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.

Sam's Top 50 Favorite Albums of the '90s (Part 3)

Get ready for part three! Check out part one and part two first.

30. Sixteen Stone by Bush (1994)

So, if you couldn’t tell already, a lot of my favorite albums came out in 1994. This was the year of Kurt Cobain’s death and the unofficial death of grunge. All other bands with a similar sound that came out after Kurt’s passing are considered post-grunge (what an original name). Bush was one of the first, and say what you will about the band’s later albums, but Sixteen Stone is flawless. If you don’t listen to any other Bush albums, listen to this one. Gavin Rossdale and company are from across the pond, but they ended up with not three, not four, but FIVE successful singles from just this album. You’ll probably recognize the songs “Comedown,” “Everything Zen” and my personal favorite, “Glycerine.” Bush isn’t the most creative band out there, but sometimes I like straightforward rock songs, and Sixteen Stone has plenty of those.

29. Electriclarryland by Butthole Surfers (1996)

What can I say about Butthole Surfers? This band is strange and unapologetic, but it scored a mainstream hit with a song that features the line, “Then there was the ever-present football player rapist / They were all in love with dyin’, they were doing it in Texas.” That was from possibly the only Butthole Surfers song most people know, “Pepper.” The rest of Electriclarryland is a pretty bizarre ride (though not nearly as bizarre as earlier albums), but it still packs a punch. There’s something psychedelic about the whole album, like a 50-minute acid trip. It’s honestly difficult to describe Butthole Surfers to someone who isn’t familiar with their music. My only advice is to listen to Electriclarryland first, then work your way up to something like Locust Abortion Technician. Highlights include “Jingle of a Dog’s Collar,” “Cough Syrup” and “The Lord is a Monkey.”

28. Goo by Sonic Youth (1990)

This was the first Sonic Youth album I ever listened to and it quickly became one of my favorites. I was always aware that Sonic Youth was an important band and basically required listening. During my huge Nirvana phase back in 5^th and 6^th grade, I took Kurt Cobain’s musical preferences as gospel and began to go through all his influences. That list included PJ Harvey, the Melvins and of course, Sonic Youth. Goo is usually cited as the band’s best album (probably next to Daydream Nation) and the most accessible album thanks to singles like “Kool Thing” and “Dirty Boots.” It’s noisy, gritty and just plain cool. My favorite Sonic Youth song also appears on this album, even though Goo is only my second favorite album from the band (that song is “Mote” if you’re interested).

27. Eleventeen by Daisy Chainsaw (1992)

I just recently got into this band and I’m still kicking myself for not listening to Eleventeen earlier. I first heard of Daisy Chainsaw on an episode of Roseanne (if you know me in real life, you know how much I love that show). This was Darlene’s favorite band, and I love Darlene, so I had to check it out. Eleventeen is the definition of noise rock with one hell of a female singer. It’s the only Daisy Chainsaw album to feature the flawless Katie Jane Garside on lead vocals, and oh man, can she wail. Katie Jane has one of the best screams I’ve ever heard. Add some heavy distortion and trippy vocal effects and you’ve got one weird, raw album. It’s really too bad Daisy Chainsaw broke up. I always seem to get into bands that have already disappeared.

26. Odelay by Beck (1996)

Oh, Beck. You clever man. Yes, I went with the obvious choice for best ‘90s Beck album, but Odelay is incredible (and it proved that Beck wasn’t just a one hit wonder with “Loser”). This was one of the many albums that I found in the CD traveler case in my mom’s car and became obsessed with. Beck is cool without even trying, especially on songs like “Devil’s Haircut” and “Sissyneck.” Even though he samples a healthy mix of different songs, he makes everything his own. Take “Where It’s At” for example—Beck samples five different songs, but the samples are seamless. “Where It’s At” doesn’t sound like an amalgamation of five different artists—it sounds like one really rad Beck song. This man is incredibly talented and dares to be different, experimenting with hip-hop, noise rock and folk music. Odelay is still impressive almost a decade later.

25. Loveless by My Bloody Valentine (1991)

I tried to explain what shoegaze is to my mom one day, but I found it impossible to give her a clear description, so I just played “Only Shallow” from Loveless. I waited a while to listen to My Bloody Valentine, possibly because I didn’t think I could handle it. You have to be emotionally prepared for Loveless. This album is pure fuzzy noise, but it’s beautiful. Each song is a swirl of drum loops, hushed vocals and the sound of a million guitars. When you hear the term “wall of sound,” it’s basically referring to this album. The sound just hits you in the face and the swallows you whole. I know quite a few people who can’t stand My Bloody Valentine, but they’re wrong and we’re probably not friends anymore (kidding, but seriously, they’re wrong). Loveless has influenced plenty of bigger names, including Trent Reznor, The Cure and Radiohead. It’s a fuzzy dreamscape that I don’t want to wake up from.

24. Pinkerton by Weezer (1996)

Remember when Weezer put out great albums? Pinkerton wasn’t a huge hit when it first came out, but it has since gained cult status (and a perfect 10/10 rating from Pitchfork). It’s dark, it’s abrasive and it has one of the best drunk sing-a-long songs ever (“El Scorcho”). I’ll admit that I wasn’t a Weezer super fan before I head this album. I was familiar with a few songs, most notably “Buddy Holly” and “Hashpipe.” I listened to Pinkerton for the first time over Christmas break a few years ago and I fell in love. It’s a brutally honest album with some excellent musical moments. The heaviness of a track like “Tired of Sex” meshes surprisingly well with the delicateness of a track like “Butterfly.” Pinkerton is one of those albums that seems to be accessible for everyone, even people who otherwise dislike Weezer. Everyone finds common ground when they’re shouting, “I think I’d be good for you / And you’d be good for me!”

23. Human Clay by Creed (1999)

I’m not even sorry for this one. You secretly made fun of me for including Dave Matthews Band earlier in the countdown, but now you’re probably considering leaving this blog for good for including Creed in a list of great albums. If you read my previous entry on the band, you already know that I used to be a Creed fanatic. Since this band was such a huge part of my life growing up (though not so much anymore), I just had to include Human Clay. Ignoring “With Arms Wide Open” for a second (because that song is probably the worst one on this album), Human Clay is a pretty strong rock record. “Are You Ready?” is a great opener, and even the slower songs have intensity. Yes, Scott Stapp’s voice can get grating at times, but he can still carry a tune. And yes, I still know the words to every song. Judge me all you want.

22. Dummy by Portishead (1994)

Still with me after that last album? Yes? Good. Let’s talk about Portishead. I grew up listening to a lot of ‘90s electronic music. I got really into trip-hop for a while with Massive Attack’s Mezzanine (which you’ll see later in the countdown), and it was around that time that I found Portishead. Beth Gibbons’ voice is absolutely heavenly and the instrumentals are so sexy. I remember listening to this album during a certain coming of age experience, so that might be why it appears so high on this list. But aside from that, Dummy is just a really chill record. This sounds silly, but I’ve written so much poetry while listening to songs like “Mysterons” and “Pedestal.” The slower tempos and trippy electronic effects are perfect for fueling creativity. And “Strangers” remains one of my favorite songs of all time.

21. Frizzle Fry by Primus (1990)

If you know me at all, you know that I adore Primus. And while this band has a fairly strong catalog, I’m going to have to go with Frizzle Fry as my absolute favorite (though Tales from the Punchbowl is a very close second). Frizzle Fry is the first complete studio album from the band and it’s the perfect introduction to the insanity that is Primus. I have a thing for heavy bass and this album is ALL BASS. The first Primus song I ever heard was “Too Many Puppies” and it hits me just as hard as the first time I heard it. Not only is Les Claypool a master bassist, but Larry LaLonde is one of the most underrated guitarists of all time. There’s some real skill on songs like “Pudding Time” and “The Toys Go Winding Down” that you just can’t ignore. Frizzle Fry as a whole is probably the heaviest funk metal album you’ll ever come across. And if you ever get a chance to see Primus live (which I had the pleasure of doing a few years ago), bring a helmet.

Creed

Sound Familiar?

“My Own Prison,” “Higher,” “With Arms Wide Open”

Who Are They?

Everyone’s favorite butt rock band to hate (next to Nickelback, of course).

Scott Stapp and Mark Tremonti met in high school in Tallahassee and formed a band called Naked Toddler in 1993. Once rhythm guitarist Brian Marshall and drummer Scott Phillips joined the group, the four-some changed its name to Creed.

The band had an awful time trying to book shows early on, so the boys ended up playing in gay bars and T.G.I. Friday’s. But once Creed played a successful show in a Tallahassee bar, the bar’s manager (who was conveniently head of his own promotions company) hooked them up with a producer named John Kurzweg.

Creed’s first album, 1997’s My Own Prison, was initially self-released and sold about 6,000 copies in Florida. The album began circulating around the music industry and eventually fell into the hands of Wind-Up Records rep Diana Meltzer.

My Own Prison was remixed and re-released by Wind-Up Records later that year. The album spawned four singles (“My Own Prison,” “Torn,” “What’s This Life For?” and “One”), all of which reached number one on the Billboard Hot Mainstream Rock Tracks chart. Believe it or not, Creed was the first band to achieve this feat with a debut album.

With the money made from My Own Prison, Creed released the follow-up, Human Clay, in 1999. Though not as critically acclaimed as its predecessor, Human Clay did have two huge things going for it: “Higher” and “With Arms Wide Open.”

Chances are, when you think of Creed, you immediately hear “With Arms Wide Open” and have visions of Scott Stapp spreading his arms into the wind like a butt rock messiah. This is arguably Creed’s biggest hit (along with “Higher”) and I’m still not sure why (but we’ll get into my secret Creed feelings later on).

(Fun fact: Human Clay is the #8 best-selling album of the past 20 years. Metallica’s The Black Album is #1.)

Where Are They Now?

Reunited and possibly working on a fifth studio album (though that may currently be on hold).

In 2000, right when Creed was on top of the world, bassist Brian Marshall decided to badmouth Pearl Jam. Big mistake, Brian. He claimed that Scott was a better songwriter than Eddie Vedder and criticized the band’s music as a whole for “having songs without hooks.” Scott made it clear that he didn’t share Brian’s views and Brian eventually ditched the group.

For Creed’s third studio album, 2001’s Weathered, guitarist Mark Tremonti pulled double duty and played both lead guitar and bass. The album was a huge success, debuting at #1 on the Billboard Top 200 and staying there for eight solid weeks (a record the band shares with The Beatles).

The tour to promote Weathered, on the other hand, was not as successful. It was delayed in 2002 when Scott was injured in a car accident, which resulted in his addiction to painkillers (along with a steadily growing alcohol problem).

At a tour stop in Illinois in December 2002, Scott was apparently “so intoxicated and/or medicated that he was unable to sing the lyrics of a single Creed song.” Four concertgoers filed a lawsuit against the band, but the case was later dismissed (though Scott did ultimately admit that he was, in fact, intoxicated during the show).

Tensions mounted between Scott and the rest of the band, resulting in Creed’s dissolution in 2004. Scott immediately went on to a solo career and the remaining members joined forces with Myles Kennedy to form Alter Bridge.

After Mark swore up and down that Creed would never reunite, the band got back together for a new tour in 2009. A new album, Full Circle, was released later that year, along with a record-breaking concert film, Creed Live.

(Fun fact: Creed Live broke the world record for the most cameras used at a live music event, which was a total of 239.)

After a fairly successful tour, Creed went back to the studio to begin work on a fifth studio album, but further details on new material have yet to surface. And now that Alter Bridge is back up and running, it looks like Creed is back on hiatus.

But Why Creed?

Because I’ve been waiting to write this entry for a long time. Also, I still think Creed has one album left in them.

What Does Sam Think?

Okay, I think it’s about time I revealed my secret to you all. I, Sam Boyer, ‘90s queen and grunge enthusiast, used to be the biggest Creed fan on the face of the earth. And not only did I worship this band, but I was also a card-carrying fan club member. (I wish I still had the card to prove it, but alas, it’s gone.)

So if you know me, this really isn’t that big of a secret. For a solid two-year period, I was hopelessly obsessed with this band. I still remember the lyrics to every song from the first three Creed albums. And yes, I still like to listen to them.

Perhaps my thought process is clouded by nostalgia, but I still don’t understand why so many people vehemently hate Creed. I can see why people dislike them—not everyone digs spiritual power-ballads with heavy Christian undertones. But why do people loathe them beyond reason?

Creed’s mainstream success obviously doesn’t reflect the group’s reputation as one of the most hated bands ever. Scott Stapp and company sold millions of albums and even broken records. Human Clay broke the Top 10 Best-Selling Albums of the Past 20 Years. So do millions of people (including myself) just have bad taste in music?

I’m not going to argue that Creed is the greatest band of all time—they’re just some guys from Tallahassee who started a post-grunge band and played some rad music that really resonated with people. “With Arms Wide Open” isn’t the song of a generation (and it’s far from the best Creed song anyway). Human Clay isn’t the best album of all time. But Creed is a decent band.

I don’t expect you to suddenly become a Creed fan overnight, but if you’ve never listened to the band’s music outside of the hits, consider giving it a try. You won’t die, I promise. If anything, give My Own Prison a listen. Compared to Human Clay and Weathered (we’re just going to ignore Full Circle because that album was awful), My Own Prison is incredibly dark. It’s definitely not riddled with soaring ballads.

Now that I’m not an eleven-year-old Creed fangirl, I can look back at my obsession objectively. How did I get into this band in the first place? What made a semi-Christian rock band appealing to me? I don’t consider myself religious at all, but I enjoy the storytelling in Creed’s songs. There are some great lyrics that still resonate with me, and even though the instrumentation is your typical testosterone-drenched post-grunge riffing (most of the time), it’s still catchy.

I guess the moral of the story is, if you happen to genuinely enjoy a band most people seem to hate, embrace it. Don’t call it a guilty pleasure if you don’t feel guilty about it. And if you want me to serenade you with Creed songs some night, buy me drinks and watch the magic (and the messiah arms) happen.

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

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.