and Osaka.

But Why The Cardigans?

While there doesn’t seem to be any new material in the works, the band is still together. And Nina Persson still writes music, so I guess anything can happen.

What Does Sam Think?

Let’s just be honest here—The Cardigans aren’t anything special. That doesn’t make them a bad band—it just makes them decidedly mediocre.

“Lovefool” is a pretty catchy tune, though. I remember back when I was an angsty teenager and I had a crush on some boy who had no idea I existed, I put this song on repeat and choked, “Love me, love me / SAY THAT YOU LOVE ME” through cartoonish sobs. But I’m sure everyone did that at some point (please say you did). It’s cute and a little dark at the same time, which was perfect for my tortured teenage soul.

Now, if you like happy-go-lucky indie pop music, you’ll probably like the rest of First Band on the Moon. It’s a little too sweet for me, and Nina’s voice kind of got on my nerves a bit.

But Gran Turismo is a totally different animal—it’s dark, moody and brimming with cold, meticulous electronic sounds. They’re no Nine Inch Nails on this record, but it’s a welcome relief from the “sun-shines-out-of-your-ass” sounds of First Band on the Moon. (But again, if you dig that, there’s really no harm in it.)

“My Favourite Game” is a great song (complete with a pretty gnarly video), and I kind of wish it got more exposure than “Lovefool.” The Cardigans have proved that they can move past bubbly pop songs, but they’re still not the kind of band that melts your brain with creativity and originality. Then again, that’s the fate of most ‘90s pop bands (especially one-hit-wonders).

But that doesn’t mean you can’t dedicate “Lovefool” to that special someone (to annoy the shit out of them).

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

The Presidents of the United States of America

Sound Familiar?

“Lump,” “Peaches”

Who Are They?

Alternative weirdoes responsible for a song about a juicy fruit.

Formed in late 1993 in Seattle, The Presidents of the United States of America (hereon referred to as The Presidents because I’m lazy) got off to a quick start. They self-released a 10-song cassette called Froggystyle in December 1993 and signed to Seattle label PopLlama Records in 1994.

(Fun fact: Vocalist/bassist Chris Ballew actually plays a basitar, which is a six-string guitar with two bass strings. Guitarist Dave Dederer plays a guitbass, which has three guitar strings.)

The Presidents released their self-titled debut in 1995 and found massive mainstream success. Their biggest hit, “Peaches,” peaked at number eight on the US Billboard Hot Modern Rock Tracks chart (and is also known as the only song about peaches to break the top 10).

(Fun fact: “Peaches” is about a girl Chris had a crush on. He wrote the song after sitting under a peach tree she had in her yard while he waited for her to come home so he could finally tell her how he felt. Oddly sweet and stalker-ish.)

Amid a whirlwind tour and an appearance on MADtv in 1996, “Weird Al” Yankovic decided to release of parody of The Presidents’ song “Lump” called "Gump." You know you’ve made it when Weird Al parodies you.

The Presidents released the follow-up, II, in 1996. It peaked at number 31 on the Billboard 200 chart, but it wasn’t anywhere near as successful as the debut.

The band broke up in 1998 so Chris could spend more time with his family. The Presidents’ last release of the ‘90s was 1998’s Pure Frosting, which included new songs, covers and demos.

(Fun fact: A few songs from Pure Frosting appeared in TV shows and movies. "Man (Opposable Thumb)" was included in the Nickelodeon masterpiece Good Burger, a cover of “Video Killed the Radio Star” appeared on the soundtrack for The Wedding Singer and "Cleveland Rocks" ended up being the theme song for The Drew Carey Show.)

Although The Presidents didn’t release an album of new material until 2000, they collaborated with other artists, including Japanese band Shonen Knife and booty connoisseur Sir Mix-A-Lot. (Yes, the collab with Sir Mix-A-Lot is a real thing. The project was called Subset. Here’s proof. And it’s actually pretty rad.)

Where Are They Now?

Doing what ‘90s bands do best: performing at festivals.

The Presidents reunited in 2000 with a new single, “Jupiter.” The single actually became pretty popular, so the band released a brand new record, Freaked Out & Small, later that year. Critics loved it, but the album only sold 25,000 copies.

The band broke up again only to reunite again in 2004 to release Love Everybody. Dave Dederer left shortly after the album’s release and was replaced by Andrew McKeag, who played on the band’s most recent album, 2008’s These Are the Good Times People.

(Fun fact: The Presidents released a tribute song in 2011 at the Nintendo World launch event for Pokémon Black and White called "Can't Stop (Catchin' 'Em All)." I’m not sure if this is a major accomplishment or a major mistake.)

The Presidents have played various halftime football shows (no Super Bowl appearances, though) and plenty of festivals, but they haven’t had a single chart since 1998’s “Video Killed the Radio Star.”

But Why The Presidents of the United States of America?

The band will be performing at the Hop Farm Festival in the UK alongside My Bloody Valentine, Dinosaur Jr. and others. So if you can make it to Kent by July 5, be sure to catch their set!

What Does Sam Think?

My first introduction to The Presidents was probably during my sophomore year in high school. I was on my way to Disney World for my school’s traditional choir/orchestra trip, and when our Greyhound bus reached the Georgia state line in the wee hours of the morning, I put on “Peaches” in celebration.

That story really had nothing to do with my opinion of this band, but it’s a fun memory. So there.

Anyway, The Presidents are a fairly unique band in terms of instrumentation. I believe they’re the only band to use basitars and guitbasses, which really gives them a signature sound. I always wondered why their songs sounded so weird, and now I know. Also, if you’re a guitar geek and want to know more about these instruments, check out this GeoCities-esque website for more info.

The songs are a bit nonsensical, but they’re just so damn catchy. I’m just going to continue to praise “Peaches” here. I used to be obsessed with this song back in the day. I think it turned into an inside joke with one of my friends. We probably thought we were too cool because we listened to The Presidents. Or something like that.

I’d really like to see these guys put out a new album soon. I know they still make music, even in the form of questionable Pokémon songs. They still tour, for God’s sake. Unfortunately, they’ll probably always be billed as ‘90s nostalgia act. I’m just waiting for the day when they join the Summerland tour with Everclear.

Actually, that would be pretty rad. I’d pay to see that. You hear that, Presidents? I won’t think any less of you if you join Summerland. We’ll get drunk and sing “Peaches” together (because that’s what ‘90s bands do with their fans, right?).

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