The 90s were the formative decade for my musical tastes. Despite the great albums that were released in the 00s and 10s, the 90s records will always have that special glow of music I first loved. The records I remember each year for may not be the best ones, in many cases they may be the worst ones, but … I don’t have anything to say beyond that. I had bad taste as a kid. Who didn’t?
1990 – Please Hammer, Don’t Hurt ‘Em – MC Hammer, The Razor’s Edge – AC/DC. At Whenuapai Primary School, Cool As Ice by Vanilla Ice was ubiquitous. Ok. Slow start. To be fair, I was ten. Records I discovered later in life include Ritual De Lo Habitual – Jane’s Addiction, Bossanova – The Pixies, Ragged Glory – Neil Young and Crazy Horse, Girls, Girls, Girls – Elvis Costello, and Traveling Wilbury’s Vol3. An OK year, but hardly watershed.
1991 – Ten – Pearl Jam was the huge record of my 11th year. Floating around my periphery was Nevermind by Nirvana, which sounded far more abrasive and terrifying and I never fully appreciated until I was a teenager. The Use Your Illusion records were discovered a couple of years later, as was a whole host of records by bands I would end up loving (Blur – Leisure, Red Hot Chili Peppers – Blood Sugar Sex Magik, Low End Theory – A Tribe Called Quest), and the usual flotsam of the era (Achtung Baby – U2).
1992 – Discovering music as a 12 year old in New Zealand was difficult. I had to pretty much rely solely on the radio and the once weekly screening of RTR Countdown to find new and exciting sounds, and if there is one thing that has remained a constant in the every changing musical landscape, it’s that the radio has always sucked. Ugly Kid Joe was the big discovery of the year, with their one song, a terrible cover, and a forgettable novelty record. Core – Stone Temple Pilots and Insecticide – Nirvana flew the grunge flag that year, and later I would come to listen to Generation Terrorists – Manic Street Preachers an embarrassing amount. Likewise, Harvest Moon – Neil Young would be records I would truly discover in my later teenage years.
1993 – Pablo Honey, In Utero, Vs, Enter the Wu Tang, Porno for Pyros, Modern Life is Rubbish, Fuzzy, Where You Been? While I didn’t absorb all these records when they were released, 1993 felt like an explosion of music. Undoubtedly fuelled by the start of high school and leaving the insular world of my military base primary school (look, a brown person!), it featured records I still listen to now, as well as ones I am still annoyed by despite not hearing them in 20 years.
1994 -The music dies every year, just look at 2016 so far, which makes that Don McLean song as stupid as it is annoying. Thankfully there were many, many records to fill the void left by Kurt Cobain’s death. Dookie – Green Day, Mellow Gold – Beck, MTV Unplugged – Nirvana, Smash – The Offspring, Superunknown – Soundgarden, Parklife – Blur, The Blue Album – Weezer, Ill Communication – The Beastie Boys…. the list goes on and on. Reading through the list of records that are now considered “classics”, as well as those that are simply “old”, it is easy to conclude that there isn’t anything today that really compares to hearing Vitalogy for the first time, or discovering that you actually do like electronic music when it’s done by Massive Attack. But there was also a huge amount of chaff. Some real turds. For every Purple by Stone Temple Pilots there was a The Division Bell by Pink Floyd.
1995 – This was the year I first realised that most people have appalling taste. Presidents of the United States of America turned the airwaves toxic with their brand of post-Nirvana crap. I couldn’t go anywhere without hearing “Peaches” or “Lump”; songs played on badly strung instruments that never made it past their own gimmick. Garbage, Smashing Pumpkins, No Doubt and Ben Harper all released records that have been burnt on my brain by my classmates’ constant playing, all which annoyed me to varying degrees. It was the year that the big BritPop battle between Oasis’s What’s the Story? (Morning Glory) Blur’s The Great Escape seemed incredibly important. It’s strange to think now that it was ever in doubt that Blur would musically eclipse their rivals several times over. It was a landmark year with the release of The Bends. Radiohead would shape my musical tastes with every subsequent release. I also listened to Jagged Little Pill by Alanis more than was reasonable for a 15-year-old boy.
1996 – This was a strange year. Looking through the list of releases, there is very little that stands out. Pearl Jam had the poorly received No Code, which was fitting as it was a poor record. The Nirvana horse continued to be posthumously flogged with the release of a live album. There are some records that I would appreciate later in life, such as Modest Mouse’s debut This is a Long Drive for Someone with Nothing to Think About, If You’re Feeling Sinister by Belle and Sebastian, and On Avery Island by Neutral Milk Hotel. On the whole though, it was an empty year. I am not sure why I wasn’t listening to more music. My 6th form grades indicate I was doing anything but studying.
1997 – When I first started this I knew that 1997 would be a huge year because of two albums in particular: Radiohead’s OK Computer and the self-titled Blur. Both records still blow away pretty much everything released over the last 20 years. However, the year also featured the phenomenal Ladies and Gentlemen, We Are Floating in Space – Spiritualised and Word Gets Around – Stereophonics, as well as other 90s classics like Urban Hymns – The Verve, Around the Fur – Deftones, and Portishead’s self-titled debut. It also featured one of my major disappointments. In hindsight, I don’t understand why I was so enamoured with Oasis. They’re more than a bit shit. But I was desperately looking forward to Be Here Now, and while I tried HARD to like it, it was interminable.
1998 – Just as my enthusiasm for this blog is diminishing, by 1998 my enthusiasm for the decade was also waning. The records of this year symbolised my drifting into the nothingness of post-high school and early 00s. Pulp’s This is Hardcore, Placebo’s Without You I’m Nothing and Manic Street Preachers’s This Is My Truth Tell Me Yours were all records I fell in love with and ones that now do nothing but make me sad. I do still like Bring It On by Gomez though.
1999 – The decade closed with the return of John Frusciante to the Red Hot Chili Peppers, which seemed prophetic given my early infatuation with the band. Californication wasn’t Blood Sugar Sex Magik, but it was a lot better than 95’s One Hot Minute, and they wouldn’t release a record as good again. As one guitarist returned, another departed and 13 would be Graham Coxon’s last record with Blur for 15 or so years. Again, it was a tremendous album.
When I decided to write this, I thought it would be an illuminating journey across the peaks of my own good taste. It turns out that I listened to fuck all of the good stuff when it was actually coming out. Wilco released great records in the 90s but I didn’t discover them until I heard Summer Teeth in 2000. A whole host of seminal hip hop records by The Roots, Wu Tang, Public Enemy, and many more weren’t discovered until relatively recently. I think the lesson here is teenagers are idiots. I wasted a lot of time and a lot of money buying and listening to dreck like Reef, Texas, Everclear, when I could have immersed myself in actual quality.
As a side note, Anal Cunt were a remarkably prolific band in the 90s. I am surprised that I have never heard them.