Category Archives: 90s

Twenty Years On: March 1998 in Review

Posted on by
Reply

March is right about when the doldrums of first quarter taper off, the post-Christmas sales of older titles have quieted down, and more exciting new releases start popping up.  Some of my favorite albums of the year surfaced around this time, albums that remained on heavy rotation for quite a few years afterwards.  Here are a few for you to enjoy.

Madonna, Ray of Light, released 3 March. I’ve been a passive fan of Madonna since her Like a Virgin days (which goes to show how old I am), and interestingly her albums always seesawed between phenomenal and lackluster. I consider this particular album one of her crowning achievements; it beautifully and seamlessly blends her signature dance sound and the brilliant electronica of producer William Orbit. It’s an amazing album from start to finish.

Fastball, All the Pain Money Can Buy released 10 March. Yes, it’s that song, their one-hit wonder (and there were many in 1998), but the rest of the album is actually quite a solid one worth checking out, with equally hooky riffs.

Morcheeba, Big Calm, released 16 March. One of many rock/electronica hybrid bands making the scene at the time, Morcheeba could be alternately loud and chunky or soft and sexy, sometimes within the span of a few tracks on their albums.

Cornelius, Fantasma, released 24 March. Keigo Oyamada has been called “the Japanese Beck” by certain critics, and they’re not wrong. Adventurous, experimental, weird, and often amusing, his work as Cornelius is a feast for the ears.

Semisonic, Feeling Strangely Fine, released 24 March. This band could have ended up a one-hit wonder with “Closing Time”, if it wasn’t for singer Dan Wilson’s brilliant songwriting, which kept the band in the spotlight and has carried his post-Semisonic career to achieving numerous award-winning hits. The entire album is catchy as hell and a lot of fun to listen to.

Superdrag, Head Trip in Every Key, released 24 March. After their snotty, punky mega-hit “Sucked Out” from 1996’s Regretfully Yours, this trio was bound and determined not to be pigeonholed into being another snotty-punk clone, and released a phenomenal album…which, alas, the label hated and proceeded to drop them unceremoniously. Surprisingly mature, often Beatlesque, and full of lovely melodies and introspective lyrics, Head Trip actually proved that they were a strong band, carrying them well into the early 00s and beyond. Highly recommended for your collection.

Sully, I Have Much to Report, released 24 March. An obscure Canadian band from Ottawa, this band nonetheless managed to pop up in the background in numerous shows and movies in the mid-90s. I love this album purely for its murky Cocteau Twins-meets-Sneaker Pimps ambience.

God Lives Underwater, Life in the So-Called Space Age, released 24 March. GLU’s second album is a change from the aggro-electronics of their first album, and in effect it sounds darker and more experimental. It’s a great album for headphones and long writing sessions, though! One of my favorites from this year, it got a hell of a lot of play down in the Belfry for a few years.

Scott Weiland, 12 Bar Blues, released 31 March. Scott’s debut solo album is quite the mix, alternating between weird and unstable, and heartfelt and beautiful. It features a few older tracks (“Lady Your Roof Brings Me Down” is from the Great Expectations soundtrack from a few months earlier, and “Mockingbird Girl” is a rerecording of the song he contributed to the 1995 Tank Girl soundtrack) alongside some fantastic new ones.

Pulp, This Is Hardcore, released 31 March. Jarvis Cocker & Co follow up their brilliant Different Class album with a decidedly darker and sinister outing about the more questionable side of life. This isn’t about the have-nots, it’s about the don’t-give-a-shits.

Harvey Danger, Where Have All the Merrymakers Gone, released 31 March. Another band that sadly became a one-hit wonder, despite multiple albums and excellent songwriting. A fun and exceptionally nerdy band, their entire discography is well worth checking out.

*

Next Up: April 1998!

Twenty Years On: February 1998 in Review

Posted on by
Reply

Welcome to another edition of Twenty Years On!  It’s February 1998, and I’ve started to take it upon myself to order imported albums for my store that I think will sell.  I’m reading all the British music magazines and reading the reviews, and for the most part I do a pretty good job.  Though I may also order a few imports for my own purchase…

Ultrasound, “Best Wishes” single, released 1 February. The major label (Nude UK) debut for this psychedelic Britpop band was an unexpectedly calm track and a one-eighty from their previous small label (Fierce Panda) single, the raucous “Same Band”. A piano-only version of this would later show up as a hidden track on their first album.

Primal Scream, “If They Move, Kill ‘Em” single, released 1 February. After the blissed-out Screamadelica and Stones-y Give Out But Don’t Give Up, PS would return with something equally unexpected: jazzy dub electronica, with 1997’s Vanishing Point. Critics loved it, and fans, once they got used to it, called it a brilliant success.

Catatonia, International Velvet, released 2 February. The Welsh band’s second album might not have made as big a splash as they’d hoped in the UK, but they certainly knew how to write catchy and fun alt-pop singles filled with brightness and humor.

Ian Brown, Unfinished Monkey Business, released 2 February. The former lead singer for the Stone Roses released his first solo album nearly four years after the Roses’ last one, and it’s full of oddities as well as catchy riffs. It’s missing the sunshine-psych sound of his former band (and definitely sounds like demos in places), but it also shows that he’s a strong songwriter lyrically and musically.

Pearl Jam, Yield, released 3 February. The wildly popular Seattle band returned to the airwaves with a classic album that channels both their Ten/Vs sound as well as the angular and punkish No Code. They also returned with their first official video since 1991’s “Jeremy”, co-directed by Todd McFarlane, then known as the creator of the Spawn comic book.

Roni Size/Reprazent, “Brown Paper Bag” single, released 10 February. Taken from 1997’s New Forms album, this fantastic track is a perfect example of the drum & bass sub-genre that popped up around that time. Size and his group were one of the best of their style, seamlessly mixing electronic dance and smooth jazz.

Curve, Come Clean, released 16 February. The group’s third album came nearly five years after their previous one (during which time they’d dissolved, done some solo work, and regrouped two years later and released a few rare singles).  It contains the signature guitar-driven heaviness but with a harder, more acidic edge.

Loreena McKennitt, “The Mummers’ Dance” single, released 17 February. McKennitt was part of the new-age/folk/Celtic wave of the mid-90s (thank you, Riverdance) and had a very strong following, enough to release a remixed version of a track from 1997’s The Book of Secrets album. This version would get significant airplay on many alternative stations around this time.

theaudience, theaudience, released 23 February. An amazing British power-pop band that really should have been a hell of a lot more popular than they ended up being. The entire album is filled with catchy riffs, smart and clever lyrics, and sung by the wonderful Sophie Ellis-Bextor. Alas, they were not only a band that suffered from the Universal/PolyGram merger (a sampler EP for the US was put together but disappeared soon after), their guitarist and co-songwriter quit the band soon after, breaking them up. Ellis-Bextor, thankfully, went on to become a popular solo singer in her own right just a year or so later. Highly suggested to add to your collection if you happen to find it.

Craig Armstrong, The Space Between Us, released 24 February. Armstrong is more known for film score composing (including numerous Baz Luhrmann movies such as Romeo & Juliet, Moulin Rouge and The Great Gatsby), but he’s also released a handful of gorgeous albums full of rich ambiance.  His work is perfect for chilling out — and also perfect for background music during writing sessions!

*

Next Up: March 1998!

[Note: I know, I know…I skipped Neutral Milk Hotel’s In an Aeroplane Over the Sea from 10 February. While I understand and appreciate its ridiculously huge cult status, I’ll admit I’m not that much of a fan and decided not to list it here.]

Twenty Years On: January 1998 in Review

Posted on by
Reply

My recent ongoing blog series Thirty Years On, focusing on classic albums and singles that were released thirty years ago in 1988, has inspired me to do a sequel as well, Twenty Years On.  [I could say I have this fascination with music in years ending in 8; I’m even fascinated by the music history of 1968.  Still, I’m yet to take a good critical look at 1978 and 2008.  Maybe in the future…?]   This will be just like 30YO, in that it won’t be strictly scheduled, but will at least be consistent.

SO!  What happened in 1998, anyway?  Personally: entering year 2 of working at HMV, finally getting myself out of debt, and writing like a fiend.  But you already know all that. Musically, it was a critical year for many bands, because it was when the Big Six distributors (Universal, EMD, BMG, Sony, PolyGram, and Warners) shrank down to the Big Five (Universal and Polygram would merge and become UMG)…and a hell of a lot of good bands with potential being unceremoniously dropped like yesterday’s fashion.  Despite that, however, there were still a hell of a lot of great records released.

So without further ado…

Bowling for Soup, Rock On Honorable Ones!!, released January. BfS’ second studio album slipped under the radar for a hell of a lot of people, and they wouldn’t get much notice until a few years later. Irreverent, goofy, nerdy, and always fun. (This particular song is featured on at least three different albums of theirs, to my knowledge.)

Pearl Jam, “Given to Fly” single, released 6 January. The lead single from their upcoming album Yield, this felt like a much stronger and more cohesive band than their previous album, 1996’s abrasive No Code. Still no video from the band (yet), but this track was an excellent start in the right direction.

Great Expectations soundtrack, released 6 January. A hip and updated version of the Dickens novel as done by 90s pretty things Ethan Hawke and Gwyneth Paltrow, the movie itself had average success and was quickly forgotten, but the soundtrack features some excellent tracks by Mono, Chris Cornell, The Verve Pipe, Pulp, Duncan Sheik, Poe, and Tori Amos.  Well worth checking out.

Radiohead, “No Surprises” single, released 12 January. Third and last single from their stunning 1997 classic OK Computer, this was a curious selection for a single, and yet seemed to fit the entire theme of that record: discomfort and irritation beyond our control.

Air, Moon Safari, released 16 January. Every now and again, an album will come out that’s so unique, so different from everything else out there, that it’ll blow the minds of all the critics, and most likely yourself. The French duo’s debut is one such album, a magical downtempo record that sounds equally futuristic and retro at the same time. Highly recommended.

Propellerheads, Decksandrumsandrockandroll, released 26 January. This duo only released one album and a few singles and EPs, but it’s a hell of a great electronica album that’s worth checking out. They deftly mix jazz, hip-hop, techno and more into an album that’s perfect for both listening and grooving.  You may also remember their track “Spybreak!” from the ridiculously over-the-top (yet so awesome) shootout scene from The Matrix.

Catatonia, “Mulder and Scully” single, released 31 January. This quirky Welsh band hit it big on both sides of the Atlantic with this fun track about a relationship so strange it calls for The X-Files duo. It would be the second single from their upcoming second album, International Velvet.

Coming up soon: February 1998!

Get off your ass and jam

Posted on by
Reply

So apparently I did have a slice or two of P-Funk in my collection….just not the originals.


(samples “(Not Just) Knee Deep”)


(samples “Pumpin’ It Up”)


(samples “Let’s Play House”)


(samples “Man’s Best Friend”)


(samples “Mothership Connection”)


(samples “Come in Out of the Rain”)


(samples “Atomic Dog”)


(samples “Get Off Your Ass and Jam”)

Giving some of those early Funkadelic albums a listen and OH MAN are they tight. I have no idea why I didn’t get to them sooner.

Meet the Lidwells: Musical Inspiration

Posted on by
Reply

I’m thrilled to report that in the span of one month, I’ve already hit over 13,000 words for the Meet the Lidwells project, averaging around 500 to 700 words day. I’m still on track for a fall release at this point, as I think I’m about a fifth of the way done already!

Meanwhile, here’s a few songs I’ve used for inspiration and reference so far. As you can see, there’s definitely a deep Britpop influence going on.

The Stone Roses, “I Am the Resurrection”: The four-to-the-floor beat of this track was part of the inspiration for the Lidwells’ first major hit, “Grapevine”.  Theirs is a catchy track that captures the interest of not just their younger teen fans but also the older ones, thanks to their ability to cleverly mix pop stylings and creative alternative rock. The Lidwells were known for stretching out “Grapevine” live, much like how The Stone Roses did with this song.

The Charlatans UK, “Opportunity”: Keyboardist Danny Lidwell wrote a groovy deep track called “Trust” for their debut album inspired by the keyboard-heavy Manchester bands like The Charlatans and Inspiral Carpets. He claims that “Trust” was when he deliberately decided to stop being self-conscious about his playing and just powered through it, revealing his own unique style in the process.

The Real People, “Window Pane”: I’m using this song as a sort of template as to what the early Lidwells sound like aurally: a lot of harmony, a positive and funky vibe, and definitely catchy and fun to dance to.

The House of Love, “You Don’t Understand”: This would be a good example of the type of song they would write, especially eldest member and band leader Jason. In fact, Jason will end up writing a song similar-sounding to this one by their third album.

Veruca Salt, “Volcano Girls”: This is definitely a great example of how I picture the two women in the band, Hannah and Amy, rocking out. Hannah is a badass drummer with no fear, and Amy is one hell of a shredder. They’re both solid songwriters with no filter at all.

The La’s, “Looking Glass”: If A Division of Souls had Failure’s “Daylight” as the soundtrack for the final scene, this is the one for MtL‘s finale. This would be Thomas, the youngest Lidwell, singing this as the final song on their final show on their last tour, going out on one hell of a high.

*

More to come when I have more written! 🙂

Boston Rocks

Posted on by
Reply

citgo sign

Speaking of 90s music, I’ve been listening to a lot of stuff lately that came out while I was in Boston, college and post-college.  The city has a fascinating musical history, especially where rock and radio is concerned.  [I highly suggest looking for Carter Alan’s Radio Free Boston: The Rise and Fall of WBCN and Brett Milano’s The Sound of Our Town for a great overview.]  There’s always been a scene of some kind in the city over the years, and it’s always been great.  A lot of it is due to its eclectic mix of blue-collar families and college students.

I was glad to be able to listen to, if not go see, a lot of the local bands while going to Emerson College in the early 90s. Here’s a few of my favorites from that era…hope you enjoy!









Everything you’ve ever said is brilliant

Posted on by
Reply

Alas, my recent fascination with 70s music has been sidetracked due to my starting in on the Meet the Lidwells project; in this case, I am now immersing myself in the poppier side of alternative rock circa 1990-1996.  Not complaining, considering.

I’m trying to avoid the expected hits, the songs that still pop up from time to time: “Unbelievable” and “Right Here Right Now”, Achtung Baby and Nevermind, and so on.  I’d like to dig just a little deeper than expected — something I am wont to do for my writing projects anyway — and bring back some of the tunes that were on my Walkman during my college years.

Sure, I’ve often said that the early 90s was definitely an unpredictable era of great highs and miserable lows for me personally, but that’s not the story I’m writing here.  [And that’s another blog post entirely anyway.]  I’m reconnecting with a lot of the great music that came out at the time, and channeling that energy into the Lidwells story.

The early 90s was an interesting time, for a multitude of reasons anyway.  Musically, post-punk and college rock was becoming the new mainstream, 80s pop was aging a bit (sometimes not that well at all), and new voices and sounds were popping up from around the globe.  Politically, old walls (literal and figurative) were being torn down, and soon a new President would be entering the White House.  It felt like there was a weird positivity in the air that we’d almost forgotten about.

It may have been the political sea change, or it may have been something else.  For me at any rate, I was thinking this was the last decade in the millennium, and that we were all looking forward to a more positive future than the sometimes dreary one we’d been recently subjected to.

Musically, I was getting into the wave of Britpop that WFNX was playing (when they weren’t playing grunge, which took me a lot longer to get into).  In addition to that, Boston was experiencing a small renaissance of sorts with a hell of a lot of great local bands old and new getting some serious airplay — Manufacture, the Mighty Mighty Bosstones, Tribe, Heretix, The 360s, Think Tree…a bunch of bands I may not have been able to see live, but I certainly bought most of their releases when I could.

I was also doing a lot of shorter writing at the time — my fiddling with the Infamous War Novel had faded into the background; I’d created my comic character Murph and put him through all kinds of weird universes; I’d finally gotten out of the ‘doom poetry’ phase I’d put myself through and was writing some solid Flying Bohemians lyrics; I was also pushing myself to play around with new story ideas.

This is the energy that I want to use for Meet the Lidwells; a feeling of optimism and strong bursts of creativity.  Sure, my story will deal with their personal ups and downs and their eventual demise as a band, but that’s only part of it.  This is about celebration as much as it is about struggle.

It’s about the love (the characters’ and mine) of music. 🙂

On a lighter note…

Posted on by
Reply

As I mentioned previously, having a new writing project means having a new playlist.  Nearly all of the Bridgetown trilogy music leaned more towards darker atmospheric moods, so the hard switch to a new musical style has felt a bit like whiplash.

Meet the Lidwells! features a family band that plays what some would call power pop: quirky and upbeat, often guitar-oriented, sometimes a bit odd, but never an uncomfortable listen.

Well-known examples would be Fountains of Wayne…

or Veruca Salt…

or Matthew Sweet…

or Belly…

….you get the picture.

So why power pop?  Well, the story of the Lidwells is partly set in the late 80s-early 90s; they’re a band heavily influenced by the Beatles (thanks to their parents) as well as late 80s college rock (thanks to their elder siblings).  Much like the Beatles, they started out writing simple poppy love songs aimed towards the young teen market.  Over the course of five chart-topping albums and numerous hit singles, their sound evolves from that catchy pop to more adventurous alternative rock.  And just like the Beatles, weary of the ups and downs of fame and tiring of the game, they decide to go out on a big note with their strongest album.

Right now, while I’m working on notes and piecing together a coherent story, I’m also making it a point to look for more music to listen to that would fit this project.  It doesn’t necessarily have to be explicitly power pop, of course…as long as it’s somewhere in the neighborhood.  And I’m specifically looking for both male and female singers, as it’s important to the story.

So yeah…if you have any suggestions/recommendations for bands and songs, please feel free to let me know in the comments!  I’m always open to new tunage. 🙂