Top Ten Albums of the 90's

A non-definitive Top ten albums of the 90's, served up steaming for you on a platter of musical supremacy (and in no particular order.)

By Jennifer Hill and Merideth Frengs

Dismemberment Plan - Emergency & I (1999)

This album is probably the reason that the Plan is my favorite band. I remember the first time I heard it and being absolutely unable to stop thinking about how much I liked it. Their third full length (out of five), the Dismemberment Plan found their way into the hearts of millions (including mine), with this spazzy, out of control album. There is magic and boundless energy in each song, each respectfully citing influences like the Pixies and Prince without mindlessly duplicating the sound. This is all well and good, but what really sets this album apart as groundbreaking pop music are the lyrics, which heartbreakingly gorgeous lead singer Travis Morrison puts forth flawlessly. Emergency & I has lyrics that are completely different from any other album of its time. Poetic and emotional without being sappy, the lyrics, matched with the ever-changing time signatures and ass-shaking keyboards in songs like ‘Memory Machine’ and ‘Gyroscope’ make this album unbeatable. After almost ten years of being my favorite band, the Dismemberment Plan broke up in 2003, going on one final amazing tour. Although I will never see their incredible live show again, I will have Emergency & I to cuddle up to on a cold winter’s night, when all that can solve my problems is a good dose of rock and roll.

Pavement - Crooked Rain, Crooked Rain (1994)

One of the best things about Pavement is the fact that none of their albums sound the same, yet at the same time they are always quintessentially Pavement-sounding. With this in mind, it’s scientifically impossible for me to choose one Pavement album over its discographic buddies as the best. So why Crooked Rain, Crooked Rain? As the first full-length after their landmark indie debut Slanted & Enchanted; Crooked Rain, Crooked Rain shows Pavement expanding from the grungy, so-called ‘slacker rock’ so prevalent in their debut and exploring many diverse musical genres. There are remnants of Slanted & Enchanted in lazy tracks like ‘Cut Your Hair,’ country twangs in ‘Range Life,’ and even hints of jazz in ‘5-4=Unity.” Crooked Rain, Crooked Rain proved that Pavement’s sound was expansive and paved the way for future releases of near genius, most notably 1999’s Terror Twilight, spotlighting the quirky creative brilliance of these founding fathers of modern indie rock.

Built to Spill - There’s Nothing Wrong With Love (1994)

Sure, I love a lot of bands, and yes, it was hard picking out just five albums that deserve such a personal accolade. However, choosing which Built to Spill album should grace these hallowed pages has been extra hard. However, in the end, There’s Nothing Wrong With Love has won its rightful place. The songs flow together extraordinarily, with the sudden “STOP!” at the end of ‘In the Morning’ morphing flawlessly into ‘Reasons.’ There’s Nothing Wrong with Love also contains some of the classic Built to Spill pop gems; including ‘Big Dipper’ and the sentimental (yet wonderful) ‘Twin Falls, Idaho.’ Doug Martsch’s voice shows its true force in turning mere tracks like ‘Stab’ into powerful anthems. The one thing, though, that made me choose this album over Perfect from Now On? Track 13, the ‘Preview’ for the next Built to Spill album which pokes fun at several timely genres, like grunge. There’s Nothing Wrong With Love both defines Built to Spill’s unique sound and sets the bar for pop music in the early 90’s.

Spoon - A Series of Sneaks (1999)

I hit myself (no joke) after listening to this album for the first time. Spoon is the Captain Planet of bands, and this is most prominent in A Series of Sneaks. We have the anthems such as ‘Quincy Punk Episode,’ with its soaring, repetitive guitar and addictive hand claps. Then there are the off-kilter serenades (in 3/4 time no less) like ‘The Agony of Lafitte,’ which showcases frontman Britt Daniels’ pleading vocals. The most striking aspect of this album, however, is the absolute, balls-out rocking that Spoon does in tracks like “The Guest List/The Execution” that are characteristic of the entire album. Combined with the odd similarities between Britt Daniels and Gary Busey, Spoon becomes the super band in A Series of Sneaks. Captain Planet couldn’t even come close, even without the green mohawk-mullet.

The Wrens - Secaucus (1996)

I feel almost guilty writing about this album. See, the first time I heard Secaucus, I didn’t like it. I know, I know. BOY WAS I WRONG. Secaucus has everything; pedal-to-the-floor, shake-your-ass-til-you-drop rock and roll, harmonies (which I am a sucker for), and even a little introspection. Strong points (more like songs destined for eternal positions on the Mt. Olympus of Rock): ‘Built in Girls’ oozes with XTC and pop goodness, ‘Jane Fakes a Hug’ is poignant and pretty, and ‘Indie 500’ is sprinkled with Vince Guaraldi-style piano and dancy guiltar riffs. Secaucus is one of those albums that gets better every time I listen to it. Each listen brings out little nuances that had previously never surfaced, and with each spin, my appreciation and love for the Wrens grows greater.

Weezer- Pinkerton (1995)

Although many may argue that Weezer’s first realease is more of a standout, the group’s forgotten second disc, Pinkerton, is deep and thoughtful—a striking contrast to the band’s Blue Album. Rivers Cuomo bares his soul in the lyrics on each track, such as the lonely “Across the Sea,” in which he responds to his emotionally-isolated life as a rock icon as being “Words and dreams and a millionscreams/Oh how I need a hand in mine to feel.” One cannot help but immerse
himself in the darker themes of the album, which still maintains the same catchy pop sensibilities as the band’s other releases. Although entirely ignored by most mainstream listeners, this album touched a generation of soul-searchers and heartbroken teens. Essential tracks include “The Good Life,” a toe-tapping exposé of growing up, and
“Butterfly,” the emotional acoustic close to their masterpiece.

Portishead - Dummy (1994)

This haunting album is essential for those interested in unclassifiable music. Not only do the soft and eerie wailings of singer Beth Gibbons soothe ears jaded by bad grunge music of the era, but the trip-hop beats and classical interludes appeal to fans of all genres. Portishead’s attention to detail, whether in sampling Isaac Hayes (“Glory Box”) or the addition of wailing organs in the background of many of the album’s eleven tracks, makes the album both intelligent and enrapturing. Essential tracks include “Wandering Star,” for its funky, pulsating beats, and the crooning, sexy vocals found in “Glory Box.”

Deftones-Around the Fur (1997)

Before “nü metal” hit mainstream and transformed the radio waves into a cesspool of rap-rock, came the Deftones. The group’s sophomore
effort was a heavy blend of metal and rock sensibilities softened by Chino Moreno’s haunting voice. Arguably one of the most sexual albums
of all time, its rough lyrics melt into Stephen Carpenter’s scratchy guitar riffs and the catchy rhythms of Chi Cheng’s bass lines. Fans
of any type of rock will quickly learn to love the intricate song layouts and the dark, provocative lyrics. Essential tracks include the smooth and sensual “Mascara,” and the bass-infused “Dai the Flu.”

Ween-Chocolate and Cheese (1994)

Diversity is key when listening to music. Ween proves that one band can truly do it all with their release Chocolate and Cheese. Track one, “Take Me Away,” echoes Doors-esque melodies and vocals, yet song two, “Spinal Meningitis (Got Me Down),” thrusts listeners into a deliriously frenetic musical acid trip. The most refreshing part of the album is it’s appeal to listeners of any genre. Fans of delicious guitar melodies and those who enjoy nonsensical beats and lyrics can be at peace, as Ween satisfies all tastes at once. Essential tracks include “Freedom of ’76,” the perfect theme to a spring afternoon lounging with friends, and “Baby Bitch,” a soothing yet hateful breakup song.

Spacehog-The Chinese Album (1998)

In the midst of alternative rock’s mainstreamexplosion, Spacehog quietly released their memorable rock opera. A fusion of piano, dramatic vocals by crooner Royston Langdon, and classic pop styles, the group’s sophomore release is a refreshing take on old classics. Bowie meets Queen in the twelve tracks, as Spacehog expands upon
their influences and add a personal spark to the dying flame of glam rock. Lyrically, the songs are diverse and intense. Musically, the
songs actually make the listener feel as if he is being transported to a completely different universe—a better one, at that. Essential
tracks include the piano-rich “Lucy’s Shoe,” and the hopeful,
riffy “Carry On.”

The RUNNERS-UP

Ace of Base - The Sign - Because you still listen to it out of total seriousness. Les Savy Fav - 3/5 - Has a rock & roll cover of a disco song. ‘Nuff said. My Bloody Valentine - Loveless - easily one of the most influential albums ever. Also one of the most difficult for amateur music journalists to write about with publishable clarity. Radiohead - The Bends/OK Computer - Must we really elaborate? Smashing Pumpkins - Siamese Dream - Rembember kids, just say NO to Zwan. Flaming Lips - The Soft Bulletin - Wayne Coyne & The Lips at their finest. Each track is a gem. Michael Bolton -Soul Provider - Nothing good about this no-talent assclown, but he spawned one of the best movie jokes of all time. Nirvana - Nevermind - We were all too young to truly appreciate this album when it was released, but ignoring its importance and social ramifications (Kurt Cobain should have died for making Courtney Love famous) would be a true crime against humanity.