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. 

Wu-Tang Clan

Sound Familiar?

“Protect Ya Neck,” “C.R.E.A.M.,” “Triumph”

Who Are They?

One of the most critically-acclaimed and respected rap groups of all time (and the best one of the ‘90s).

Wu-Tang Clan assembled in 1992 with RZA serving as the group’s de facto leader and producer. So what the hell’s a “wu-tang,” you ask? Well, since RZA and Ol’ Dirty Bastard were such huge fans of old kung fu movies, they took the name from the 1983 martial arts film Shaolin and Wu Tang (sound bites from the English dub of the film appear in Enter the Wu-Tang: 36 Chambers).

Though plenty of rappers have collaborated with RZA and friends over the years, the official members of Wu-Tang Clan are RZA, GZA, Method Man, Raekwon, Ghostface Killah, Inspectah Deck, U-God, Masta Killa and the late great Ol’ Dirty Bastard. (Longtime contributor Cappadonna’s status as an official member is unclear even though RZA supposedly added him to the group years ago.)

But I have neither the time nor the space to get into all the separate entities of the group (and there are a lot, I know. I’m pretty sure I was in Wu-Tang Clan for like a minute at one point). So for now, let’s get back to the history.

In 1993, Wu-Tang released its first independent single “Protect Ya Neck,” which immediately gave the group a huge underground following. After some difficulty finding a label that would sign the group while still allowing each member to venture to other labels for solo albums, Wu-Tang signed to RCA and released Enter the Wu-Tang: 36 Chambers later that year.

The success of 36 Chambers allowed each member to negotiate solo contracts. Without delving too deep into each solo career, I’ll just say that almost every member found success on his own. Method Man even picked up a Grammy for his track “All I Need.”

After proving themselves as solo artists, the members of Wu-Tang Clan reassembled to record the follow-up to 36 Chambers, 1997’s Wu-Tang Forever. The album debuted at No. 1 on the Billboard Charts, achieved multi-platinum status and earned a Grammy nod for Best Rap Album. Wu-Tang Forever’s was more similar to the solo albums than 36 Chambers and featured verses written in dense stream of consciousness form (“Triumph” in particular was considered an odd choice for a first single since it featured nine verses with no chorus or hook).

A second round of solo albums followed Wu-Tang Forever, but they weren’t nearly as well-received as the first round. Wu-Tang Fever began decline by 1998 as a result of oversaturation. Keep in mind that these guys were everywhere in the mid-‘90s. They had albums under Wu-Tang Clan, solo albums, a clothing line and even video games. Yes, video games.

Where Are They Now?

Enjoying solo careers and possibly putting out a sixth Wu-Tang studio album in the near future.

Wu-Tang Clan reconvened in 2000 to release The W, the first album without Ol’ Dirty Bastard (he was too busy being incarcerated for violating his probation, but he did manage to record a verse for “Conditioner” via telephone).

ODB began having issues shortly before the release of The W, but kind of threw caution to the wind later that year. He escaped custody while in transit to rehab, became a fugitive and was finally caught signing autographs at a McDonald’s in North Philadelphia.

But back to Wu-Tang. Iron Flag followed The W, but didn’t sit well with fans due to its light crossover vibe. Around this time, Method Man began his acting career, starring in the stoner comedy How High alongside Redman. (Fun fact: The film currently holds a dismal 27% rating on Rotten Tomatoes, but a 420% rating among stoners.)

By 2004, Wu-Tang Clan was wearing thin as a rap collective. U-God left the group claiming that RZA had hindered his success as a solo artist. The two ended up reconciling later on and Wu-Tang embarked on an unexpected European tour. Later that year, Ol’ Dirty Bastard collapsed in the recording studio and was pronounced dead just two days shy of his 36^th birthday.

Following ODB’s death, the remaining members of Wu-Tang Clan released another round of solo albums, but have yet to release another collective studio album.

But Why Wu-Tang Clan?

They may or may not be celebrating their 20^th anniversary next year with a sixth studio album. According to an interview with Ghostface Killah last year, the album was slated for release by May of this year. That didn’t happen. So then GZA told us that the album would probably never happen. But then RZA said the album would probably drop next year. I don’t even know what to believe anymore. Let’s just go with next year or never.

What Does Sam Think?

I really dig ‘90s rap and hip-hop, but I am in no way an expert. So why do I like Wu-Tang Clan?

I really can’t give you a coherent answer to this question. I always feel a need to explain myself when I admit to liking a rap group/artist, which is kind of ridiculous. Yeah, I’m really into rock music in general, but that doesn’t mean it’s all I listen to. But I digress. Rap artists of the late ‘80s and early to mid-‘90s definitely had something to say. That time period is usually referred to as “The Golden Age of Hip-Hop” for a reason. Acts like Wu-Tang Clan weren’t afraid to be political or aggressive. This isn’t your mommy and daddy’s hip-hop; this is the real shit.

There’s something about the grittiness of this group that really appeals to me. I can probably trace that interest back to my punk rock roots. Punk is all about channeling this rage you feel into an aggressive statement. It’s a slap in the face, and that’s kind of what rap groups like Wu-Tang Clan, or even N.W.A., were all about. Yeah, you can find the odd song about “bitches and hoes” in their discographies, but the majority of the songs deal with subjects like racism, classism and the occasional drug war.

I’m not going to pretend that I can relate to Wu-Tang songs. I’m a white girl going to college in the Midwest. I’m definitely not in this group’s key demographic. But in recent years, white college kids have become a key demographic in rap music. Think about Odd Future (arguably the modern day equivalent of Wu-Tang). That group is successful because it has such a diverse fanbase. It’s kind of baffling when you really think about it.

So let me end this entry by asking you, the reader, why you like rap music and why you think Wu-Tang Clan “ain’t nuthin’ ta fuck wit.”

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