Dig Me Out: 90s Rock

By the end of the 1990s, mixing rock and other genres was no big deal, but in the first half the first half of the decade it was still a novel idea. 311 established their unique sound by mixing elements rock, reggae, hip-hop, and funk, and on their sophomore album Grassroots, bits of 70s progressive rock and psychedelic jam bands. The innovative fusion of genres, combined with high-energy vocal and musical performances, make the album an undeniable head-bobber. On the flip-side, the band can lock into a staccato delivery across instruments, not exploring interesting counter melodies or rhythms, while certain genre touches can go overboard into straight-up imitation. Depending on your musical preferences, it can make for an exciting experience or a repetitive disappointment.

Songs In This Episode

Intro - Homebrew

23:54 - Lucky

28:32 - Salsa

40:40 - Rock That Doesn't Roll / Dope Nostalgia podcast promos

48:47 - Omaha Stylee

57:43 - 8:16 AM

Outro - 1, 2, 3

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After achieving massive success in the 1970s and 80s, Bruce Springsteen began the 1990s with the release of two albums in 1992, "Human Touch" and "Lucky Town," which showcased a departure from his work with the E Street Band. Like with his 1987 album "Tunnel of Love," Springsteen explored more personal themes at the end of his marriage and relocation from New Jersey to Los Angeles. Despite mixed critical reception, the albums produced notable singles like "Human Touch" and "Better Days." While some wrote off Springsteen as stale and out of touch, he returned on the soundtrack to the movie Philadelphia with the haunting and sparse "Streets of Philadelphia." He followed that up in 1995 with "The Ghost of Tom Joad," a stark, acoustic folk album that harkened back to the style of "Nebraska" and focused on social and economic issues, earning him critical acclaim and a Grammy Award for the title track. This period, though less commercially dominant than the 1980s, demonstrated Springsteen's versatility and commitment to evolving as an artist, and the 1998 four-disc compilation Tracks made up of 66-outtakes from the earliest years of his career up to the 90s showcased his hidden gems and concert-only favorites, leading up to his induction into the Rock 'n Roll Hall of Fame in 1999.

Songs In This Episode:

Intro - Better Days (Lucky Town)

19:12 - Leap of Faith (Lucky Town)

34:42 - Streets of Philadelphia (Philadelphia soundtrack)

45:27 - Rock That Doesn't Roll / Dop Nostalgia podcast promos

50:20 - Youngstown (The Ghost of Tom Joad)

1:03:45 - Born In The U.S.A. (Tracks)

1:11:52 - American Skin (41 Shots) (Live)

Outro - 57 Channels (And Nothin' On) (Human Touch)

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The provocative album covers and lyrical content have kept the Dwarves an underground band for four decades, appreciated by punk enthusiasts and fellow musicians across musical genres. After getting dropped by Sub Pop, the band returned with The Dwarves Are Young and Good Looking in 1997. While a cursory listen pins this as classic punk rock, the band isn't afraid to push the pop end of punk thanks to doubled and harmonized vocals spitting out obviously catch choruses that only missed mainstream attention thanks to a liberal use of explicit language and themes.

Songs In This Episode

Intro - Crucifixion Is Now

20:43 - I Will Deny

25:54 - Rock That Doesn't Roll / Dope Nostalgia podcast promos

28:17 - Everybodies Girl

30:08 - You Gotta Burn

39:02 - Unrepentant

45:52 - Demonica

Outro - We Must Have Blood

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No one would have faulted the surviving members of For Squirrels for moving on from music after the horrific accident that claimed the life of their singer, bassist, and road manager. It took years for guitarist/singer Travis Tooke and drummer Jack Griego to regroup with new bassist Andy Jim Lord under the new moniker Subrosa and land a new record deal, the end result being their 1997 lone release Never Bet The Devil Your Head. While For Squirrels drew comparisons to the college rock of R.E.M., Subrosa dials up rock, dabbling in a post-hardocre riffage while Tooke switches between a lower register singing voice and a fiery growl. Passionate but uneven, the record doesn't shy away from the past for the Tooke and Griego, who channel their catharsis in equal parts volume and melancholy.

Songs In This Episode

Intro - Never The Best

13:42 - World's Greatest Lover

23:01 - The Life Inside Me Killed This Song

28:38 - Antigen Fiend

32:33 - Dope Nostalgia Promo

34:27 - Damn The Youth

Outro - Rollercoaster

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It's hard to look back on the 1990s and remember a time when Alanis Morissette was not one of its most recognizable artists. At the start of the decade, unless you were familiar with Canadian pop music or the Nickelodeon show "You Can't Do That On Television," you'd be forgiven for not knowing her name. In 1995, that all changed. Thanks to a meeting with songwriter/producer Glen Ballard, the creatively frustrated 19-year old teen pop star was able to reinvent herself by stripping away the restraints of her previous career and starting anew. Songwriting sessions with Ballard allowed Morissette to unleash her voice, sonically and lyrically, one demo at a time into what would become one of the most successful albums in history. As impressive as the sales numbers are, unlike other massive multi-platinum world sellers, Jagged Little Pill does it without being glossy and over-produced, relying on simple drum loops, tasteful guitars, and the occasional bouncy bassline to provide the foundation for Morissette's singular voice.

Songs In This Episode

Intro - You Outta Know

29:52 - Right Through You

32:35 - Dope Nostalgia Promo

37:03 - All I Really Want

46:55 - Not The Doctor

50:56 - Mary Jane

Outro - Head Over Feet

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Nine Inch Nails' second studio album, The Downward Spiral, is Trent Reznor's chronicle of self-destruction through themes of addiction, depression, and existential despair. Free from the interference of TVT Records, it marked a significant recording and songwriting evolution for Reznor, building upon the . While the industrial rock genre had already combined heavy guitar riffs with electronic elements, Reznor's innovative production techniques combined with his ear for melody helped launch the album and band from the underground world to dance charts, daily MTV play, and global recognition.

Songs In This Episode

Intro - Mr. Self Destruct

33:07 - Piggy

36:42 - I Do Not Want This

40:58 - The Becoming

46:02 - Heresy

58:39 - Closer To God (single)

Outro - Hurt

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With their tenth album, Jump Rope, just released, a fortunate stroke of serendipity landed Buffalo Tom's third album Let Me Come Over at the top of our most recent Patreon album poll. Having recorded their first two albums with J Mascis of Dinosaur Jr., the band took a different approach for their 1992 release, heading to Fort Apache Studios to work with Sean Slade and Paul Q. Kolderie. With guitars and tempos dialed down a bit, introspective lyrics and melancholy melodies become clearer in the mix, while tasteful layers of acoustic guitars, keys, and other additions help fill-out the three-piece sound.

Songs In This Episode

Intro - Staples

15:27 - Mineral

17:24 - Stymied

26:25 - Taillights Fade

29:54 - I'm Not There

Outro - Porchlight

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Following the end of Galaxie 500, Damon Krukowski and Naomi Yang were ready to give up on music. Thanks to Mark Kramer of Shimmy Disc, who coaxed them back into the studio, the pair formed Damon and Naomi, and released their debut More Sad Hits in 1992. While continuing the dream pop/slowcore sound of Galaxie 500, the band stretch their sound in various ways, with subtle basslines playing off the vocal melodies, hits of French pop and jazz, and the varied vocal approach with each taking lead, as well as harmonizing on several tracks. Neither high or lo-fi, it's melancholy but not depressing, a fine needle to thread.

Songs In This Episode

Intro - Boston's Daily Temperature

13:25 - E.T.A.

17:28 - Information Age

24:19 - Once More

28:43 - Astrafiammante

Outro - This Changing World

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Starting as the inexplicable Rainbow Butt Monkeys in the early 90s, the band wisely changed their name after the 1995 debut release and reconfigured their sound on 1998's Tip as Finger Eleven. With the capable Arnold Lanni behind the board, the band combined contemporary elements of Our Lady Peace, Helmet, Quicksand, and more in their post-grunge approach. A pair of big, thick guitar sounds with a rock steady rhythm section give singer Scott Anderson a strong base to work with, like on the riff-heavy "Condenser" and "Glimpse." But the band has multiple gears, like the subdued "Awake and Dreaming" and Tool-lite closer, "Swallowtail." If there is anything working against the band, it's the restraint they adhere to, keeping second guitar leads to a minimum and occasionally drifting vocally into Raine Maida territory.

Songs In This Episode

Intro - Condenser

26:46 - Alone

35:33 - Quicksand

40:25 - Swallowtail

Outro - Glimpse

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In terms of unexpected successes in the music industry, Hootie & the Blowfish might be the biggest one of all. Having spent years playing southern bars as the 80s gave way to the 90s, the band couldn't get a record deal despite success with an independent EP. The A&R rep that signed them did so because they didn't sound like what was popular, and Atlantic Records gave them a fraction of their standard advance and no money to make a video for their 1994 debut Cracked Rear View. Years of honing their chops on the SEC circuit meant the pop-rock tunes with a tinge of southern flavor were tight and catchy - the perfect antidote to the domination of minor chord and drop-tuned Seattle sound that dominated after the release of Nevermind. Naturally, as their record sales exploded, backlash wasn't far behind, which quickly made the band fodder for comedians and music journalist poison pens. So is the hate directed at four compentent musicians with a goofy band name and over twenty-million albums sold valid?

Thank you to Tara for her years of support, please check out Prism United.

Songs In This Episode

Intro - Hold My Hand

26:47 - Hannah Jane

29:35 - Drowning

48:40 - Only Wanna Be With You

52:29 - Running From An Angel

Outro - Goodbye

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Led by vocalist Angie Hart and guitarist Simon Austin, Frente! emerged from Melbourne, Australia, with a sound that blended acoustic folk with a touch of alternative rock. On their 1992 debut Marvin the Album, Hart's angelic vocals combined with Austin's intricate guitar work create an intimate listening experience. It was completely out of step with the heavy Seattle sounds dominating radio playlists at the time, but the band made commercial inroads thanks to their non-album cover of New Order's classic synth-pop dance hit "Bizarre Love Triangle." For such a focused, stripped down record, some of the production choices left us scratching our heads, like an obnoxiously loud snare caked in heavy reverb, or a free jazz excursion completely out of step with the rest of the record.

Songs In This Episode

Intro - Accidently Kelly Street

23:17 - No Time

27:00 - Cuscatlan

32:38 - 1.9.0

35:23 - Ordinary Angels

39:58 - Most Beautiful

Outro - Labour of Love

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The 1994 album Foolish by Superchunk might be the defining indie rock album of the 1990s. Raw musical energy paired with introspective lyrics and hooks that grab hold from the first track to the last. The band's signature blend of punk and pop shines through in every distorted chord or note that guitarist and lead singer Mac McCaughan sings or strums, creating an album that feels both urgent and timeless. Tracks like "Driveway to Driveway" and "Like a Fool" showcase the band's knack for crafting sneakily catchy melodies while maintaining the emotional depth of a record that famously followed the breakup of McCaughan and bassist Laura Balance. The end result is a vital record that defines the 1990s indie rock sound.

Songs In This Episode

Intro - Water Wings

17:23 - Driveway to Driveway

29:41 - Why Do You Have to Put a Date on Everything

35:07 - Kicked In

40:18 - Like A Fool

Outro - The First Part

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When Muse released their debut album Showbiz in 1999, the Radiohead and Jeff Buckley comparison were unavoidable. Lumped in with Coldplay, Paloalto, Ours, and other bands whose male vocalists utilized a falsetto, the band never actually quite fit in, and their trajectory in the 2000s is evidence they were thinking bigger. While so many music critics were happy to cast aspersions of Matthew Bellamy for his vocal approach, the actual music got less attention than it deserved. Only a three piece, the rhythm section of bassist Chris Wolstenholme and drummer Dominic Howard were largely overlooked, which is a shame. Plenty has been written about Bellamy's vocals, but combined with the melodic bass lines often harmonizing with the vocal, or the variety in Howard's playing, that slyly incorporates non-rock rhythms like on the tango-influenced "Uno," the band is much more adventurous than any of its contemporaries.

Songs In This Episode

Intro - Sunburn

16:11 - Muscle Museum

23:39 - Falling Down

30:20 - Uno

Outro - Sober

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In 1992, INXS released Welcome to Wherever You Are and instead of touring, headed back into the studio for a quick follow-up. 1993's Full Moon, Dirty Hearts was the result, a mixed bag of innovation incorporating bass grooves on tracks like "The Gift" and "Cut Your Roses Down" while still writing anthemic choruses on tracks like "Days of Rust" and "Time." In the midst of the grunge takeover of America, it's not surprising the album didn't fare well with radio or the charts. While guest vocalists Ray Charles and Chrissie Hynde of The Pretenders are welcome, their inclusion didn't push the needle. Revisiting the album, it's an interesting crossroads of what the band was and the sounds of the decade to come, with electronic elements sneaking in that wouldn't sound out of place later in the decade.

Songs In This Episode

Intro - The Gift

21:17 - Time

25:13 - Cut Your Roses Down

32:16 - Kill The Pain

41:12 - Please (You Got That...)

Outro - Days of Rust

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All the way back in season seven, we reviewed Save Ferris’s 1997 release It Means Everything, the first ska album discussed on a deep dive for the podcast. Seven years later, we catch up with Save Ferris lead singer Monique Powell who discusses how she joined the ska-punk band, the highs and lows of signing to a major label, what it was like being on the road with artists like Sugar Ray and The Offspring in the late ‘90s and the current status of the band. During the interview, we briefly discussed the legal fight Powell was engaged in with former members which led to Powell taking ownership of the group and retroactively being given co-songwriting credits for songs that appeared on It Means Everything and 1999’s Modified. To read more about the case, read the 2019 Forbes magazine feature.

Songs in this Episode:

Intro - The World Is New

30:47 - Come On Eileen

Outro - The World Is New

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Rock music genres often get reduced to a "Big Four." For Grunge, it was Alice In Chains, Nirvana, Pearl Jam, and Soundgarden. For Thrash, Anthrax, Megadeth, Metallica, and Slayer made the grade. In 90s Britpop, Oasis, Blur, Pulp and Suede got the nod. But as if often the case, the bands on the cusp are often as interesting or even more-so thanks to being just outside the spotlight. In the case of Supergrass, The Beatles and The Rolling Stones creep in as influences like their Britpop contemporaries, but the energetic attitude and willingness to embrace the chaos of The Who's rhythm section and the concise songwriting perfection of The Kinks helps their second album, 1997's In It for the Money, exceed not just their debut, but most of the Britpop catalog. Looking at the charts, it's not hard to see why killer singles like "Richard III," "Cheapskate," "Sun Hits The Sky" and "Late in the Day" failed to impact American radio and pop culture consciousness. While Blur had "woo-hoos" and Third Eye Blind had "do do do's," Supergrass ditched guitar solos for theremins and vintage synthesizers, constructing layered pop gems that deserve revisiting.

Songs In This Episode

Intro - In It for the Money

27:40 - Sun Hits the Sky

31:42 - You Can See Me

35:45 - Going Out

40:08 - Tonight

Outro - Richard III

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You're forgiven if you tried to search for Pollen on the internet and struggled to find this band. Besides the numerous bands named Pollen, there is also the issue of their debut 1998 album The Glorious Couch Life not appearing on streaming services, rendering it hard to find for the average music listener. That's a shame, because throughout the record, Pollen finds the combination of indie rock energy tinged with a little garage and some danceable rhythms, topped with catchy melodies and smart lyrics. Shades of American bands like Superchunk, Guided By Voices, Beck, Death Cab For Cutie, and Sebadoh peak through, as well as Australian contemporaries like Screamfeeder, Ratcat, Ammonia, and Moler, permeate the sound, from the propulsive "Greater Than" and "Sin as Fast as You Can" to the angular "Walruses to Whales" and quirky "Settle the Score on the Dancefloor."

Songs In This Episode

Intro - Million Destinations

12:25 - Sin as Fast as You Can

16:18 - Brighter Day

21:28 - Settle the Score on the Dancefloor

25:08 - Soma and Nerves of Steel

27:56 - Special Features

Outro - Not Rocket Science

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Formed in a city best known for either Motown Soul or Garage Rock, shoegazers Majesty Crush were an anomaly in the early ‘90s Detroit music scene. Inspired by the music coming out of the UK, Majesty Crush’s sound employed swirling guitars, hazy vocals, and captivating dreaminess while incorporating elements of soul and R&B. After their song “No. 1 Fan” received significant airplay during prime hours on the Windsor radio station 89X, Majesty Crush - David Stroughter (vocals), Mike Segal (guitars), Hobey Echlin (bass) and Odell Nails (drums) - signed with Dali Records, a subsidiary of Warner/Elektra and released their debut full-length, Love 15, in 1993. However, just a month after the album came out, Dali Records folded bringing Majesty Crush’s momentum to a halt and, ultimately, to an end just a few years later. Though their time was short, the band amassed a small but loyal following in the shoegaze scene of the early ‘90s and have been cited as an influence for everything from indie guitar groups to metal bands. And curators of this style of music have sought out Majesty Crush’s music to include on compilations like Third Man Records’ Southeast of Saturn which features 19 tracks from Detroit shoegaze and dream pop artists. In March 2024, Numero Group released Butterflies Don’t Go Away, a 2 LP set featuring the Love 15 album as well as singles, EPs, and rarities, all remastered from the original tapes. The package is completed by a 24-page booklet. Majesty Crush bassist Hobey Echlin joins us on this episode for a deep dive into not only his band’s career but the ‘90s independent music world. As a music journalist, Echlin has amassed a number of stories over the years and this conversation - at times - goes to places you’d never expect.

Songs in this Episode:

Intro - No. 1 Fan

29:33 - "Club Connect" TV show intro

33:46 - Worri

1:25:17 - Space Between Your Moles

1:30:47 - Where the F**k is Kevin Shields? (by PS I Love You)

Outro - Uma

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Leitmotif, released in 1999 by Los Gatos, California quartet Dredg, is a concept album exploring themes of identity and time. The album blends elements of alternative rock, progressive rock, nu-metal, and post-hardcore, showcasing the band's skillful versatility, drawing comparison to fellow California bands Tool and Deftones. With its intricate instrumentations and dynamic shifts, Leitmotif takes listeners on an emotive musical journey through its narrative arc. Where the band runs into trouble is in the indulgences, stretching out noisy outros or delayed intros far too long, and ending on an unnecessary jam below their skill set. What looks like an album quickly shrinks to something more like a long EP, missing a few tracks that focused on their talents instead of their experimentation.

Songs In This Episode

Intro - Movement I: @45N. 180W

13:15 - Lechium

16:57 - Movement IV: RR

23:40 - Penguins in the Desert

32:13 - Traversing Through the Arctic Cold, We Search for the Spirit of Yuta

Outro - Yatahaze

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Released during the decline of 80s hair metal and rise of 90s Seattle grunge and alternative, the 1992 album It's A Shame About Ray by The Lemonheads is rarely mentioned as being in the pantheon of 90s album, but maybe it should. Sporting tight and smart songwriting arrangements with track after track of catchy hooks, lead singer and guitarist Evan Dando, bassist and backup singer Juliana Hatfield, and drummer David Ryan make the most of their sub-thirty minute album, packing short songs with simple but well-thought-out changes and dynamics on par with contemporaries like Sugar, Buffalo Tom, and Dinosaur Jr.

Songs In This Episode

Intro - It's A Shame About Ray

21:39 - Hannah & Gabi

27:41 - My Drug Buddy

33:05 - Alison's Starting to Happen

40:30 - Bit Part

Outro - Confetti

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With the music landscape dominated by the grunge movement coming out of Seattle, it’s little wonder that Pennsylvania’s Riverside, a band influenced by the likes of The Smiths and Echo and the Bunnymen, didn’t stand a chance. Featuring Keith Kochanowicz (vocals, guitar, organ) and his brother Glenn Kochanowicz (bass, vocals), Kenneth Jackson (guitars), and Geoff Verne (drums), the band’s debut - and ultimately lone - album for Sire Records, One, was released in 1992. While featuring a number of alt-rock-radio friendly songs (“Waterfall,” “Cinnamon Eyes,”), Riverside couldn’t catch a break and were dropped by the label despite finishing a sophomore album, Taste. More than 30 years after One’s release, the Kochanowicz brothers hooked up with the Lost in Ohio record label and a Kickstarter campaign was launched to fund the first-ever pressing of the album on vinyl. Despite never achieving massive success in the ‘90s, the campaign was fully funded within weeks of the announcement and the vinyl will be available later this summer. In this conversation, the Kochanowicz brothers discuss the formation of the band, how fellow Pennsylvania band The Ocean Blue served as mentors, the realities of having a major label record deal in the ‘90s, and what happened after Sire dropped Riverside.

Songs in this Episode:

Intro - Waterfall

7:15 - General Nature

57:00 - Waterfall

1:04:48 - Marvel (from Taste)

Outro - Cinnamon Eyes

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By 1994, Sinéad O'Connor had established herself as a musical powerhouse willing to take risks behind the microphone and under the hot spotlight of the media. Following up her third album, the 1992 release Am I Not Your Girl?, consisting mostly of jazz standards, O'Connor returned with an album of diverse musical styles, blending elements of folk, rock, and traditional Irish sounds. The mix of acoustic and electric instrumentation, from the trip-hop flavored singles "Fire On Babylon" and "Thank You For Hearing Me," bookend a much more subdued and intimate affair, including a cappella tracks and a hushed cover of "All Apologies" by Nirvana. While some of the 90s electronic production ends up sounding dating, overall the album reflects a generational talent pushing the limits of mainstream music.

Songs In This Episode

Intro - My Darling Child

20:36 - John I Love You

23:41 - Fire on Babylon

34:44 - All Babies

40:59 - Famine

1:00:26 - Thank You For Hearing Me

Outro - Red Football

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Compilation albums have helped define a musical scene or time period for decades, and the roots of 90s alternative rock are unmistakably tied to the underground music of the 1980s. While punk exploded into the mainstream 1994 thanks to million selling albums by Green Day and The Offspring, the seeds were planted in the small scenes across the country more than a decade earlier, many of which were never documented. Luckily, those that got laid down on vinyl or tape often have unknown gems waiting to be discovered. In the case of the 1984 compilation, It Came From Slimey Valley, which documents the Oxnard, California "nardcore" scene, the hardcore sound isn't as predictable as one might expect, with bands occasionally slowing the tempo, incorporating more dynamics, or turning up the fuzz.

Songs In This Episode

Intro - Prophesy by False Confession

16:24 - Death of Two Lovers by Flower Leperds

20:08 - Violent Children by Reign of Terror

22:43 - In the Trenches by Rigor Mortis

34:37 - Old Towne Mall by The Grim

39:09 - Boy's Life by Dr. Know

Outro - There's Someone in the Cellar by Crankshaft

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The 1999 album Black Visions of Crimson Wisdom by The Hookers is a loud, pummeling rock record that draws influence from the New Wave of British Heavy Metal as well as '80s hardcore and punk. Guitar riffs that would sound at home on Iron Maiden or Judas Priest albums rip while a thundering rhythm section propels the band with hardcore energy, keeping the songs short and tight and the album under thirty minutes. That turns out to be the right move, as the pummeling sound of the band never lets up, and lead singer Adam Neal has one gear - full-throat-shredding-throttle.

Songs In This Episode

Intro - Maximum Overdrive

19:03 - Behold God's Candy

23:38 - Black Magic Stallion

27:10 - The End Is Comin'

47:09 - Ride The Dragon To The Crimson Light

Outro - Ball Crusher Love Machine

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In a bar in Perth, Australia in the late 1980s and early 1990s, Fred Negro and his various bands tore through country-tinged punk rock soaked in beer and satire. One of these incarnations was The Brady Bunch Lawnmower Massacre, a short-lived name that produced a single, an EP, and the 1992 album Desperate Football. Like fellow garage post-punks The Scientists or The Birthday Party, on the surface the sound is big, loud and messy. But repeated listens reveal tighter than anticipated musicianship with some chorus hooks that will stay in your brain longer than expected.

Songs In This Episode

Intro - Drink Myself to Live

20:21 - Nothing on Telly

24:59 - When Jesus Goes Surfing

31:09 - Carpark

36:00 - Blood Money

Outro - I've Only Got One Dick

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By the time 1995 rolled around, punk had exploded into the mainstream thanks to releases the previous year by Green Day and The Offspring, as well as Bad Religion, Rancid, NOFX, and many more. It was also the year Jawbreaker released their third album 24 Hour Revenge Therapy, as well as the year they made the jump to a major label for their fourth and final album, Dear You. Showcasing a departure from their earlier raw sound towards a more polished, melodic approach, the band faced criticism from some punk purists who felt the band had strayed too far from their DIY roots, with accusations of selling out and alienating their hardcore fanbase. Despite the divided opinions, the album's impact has endured, influencing subsequent generations of punk and alternative rock musicians.

Songs In This Episode

Intro - I Love You So Much It's Killing Us Both

19:00 - Save Your Generation

30:10 - Bad Scene, Everyone's Fault

42:04 - Oyster

Outro - Fireman

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Released in 1994, the Indigo Girls' fifth album "Swamp Ophelia" marked a significant chapter in their career, following the critical and commercial success of their earlier works. The album, co-produced by Peter Collins, showcases the duo's distinctive harmonies and poignant songwriting, seamlessly blending folk and rock influences. Tracks like "Galileo" and "Power of Two" became anthems of the era, displaying their lyrical prowess and melodic charm. "Swamp Ophelia" received acclaim for its introspective and socially conscious themes, tackling issues such as love, identity, and environmental concerns. Despite its positive reception, the album leans towards a more polished sound compared to their previous works, potentially sacrificing some of the rawness that defined their earlier releases.

Songs In This Episode

Intro - Fugitive

15:16 - Reunion

21:37 - The Wood Song

31:17 - The Power of Two

45:09 - Touch Me Fall

Outro - Least Complicated

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In our latest and final "Albums of..." roundtable, we're tackling what might have been the most prolific year for releases of the entire decade. With the major labels scooping up bands to ride the alternative and grunge wave explosion into mainstream radio and on MTV, 1994 saw not only huge album releases from Soundgarden, Pearl Jam, Stone Temple Pilots, Nine Inch Nails, Alice In Chains, R.E.M. Nirvana, and more, but also the punk explosion thanks to Green Day, The Offspring, Rancid, Bad Religion, and others. This was also the year that across the pond from the US, Britpop topped the charts in the UK thanks to Blur and Oasis, while a new wave of alternative bands shot up the charts like Veruca Salt, Bush, Live, Weezer, Toadies, etc. while the indie underground produced classic records from Pavement, Guided By Voices, Low, Stereolab, Sebadoh, and Superchunk, to name a few. For a big year, we have a big group with a super-sized length. Enjoy!

Songs In This Episode:

Intro - 1994 Medley (Interstate Love Song by Stone Temple Pilots, Loser by Beck, Self Esteem by The Offspring, Buddy Holly by Weezer, I'm Broken by Pantera, March of the Pigs by Nine Inch Nails)

16:05 - Last Goodbye by Jeff Buckley

23:36 - Girls & Boys by Blur

39:10 - Everything Zen by Bush

50:25 - Very Best Years by The Grays

1:07:19 - Suffering by Satchel

1:13:30 - Bernie by Failure

1:30:40 - I Am I by Queensrÿche

1:50:51 - Feel The Pain by Dinosaur Jr.

Outro - Faster by Manic Street Preachers

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Although only active for a short time in the 1990s, Baltimore, Maryland's Love Nut still managed to bounce from indie to major labels back to the indies over the course of their two albums. Originally recorded for Interscope Records, the band ended up releasing their second and last album on the smaller label Big Deal, meaning more freedom but less budget money for promotion and marketing. Which is a shame, because revisiting ¡Baltimucho! it's clear the band were ripe for discovery with big, hooky power pop choruses that leaned on the 70s glam pop of Sweet as much as Cheap Trick. 

Songs In This Episode

Intro - Love Found You

15:58 - Everchanging World

21:20 - Bomb Pine

26:48: Everything Is Going Your Way

34:48 - Crop Duster

Outro - Stolen Picture

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While Britpop bands like Oasis and Blur aped the sounds of British invasion bands like The Beatles and The Kinks, other UK bands explored less radio-friendly material. In the case of The Verve, long psychedelic jams improvised in the studio established the sound of the band on their 1993 debut album A Storm in Heaven. For their long-play 1995 follow-up, A Northern Soul, the band entered the studio with more composed ideas that edged away from formless psychedelia to incorporate more defined verses and choruses, and even an acoustic ballad on par with Wonderwall.

Songs In This Episode

Intro - A New Decade

16:50 - On Your Own

19:12 - Life's An Ocean

21:58 - So It Goes

31:57 - History

Outro - A Northern Soul

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Nailing down what exactly is "power pop" can be frustrating (we did a whole roundtable on it!), but the "power" end of it is usually found in the guitar section. From the big riffs of Cheap Trick's Rick Nielsen to Robert Quine's excited guitar leads on Matthew Sweet albums, just because it's "pop" doesn't mean it doesn't rock. For their second album, Fountains of Wayne duo Adam Schlesinger and Chris Collingwood recruited former Belltower guitarist Joey Porter and former Poises drummer Brian Young to complete the foursome. Two veteran players mean a tightened rhythm section and a bigger guitar sound that allows the band to expand their sound, touching not only on power pop from the 70s, 80s, and 90s, but elements of Britpop, psychedelia, and Queen grandiosity.

Songs In This Episode

Intro - Red Dragon Tattoo

13:00 - Utopia Parkway

17:48 - Lost In Space

25:45 - Denise

Outro - A Fine Day For A Parade

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It's hard to imagine a piano-led trio playing power-pop and 70s singer-songwriter influenced songs making headway in the sea of sorrow that was the first half of the 90s. Maybe it's better Ben Folds Five made their debut in 1995, when labels abandoned looking for the next Pearl Jam or Nirvana and went after anyone with a radio-friendly song that could pair with an MTV video. Boasting Billy Joel and Elton John-style piano flourishes over fuzzed out basslines and active drums, the trio move deftly through a dozen tracks of "punk rock for sissies" with smarts and savvy, keeping the songs tight with memorable melodies throughout. Though they would shoot into the mainstream on their follow-up, the self-titled debut effort shows the band had the songwriting chops from the start.

Songs In This Episode

Intro - Jackson Cannery

21:55 - The Best Imitation of Myself

38:32 - Video

44:47 - Underground

Outro - Philosophy

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There is a lot to talk about when we look back on 2023. Albums new and old from 90s and 00s artists blasted from our speakers and headphones everyday. As with our previous year-in-review episodes, we look back at our favorite new album discoveries, most brought to us by our Patreon community, as well as our most enjoyable round table experiences, and our favorite interviews conducted by Chip Midnight. Here's to season fourteen in 2024!

Songs In This Episode:

Intro/Outro - Dig Me Out by Sleater-Kinney

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The explosion of Nevermind in 1991 pushed Sunset Strip bands that dominated the 1980s off of radio and MTV in favor of Seattle's Big 4 - Nirvana, Pearl Jam, Soundgarden, and Alice in Chains. Promotion and marketing budgets dried up, tours saw decreasing attendance, and it left many hair and glam rock bands wondering what to do next. For Warrant, who made a name on power ballads and Cherry Pie, the shifting winds allowed them to explore the songwriting talent of frontman Jani Lane. On 1992's Dog Eat Dog, innuendo is swapped for political and social commentary on "April 2031" while "All the Bridges Are Burning" tackles drug addiction, neither standard fare for LA bands. While there are a few straightforward nods to the first two albums, the band make it clear they were capable of entering Queensryche or other previously unexplored territory with ease, whether their fanbase and radio were ready or not.

Songs In This Episode

Intro - Machine Gun

13:06 - April 2031

32:01 - Sad Theresa

41:13 - The Hole In My Wall

57:12 - Inside Out

Outro - Bonfire

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For the next installment of our series looking back at the Diamond selling albums of the 1990s, we're revisiting the 1991 debut album Ten by Pearl Jam. Though it wasn't an immediate smash upon release, Ten built success on the back of singles like "Alive," "Evenflow," and "Jeremy" with heavy support from radio and MTV. Though the band pulled the plug on videos from then until their 1998 album Yield, demand for the band didn't diminish, as the follow-up Vs. became one of the bestselling debut weeks in music history. But Pearl Jam was not without their detractors, criticizing everything from Eddie Vedder's singing style to album production choices, lyrical content, their credibility as "Seattle band," dismissed as nothing more than classic rock, and more. Much has been said and written over the two-plus decades since its release, so is there really much more to explore? Yes, there is. Like, was Jeff Ament's bass playing the secret sauce that drove the Pearl Jam engine? Is the derided reverb-tinged production actually what makes the album special? And in the world of Gen Z and Alpha sporting Nirvana t-shirts, is Pearl Jam relevant to anyone under forty? Or have they become the new Grateful Dead?

Songs In This Episode

Intro - Evenflow

28:49 - Once

38:35 - Yellow Ledbetter

45:07 - Footsteps

45:47 - Times of Trouble (Temple Of The Dog)

55:18 - Alive

1:14:59 - Black (Live, Dissident Single)

Outro - Release

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"Ágætis byrjun" by Sigur Rós was released in 1999 but didn't get proper attention until touring with Radiohead in 2000. The Icelandic post-rock band's sophomore album is lead by Jónsi Birgisson's haunting falsetto vocals partially in Hopelandic, a nonsensical language created by the band, is unlike anything from the time period. The album blends ambient, classical, and rock elements, creating a dreamlike and cinematic atmosphere. Each track is like it's own mini-movie, exploring a new sonic landscape that evokes everything from blissful euphoria to introspective melancholy. Hailed as a landmark album that pushed the boundaries of experimental music, the band employ a mix of classical orchestration and modern electronic elements, creating a one-of-a-kind cinematic and atmospheric experience.

Songs In This Episode

Intro - Starálfur

21:14 - Svefn-g-englar

25:33 - Hjartað hamast (bamm bamm bamm)

45:06 - Olsen Olsen

Outro - Ný batterí

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After a string of indie label seven inch releases, Velocity Girl from College Park, Maryland, released their debut album Copacetic on Seattle's legendary Sub Pop records. Taking their name from the Primal Scream track, the band leans into the UK sound of shoegaze with a layer of American indie and noise rock. Lead singer Sarah Shannon's vocal hover above the fray, the anchor in the three-to-four minutes of brittle guitars and thin rhythms that hamper the potential of Copacetic.

This episode is dedicated to Steven Jon, who passed away on November 23rd, 2023. RIP.

Songs In This Episode

Intro - Crazy Town

19:15 - Audrey's Eyes

26:09 - Here Comes

30:49 - Pop Loser

38:29 - A Chang

Outro - Void I: Thousand Year Drift by Hollow Earth

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It's our fourth year of getting the patrons together and giving thanks for the new music that gave us happiness and good vibes in 2023. There's a wide array of bands and artists, new and old, that helped make 2023 a great year for music. New albums from 1980s, 90s and 00s artists like Slowdive, The Hives, Louise Post of Veruca Salt, Depeche Mode, Drop Nineteens, Samiam, Gaz Coombes of Supergrass, Madder Rose, Juliana Hatfield, The Hold Steady, Brad, Ash, OMD, Allen Epley of Shiner and The Life And Times, The Church, PJ Harvey, Blur, DJ Shadow, and many more all released great late career records, while newer bands like Crown Hands, Spotlights, Houston, Vast Robot Armies, and several others landed on our radar. We also spend an inordinate amount of time rambling about the new Andre 3000 album, New Blue Sun.

Songs In This Episode

Intro - Scapa Flow by Drop Nineteens

5:30 - Ghosts Again by Depeche Mode

20:43 - In The Moment That You're Born by Brad

35:40 - Graveyard Love by Mutoid Man

57:30 - Ants To You, Gods To Who? - Andre 3000

Outro - Countdown to Shutdown - The Hives

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Elastica burst onto the scene in 1995 with their highly acclaimed self-titled debut album, showcasing the band's distinctive blend of punk-inspired energy and catchy pop hooks. Elastica's minimalist sound and frontwoman Justine Frischmann's laid back vocals separated the band from their Britpop counterparts Blur, Suede, Oasis and Pulp. To help us revisit their freshman effort, we're joined by Rob Harvilla, host of the 60 Songs That Define the 90s podcast and his new corresponding book, out November 14th.

Songs In This Episode

Intro - Connection

27:09 - Car Song

35:05 - Blue

39:43 - Indian Song

Outro - Line Up

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Leaving behind traditional rock 'n roll structures for more experimental avenues is nothing new for post-rock bands stretching back to The Velvet Underground drones or Brian Eno's ambient albums. It's stretches boundaries into free jazz, krautrock, math rock, and more often with a mechanical feel. That is quite the opposite of what the Dirty Three accomplish on their 1996 album Horse Stories, filled with the improvisations of Warren Ellis on violin, Mick Turners on guitars and bass, and Jim White on drum. The three-piece creates a wide cinematic scope, using space and slow building dynamics to evoke European folk ballads, traditional blues, classical music and much more.

Songs In This Episode

Intro -Sue's Last Ride

19:39 - At The Bar

28:03 - Warren's Lament

Outro - Red

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Superdrag first gained recognition with their debut album, "Regretfully Yours," which featured the hit single "Sucked Out." Elektra records upped the dough for a sophomore album hoping the band would follow-up the hit with more radio friendly singles. Instead, "Head Trip in Every Key," marked a significant departure from their freshman effort. The band continued to deliver their trademark catchy melodies, but this time, they incorporated more diverse musical elements, like psychedelic rock and Beach Boys-esque pop. The album featured a broader range of instruments and experimental sounds, showcasing the band's evolving musical maturity. The band's sound became more intricate and layered, reflecting a greater musical complexity in their compositions. Despite these changes, Superdrag's unmistakable energy and John Davis' distinctive vocals remained at the core of their sound, making "Head Trip in Every Key" an important milestone in their musical evolution.

Songs In This Episode

Intro - Do The Vampire

19:32 - I'm Expanding My Mind

30:36 - Pine Away

42.25 - Mr. Underground

Outro - Hellbent

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Dark, brooding atmospheres with intense, pulsating rhythms complemented by searing guitar work and haunting, enigmatic lyrics roughly sum up the wild ride that it is self-titled debut album by Course Of Empire. If an album can be called "dystopian," which is usually reserved for science fiction novels and movies, Course Of Empire may qualify. Thanks to hypnotic, almost tribal percussion via a pair of drummers, the band stretches from tabla jams to industrial beats to ambient drone guitar to poppy new wave, all drenched in a very specific moodiness. Defined by its experimental and uncompromising nature, the album is a great example of the 1980s/90s crossroads that alternative music found itself as college rock rose to prominence on MTV and radio, resulting in the band re-releasing the album in 1992 via a major label deal with Zoo Entertainment.

Songs In This Episode

Intro - Ptah

17:40 - Peace Child

23:14 - Copious

27:01 - Dawn Of The Great Eastern Sun

35:58 - Sins of the Fathers

Outro - Mountains Of The Spoken

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Duster's 1998 debut Stratosphere came out to little fanfare at the time of release. Featuring a distinctive blend of dreamy, reverb-soaked guitars, buried vocals, and a deliberate, slow tempo, the band creates an atmospheric sound that is occasionally mesmerizing. Characterized by its introspective and melancholic mood, tracks like "Heading for the Door" and "Gold Dust" transport listeners to a sonically immersive and otherworldly place, making it a cult classic in the indie rock and shoegaze communities. Over the years, the album has gained recognition for its influence on subsequent generations of musicians exploring similar sonic landscapes. But buzz can be a double-edged sword, so will this revered record live up to the hype?

Songs In This Episode

Intro - Inside Out

22:00 - Heading For The Door

26:32 - Stratosphere

29:23 - Gold Dust

33:50 - Earth Moon Transit

37:23 - Topical Solution

Outro - Docking The Pod

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Following the release of 1994's Clumsy for Atlantic, Samiam took their completed fifth album back from the major label and found a new home with Ignition. Unfortunately, that label ran into money troubles, leaving copies of You Are Freaking Me Out difficult to come by. For a band that evolved out of the same Bay Area punk scene as Green Day, Bad Religion, Operation Ivy, and many more, the band never reached the same commercial heights as some of their contemporaries, but maintains a dedicated fanbase to this day. While some may have questioned the band's evolution from skate punks to something closer to post-hardcore, emo, and even pop-punk, the key ingredients - catchy hooks, big guitar riffs, and a propulsive rhythm section, keep the record on track even when they take chances with quieter and more subdued moments, and even a Beatles cover.

Songs In This Episode

Intro - She Found You

20:44- Full On

27:06 - Cry Baby Cry

29:46 - Charity

Outro - Ordinary

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Having blazed a trail with some of the most successful Britpop albums of the 1990s, Blur was heading for implosion following their tabloid battle with Oasis in 1995 and inter-band turmoil. To reorient themselves, they turned to the country that used to be a target of scorn - America. Specifically, American indie rock like Pavement. You can hear the influence throughout the album as the band takes the noise, the jagged guitar lines, the lo-fi aesthetics, and put their unique spin on it. That unique spin, of course, would end up creating one of the most memorable songs of the 90s, "Song 2," that still gets played in stadiums at sporting events around the world, and is a staple on 90s classic radio. But "Song 2" is just the tip of a very weird, very singular sound that would find the band taking chances that mostly paid off.

Songs In This Episode

Intro - Song 2

18:57 - Strange News From Another Star

24:40 - On Your Own

29:56 - Death of a Party

37:56 - I'm Just A Killer For Your Love

Outro - Beetlebum

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Major label debuts for any artist can be a double-edged sword. Recording a group of songs you've had years to craft means they've spent plenty of time in the woodshed, but the pressure to produce a hit, especially in the back half of the 90s, means sometimes the obvious singles get the most attention in the studio and post-production. That is the semi-issue with Tracy Bonham's 1996 freshman release The Burdens of Being Upright. Chock full of interesting, catchy tunes like the hit single "Mother Mother," the bouncy "The One," the punky "Bulldog," and others helps the record fly by in entertaining fashion. As high as the highs are, there are no low lows, just some disappointing valleys that sound like the first draft of what could have been much more.

Songs In This Episode

Intro - Navy Bean

16:28 - Mother Mother

22:45 - Tell It To The Sky

32:29 - Sharks Can't Sleep

Outro - The One

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Before changing their name to Diffuser and scoring a couple of hits in the early 00s, the long island quartet Flu Thirteen banged out jagged post-hardcore riffs and rhythms on par with bands of the time. Getting producer J. Robbins, whose work in the 90s on albums by Braid, Texas Is The Reason, The Promise Ring, and many more helped define the late 90s indie rock sound, was a perfect match to help refine and define the band's sound. On their 1998 album In The Foul Key of V, the band unleashes a steady stream of dynamic arrangements, shifting between blazing dissonance and subdued restraint that occasionally recalls the valleys of Sunny Day Real Estate.

Songs In This Episode

Intro - Romeo-Core

12:30 - Stale

17:41 - The Ghost of the Organ Player at the Hockey Coliseum

20:45 - Accessing the Know-How

26:10 -Jerome Does a Dance in Hi-Fidelity

Outro - My Beijing Hot Rod

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"Sell-out" was a phrase tossed around in the 1990s whenever an indie or small-label band jumped to a major record label. Among the most surprising were Bad Religion because their guitarist Brett Gurewitz owned the label they had released their first seven albums on Epitaph Records. While sell-outs were accused of trading integrity for money, Bad Religion's eighth album "Stranger Than Fiction" makes the case that not only was the jump a good move, but helped kick-start the pop-punk takeover of 1994 along with Green Day and The Offspring, who released million-selling albums the same year in "Dookie" and "Smash," respectively. Thanks to a re-recording of "21st Century (Digital Boy)," a song the band was unhappy with the previous studio version, they had a proper radio and MTV single to expose the suburban masses around the United States to a headier lyrical approach backed by sugar-sweet harmonies.

Songs In This Episode

Intro - Incomplete

25:23 - 21st Century (Digital Boy)

30:46 - Stranger Than Fiction

38:39 - Infected

Outro - The Handshake

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Incorrectly tagged as Rage Against The Machine followers (they actually existed before Rage), downset. offer a glimpse into the Los Angeles hardcore and metal scene as it transitioned from the 80s to the 90s. Like Rage, downset. combined big guitar riffs with social and political commentary on their self-titled 1994 debut, but traded the guitar histrionics of Tom Morello for a more streamlined approach. The result is a prime example of the unique 90s rock subgenre of rap rock, which would later evolve into nu-metal with the emergence of bands like Korn and Limp Bizkit, who brought the volume without the content.

Songs In This Episode

Intro - Downset

18:54 - Ritual

22:18 - Anger

30:22 - My American Prayer

Outro - About To Blast

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We don't think of many bands coming out of the UK in the early nineties that could fit nicely on a bill with The Jesus Lizard or Mudhoney, but the 1991 album Tantrum by UK band Milk makes the case that noise rock wasn't just an American phenomenon coming out of hardcore. Frenetic rhythms and dissonant guitars shine on the record, covering for a solid but unremarkable vocal performance. The band is at its best when the volume and intensity quickly shift into quasi-blues riffs and thrash metal shredding via Neil Young.

Songs In This Episode

Intro - Is That It?

13:08 - Claws

19:46 - Hot Seat

28:36 - Book One, Page One

Outro - Billy and Bobby

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The slowcore sound can be simplified down to tempo and a minimalist approach, but like every genre or subgenre of rock music, there are always those pushing the boundaries and reinventing. On the 1996 album Three Sheets To The Wind by Idaho, the boundary pushing comes as a pair of straight-up rock songs that wouldn't sound out place on a Dinosaur Jr. or Heatmiser album. From there, the band adds jazzy and soulful elements - brushed drums here, an electric piano there - paired with Jeff Martin's evocative vocal that falls somewhere between the folky sadcore of American Music Club's Mark Eitzel and the more experimental post-rock of Low's Alan Sparhawk.

Songs In This Episode

Intro - If You Dare

18:18 - A Sound Awake

23:03 - Shame

30:08 - Alive Again

34:00 - Pomegranate Bleeding

Outro - Catapult

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Ever wonder what it would sound like if Terry Lewis and Jimmy Jam, famous for producing the likes of Janet Jackson and Boyz II Men, got behind the board of a three-piece rock band? And what if that band drew influence from bands like Queen, Van Halen, and Faith No More? You might end up with the 1992 self-titled (and lone) album from T-Ride, a record that sounds simultaneously of the time and completely out of place during the grunge explosion. Though tagged as "heavy metal," even a cursory listen informs the listener that there is much more going on, from the deranged power-pop of "Luxury Cruiser" to the industrial dance of "Hit Squad." At just thirty-four minutes long, the band finds a sweet spot of not overstaying their welcome but loading up each song with sonic gold nuggets that demand multiple listens.

Songs In This Episode

Intro - Luxury Cruiser

15:28 - Hit Squad

25:09 - I Hunger

31:40 - Fire It Up

Outro - Zombies From Hell

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An established band changing lead singers is always a tricky proposition. With the departure of founding member, singer, and bassist Ian Masters following their second album In Ribbons due to a lack of interest in touring, Pale Saints could have called it quits. Instead, guitarist and backing vocalist Meriel Barham stepped into the fire, having briefly filled the same spot in Lush well before the band established themselves. The result draws obvious comparisons to Barham's former band, but Pale Saints have a few more tricks of their sleeves on their third album Slow Buildings. Whether it is long, slow burn tracks like "Henry" or "Suggestion," or three-minute rockers like "Under Your Nose" or "Angel (Will You Be My)," the band gels around the ethereal voice of Barham.

Songs In This Episode

Intro - Angel (Will You Be My)

18:59 - Under Your Nose

27:53 - King Fade

33:19 - Little Friend

Outro - Henry

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After splitting from Depeche Mode in 1995, Alan Wilder focused his full attention on Recoil, his side-project going back to the mid-1980s. In 1997, the same year DM released "Ultra," Wilder released the fourth Recoil studio album, "Unsound Methods." Free to explore the electronic soundscape, Wilder enlisted several vocalists to tackle the electronic/trip-hop material, including Douglas McCarthy from Nitzer Ebb and NYC spoken word artist Maggie Estep. The result is both of the time and ahead of its time, fitting in nicely with the mid-90s trip-hop sounds of Massive Attack, Sneaker Pimps, and Portishead, while also foreshadowing the more experimental and cinematic sounds of James Lavelle's Unkle.

Songs In This Episode

Intro - Stalker

16:19 - Incubus

29:11 - Control Freak

36:14 - Drifting

Outro - Missing Piece

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Skirting the edges of stardom, Chris Whitley passed away far too young at 45, but left a catalog of albums more influential than they were ever popular. A wide array of artists, from John Mayer to Joe Bonamassa have lauded Whitley's playing and songwriting, so we're diving into this 1995 sophomore album Din of Ecstasy. Whereas his debut was a slickly produced blues rock album that produced a Top 40 Mainstream Rock chart hit, the follow-up sounds more in line with the happenings of the decade. The big fuzz of Dinosaur Jr. appears on "Din," while a guitar solo on "God Thing" conjures images of Soundgarden's Kim Thayil, as Whitley embraces complex guitar riffs and atmospheric production that sound both of the time and timeless. The only hitch? The album is a slow burn, and a checked-out, background noise listen won't do it justice.

Songs In This Episode

Intro - Din

22:21 - God Thing

40:06 - Know

45:20 - Some Candy Talking

59:02 - Never

Outro - Narcotic Prayer

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The line between rock and metal is a thin one, often based on the listener and their personal preferences. Numerous bands in the 1990s blurred the line, injecting heavy riffs and guitar tones into their sound that pushed bands like Alice in Chains and Soundgarden onto Headbanger's Ball alongside Metallica and Slayer. But other bands like Spot took their inspiration and applied it differently, like on their self-titled debut from 1995. Opening with "Drop Down," the rhythm section gallops like Iron Maiden, while the riffs on Hole draw from 80s thrash, all while the vocals shift from the boozy "L'America" to harmonized power-pop without a hitch. It's a weird, singular sound that works when it works, but limps when it doesn't.

Songs In This Episode

Intro - Ground

22:57 - Moon June Spoon

28:02 - Drop Down

33:12 - L'America

39:11 - Hole

Outro - Absalom

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The story of Glide is one of potential cut short with the death of lead singer William Arthur before the end of the decade. Commanding a voice with equal parts sneer and croon, the appropriately titled debut Open Up & Croon from 1995 manages to fuse a variety of sounds into a coherent vision. Jangly acoustic guitars accompany fuzzed electrics and a potent rhythm section across the twelve tracks that range from the uptempo title track opener to a wide array of moods, from the Westerbergian "Why You Asking?" to the more dramatic twists in turns on the back-half of the album like "Caterwaul" and closer "Picking At Your Paws."

Songs In This Episode

Intro - He Sees A Way

14:30 - Caterwaul

18:21 - Line

21:59 - Why You Asking?

27:43 - Spin Doctor

31:36 - Open Up and Croon

Outro - Something

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From the cover art for Ritual de lo Habitual by Jane's Addiction to the music videos for Jeremy by Pearl Jam or Closer by Nine Inch Nails, the 1990s were full of controversial and provocative artists and music. Whether it was rapper Ice-T fronting hardcore thrash band Body Count and their single "Cop Killer" to Marilyn Manson pushing boundaries musically and visually, there was no shortage of outrage and hysteria aimed at Gen-X musicians and their fandom. Bands and artists as varied as Tool, Soundgarden, Nirvana, Madonna, Green Day, Megadeth, NOFX, Tin Machine, Ministry, Sublime The Prodigy, Suede, Van Halen, Manic Street Preachers, Slayer and many more faced backlashes for lyrics, album artwork, videos, or just existing.

Songs In This Episode

Intro - Closer by Nine Inch Nails

25:55 - Jesus Christ Pose by Soundgarden

32:55 - Smack My Bitch Up by The Prodigy

40:52 - Cop Killer by Body Count

55:24 - Love Is a Good Thing by Sheryl Crow

Outro - Jeremy by Pearl Jam

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After her 1996 self-released EP was picked-up and re-released by MCA, Holly McNarland set out to make her debut album Stuff. In the wake of the success of fellow Canadian singer/songwriters Alanis Morissette and Sarah McLachlan, the table was set for McNarland to make similar waves even if the alternative rock field was getting more crowded by the day. While there is no "You Oughta Know" or "Building a Mystery" on Stuff, there is McNarland's voice, which finds the balance between on edgy angst rockers one moment and soaring pop balladry the next. Backed by a solid band, including then ex-Pixies guitarist Joey Santiago in the studio, the songs are elevated beyond straightforward singer-songwriter material to deeper depths thanks to occasional cello and synths popping in and out of tracks. But while the first half is full of knock-out material, the back half left us divided on experiments with trip-hop and Seattle grunge.

Songs In This Episode

Intro - Elmo

11:27 - The Box

17:34 - Mystery Song

23:46 - Water

31:07 - Twisty Mirror

Outro - U.F.O.

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The back half of the 1990s was deluged with more post-grunge bands that we can count, and cutting through the noise wasn't always easy. For bands like Black Lab, who aimed for both radio and something more interesting, that meant not reaching the chart-topping highs of bands like Our Lady Peace, Semisonic, or Live. Their 1997 debut You Body Above Me for Geffen is a prime example of making the most of the back-half album tracks, as vocalist Paul Durham takes some inventive detours with his vocals, bouncing between the emotive lead single "Wash It Away" and the more expressive attack of "All the Money in the World" or Bring It On." A cursory pass may leave the listener wondering what the fuss is about, but slap on the headphones and you'll hear some impressive choices from each instrument, playing off of and pushing each other for something more with a clear and full sound that impresses even today.

Songs In This Episode

Intro - Wash It Away

18:23 - Can't Keep the Rain

23:30 - All the Money in the World

29:15 - She Loves Me

39:52 - Sleeps With Angels

Outro - Time Ago

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Catherine Wheel's 1992 debut Ferment is a bonafide shoegaze classic, full of swirling guitars and ethereal vocals. For their 1993 follow-up Chrome, the band brought in Gil Norton, who had a resume boasting bands like the Pixies, Throwing Muses, Pale Saints, Echo & the Bunnymen, and more. With Norton on board, the band dialed down the waves of distortion and used it more sparingly, and a more crafted sound emerged. Harder guitar riffs, paired with Rob Dickinson's chameleon-like voice that could deliver throaty shouts and crooning coos, edged the band towards a more refined sound without leaving their shoegaze roots completely behind. The end result is a exceptional transitional album before the band would fully embrace a harder edge on their third album Happy Days.

Songs In This Episode

Intro - Crank

26:22 - Chrome

34:22 - Ursa Major Space Station

47:57 - Fripp

Outro - Show Me Mary

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Dave Smalley’s been a punk rock fixture since the early ‘80s when he fronted DYS. Stints as the lead singer in Dag Nasty and ALL followed before the touring life caused him to reconsider what it meant to be in a band. In 1991, Smalley formed Down By Law, signed with Epitaph Records, and released six full length albums before the decade was done and another four in the 2000’s with the most recent being 2021’s Lonely Town. In addition to Down By Law, Smalley currently lists Dave Smalley & The Bandoleros and Don’t Sleep on his punk rock resume, the latter of which is releasing their fourth album, See Change, on June 2.

Songs in this Episode:

Intro - Promise Made by Don't Sleep

9:41 - Still Waiting by Dag Nasty

Outro - Denim and Leather by Down By Law

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Many, many years ago, we checked out the 1997 debut album Elsewhere For Eight Minutes by the Melbourne, Australian trio Something For Kate. Thanks to a Patreon patron we checked out their 1999 sophomore follow-up Beautiful Sharks to hear the evolution of the band. Whereas the debut offered some catchy alt-rock, Beautiful Sharks is a more subdued yet intricate album, putting new bassist Stephanie Ashworth on display as the guitars back-off to allow more space for lead singer/guitarist Paul Dempsey to weave intricate vocal and musical melodies. The result uniquely combines alt-rock that forgoes volume for dynamics and speed for tension.

Songs In This Episode

Intro - Beautiful Sharks

10:51 - Before Butterfly's Wings

16:41 - Big Screen Television

23:55 - Electricity

Outro - Easy

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We're as shocked as anyone to be talking about a Kylie Minogue album, but here we are thanks to a Patron. If you're a 90s grunge and alternative fan, chances are your exposure to Kylie is limited to her late 80s cover of "The Loco-Motion" or her earworm early 00s hit "Can't Get You Out Of My Head." But after growing tired of the musical restrictions of her pop success, Minogue explored collaborations with artists like Nick Cave and the Manic Street Preachers in the mid-90s. The end result is her 1997 album Impossible Princess, still full of dance and pop singles, but with very deliberate attempts to stretch into new sounds. Trip-hop, electronica, trance, Britpop and more are explored, making for a diverse if sometimes uneven album.

Songs In This Episode

Intro - Too Far

15:09 - Dreams

21:05 - Some Kind Of Bliss

28:02 - Cowboy Style

32:37 - Drunk

Outro - I Don't Need Anyone

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Following the breakup of the mid-90s alt-country band Scud Mountain Boys, lead singer/songwriter Joe Pernice teamed up with his brother to write and record the debut Pernice Brothers album,  Overcome by Happiness, for SubPop Records in 1998. While it was the only Pernice Brothers album released by the legendary Seattle label, Joe’s continued to release music under that moniker through a label, Ashmont Records, that he started with his long-time business partner, Joyce Linehan. Superfan, and New West Records Vice President of Publicity, Brady Brock is responsible for the 25th anniversary, first-time-on-vinyl, reissue of Overcome by Happiness which is available in a deluxe version that includes a comprehensive 52-page hardback book documenting the history of the band, recollections of the recording of the album, lyrics, and a track-by-track walkthrough.

Songs in this Episode:

Intro - Overcome By Happiness by Pernice Brothers

11:03 - In A Ditch by the Scud Mountain Boys

Outro - Bum Leg by Joe Pernice

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By the end of the 1990s, grunge had run its course, seeing two and three waves of followers come and go. Nu-metal was ascendant thanks to the likes of Korn, Limp Bizkit, Deftones and others ruling MTV and radio, along with post-grunge acts like Creed, Chevelle, Drowning Pool and more. For a band like Oleander, their take on Nirvana-tinged grunge meant leaning into the manic energy of Bleach as much as the sculpted songwriting of Nevermind. On their 1999 major label debut February Son, itself a recording of an earlier independent album with a few track changes, the band shoot for radio with solid targeting.

Songs In This Episode

Intro - Stupid

22:13 - Never Again

31:22 - Boys Don't Cry

38:00 - I Walk Alone

Outro - Why I'm Here

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Formed in 1988 and one of the earliest acts to put out music on SubPop, TAD paved the way for bands like Nirvana and Soundgarden with their heavy and sludgy guitar noise. After releasing three albums on the infamous Seattle label, TAD put out two albums on majors, 1993’s Inhaler on Giant/Warner Bros and 1995’s Infrared Riding Hood on East West/Elektra before breaking up by the end of the decade. Lead singer Tad Doyle went on to front Hog Molly and Brothers of the Sonic Cloth before going the solo route and releasing albums that sound like SciFi-Horror soundtracks under his given name, Thomas Andrew Doyle.

Songs in this Episode:

Intro - Grease Box (from Inhaler)

8:04 - Clairvoyant Witness (from Aberrant)

Outro - Probabilities (from Aberrant)

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After the dissolution of Jawbreaker in 1996, lead singer and guitarist Blake Schwarzenbach spent the next year not playing music, but DJ'ing and writing video game reviews. But the itch to create came back with the help of former Texas Is The Reason drummer Chris Daly and Handsome singer Jeremy Chatelain on bass. Jets To Brazil isn't so much a reinvention as a natural evolution, leaving behind the sometimes rigid restraints of punk and hardcore, and exploring new sounds with keyboards and guitar effects.

Songs In This Episode

Intro - Crown of the Valley

20:37 - Starry Configurations

24:24 - Resistance is Futile

30:15 - King Medicine

40:16 - I Typed For Miles

Outro - Morning New Disease

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By the end of the 1990s, The Afghan Whigs were critical faves without the breakthrough single that propelled some of their contemporaries into the platinum or multi-platinum stratosphere. While 1993's Gentlemen and 1996's Black Love explored the dark, 1998's 1965 turned on the light long enough to find the party and get down to the business of feeling good, as lead singer Greg Dulli sings on the opener "Somethin' Hot." Much about the record is a change-up from previous efforts - guitars are dialed down while horns, pianos, and backing vocalists make their presence known on a record that shows off the band integrating the New Orleans vibe of their surroundings during recording. The result acts as a bridge between what the Whigs were and what Dulli and new collaborators would explore in the 2010s as The Twilight Singers.

Intro - 66

17:53 - Somethin' Hot

35:27- The Slide Song

39:29 - Omerta

45:46 - Uptown Again

Outro - John The Baptist

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By 1991, Moving Targets were already well established in the Boston music scene upon the release of their third full-length, Fall. Lead by Kenny Chambers on vocals and guitar, the band that started out playing Husker Du-esque hardcore evolved like their contemporaries, downshifting the tempos and finding more melody. Tracks like "Answer" and "Away From Me" were primed for college radio alongside The Replacements, Goo Goo Dolls, Dramarama, and other post-punks finding their songwriting footing. The twists and turns, like using an e-bow on a mid-album instrumental track, add a layer of creativity not many other post-hardcore bands would attempt, even if the payoff doesn't always hit.

Songs In This Episode:

Intro - Taang! Intro

14:18 - Answer

22:00 - Overated

31:50 - Away From Me

Outro - Travel Music

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Often side-project bands don't live up to the hype of the artist or band's main gig. But for Stephin Merritt, this isn't the case with several of his non-Magnetic Fields bands. With The 6ths, he's taken on the challenge of writing the songs but handing them over to guest vocalists. On the 1995 debut Wasps' Nests, that means a wide array of contributors, including Lou Barlow from Sebadoh and Dinosaur Jr., Mary Timony of Helium and Ex Hex, Dean Wareham of Galaxie 500 and Luna, Georgia Hubley of Yo La Tengo, Mac McCaughan of Superchunk, Mitch Easter of Let's Active, and more. The musical landscape shifts from song to song, one minute aping the motortik of Stereolab and next the harmony sunshine of Laurel Canyon in the 1970s. But it's all in Stephin Merritt's wheelhouse, utilizing an array of synth and keyboard sounds over minimalist rhythms that reveal layers upon repeated listens.

Songs In This Episode:

Intro - Aging Spinsters

15:56 - All Dressed Up in Dreams

20:23 - San Diego Zoo

35:02 - Here in My Heart

Outro - Falling Out of Love (With You)

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By 1995, the alternative music revolution was in full swing, dominated MTV and radio across the US and around the world. While some of the original trailblazers, like the Pixies and Jane's Addiction, were no more, others continued and evolved their sound. Juliana Hatfield, who started out in the mid-1980s with the Blake Babies, had already released two acclaimed alternative rock albums before unleashing 1995's Only Everything. For her third release, Hatfield cranked up the guitar distortion, using big, fuzzy tones to give tracks like "What A Life" and "Dumb Fun" more punch while exploring slower, shoegaze vibes on several back half tracks. The end result is the rare combination of catchy, smart songwriting that rocks.

Songs In This Episode:

Intro - What A Life

20:53 - Hang Down From Heaven

26:59 - Fleur De Lys

34:15 - Dumb Fun

39:32 - Live On Tomorrow

Outro - Universal Heart-Beat

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By 1999, fans of the alternative country rock sound had a lot to choose from. At the start of the decade, the mostly underground and regional scenes were known to college radio listeners and other non-mainstream outlets. But by 1999, major labels Geffen and Warner Brothers were putting out albums and developing artists. On Elektra, the Old 97s from Dallas, Texas released their second major label release, and fourth overall. Fight Songs found the band in transition, moving away from the harsher elements of their earlier years, cleaning up the production, and find the hooks for radio.

Songs In This Episode:

Intro - Jagged

18:36 - What We Talk About

23:48 - Busted Afternoon

29:15 - Murder (Or A Heart Attack)

39:25 - Oppenheimer

Outro - Nineteen

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A perfect pick for a Dig Me Out episode, Fretblanket never seemed to get the mainstream attention the way their peers did. Formed in Stourbridge, England when the members were still in high school, the band caught the attention of Polygram Records in ‘93 and signed a deal before singer/guitarist Will Copley had graduated. A year later, Junkfuel was released with the single “Twisted” gaining a modest amount of airplay on U.S. alternative and college rock stations. Guitarist Clive Powell wrote most of the guitar-rich songs which fit in alongside artists like Sugar, The Doughboys, The Wedding Present and Ride while Copley’s grungy vocals earned comparisons to Kurt Cobain. Though they were very much of the time, the biggest touring exposure they had was opening for Oingo Boingo, a sad mismatch that likely didn’t earn the band any new fans. In 1997, they released Home Truths From Abroad which leaned more into the Brit rock side of things than the grungier side and caused a minor MTV buzz with their video for “Into the Ocean.” Songs for a third album were recorded in Michigan with Tim Patalan (Sponge, Watershed) but shelved after it was apparent there was no longer label interest and the members went their separate ways. On March 30, 2023, that long lost album, The Distance In Between, was released as a way to celebrate the 30th anniversary of Fretblanket signing a record deal.

Songs in this Episode:

Intro - Twisted from Junkfuel

13:06 - Digging Your Scene from The Distance In Between

Outro - Into The Ocean from Home Truths From Abroad

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Few bands have stayed artistically and commercially relevant over forty years into their career, but with the release of their new album Memento Mori in March 2023, Depeche Mode continue to defy the odds. In the 80s the band built a fanbase in Europe over their first few releases before entering the global stage with "People Are People" in 1984. By the end of the decade, they were regularly a top ten album charting band in the UK while making serious inroads in North America. They entered the 90s with an album primed by the infectious single "Personal Jesus" that would launch them into the stratosphere. With Violator and its many singles, like R.E.M. and other alternative acts, mainstream radio and MTV formerly dominated by pop and hair metal were beginning to shift direction before the dam burst in 1991. But lurking beneath the surface was inter-band tensions and various addictions that would threaten to derail the band at the height of their global success.

Songs in this Episode:

Intro - Personal Jesus (from Violator)

19:59 - World in My Eyes (from Violator)

35:11 - Death's Door (Until The End Of The World soundtrack)

43:31 - One Caress (from Songs of Faith and Devotion)

1:03:11 - Home (from Ultra)

Outro - Only When I Lose Myself (from The Singles 86>98)

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Diamond certified records, those that have sold ten million or more albums in the United States, are a rare achievement that few bands and artists can lay claim to. But as important as it is to talk about obscure and underappreciated 90s rock albums, we thought it was time to go in the opposite direction for a new series diving into the full albums of 90s rock Diamonds. With that, we start our Diamond series with the 1995 album Tragic Kingdom by No Doubt. Was there any escaping "Don't Speak" in 1996? No, there wasn't. Every media outlet was covering the chart topping single not only for its chart performance but the drama that surrounded the band. Along with huge singles "Spiderwebs" and "Just a Girl," Tragic Kingdom was in the cultural zeitgeist for years after its release, but how many people actually listened to the whole album? We definitely didn't, and we're here to correct that oversight.

Songs In This Episode:

Intro - Don't Speak

19:04 - Happy Now?

21:29 - Sunday Morning

24:14 - Tragic Kingdom

35:25 - Just A Girl

40:15- Spiderwebs

Outro - Hey You

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Sophomore albums can be a difficult proposition. The standard refrain is you get a lifetime to make the first one and a few months to make the follow-up. In the case of Filter, it took a little longer, four years to be exact. Title of Record came out in 1999 in a much different musical landscape than their 1995 debut Short Bus. Luckily, their hard rock sound, with a touch of industrial, fit in well with the end of the decade, and they struck literal gold with the atypical single "Take A Picture." Even with an entirely new backing band and the loss of his songwriting counterpart, Richard Patrick separated himself further from the Nine Inch Nails comparisons by embracing a big rock sound with a few interesting diversions.

Songs In This Episode:

Intro - Welcome To The Fold

26:02 - The Best Things

32:24 - Cancer

37:56 - Take A Picture

Outro - It's Gonna Kill Me

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Blessed with fire and passion on display through her voice and lyrics, the murder of Mia Zapata robbed the world of her potential. With The Gits, she and guitarist Joe Spleen, bass player Matt Dresdner, and drummer Steve Moriarty made grunge mixed with hardcore punk on their 1992 album Frenching The Bully. With only four years together, the debut record displays potential in the same way Bleach gives hints of what Nirvana was to become on the released but unfinished follow-up album Enter: The Conquering Chicken.

Songs In This Episode:

Intro - Another Shot of Whiskey

17:18 - Spear and Magic Helmet

23:08 - It All Dies Anyway

27:39 - Insecurities

Outro - Absynthe

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There was never a question that Ivy would make it, though they did so with many strokes of luck, good fortune, and heart ache along the way. With talented songwriters Andy Chase and Adam Schlesinger writing sophisticated pop songs showcasing their love of ‘80s and ‘90s UK music, the only thing missing was a voice to go with the sounds. Chase’s girlfriend at the time (now wife), Dominique Durand, had moved to New York City from Paris to study fashion. While growing up in a house full of music journalists in France, Durand enjoyed the lifestyle and the personalities but never entertained the thought of taking center stage until she was reluctantly talked into it by Chase and Schlesinger. And the industry took notice. In the bumpy times of the mid-90s where labels were signing every band with a pulse, and subsequently dropping the ones that didn’t meet sales targets, Ivy was the type of band to earn glowing reviews that didn’t always translate to units shifted. 1995’s debut Realistic was released by Seed Records. 1997’s critically-acclaimed Apartment Life was originally put out by Atlantic Records and reissued the following year by 550 Music after Atlantic unceremoniously dropped the band while they were in the middle of a tour. Since that time, Ivy has released music on Nettwerk, Minty Fresh and, now, Bar-None, who is releasing Apartment Life on vinyl for the first time. For Chase and Durand, it’s been a bittersweet few years as the rights to Apartment Life came back to the band shortly after Schlesinger passed away from Covid complications in 2020.

Songs In This Episode:

Intro - The Best Thing

5:55 - I've Got A Feeling

Outro - This Is The Day

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Aside from Suede and Spacehog, few bands in the 90s embraced the glam sound as wholly as Lowcraft. Except Lowcraft wasn't from the UK, instead claiming Portland, Oregon in the U.S. as their home. The one and only album, 1999's Manticore, is baked with the sound and feel of Marc Bolan and T. Rex, David Bowie, and Mott the Hoople. How exactly? Can certain guitar chords and riffs sound glam? Sure, but it helps if there is a big vocal from the likes of lead singer Nathan Khyber. But like many 90s albums, the extended runtime of the compact disc gives time for songs to go on too long, and what should have been a tight forty-four-minute LP turns ends up a flabby fifty-seven minutes.

Songs In This Episode:

Intro - An Inch Away From Heaven

13:32 - Transcendental Meltdown

19:21 - Pornstar

31:15 - One of Us

Outro - Happy in My Pants

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With a lower register in the vein of Richard Butler or Ian Astbury, Chris Reed of Red Lorry Yellow Lorry dismissed goth comparison during the 80s and focused on their guitar driven post-punk sound. For the final release, 1991's Blasting Off, the band backing Reed is new, but the sound is familiar thanks to Reed's unique vocals, unfussy songwriting, and precise guitar paying that works in a variety of well chosen effects. The unremarkable rhythm section is the only slight on an album that fans of bands like the Psychedelic Furs, The Mission, or Clan of Xymox probably should check out.

Songs In This Episode:

Intro - Don't Think About It

15:18 - Train of Hope

23:05 - Talking Back

35:01 - Sea of Tears

Outro - This Is Energy

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Coming off the hit "Here and Now" from their debut Aurora Gory Alice, Letters To Cleo followed-up with the equally catchy Wholesale Meats and Fish. Lead single "Awake," with it's handclaps and catchy hook by lead singer Kay Hanley, is just one of many power-pop adjacent tunes that lean more towards the noisy side of the genre inhabited by The Posies and Matthew Sweet. But to pin down LTC would be a mistake, as the opening ripper "Demon Rock" demonstrates, or the sixties-infused "Little Rosa" demonstrate. The band packs a nice sonic punch, even when diverging from comfortable sounds for quieter moments that are hit and miss.

Songs In This Episode:

Intro - Fast Way

14:44 - Demon Rock

21:08 - Little Rosa

27:27 - Acid Jed

32:13 - I Could Sleep (The Wuss Song)

Outro - Awake

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Born in NYC but spending his formative years in Washington DC, Chad Clark’s passion for music was born when his dad dropped a pair of headphones on his son’s head and introduced him to the Beatles. In the mid-90s, Clark formed the artsy, indie rock outfit Smart Went Crazy with Abram Goodrich and Hilary Soldati, signed with Dischord Records and released an EP and two full lengths - 1995’s Now We’re Even and 1997’s Con Art. Even before Smart Went Crazy’s ending, Clark was thinking about his next project, Beauty Pill, which he started with Goodrich in 2001 and continues through this day. With members coming and going over the last 20+ years, Beauty Pill’s released two full lengths - 2004’s The Unsustainable Lifestyle and 2015’s Beauty Pill Describes Things As They Are - and a handful of EPs, most of which have been critically lauded. Earlier this year, Beauty Pill released a double album, Blue Period, consisting of their Dischord output - The Unsustainable Lifestyle and the You Are Right to Be Afraid EP - as well as previously unreleased outtakes and demos. On this episode, Beauty Pill members past (Ryan Nelson) and present (Erin Nelson), join Clark to talk about the last 25+ years of music.

Songs In This Episode:

Intro - A Good Day by Smart Went Crazy

6:39 - Goodnight For Real by Beauty Pill

Outro - Fugue State Companion by Beauty Pill

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Released in the shadow of her husband's death, Courtney Love and Hole delivered their sophomore album Live Through This in a tsunami of emotional turmoil. Propelled by three hit singles, the album would launch Love into stardom and influence a generation of visceral, outspoken musicians that took inspiration from songs about motherhood, abuse, postpartum depression, and other topics not found on Billboard 200 charting albums. In looking back almost thirty years, the layers of musicianship that might have been glossed over by the larger moment are revealed. Guitarist Eric Erlandson's shifts between vitriolic riffing and crunchy leads to subtle and understated without missing a beat. Speaking of beats, drummer Patty Schemel shines, adding controlled bombast that, paired with bassist Kristen Pfaff, gives the album a tightness without feeling stale or rote.

Songs In This Episode:

Intro - Miss World

23:54 - Violet

36:38 - Credit in the Straight World

40:00 - Rock Star

Outro - Doll Parts

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We've revisited plenty of albums released on major and independent labels from the 90s, but digging into self-released albums isn't something we've explored much - until now! Take New York City's Wünderband, who self-released their self-titled album in 1997. On the opening track, the band make their sound clear - punchy, catchy power-pop with some twists and turns. From the opening Aimee Mann call-out track "Yes Yes Hey Hey" to the Jellyfish inflected "I Don't Mind," the band sounds right at home alongside fellow 90s three-and-a-half-minute power pop magicians like Fountains of Wayne, Sloan, or The Figgs.

Songs In This Episode:

Intro - Pinup

13:18 - Yes Yes Hey Hey

21:30 - Mayqueen

25:26 - I Don't Mind

35:46 - Circle and Fall

Outro - Another Guy

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Badmotorfinger sits in the middle of the Soundgarden discography at an interesting crossroads. With new bass player Ben Shepherd on board, the band expanded upon their Black Sabbath meets Black Flag twist on metal with precision riffs and rhythms that integrate odd time signatures and alternate guitar tunings. While other bands were relegated to in-the-know hardcore fandom, thanks to the once-in-a-generation vocals of Chris Cornell, Soundgarden began their ascent as a commercial entity on MTV and mainstream radio.

Songs In This Episode:

Intro - Outshined

4:39 - Birth Ritual

29:01 - Jesus Christ Pose

36:05 - Somewhere

45:18 - Mind Riot

50:39 - Room A Thousand Years Wide

Outro - Rusty Cage

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By 1993, it was an alternative world, from MTV to mainstream radio. The Smashing Pumpkins, Nirvana, Counting Crows, Depeche Mode, Radiohead, Tool, and many more became household names with million selling albums while college radio and indie labels saw bands take off unexpectedly, with hits from The Breeders, The Lemonheads, Mazzy Star, Juliana Hatfield, Letters to Cleo, Ween, and many more. While pop music maintained its position with the likes of Mariah Carey, Billy Joel, and Duran Duran scoring hits, hip-hop was also ascendant with landmark albums from A Tribe Called Quest, Snoop Doggy Dogg, The Wu-Tang Clan, and more. We dive into it all, talking about records that have stood the test of time and those that haven't, albums overlooked upon their release and those best left to the dustbin of history.

Songs In This Episode:

Intro - 1993 Medley (Lemon by U2, Animal Nitrate by Suede, Fade Into You by Mazzy Star, 20th Century by Brad, Give Back The Key To My Heart by Uncle Tupelo)

Outro - I Feel You by Depeche Mode

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Taking time off from The Age of Electric, Ian Summers (bass) joined the Dahle Brothers (Ryan on vocals, guitars and keys, Kurt on drums and vocals) for Limblifter in 1996. Those familiar with TAOE will recognize the sharp songwriting and guitar pop sensibilities, as the band effortlessly blasts out three-minute, radio-ready tunes like "Vicious" and "Tinfoil." Their sensibilities are definitely on the pop side, but the choruses aren't necessarily syrupy blandness. If anything, the band could have turned up the melodic hooks a bit more for our tastes.

Songs In This Episode:

Intro - Vicious

1:15 - First impression of Sideways Skull by The Hold Steady

20:04 - Opiñata

27:50 - Round The "2"

35:14 - Do I Feel Involved?

Outro -Screwed It Up

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Heavy but melodic guitar riffs, intricate beats that switch between a Pantera groove and extreme metal blast beats, and otherworldly vocals are the cornerstones of Heartwork, the fourth studio album by English band Carcass. Expanding upon their earlier grindcore approach, Heartwork is a journey that grabs you by the (shredded) throat and won't let go for nearly forty-two minutes. From the NWOBHM styled "This Mortal Coil" to the ferocious hardcore stomp of "Carnal Forge," the band never lets up. In addition to tackling this classic of the genre, we also check out the YouTube video by Steve Welch, "If Guns N' Roses 'Appetite For Destruction' was written by 12 different bands" to find out how Steve did turning G N' R songs into tracks by Oasis, W.A.S.P., Danzig and more.

Songs In This Episode:

Intro - Carnal Forge

2:22 - If Guns N' Roses 'Appetite For Destruction' was written by 12 different bands - by Steve Welch

18:55 - Buried Dreams

22:37 - This Mortal Coil

27:27 - Heartwork

35:07 - Doctrinal Expletives

Outro - Embodiment

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There is a lot to talk about when we look back on 2022. Albums new and old from 80s and 90s artists blasted from our speakers and headphones on a daily basis. As with our previous year-in-review episodes, we take a look back at our favorite new album discoveries, most brought to us by our Patreon community, as well as our most enjoyable round table experiences, and our favorite interviews conducted by Chip Midnight. Here's to season thirteen in 2023!

Songs In This Episode:

Intro - Dig Me Out by Sleater-Kinney

Outro - Dig Me Out by Sleater-Kinney

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Though Love Battery emerged from the Seattle scene with numerous connections and an ascendant Sub Pop label backing them, the band never managed to breakthrough to the mainstream like their various label mates. Their 1992 debut Dayglo may shed some light on the reasons. The guitars are loud, loud, loud, sometimes overpowering the other instruments the way James Williamson would in The Stooges, but that's not necessarily a bad thing. Thanks to a group of innovative, stellar musicians, the band can fluidly move from aggressive garage rock to punk indie rock without missing a beat.

Songs In This Episode:

Intro - Out of Focus

16:59 - See Your Mind

20:57 - Foot

26:23 - Side (With You)

32:02 - Blonde

Outro - Cool School (Trane of Thought)

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Canadian singer/songwriter Paul Hayden Desser, known simply as Hayden, released his debut Everything I Long For on his own label in 1995. Shortly after, it was picked up and later re-released in 1996 on Sonic Unyon (internationally on Outpost Recordings/Geffen Records) after receiving acclaim in his home country. Channeling the likes of Leonard Cohen and Tom Waits, Hayden deep voice carves out a unique niche in 1990s folk, indie, and alternative rock. Though the album is almost always in first gear, Hayden ups the volume occasionally, matching it with a more aggressive, guttural vocal. If you enjoy confessional singer/songwriters with a penchant for deliberate slowcore, this might be an album worth checking out.

Songs In This Episode:

Intro - Bad As They Seem

14:30 - I'm To Blame

20:24 - Hardly

24:56 - Skates

Outro - In September

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Dig Me Out listeners know Jeremy Toback from his time playing bass in Brad with Shawn Smith (vocals), Stone Gossard (guitars) and Regan Hagar and his appearance on that band’s first three albums: Shame (1993), Interiors (1997) and Welcome to Discovery Park (2002). During the ‘90s, he also released 2 full-lengths, Perfect Flux Thing (1997) and Another True Fiction (1999), as well as a self-titled EP (1996). After being burned out by the music industry and the major label experience, Jeremy took some time off before discovering a new outlet for his songwriting. With the help of a long-time friend, Renee Stahl, Jeremy began recording softer lullabies for young children which eventually led to peaceful reinterpretations of popular rock songs by artists ranging from the Red Hot Chili Peppers to Led Zeppelin to INXS. Renee and Jeremy’s latest single is a cover of Harry Styles’ “As It Was.” In November, Jeremy released his first new solo song in two decades, the beautifully minimalistic “Conjuring,” with an equally enthralling video.

Songs In This Episode:

Intro - Unbecome (from Perfect Flux Thing)

4:24 - Circle & Line (from Interiors by Brad)

34:26 - 20th Century (from Shame by Brad)

1:08:36 - Buttercup (from Shame by Brad)

Outro - Butterfly Elephant (from Perfect Flux Thing)

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The twin guitar attack by Adam Franklin and Jimmy Hartridge on Swervedriver's 1991 debut Raise is unlike anything else under the shoegaze umbrella. While 80s dream pop was a touchstone for many of their contemporaries, the band from Oxford, England took some American influences like Dinosaur Jr., The Stooges, Sonic Youth, and Hüsker Dü into consideration. Their sound is more aggressive, more visceral, and often more exciting, leaning into the guitar's ability to shift tones quickly without relying on a wall of noise and feedback.

Songs In This Episode:

Intro - Raise

12:10 - Sci-Flyer

17:29 - Son of Mustang Ford

25:15 - Feel So Real

Outro - Deep Seat

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It's our third year of getting the patrons together and giving thanks for the new music that gave us happiness and good vibes in 2022. There's a wide array of bands and artists, new and old, that helped make 2022 a great year for music. New albums from 1980s and 90s artists like The Afghan Whigs, Suede, Archers of Loaf, The Cult, Rammstein, The Crystal Method, The Hellacopters, and many more all released great late career records, while newer bands like The Glad Machine, Noiseheads, The Bishop's Daredevil Stunt Club, Goodbye June, and a number of others landed on our radar.

Songs In This Episode:

Intro - I'll Make You See God by The Afghan Whigs (How Do You Burn?)

11:43 - Nervous by Noise Unit (Cheeba City Blues)

26:23 - Times Like These by Soulside (A Brief Moment In The Sun)

32:44 - Magical Thinking by Sloan (Steady)

41:40 - Feed The Wound by Pig (The Merciless Light)

53:00 - October's Song by Skid Row (The Gang's All Here)

1:10:39 - Reality Spiral by Greg Puciato (Mirrorcell)

Outro - Personality Disorder by Suede (Autofiction)

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Scotland's Gun didn't make much of a dent stateside in the 80s or 90s, slightly out of tune with what was happening in mainstream. Their third album, Swagger, is aptly named, as the band is fully in control of their 80s AOR meets 90s hard rock approach. While 1994 was ground zero for grunge and alternative on US radio and MTV, Gun injected their sound with Bon Jovi big rock, Billy Idol energy, and even some Red Hot Chili Peppers funk on the questionable cover of "Word Up" by Cameo.

Songs In This Episode:

Intro - Don't Say It's Over

13:43 - Find My Way

21:59 - Something Worthwhile

31:52 - Word Up

Outro - Vicious Heart

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Formed in 1994 out of punk rock roots, Pohgoh’s poppier sounds earned the Florida band comparisons to acts like Velocity Girl and Superchunk. A split single with Braid was released in 1996 and by the time Pohgoh was ready to record a full length, singer Kobi Finley had been replaced by Susie Richardson. What should have been the start of a great relationship with the newly created label Deep Elm Records wound up dissolving quickly after drummer Keith Ulrey unceremoniously quit the band after the full length, In Memory of Bab, had been recorded but shortly before a record deal was signed. Ulrey’s departure led the band to break up in 1997 though Ulrey and Richardson’s relationship developed and the former bandmates wound up getting married in 2000. In 2016, Pohgoh reunited and two years later released Secret Club on Ulrey’s New Granada Records. An opening slot on a Jawbreaker reunion tour happened in 2019 which led to the band recording another new album, Du Und Ich, which came out in October 2022.

Songs In This Episode:

Intro - Friend X (from The Emo Diaries Chapter One: What's Mine Is Yours)

6:03 - Tell Me Truly (from In Memory of Bab)

Outro - Try Harder (from Secret Club)

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Although Chris Cornell had written solo tracks for soundtracks during the Soundgarden era, it wasn't until the band had broken up that he released his proper solo debut. 1999's Euphoria Morning is both expected and unexpected, as some songs aren't far off from "Blow Up The Outside World" or "Fell on Black Days," minus the band bombast, while others showcase his phenomenal vocal talent over folk, blues, and psychedelic turns.

Songs In This Episode:

Intro - Can't Change Me

17:15 - Moonchild

21:50 - Wave Goodbye

27:13 - Preaching The End Of The World

33:38 - Disappearing One

Outro - When I'm Down

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Lead by brothers Jag (guitarist) and Chris (drummer) Tanna, I Mother Earth made layered Latin percussion, alternative rock bombast, and hints of progressive and psychedelic rock a part of the formula from the get go. But the band comes into their own on the 1996 sophomore release Scenery and Fish, opening with Afro-Cuban-influenced percussion that weaves throughout the record. Where some bands might trim out extended jams or unexpected divergences mid-song to attract a more commercial audience, the band plants the flag with full-throated bravado that no musical stone will be left unturned.

Songs In This Episode:

Intro - One More Astronaut

12:50 - Songburst And Delirium

16:22 - Raspberry

24:41 - Pisser

29:37 - Another Sunday

Outro - Hello Dave

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On their third and final studio album, Bedhead, lead by brothers Matt and Bubba Kadane, craft an intimate record built on space and restraint. But 1998's Transaction de Novo isn't entirely a down-tempo affair, as the band pushes the sonic envelope on noisier tracks like "Extramundane" and "Psychosomatica" with mixed results. The sweet spot lies in the slowcore creep of opener "Exhume," which remains instrumental for most of its four plus minute running time, or expansive closer "The Present," which builds like an Explosions in the Sky song. The band finds new and interesting ways to stay true to their sound while tweaking it along the way.

Songs In This Episode:

Intro - Lepidoptera

10:25 - Exhume

13:48 - More Than Ever

21:54 - Extramundane

26:09 - The Present

Outro - Half-Thought

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The past few decades have solidified Linda Perry as a pop songwriting machine for the likes of Pink, Christina Aguilera, Gwen Stefani, and many more artists in the 2000s. But the talent was already there in 1992 when "What's Up!" struck a chord with listeners as the first track off of the one and only 4 Non Blondes album "Bigger, Better, Faster, More!" While the neo-folk of "What's Up!" slotted in nicely alongside fellow non-grunge acts like Blind Melon, Spin Doctors, Blues Traveler, Dave Matthews Band, and others, the rest of the record tackles a variety of genres, like the shuffling blues of "Pleasantly Blue" to the bass-popping funk of "Superfly" to mixed results.

Songs In This Episode:

Intro - What's Up!

17:12 - Drifting

23:56 - Old Mr. Heffer

32:15 - Calling All The People

Outro - Superfly

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Soulwax is best known for their remixes of such 2000s artists as LCD Soundsystem, Tame Impala, Gorillaz, Tiga, and more, but the band actually got their start as a catchy alternative rock band produced by the Chris Goss (of Masters of Reality) on their debut and Dave Sardy (Barkmarket) on their sophomore album, Much Against Everyone's Advice. Splitting their sound between chunky distorted guitars on tracks like "Too Many DJs" and "Conversation Intercom" and more a delicate approach on "Overweight Karate Kid" and "Flying Without Wings," it gives the album variety. But depending on which version you listen, the album can run long after an elongated lull in the middle that could be rectified with a reshuffling of the track list.

Songs In This Episode:

Intro - Much Against Everyone's Advice

14:27 - Too Many DJs

16:48 - Overweight Karate Kid

21:05 - Flying Without Wings

25:13 - My Cruel Joke

Outro - When Logics Die

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An established artist starting a new musical project is always a tricky proposition, and the 90s were no different. Whether releasing a solo album or starting a new band, quality doesn't always matter when it comes to fans accepting a new sound or direction. After the amicable split of Bikini Kill in 1998, Kathleen Hanna returned a year later with the retro-inspired Le Tigre, forgoing punk bombast for dancier sounds rooted in homemade drum loops, Farfisa organs, 60s girl groups, 80s new wave and electroclash. But that doesn't mean politics and social commentary take a back seat, as Hanna is as sharp lyrically as ever on the self-titled debut album while balancing pop melodies with a lo-fi approach.

Songs In This Episode:

Intro - Deceptacon

11:22 - Les and Ray

17:36 - What's Yr Take On Cassavetes

24:46 - Phanta

28:56 - Eau D'Bedroom Dancing

Outro - My My Metrocard

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The line between influence and blatant copying is thin, but bands like Salmonblaster fall more towards the former on their 1996 self-titled and only officially released album. The howling vocals and chugging guitar riffs easily recall Nirvana but in a way that pays respect rather than simply aping the sound, and it's not the only trick the band has up their sleeves. Guitars are big and occasionally chaotic in a shoegaze way that makes the more restrained elements shine brighter, while the band shifts between sounds as easily as their lead vocalist jumps from cathartic screams to melodic harmonies.

Songs In This Episode:

Intro - Sugarrush

14:26 - Transistors & Turbines

20:36 - Freeway

26:46 - Brian Jones

31:49 - Visonblur

Outro - The Perfect Fit

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Garage rock can be a catch-all term that rubs shoulders with punk, rockabilly, surf, and more. But thanks to a variety of known and lesser-known bands, there has always been a group of dedicated musicians writing and playing revved up and relatively simple rock that traces its lineage back to the primitive and raw sounds of 60s that popped up after the British Invasion with roots in American rhythm and blues. After a very underground 80s, the sound returned in fits and starts with bands like Jon Spencer Blues Explosion and later The White Stripes, The Hives, The Strokes, and plenty of other bands starting with "The." We dig into the whole sound, the local scenes that helped foster the sound over decades, and much more.

Songs In This Episode:

Intro - Fell In Love With A Girl by The White Stripes

16:20 - Paint It Black by The Avengers

21:49 - Touch Me I'm Sick by Mudhoney

31:09 - (Gotta Get Some Action) Now! by The Hellacopters

40:11 - Heaven by The Hydromatics

1:07:31 - The Reproduction of Death by The (International) Noise Conspiracy

Outro - Singin' A Song About Today by The Mooney Suzuki

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Shoegaze is a term tossed out whenever a band leans in on the wall-of-sound distortion and pairs it with obscured vocals and dreamy feedback. But few bands actually stuck to My Bloody Valentine's template, adding their own flavors like the 1993 debut album Against Perfection by Adorable. Here the vocals are less obscured, and even hooky at times, recalling everyone from Echo & the Bunnymen and The Smiths to The Verve and Spiritualized. But it's not just the vocals that give Adorable a unique twist, as the rhythm section, especially an occasional Pixies-like bassline, gets their times to shine as well.

Songs In This Episode:

Intro - Breathless

17:49 - Sister Chapel Ceiling

21:26 - Homeboy

28:07 - Sunshine Smile

34:45 - Still Life

Outro - A To Fade In

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Chicago and the surrounding areas like Champaign-Urbana nurtured a big guitar rock sound found in the Smashing Pumpkins, Hum, Catherine, Veruca Salt, Fig Dish, and others. Originally called Mother for their debut, the band signed to a major label, changed their name to Menthol, and produced an album worthy of that group with 1995's self-titled release. But the band takes a different approach vocally, spitting big chunks of lyrics filled with a variety of references and twisted wordplay.

Songs In This Episode:

Intro - Dry Heaves (Of The Well-Adorned)

17:34 - Stress Is Best

20:35 - U.S.A. Capable

26:35 - Perfect Spirals

32:58 - Briefcase Full Of Cash

Outro - Francis Scott Key

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Bands cultivating a look to match their sound in rock and roll is nothing new, but the 90s weren't the most receptive decade to a well thought out image. The Sharp, with their black and white color scheme, upright bass, and precise take on 80s new wave with twists of rockabilly and power-pop, make a case that The White Stripes would follow at the end of the decade with their 1993 debut This Is The Sharp. Sounding blender filled with albums by The Knack, Brian Setzer, sElf, Joe Jackson, Fountains of Wayne, Jellyfish, and more, the tight, clean sounds are at odds with the distorted grunge overtaking the music world in 1993. But their charm of being totally at odds with the times means the skill and craftsmanship of the songwriting really shines, even if it dips into familiar patterns at times.

Songs In This Episode:

Intro - Scratch My Back

17:28 - Talking Sly

24:12 - Love Kiss

33:04 - Kiss Me Again

Outro - Don't Waste My Time

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College rock is a broad term, but one that can be applied to the post-Blake Babies band Antenna founded by John Strohm and Freda Love. On the second and final album by the band, 1993's Hideout, the influences of American indie and underground pop are infused with strands of shoegaze and dream-pop noise, with tasteful guitar effects, and unexpectedly crafty baselines and backing vocals. All of that makes it not entirely appealing to mainstream radio in 1993 looking for the next Nirvana or Pearl Jam, but ideal for the college radio crowd in search of something different.

Songs In This Episode:

Intro - Wallpaper

12:43 - Don't Be Late

21:09 - Easy Listening

31:21 - Stillife

Outro - Shine

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The moniker "post-hardcore" was used to describe the wave of bands following the hardcore-punk sound but pushing the musical envelope. In the 80s it was Husker Du and Minute, the 90s Fugazi, Drive Like Jehu, Jawbox. None were exactly the same, each stretching and pushing the boundaries of what made up post-hardcore. New York City, home to Helmet, Quicksand, and Chavez, was fertile ground for the sound, which included Into Another. On their 1994 sophomore album, Ignaurus, the band take the edge and energy of post-hardcore, combine it with some progressive rock, and end up with a sound unlike just about anyone else was making at the time.

Songs In This Episode:

Intro - Running Into Walls

14:44 - Maritime Murder

30:24 - Anxious

45:02 - Poison Fingers

Outro - Ungodly

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Jon Crosby, the singer, songwriter, and multi-instrumentalist at the helm of VAST, was a well-regarded guitarist as a teen who signed a record deal with Elektra at just seventeen years old. On the debut, Crosby takes 90s industrial rock in the vein of Nine Inch Nails or Stabbing Westward and layers unexpected sounds, like Benedictine monks and Bulgarian women's choirs, to create haunting soundscapes that compliment his wide vocal range that can belt it out or croon with equal effectiveness. Visual Audio Sensory Theater is a true album, with extended intros and subtle connective tissue running throughout the record that will divide listeners today just as it did in 1998.

Songs In This Episode:

Intro - The Niles Edge

18:42 - I'm Dying

21:56 - Here

32:13 - Dirty Hole

40:24 - Touched

Outro - Pretty When You Cry

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Known for his talents on various stringed instruments, Ben Harper solidified his backing band as The Innocent Criminals on his fourth record, 1999's Burn To Shine. With that band arrangement, Harper delves into a variety of sounds, channeling the blues and folk that made up his early solo releases but continuing the louder sounds from his previous outing, The Will To Live. Through the twists and turns, from 70s-influenced blues rock to minor-key Zeppelin riffing, Harper and his band play with volume and dynamics throughout to create a unique sonic pallet that works until it doesn't.

Songs In This Episode:

Intro - Burn To Shine

15:53 - Steal My Kisses

27:00 - In The Lord's Arms

38:04 - Two Hands of a Prayer

56:33 - Beloved One

Outro - Forgiven

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Though Fu Manchu often comes up when discussing the stoner rock of Sleep, Kyuss, Queens of the Stone Age, Monster Magnet, and, the Orange County band has made the prime focus skate boarding, California vibes, and science fiction, all stuffed in a smoke-filled custom 70s van. As proponents of fuzzed-out guitar riffing, tight arrangements, catchy hooks, and finding the balance between bombast and restraint, Fu Manchu marks all our boxes. The fact they do such a good job not only writing great music, but creating an entire look and feel from album artwork to merchandise helps us look into what was once an aspirational idea of the West Coast to a pair of flat-land Ohio boys.

Songs In This Episode:

Intro - No Dice

18:33 - Drive

27:15 - King of the Road

34:56 - Boogie Van

40:35 - Weird Beard

Outro - Freedom of Choice

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Montreal's Doughboys, like so many bands who tipped their toes in the power-pop sound, were mostly ignored by US listeners. Unless led by a ballad like the Goo Goo Dolls or pushing a punkier sound, artists with layered harmonies and a keen sense of melodic hooks were often overlooked for pure pop. On their 1993 album Crush, the band never compromise on the guitars, combining hardrock riffs with catchy leads and an occasional ripping solo. Only when the band slows down and gets dirgy does the momentum falter on an overall underappreciated gem.

Songs In This Episode:

Intro - Tearin' Away

18:00 - Fix Me

27:03 - Everything

30:25 - Neighborhood Villain

Outro - Shine

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Bruce Kulick, a member of KISS from 1984 to 1996, and John Corabi, a member of Motley Crue from 1992 to 1997, joined forces to form Union with capable players Jamie Hunting on bass and Brent Fitz on drums. The songwriting style Corabi brought to Crue is evident from the first track "Old Man Wise," which combines classic hard rock riffs with melodies and vocals that fit well into 90s alternative and grunge, such as Alice In Chains. What helps make this something more than just another album is the small touches - the harmony vocals from all members paired with clean and unfussy production that serve the songs well.

Songs In This Episode:

Intro - Old Man Wise

13:56 - Around Again

20:20 - October Morning Wind

28:40 - Let It Flow

39:26 - Pain Behind Your Eyes

Outro - Get Off My Cloud

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While G. Love is currently doing the press circuit to discuss his latest album, Philadelphia Mississippi, the affable blues artist is more than happy to talk about his experiences in the ‘90s. Born in Philadelphia and raised on the finest music that city had to offer in the ‘70s and ‘80s, namely soul and blues, G. Love moved to Boston to continue his busking career with hopes of landing a record deal. As glam became grunge, and grunge became pop-punk, G. Love’s alternative hip-hop with blues-style guitar playing was a bit of an anomaly though, in retrospect, artists like Beck and Fun Lovin’ Criminals could now be considered peers. A deal with Sony imprint Okeh was solidified in ‘94 with the release of the first G. Love and the Special Sauce album and G. Love got into the write, record, tour cycle for the rest of the decade releasing three more albums before the turn of the new century. Looking at G. Love’s discography, he never slowed down though he left Okeh to release solo - and band - albums on Brushfire Records, all the while maintaining a consistent touring lifestyle. 2022’s Philadelphia Mississippi was born out of pandemic SoulBques where G and his makeshift group of musician friends would hang out, grill up some meats, and sit around playing blues music. You can catch G. Love on stage opening the Dispatch/O.A.R. tour as well as headlining some of his own dates this summer.

Songs In This Episode:

Intro - Rhyme for the Summertime

8:06 - Baby's Got Sauce

Outro - Blues Music

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In the 1990s Dinosaur Jr. was primarily the J Mascis show, with both Lou Barlow and Murph out of the band. Their 2000s reformation has resulted in a steady release of some of the band's best material, but the origins trace back to the early 80s and the high school hardcore band Deep Wound where J and Lou began. Then known only as Dinosaur, the band toned down the hardcore elements for more jangle, and with J growing into a guitar shredder somewhere between Sonic Youth and Neil Young. On each of their three releases, the band grows as songwriters and players, and production considerably improves as the studios and budgets slowly increase. We dive into the early years to hear the earliest inklings of what the band would later become on albums like Green Mind and Without A Sound.

Songs In This Episode:

Intro - The Leper from Dinosaur

17:49 - Repulsion from Dinosaur

28:21 - In a Jar from You're Living All Over Me

34:03 - The Lung from You're Living All Over Me

41:06 - No Bones from Bug

Outro - Freak Scene from Bug

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Though known for a variety of harder post-hardcore bands like Helmet, Quicksand, Biohazard, and many more in the early 90s, the New York City indie music also include a number of outliers who had their major label moments. Like Soul Coughing or Firewater, Skeleton Key sought to do something slightly different. Sure, there are guitar-driven alternative rock tunes like "Wide Open" or "The Worlds Most Famous Undertaker," but the majority of the album isn't so straightforward. With a "junk" percussionist, there is a pallet of sounds not regularly heard on most alternative rock records of the decade.

Songs In This Episode:

Intro - Watch The Fat Man Swing

23:05 - Wide Open

28:22 - All The Things I've Lost

35:24 - Vomit Ascot

Outro - The Worlds Most Famous Undertaker

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One-hit wonders are not unique to the 1990s, and revisiting sophomore albums is always a hit-or-miss experience. Double down on what made the band or artist successful, evolve the sound into something unexpected, or somewhere in between? After scoring a hit with "Counting Blue Cars" on their 1995 debut Pet Your Friends, Dishwalla returned in 1998 with And You Think You Know What Life's About. From the opening track, the band play with sounds and melodies that stretch from the industrial rock of Stabbing Westward to the big choruses of Oasis to the experimental quirk of Radiohead. The album is unafraid to go BIG, with soaring guitar lines and vocals, but does it add it up more than just a collection of disparate influences?

Songs In This Episode:

Intro - Healing Star

11:56 - Stay Awake

18:03 - Until I Wake Up

23:06 - Pop Guru

Outro - Bottom Of The Floor

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The late mid-to-late 90s were overwhelming based on the number of new album releases each week. Unfortunately, that meant bands like Little John either had a breakout single and video or were quickly relegated to the cut-out bin. In the case of their 1996 album Derailer, full of pop-rock that veers between Dinosaur Jr. guitar riffs and the quirky lyrics and melodies of They Might Be Giants, the band crafted some earworms alongside some less engaging album tracks. From the opening title track to the Presidents Of The United States of America-esque "Evel Knievel," the band craft tight, fun songs that more people should know.

Songs In This Episode:

Intro - Fell From The Sun

15:24 - Shoelace

22:05 - Scared

31:40 - Evel Knievel

40:49 - Derailer

Outro - Down On Me

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There isn’t a Dig Me Out listener who isn’t familiar with Everclear, a staple of ‘90s alternative rock radio and MTV. With a string of hits like “Santa Monica,” “I Will Buy You a New Life,” and “Father of Mine,” Everclear spent the better part of the decade relentlessly touring, playing to sold-out crowds around the globe. But, had it not been for the relative success of the band’s 1993 debut, World of Noise, Everclear might have been just another footnote in a long line of forgotten bands. Singer Art Alexakis had tried his luck in San Francisco with the band Colorfinger in the late ‘80s/early ‘90s but after that band’s demise, moved with his pregnant girlfriend to Portland, Oregon where he decided to give the music thing one last try. Though World of Noise was cheap to make, the songs that Alexakis recorded with bassist Craig Montoya and drummer Scott Cuthbert - rough and raw as they were - caught the ears of major label A&R reps looking for the “next Nirvana.” After an initial release on indie label Tim/Kerr Records, Capitol Records picked up the band and reissued the debut, and set Alexakis on the way to a career that has lasted 30+ years. For the first time ever, World of Noise is now available on all major streaming services, and a vinyl reissue is planned for later 2022. While Montoya and Scott Cuthbert (and Cuthbert’s replacement, Greg Eklund) are long gone, Alexakis continues to make a living by releasing new Everclear music and touring. While the venues may be smaller, the passion is still there and Everclear will be celebrating World of Noise, and the rest of its catalog, on a summer tour with openers Fastball and The Nixons.

Songs In This Episode:

Intro - Fire Maple Song

4:38 - Nervous and Weird

Outro - Sick and Tired

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Face To Face had established themselves over their first three albums as a skate punk band with elements of Bad Religion and Hüsker Dü. But for 1999's Ignorance Is Bliss, they purposely showed the tempos and expanded the pallet to a much more alternative rock sound. That left some fans confused, others angry, but also welcomed new listeners into the fold. Depending on whether you're a punk purist or prefer creative detours, there is plenty to enjoy on the album, which sounds confident and catchy in a way that only veteran players with songwriting chops could pull off.

Songs In This Episode:

Intro - Heart of Hearts

15:37 - The Devil You Know (God Is A Man)

22:33 - Prodigal

27:26 - (A)Pathetic

40:25 - I Know What You Are

Outro - Overcome

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Describing rock bands can be tricky, as there is usually a need for comparison to set expectations. In the cast of Headstones, it's not that simple. The band is heavy, but not metal. They rock in a way that fits into the 90s, but they're not grunge or alternative. Smart lyrics, big guitar riffs, and short catchy songs that have hints of Australian bands like AC/DC or The Angels, with a touch of Guns 'n Roses and even a ballad or two. On their 1993 debut Picture of Health, all the ingredients for a smash hit debut are there, and while the band is beloved in Canada, they didn't make a ripple outside their home country.

Songs In This Episode:

Intro - When Something Stands for Nothing

17:10 - Heart of Darkness

22:39 - Oh My God

35:19 - It's All Over

Outro - Judy

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Composed of Jean-Luc De Meyer of Front 242, Mark Heal of Cubanate, and Ged Denton of Crisis n.T.i., along with special appearances by members of Front Line Assembly and Haujobb, C-Tec is something of a 1990s industrial supergroup. What that allows is the members to experiment on their debut Darker with a broader range of sounds away from their regular bands, like including breakbeats on "Being Nothing," going 80s on "The Lost," or punishing noise on "Shift IV." Of course, there are some four-one-the-floor thumpers made for the 12" remix, like the Rammstein-esque "Foetal" and driving "Stateless." A few of the tracks take a little more time than necessary to get going, and De Meyer's vocal approach won't be for everyone, but Darker is a worthwhile album to add to your industrial collection.

Songs In This Episode:

Intro - Flowing

10:25 - Being Nothing

15:37 - Foetal

25:38 - Flowing

28:19 - Shift IV

Outro - The Lost

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The EP, that strange format in-between singles and albums. What makes up an EP? It can be anything - all new material, demos, live tracks, remixes, or anything else an artist (or record label) can think of. While around since 1919, the EP format never had a more successful decade on the charts than in the 1990s. "Jar of Flies" by Alice In Chains became the first artist to have an EP reach number one on the Billboard 200 chart, and that wasn't the only commercially successful EP of the era. Nine Inch Nails, Ugly Kid Joe, Radiohead, My Bloody Valentine, Nirvana, Ride, The Smashing Pumpkins, and many more released essential music on EPs.

Songs In This Episode:

Intro - EP of the 90s Medley (Wish by Nine Inch Nails, I Stay Away by Alice In Chains, Blue by The Smashing Pumpkins)

15:15 - Everything About You by Ugly Kid Joe

22:40 - Making Love by Shiner

35:23 - Come See About Me by The Afghan Whigs

42:51 - JC Auto by Sugar

53:38 - One Too Many Mornings - The Dust Brothers

1:08:54 - I Could See The Dude by Spoon

Outro - Shooting Star by Golden Smog

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Melbourne, Australia's Sandpit only managed one full-length, 1998's On Second Thought, along with a few earlier EPs before disappearing. Mellow and sparse one minute, abrasive and noisy the next, the band finds a sweet spot between the two thanks to inventive vocal melodies that play with phrasing and cadence to keep the listener's ears engaged. Like American counterparts in Slint, Seam, or Polvo, there are slowcore and post-hardcore benchmarks the band hits with ease, while still creating interesting guitar lines between the crawling drum and snare hits.

Songs In This Episode:

Intro - Hold Yr Horses

11:23 - Walking in a Straight Line

19:04 - Metamorphosis

21:52 - I Positively Hate You Now

24:16 - Along The Moors

Outro - Helicopters

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Known as the more melodic half of the New Zealand alternative "Dunedin Sound" rock band Straightjacket Fits for their first two albums, Andrew Brough left in the early 90s to forge his own path. By the mid-90s Bike had formed and in 1997 would deliver their one and only album, Take In The Sun. The name is appropriate, as the album is full of shimmering, psychedelic sounds, and melodies that cry out for sunshine and warmth. But the band isn't a 60s retro act, incorporating fevered 80s alternative like on "Keeping You In Mine" or shoegaze noise on "Inside." On a pair of headphones, the album swirls and surrounds the listener, an aspect lost on lesser speakers that may turn off less engaged ears. As mentioned in the episode, our Patreon suggester wrote a eulogy for Andrew Brough after his passing in 2020 that is worth your time.

Songs In This Episode:

Intro - Take In The Sun

10:35 - Save My Life

18:20 - Inside

23:44 - Keeping You In Mine

Outro - Circus Kids

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On their 1993 debut Bring It Down, Madder Rose's Mary Lorson brings melodic sharpness and emotional depth to her vocals that helps make the band special. Billy Coté's guitar matches Lorson, weaving intricately disjointed solos and leads, while also bringing in shoegaze-styled textures and noise. This gives the band a unique niche in 90s rock, somewhere between the East Coast alternative rock of Belly, Letters to Cleo, or the Breeders along with UK bands like Lush or Slowdive. But with all the magic happening in the songwriting and performances, the end result is missing a gear. A lackluster production, with thin guitars and bass, doesn't give the band a needed punch when the energy levels rise.

Songs In This Episode:

Intro - Beautiful John

22:03 - While Away

29:22 - Swim

34:43 - Altar Boy

Outro - Bring It Down

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Though Steelheart was considered a new band when its self-titled release came out in 1990, the nucleus of the band had been together for nearly a decade. As Red Alert, the band spent most of the ‘80s honing songwriting skills and recording demos in Connecticut while playing occasional shows in a state that didn’t offer a lot of opportunities for a hard rock band. With a plane ticket and 4-song demo cassette in hand, the band, now called Steelheart, scored a record deal almost immediately after relocating to Los Angeles and within a year of moving to the West Coast, Steelheart was topping charts with “I’ll Never Let You Go (Angel Eyes)” which showcased Milijenko Matijevic’s soaring and glass-shattering vocals. With a modest level of success, the age old question of, “What would have happened had Steelheart moved to L.A. five years earlier?” is one that Matijevic has considered but knows he’s powerless to answer. After playing 50 shows in support of 1992’s Tangled in Reins, Steelheart played a Halloween gig opening for Slaughter. Matijevic attempted to climb a lighting truss only to discover it had not been properly secured. The 1,000 pound truss fell on Matijevic breaking his nose, cheekbone and jaw and, subsequently, led to Steelheart’s breakup as Matijevic was in the hospital and rehab for a considerable amount of time. With a new lineup in tow, Matijevic has carried on the Steelheart name and released Wait (1996), Good 2B Alive (2008) and Through Worlds of Stardust (2017) while playing gigs whenever he can. The singer also provided the vocals for Mark Wahlberg’s character in the 2001 film Rock Star which featured Steelheart’s “We All Die Young”. In 2022, Matijevic released the single “Trust in Love” in multiple languages in support of global peace and hopes that the song becomes an anthem for those who need hope in their lives.

Songs In This Episode:

Intro - I'll Never Let You Go

10:27 - She's Gone

Outro - Can't Stop Me Lovin'

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While bedroom recordings are nothing new to the music world, especially after the availability of cassette four-track recorders in the 1980s, going from crude demos to fully fleshed-out compositions is something else entirely. Many artists have taken advantage of computer-based recording programs in the 2000s, but musicians like F.M. Cornog, under the name East River Pipe, figured out to take an eight-track reel-to-reel home recording set-up and eschew any limitations. On the 1994 compilation Shining Hours In A Can, shimmering guitars and atmospheric keys backed by minimalist production give the sound a lo-fi Bruce Springsteen feel, with songs loaded up on regret, solitude, and loneliness.

Songs In This Episode:

Intro - Make A Deal With The City

10:48 - Helmet On

14:48 - My Life Is Wrong

22:00 - She's A Real Good Time

31:55 - Psychic Whore

Outro - Axl or Iggy

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The Manchester music scene gained notoriety long before Ian Brown and Shaun Ryder thanks to 1960s artists like The Hollies, The Bee Gees, and Herman's Hermits. Following the rise of punk, Manchester provided their own twist with bands like Joy Division and New Order, The Smiths, and The Fall breaking out at home and abroad. But our focus is on the unique combination of guitar-driven rock and underground rave music that morphed into what became known as Madchester. Combining funky, percussive rhythms with everything from 80s college rock to 60s psychedelic, the brief window of the late 80s and early 90s created a unique blend of danceable rock music paired with DJs and club music that became a small factor in the eventual rise of Britpop.

Songs In This Episode:

Intro - Fool's Gold by The Stone Roses

13:27 - Dragging Me Down by Inspiral Carpets

26:08 - I'm Free by The Soup Dragons

33:15 - Pacific State by 808 State

46:02 - Sit Down by James

Outro - Step On by Happy Mondays

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Terms like post-punk, post-rock, emo, indie, etc. get tossed around when talking about 90s rock bands that strayed from the mainstream to embrace a different take on the soft/loud dynamic. Boston four-piece Karate takes the angular twin-guitar and vocal attack of Fugazi and shave off some of the rougher edges while incorporating Slint-like slowcore, dialing down the tempos and volumes ready to burst. Karate adds a twist with jazzy phrasings and even a dirgy blues riff, giving the band an opportunity to work with a wider sonic pallet while leaving plenty of open space that occasionally feels underdeveloped.

Songs In This Episode:

Intro - It's 98 Stop

17:30 - New Martini

27:22 - New Hangout Condition

35:46 - Wake Up, Decide

Outro - Die Die

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Though Chad Fischer’s musical resume begins with School of Fish, the drummer didn’t play on either of the band’s two full-length albums. Just before the recording of 1993’s Human Cannonball, Fischer was fired by producer Matt Wallace who brought in session drummer Josh Freese to play on the album. When Freese was unable to tour with School of Fish due to other commitments, Fischer rejoined as the live drummer until the band broke up shortly thereafter. Knowing that he wanted to make a living in music, Fischer acquired gear and built a recording studio where he recorded not only his post-School of Fish band, Lazlo Bane, where he sang and played guitars, but worked on a number of releases by artists like Star 69 and Jeremy Toback. A chance meeting with Colin Hay (Men at Work) resulted in a personal - and working - relationship that continues to this day. Perhaps Fischer’s biggest musical accomplishment, however, was writing the song “Superman” which became the theme song for the long-running NBC comedy, Scrubs. These days, Fischer is writing, recording and producing for TV and movies, staying busy by releasing cover songs (and videos) and starting to work on new Lazlo Bane material.

Songs In This Episode:

Intro - Superman by Lazlo Bane (from All The Time In The World)

7:47 - Alone Again by Chad Fischer (from Ice Age: Dawn of the Dinosaurs soundtrack)

Outro - 3 Strange Days by Lazlo Bane and School of Fish (from Someday We'll Be Together)

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New Radicals, the band that wrote the ubiquitous single "You Get What You Give" which will never the airwaves, was the brainchild of Gregg Alexander and former child actor Danielle Brisebois, the former who had previously failed to breakthrough in the late 80s/early 90s solo artist. Donning the iconic bucket hat and calling-out (then) current celebrities like Courtney Love and Beck gave critics something to spill ink about, but the overall 1998 release Maybe You've Been Brainwashed Too never got the attention the single managed. Drawing on pop from several decades and angles, the band moves effortlessly between 90s alt-rock less expected sounds like the soulful bounce of Hall and Oates or twists and turns of Todd Rundgren. While the album hones in on specific moods, like longing blue-eyed soul on one track and Badfinger-esque 70s pop on the next, the variety of players gives the overall record an inconsistent vibe with tracks often exceeding their welcome by a minute or two.

Songs In This Episode:

Intro - You Get What You Give

22:16 - Mother We Just Can't Get Enough

30:06 - In Need of a Miracle

37:47 - I Don't Wanna Die Anymore

Outro - Flowers

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Alternative in the late 80s included several artists who successfully mixed funk and hip-hop with hard rock and metal, such as Faith No More, Living Colour, and the Red Hot Chili Peppers. In Melbourne, Australia, Defryme would form in 1989 with a similar sound, but it would take them five years to release their debut Purekiller. By that time, the fusion of hip-hop, funk, and metal was a far less original concept, and while Defryme craft a handful of tight tracks, the band struggles with consistency. The catchy hook of "Therapy" is absent on at least half of the record, which dips into yarling grunge territory on "Sanity" and attempts an ill-advised cover of LL Cool J's "Mama Said Knock You Out."

Songs In This Episode:

Intro - Pure Killer

12:03 - Gunn

22:57 - Therapy

33:12 - Sanity

Outro - Rivers

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Before the alternative explosion led by Nirvana in 1991, bands like Jane's Addiction, R.E.M., Red Hot Chili Peppers, and Faith No More were already paving the way on MTV and modern rock playlists. Coming off the success of iconic rap-rock tune "Epic" from their sophomore album The Real Thing, Faith No More followed up with 1992's Angel Dust, further exploring the edges of thrash metal, funk, new wave, and more. While the record stretches the boundaries of what could still be called a mainstream, major label release, the end result is full of relentlessly catchy earworms that often defy categorization.

Songs In This Episode:

Intro - Smaller And Smaller

16:30 - A Small Victory

21:43 - RV

29:07 - Be Aggressive

40:30 - Midlife Crisis

Outro - Everything's Ruined

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After their 1994 debut album not only failed to make a commercial dent for Polydor Records, but was also panned by critics and even the band themselves, Powderfinger returned to the studio with veteran Australian producer Tim Whitten (Hoodoo Gurus, The Go-Betweens, Clouds, etc.) for the sophomore album Double Allergic. The pairing paid off as the group put the studio to good use while maintaining a tight band feel that shifts between American alternative and more adventures diversions. The twin guitar work of Ian Haug and Darren Middleton carves out a wide range of sounds and textures that remain tasteful while dropping enough ear candy to make repeated listens pay off, while vocalist Bernard Fanning finds simple yet effective melodies to craft several radio-friendly tunes, all with the backing of a tight and versatile rhythm section.

Songs In This Episode:

Intro - Pick You Up

16:25 - Boing Boing

23:08 - Oipic

32:05 - Skinny Jean

40:09 - Come Away (Hidden Track)

Outro - Living Type

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Though most people’s introduction to Stabbing Westward was via their major label debut, Ungod, in 1994, Christopher Hall (vocals) and Walter Flakus (keyboards) had been making music together since their college days nearly a decade earlier. Blending the industrial influences of Nine Inch Nails, Ministry and Skinny Puppy with the goth rock of early Smashing Pumpkins and Depeche Mode, Stabbing Westward found themselves smack dab in the middle of the mid-90s alternative wave and toured with a wide range of acts ranging from KISS to the Sex Pistols to Killing Joke to Placebo. While fans may have appreciated the consistent releases (Ungod in ‘94, Wither Blister Burn & Peel in ‘96, Darkest Days in ‘98), it put a strain on relationships within the band and, after being dropped by Columbia and releasing a self-titled album on Koch Records in ‘01, Stabbing Westward came to end. Hall started The Dreaming, a band very much in the vein of Stabbing Westward’s sound, while Flakus got into the radio business as a program director and DJ. A reunion in 2015 to celebrate the band’s formation 30 years prior led to occasional live shows and eventually Hall retired The Dreaming name to reform Stabbing Westward with Flakus and some of his Dreaming band members. In 2020, Stabbing Westward released three new songs which led to a full album of new material, Chasing Ghosts, out on March 18, the first Stabbing Westward in 21 years.

Songs In This Episode:

Intro - Save Yourself (from Darkest Days)

6:52 - Ghost (from Ghost EP)

Outro - What Do I Have To Do (from Wither Blister Burn & Peel)

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A disaffected and laid-back vocal combined with loose playing will always draw a comparison to Pavement when talking 90s rock. And Pure definitely dabble in the slacker rock vibe, albeit with more chill than snark, and on Generation Six-Pack the chill is via a nice layer of fuzzy guitar that is somewhere between early Weezer and space rock Hum. The band uses some standard 90s tropes to good effect, like the quiet/loud dynamic of "Anna," while also integrating slide guitar to add a layer of distortion and countermelody while also integrating some bluesy licks, like on "The Tip" and "Denial." Where the record falters for us it may not for others - the relaxed approach occasionally smoothers what could have been some delicious power-pop-esque gems like on "Lemonade," where a slightly tighter approach would have resulted in a resilient earworm.

Songs In This Episode:

Intro - What It Is

12:52 - Nobody Knows I'm New Wave

18:37 - Monster

24:00 -The Tip

31:05 - Lemonade

Outro - Anna

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After her band Clementine, with Reggie Watts (Comedy Bang! Bang!, The Late Late Show with James Corden) and Ryan Link, broke up, Heather Duby joined forces with noted Seattle producer Steve Fisk (Pigeonhed) to write and record what would become her 1999 Sub Pop debut, Post to Wire. A far cry from the punk and grunge acts the label was known for, Duby was released from her contract when Post to Wire failed to make waves. While she continued to make albums for Sonic Boom Records (2003’s Come Across the River, 2006’s Heather Duby), Duby was going through some deeply personal things which put her music career in the back seat. She moved to New York in 2007, was involved in a terrible bike accident in 2011, earned a Law degree in 2017 and recorded a new EP in 2018 with John Agnello (Dinosaur Jr., Sonic Youth, Son Volt) that hit streaming services until 2020. 

Songs In This Episode:

Intro - Judith

6:16 - Falter

Outro - September

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After the platinum, multi-hit single success of Cake's sophomore album Fashion Nugget, members Greg Brown (guitar and keyboard) and Victor Damiani (bass) left to form Deathray. It would take three years for their self-titled debut to be released, and while catchy pop-power and new-wave revivalists had brief moments in the spotlight during the 90s (Weezer, Matthew Sweet, The Posies, The Rentals, Imperial Teen), by 2000 their brand of dry, quick, and quirky pop had been kicked off the radio and MTV. As a result, Deathray probably isn't as well known to power-pop and general 90s rock audiences as it should be, with a quick thirty-five minutes and thirteen songs of catchy earworms that deserve a discovery.

Songs In This Episode:

Intro - My Lunatic Friend

13:07 - Scott

16:26 - Baby Polygon

22:41 - Zero

34:08 - This Time

Outro - Only Lies

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Ending the 1980s with the creative one-two punch of Kiss Me Kiss Me Kiss Me and Disintegration, like many of their alternative college rock counterparts, The Cure were poised for global superstardom at the start of the next decade. Filled with compilations, live albums, and contributions to various soundtracks, the band managed two proper albums - 1992's Wish, which featured the now ubiquitous single "Friday, I'm In Love," and the polarizing "Wild Mood Swings," whose title accurately describes the inconsistent sound and musical approach.

Songs In This Episode:

Intro - A Letter To Elise (from Wish)

16:48 - Never Enough (from Mixed Up)

26:03 - Friday, I'm In Love (from Wish)

47:19 - The 13th (from Wild Mood Swings)

Outro - Maybe Someday (from Bloodflowers)

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Ride's debut album Nowhere sits at the crossroad of 1980s and 90s rock. Shoegaze was still an underground curiosity, and Rider were initially lumped in with Slowdive, My Bloody Valentine, and Lush. But as much guitar noise and neo-psychedelia as the band dabbles in, there is an equal amount of 1960s jangle pop and Who-like bombast from the explosive rhythm section to help them stand out from the crowd. Sure, the production is stamped in 1980s reverb and chorus, but Ride were able to craft songs as well as noise to maximum effect.

Songs In This Episode:

Intro - Seagull

17:03 - Kaleidoscope

24:43 - Dreams Burn Down

30:21 - Nowhere

40:09 - Vapour Trail

Outro - In A Different Place

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The Mommyheads are the quintessential artist for Dig Me Out. Formed in the late ‘80s by guys who went to a performing arts high school in New York City (yes, the same one that the movie/TV show Fame was based on) and who enjoyed experimenting with lo-fi recording equipment, The Mommyheads had no interest in aping what they were hearing on FM radio or MTV. Instead, they looked up to the underground bands that were also experimenting with 4-track recording, bands like Fish & Roses, They Might Be Giants, and Flaming Lips. In the early ‘90s, they signed with Simple Machines and released a long out-of-print collection of demos and 4-track recordings titled Swiss Army Knife. Dreams of “making it” led to a relocation to San Francisco where, after a string of indie releases on various labels, Geffen Records came calling. Like so many bands covered on the Dig Me Out podcast, the major label deal was not all it was cracked up to be and shortly after The Mommyheads’ self-titled album came out in ‘97, they were dropped and the band broke up. After drummer Jan Kotik passed away from cancer in 2008, the other members got back together and have been active (VERY active) ever since releasing new albums and re-issuing the albums from the ‘90s at a regular pace. A new album is due later in 2022 and there are no signs of slowing down.

Songs In This Episode:

Intro - In In Awe from The Mommyheads

8:31 - Wedding Day from Coming Into Beauty

Outro - Spiders from Flying Suit

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Making commercially successful funky dance pop music amid Britpop's reign may have only been possible via Shaun Ryder. The then ex-Happy Monday hooked up with producer Danny Saber and a group of new cohorts to produce 1995's debut album by Black Grape, It's Great When You're Straight...Yeah. Mixing the big beats of Big Audio Dynamite with touches of ascendent electronic music like trip-hop, while still dipping a toe in the Madchester scene, there's plenty going as slide guitars and sitars brush up against funk basslines and saxophone solos. It's not entirely successful, but Ryder and Co. manage to push the best material to the limits and create a truly unique sound for the middle of the decade.

Songs In This Episode:

Intro - Reverend Black Grape

12:48 - Tramazi Party

20:08 - A Big Day In The North

30:41 - Shake Well Before Opening

Outro - Kelly's Heroes

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Little did anyone know that a two-piece garage rock band from Detroit would kick off a sonic revolution in 1999. The White Stripes debut of minimalist blues paired down to just vocals, guitar, and drums wasn't completely without precedent in the underground music scene with bands like the Flat Duo Jets and Bassholes preceding them. And while it would be a few years and a few albums before the mainstream caught on, the core elements of The White Stripes sound were there from the start.

Songs In This Episode:

Intro - Jimmy the Exploder

20:07 - The Big Three Killed My Baby

26:53 - Sugar Never Tasted So Good

35:26 - Astro

40:56 - Slicker Drips

Outro - Cannon

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With the success of acts like Rage Against the Machine, Limp Bizkit, 311, and Korn in the mid-90s, by the end of the decade, labels were jumping on the bandwagon and signing bands that incorporated rap and hip-hop into rock, metal, and punk. Zebrahead, from the pop-punk hotbed Orange County, were one of the bands to benefit from this trend and released their debut, Waste of Mind, on Columbia Records in 1998 featuring the singles “Get Back” and “The Real Me.” Though the music industry would shift to boy bands and teen starlets by the early 2000s, Zebrahead soldiered on, finding success in Europe and Japan. As two of the founding, and original members, of Zebrahead, Ben Osmundson and Ali Tabatabaee join us to discuss the band’s longevity, why their sound clicked with listeners, and how they’ve managed to stay together for 25 years while continuously releasing new music.

Songs In This Episode:

Intro - Check from Waste Of Mind

6:30 - Playmate of the Year from Playmate of the Year

Outro - Falling Apart from MFZB

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California thrashers Suicidal Tendencies had already been called "sell outs" when they released the video for the iconic single "Institutionalized." Mike Muir, never one to buck to expectations, took ST in the directions he wanted through the 80s and early 90s, and their 1992 album The Art of Rebellion might be the creative apex for the band. Yes, they thrash. Yes, the rock. But the band was already evolving, and TAOR shows a level of arrangement and playing craftsmanship that doesn't come easy. From the charted MTV single "Nobody Hears" to the shape-shifting opener "Can't Stop," Muir is the most surprising discovery in our revisit, taking his voice and lyrics into a variety of sounds and ideas that still resonate. Of course, having an already established line-up of killer musicians backed by the lone appearance of drumming monster Josh Freese helps to further flesh out all the ideas and sounds into a truly unique record for the time period.

Songs In This Episode:

Intro - Accept My Sacrifice

19:06 - Can't Stop

23:56 - It's Going Down

27:09 - Gotta Kill Captain Stupid

31:34 - Nobody Hears

Outro - Tap Into The Power

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While 1991 is regarded as the true launch of the 1990s alternative explosion into the mainstream, the sheer volume and diversity of music that followed in 1992 might lay claim to the crown as the most interesting year of the decade. The mainstays of 80s college rock were alive and well, with albums by R.E.M., Bob Mould's new band Sugar, Faith No More, The Cure, The Lemonheads, Sonic Youth, Soul Asylum, and many more. The ubiquitous "grunge" sound was fully ensconced in radio and MTV with Stone Temple Pilots, Alice In Chains, and Screaming Trees added to playlists, while more aggressive sounds emerged from the likes of Rage Against the Machine, Helmet, Pantera, and White Zombie. Underground scenes cracked the mainstream as well, as industrial and electronic acts such as Ministry, Nine Inch Nails, The Orb, Curve, Aphex Twin, and others made significant noise, and the growing UK shoegaze scene produced records from Lush, Catherine Wheel, Ride, Moose, etc. And this barely scratches the surface, as hip-hop saw the release of the decade-defining albums The Chronic by Dr. Dre and Check Your Head by the Beastie Boys, as well as albums by Arrested Development, Ice Cube, Das EFX, Redman, The Pharcyde, and more. And that barely scratches the surface.

Songs In This Episode:

Intro - 1992 Medley (Them Bones by Alice In Chains, Wish by Nine Inch Nails, Unsung by Helmet, Somebody To Shove by Soul Asylum)

Outro - Miles Iz Dead by The Afghan Whigs

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Of late, Terry Ilous is probably best known as Jack Russell’s replacement in Great White (“Once Bitten, Twice Shy”), a position he held from 2010 until his surprising dismissal in 2018, but from the mid-80s until the mid-90s, Ilous fronted the Sunset Strip band XYZ (“Inside Out”, “What Keeps Me Loving You”, “Face Down in the Gutter”). In this revealing conversation, Ilous shares how XYZ bassist Pat Fontaine tricked him into moving to the U.S. from France with promises of sex, drugs, and rock n’ roll, the unlikely way XYZ landed a record deal with Enigma Records, working with Don Dokken on the band’s 1989 debut, touring with the likes of Foreigner, Ozzy Osbourne, and Ted Nugent, the arrival of grunge and the devastating effects it had on Ilous’s career for the rest of the ‘90s and how he left the music business for a number of years before being lured back in through the unlikeliest of ways (voiceover work for cartoons). Ilous has reformed XYZ and still plays shows under that band name while also releasing solo material and fronting Land of Gypsies, whose self-titled debut was released by Frontiers Music in December.

Songs In This Episode:

Intro - Inside Out by XYZ (from self-titled)

12:56 - Face Down In The Gutter by XYZ (from Hungry)

Outro - Don't Say No by XYZ (from Hungry)

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In the fall of 1993, if you heard the name Meat Puppets attached to the newest single Backwater blasting from your local alternative radio station or on MTV, you would be forgiven for thinking this was a new band from Seattle riding the grunge wave. In truth, this was the band's eighth release, and they hailed from the much sunnier climate of Phoenix, Arizona. As veterans of the indie rock scene who had spent the 80s on famed SST Records, Too High To Die was their second major-label release, and the band was as much an influence on the current wave of alternative acts breaking through as a contemporary, as evidenced by Nirvana's choice to cover three of the band's songs on their MTV Unplugged performance and have the Kirkwood brothers join them onstage. With Too High To Die, the band shows off all of their skills, crafting finger-picked bluegrass tracks alongside ripping Soundgarden-esque tunes.

Songs In This Episode:

Intro - Backwater

20:27 - Shine

24:19 - Things

29:17 - Severed Goddess Hand

37:48 - Evil Love

Outro - We Don't Exist

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While 2020 seemed like it lasted several terrifying years, 2021 flew by with somehow the same number of days, and for us, episodes. As with our previous year-in-review episodes, we take a look back at our favorite new album discoveries, most brought to us by our Patreon community, as well as our most enjoyable round table experiences, and our favorite 80s album discoveries, episodes which are exclusive to our patrons. And we've got news to share about 2022!

Songs In This Episode:

Intro - Dig Me Out by Sleater-Kinney

Outro - Dig Me Out by Sleater-Kinney

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While Nirvana famously helped give the college and underground rock scene one final push into the mainstream, the late 80s and early 90s were full of US and UK bands already making noise that connected with more than just the hip in-crowd. In Australia, the quick bursts of the Pixies and twin vocals of Throwing Muses and The Breeders are paralleled by the dual-songwriters fronting Clouds, whose 1991 debut Penny Century is full of two and three minute catchy harmonized indie pop.

Songs In This Episode:

Intro - Immorta

11:29 - Hieronymus

18:33 - Pocket

23:43 - Visionary

27:30 - Souleater

Outro - Foxes Wedding

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Throughout his career, David Coverdale has been dogged with comparisons to Robert Plant's Led Zeppelin years thanks to a similar style and range, even if the performances rendered different musical outcomes. By the time the early 90s rolled around, Coverdale put Whitesnake on hiatus and Page was working on Led Zeppelin compact disc remasters when the two met up and began a casual songwriting relationship that eventually led to their (so far) lone record together - the eponymous 1993 release Coverdale * Page. Fans of both bands, of which there was probably plenty of crossover, had much to rejoice about. Page riffing sounds invigorated and Coverdale is his equal, coming up with memorable hooks on several tracks. But while these artists made their names during the vinyl era, the bloat of the compact disc is length is in full display, as tracks better suited for three or four minutes get stretched to six and seven. 

Songs In This Episode:

Intro - Shake My Tree

25:03 - Pride And Joy

29:28 - Over Now

33:38 - Feeling Hot

Outro - Waiting On You

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Trends came and went in the 90s, some propelling underground subgenres into the mainstream, while others revitalized previously dormant sounds. A few bands, mostly under the radar like Cry Of Love, The Four Horsemen, The Screamin' Cheetah Wheelies, Raging Slab, and Brother Cane, were ignoring the sounds of Seattle for rock rooted in 60s and 70s blues, r&b, southern, country, and hard rock. Leading the pack was Marietta, Georgia's The Black Crowes, who had been kicking around since the 1980s under various names, led by the mercurial Robinson brothers, Chris and Rich. Their debut is full of well-known radio singles, while their follow-up expanded their sound and garnered further accolades. But sessions for their third album, originally titled Tall, became mired in endless and expensive experimentation. After refocusing, the band wrote and rewrote to land on Amorica, displaying a matured and relaxed vibe with the guitar fire that made the band favorites, but without devolving into navel-gazing jams that others in the compact disc era regularly abused.

Songs In This Episode:

Intro - Gone

24:59 - Wiser Time

30:17 - P.25 London

37:28 - A Conspiracy

Outro - High Head Blues

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Last year we spent Thanksgiving Eve with our patrons and friends sharing new music we were thankful for during a difficult year. 2021 has presented its own challenges, but we're lucky to have so many musical artists and creatives to turn to for escape. From the metal and hard rock of Iron Maiden, Danko Jones, and Mammoth WVH to the trip-hop of Morcheeba, Sneaker Pimps, and Hooverphonic, to the electronic and industrial of Front Line Assembly, Martin Gore, and Gary Numan, to a host of other artists like Brandi Carlisle, Dave Gutter, Palm Ghosts, The Hold Steady, Spectres, King Buffalo, Ben Kweller, and many more, there was plenty to celebrate.

Songs In This Episode:

Intro - Don't Back Down by Mammoth WVH (from Mammoth WVH)

7:27 - All My Heroes Are Dead by Dave Gutter (from I've Been Here Awhile EP)

15:12 - John Carpenter by Palm Ghosts (from The Lost Frequency)

18:24 - The Creeps by Garbage (from No Gods No Masters)

24:29 - Family Farm by The Hold Steady (from Open Door Policy)

30:13 - Blink Twice by Jim Ward (from Daggers)

36:42 - Swan Song by Lindsey Buckingham (from Lindsey Buckingham)

46:12 - Submarines by Failure (from Wild Type Droid)

57:38 - Ouch by The Tragically Hip (from Saskadelphia EP)

Outro - This Love Ain't Dead by Aaron and the Lord (from Aaron and the Lord)

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Out of the fertile Chapel Hill, North Carolina scene emerged Polvo at the start of the 1990s. Their sound is lumped into math rock, a term the band themselves reject, but the elements are there - progressive rock filtered through an indie lens. On their 1993 sophomore album Today's Active Lifestyles, you'd be hard-pressed to find any evidence of Jethro Tull, Yes, or Emerson, Lake & Palmer. But King Crimson meets Sonic Youth? Now we're warmer. Guitar lines criss-cross with noise and bends that lesser bands would likely turn into a messy dirge, while Polvo creates a singular sound unto themselves.

Songs In This Episode:

Intro - Sure Shot

20:25 - Thermal Treasure

30:11 - Action vs. Vibe

39:42 - Lazy Comet

Outro - Gemini Cusp

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The 1990s definitely saw its fair share of pastiche in music from The Rolling Stones raunch of The Black Crowes to the underground Los Angeles swing revival that briefly bubbled into the mainstream. Out in San Francisco, The Brian Jonestown Massacre was taking full advantage of the Haight-Ashbury vibes to experiment with sounds old and new, dabbling in shoegaze, psychedelia, jangle-pop, and more. On their sixth album, 1997's Give It Back!, the one and only with future Black Rebel Motorcycle Club founder Peter Hayes, the band puts all the elements to use on slinky bass-driven jams like "Super-Sonic" and "Whoever you Are" while also finding time to bliss out on tracks like the sitar-driven "Salaam." But it's not all good vibes, as the bands more evil half of the namesake shows up on the disturbing noise collage "Their Satanic Majesties' Second Request," and "#1 Hit Jam" is definitely not.

Songs In This Episode:

Intro - Satellite

13:53 - This Is Why You Love Me

18:55 - Whoever You Are

25:05 - Super-sonic

34:00 - Servo

Outro - Salaam

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Almost six years to the day, we revisited the debut album Earth Vs. The Wildhearts by the UK hard rock band. All the ingredients were there for us to love and champion this band, but for various reasons, we were both underwhelmed and disappointed. Thanks to a member of our Patreon Union, we're giving The Wildhearts a second shot with their 1995 follow-up P.H.U.Q. Far from a sophomore slump, the second album by the band pulls successfully from metal, hard rock, and power pop to create a riff-laden record that matches it on the vocal front with big, sugary hooks and loads of backing vocals.

Songs In This Episode:

Intro - Nita Nitro

18:14 - I Wanna Go Where The People Go

21:46 - Just In Lust

27:46 - Getting It

37:14 - Caprice

Outro - Naivety Play

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Country, blues, and gospel are a winning combination. So are mixing trip-hop with acid house. But what if we threw that all into a big stew, layered it with a John Prine cover, Jim Jones (of Jonestown infamy) audio samples, and a druggy, capitalist critiquing, night-on-a-bender lyrical bent that also stayed away from strident political commentary while being entirely political? A big stew, eh? That's what Alabama 3 are serving up on their 1997 debut album Exile on Coldharbour Lane. If the band name sounds familiar, and you were alive at the start of the 21st century, you probably heard their track "Woke Up This Morning" introducing the weekly exploits of one Tony Soprano. Hearing that song gives listeners a nice primer on the band, but they do much more with their sixty-minute run-time, even if occasionally indulging a bit too much, like any fully exploited bender.

Songs In This Episode:

Intro - Woke Up This Morning

18:42 - Speed of the Sound of Loneliness

24:44 - Sister Rosetta

39:46 - Mao Tse Tung Said

1:07:34 - Peace in the Valley

Outro - U Don't Dans 2 Tekno Anymore

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Just like how the 1990s produced hundreds of alternative bands signed to major labels that barely made a dent in radio, MTV, or Billboard, the 80s had their fair share of obscure and forgotten acts of might-have-beens. Those rock bands that straddled the line between the two decades often suffered the worst, coming in at the tail end of hair/glam rock dominance into the emergent alternative and college rock scene ready to explode. Phantom Blue is a perfect example of this interesting time, a band whose 1989 debut is more in line with 80s metal, while their 1993 follow-up (and last) record Built to Perform shows growth in multiple directions, incorporating the drop-d riffing of Soundgarden and Alice In Chains flawlessly with Guns 'n Roses licks and energy.

Songs In This Episode:

Intro - Better Off Dead

15:32 - Lied To Me

21:11 - Little Man

31:01 - My Misery

Outro - Time to Run

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Band reunions aren't new, as some of the best-selling and most well-known bands have gone on hiatus or broken up for extended periods of time. Back in 2015, we discussed 1990s rock bands that had broken up and gotten back together. Six years have passed, and more bands have reunited, released material, or at least toured. We decided to revisit the topic and discuss bands like Swervedriver, Hum, The Psychedelic Furs, The Vapors, Guns 'n Roses, and many more who have been back in the studio (either to record or rerecord) and hit the road together.

Songs In This Episode:

Intro - Step Into You by Hum

11:50 - Thread by Shades Apart

18:09 - Don't Believe by The Psychedelic Furs

34:50 - Amputation by The Jesus And Mary Chain

47:00 - The Colour of Love by The Smashing Pumpkins

Outro - Mary Winter by Swervedriver

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Before Creeper Lagoon scored a minor hit with "Wrecking Ball" on their 2001 major label, radio-friendly alternative rock album Take Back The Universe and Give Me Yesterday, the band released a much more intimate debut. 1998's I Become Small and Go, co-produced in part by John King of The Dust Brothers, finds an even balance between catchy indie-pop, and more produced and layered tracks. Using a host of loops, oddball sounds, and other studio tricks gives tracks like "Wonderful Love" just enough earworm material to balance with the more subdued songs like "Sylvia." Unfortunately, the band can't hold up the momentum, and the album takes a noticeable dive in quality towards the end, but that doesn't erase what is a re-listenable record.

Songs In This Episode:

Intro - Dear Deadly

17:16 - Wonderful Love

20:23 - Sylvia

24:04 - Drink and Drive

Outro - Empty Ships

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He's an outlier, an enigma, an iconoclast, an original. We're talking about Tom Waits, whose career is more closely tied to the 70s and 80s, but who released his Grammy Award-winning album Bone Machine in 1992 just as the first wave of grunge was talking off in 90s rock. Trying to compare Waits, and this album in particular, to any of his contemporaries, is a fool's errand. Sure, there's a bit of Nick Cave here, some Mark Lanegan there, even some Morphine and Beck, but Waits is often on another planet entirely. Using a collection of non-traditional percussion instruments (some homemade) combined with buzzing guitars and ramshackle pianos, to create a junkyard orchestra. It often sounds like it's falling apart before it even starts, but Waits can bring it together with his vocals, even if they are the most divisive aspect of a Tom Waits album.

Songs In This Episode:

Intro - I Don't Wanna Grow Up

17:26 - Black Wings

24:49 - That Feel

29:54 - Whistle Down The Wind

34:26 - Goin' Out West

Outro - The Earth Died Screaming

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In popular culture, whether it's music, films, books, or television, the idea of a Guilty Pleasure has existed as long as people have formed opinions on entertainment. High versus low art, serious versus inconsequential, intimate versus manufactured - everyone has their own criteria. We discuss the power of shame, such as when a once-popular genre falls out of favor, or when the personal behavior of an artist can affect an audience, the phrase can take on an even more serious interpretation. 

Songs In This Episode:

Intro - Barbie Girl by Aqua

Outro - I'm Too Sexy by Right Said Fred

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Members of Seattle's biggest bands of the 90s rock scene were often dabbling in side projects, like Temple of the Dog, Mad Season, and Brad. Matt Cameron and John McBain had previously played together in Hater, and along with Soundgarden bassist Ben Sheppard started Wellwater Conspiracy By the time they got around to album number two, Sheppard left, leaving Cameron and McBain to make the 1999's Brotherhood of Electric: Operational Directives, along with some friends. One of those friends is Josh Homme, not long after the end of Kyuss and just as Queens of the Stone Age is starting up, who hops on board for vocals on three tracks. Cameron tackles most of the rest and does a nice job with some 60s-influenced garage rock tunes that wouldn't sound out of place on a Hives record. Unfortunately, the side-project nature of the band leaves room for lots of noodling and experimentation. Some good, most not, which turns what would have been a tight, rockin' record into a much more bloated affair in need of a editor.

Songs in this Episode:

Intro - Good Pushin'

13:09 - Compellor

20:55 - Right Of Left Field

23:38 - B.O.U.

28:07 - Van Vanishing

Outro - Red Light Green Light

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Toward the middle of the 1990s, the shift away from loud grunge, post-hardcore, and punk resulted in a wide variety of more introspective sounds. Some bands were tagged with emo, some with slowcore, others with simply indie rock. From Death Cab for Cutie and John Vanderslice to Elliott Smith and Iron & Wine, the late 90s and early aughts were full bands turning down both the volume and tempo. San Diego's Pinback, comprised of veteran scene musicians Rob Crow and Armistead Burwell Smith IV, utilize a wide variety of instruments and approaches on their self-titled debut from 1999. A simple drum preset can carry an entire song, mixing a variety of analog keyboard and guitar sounds, while occasionally introducing samples, guitar-mimicking vinyl scratching, or vocal loops. It's a melancholy but charming debut that presents many interesting ideas that sometimes lack a second or third gear to make them truly inspired.

Songs in this Episode:

Intro - Hurley

17:34 - Tripoli

20:20 - Rousseau

25:33 - Crutch

Outro - Lyon

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While 90s rock is known for the volume-pushing bands from Seattle, Boston, Chicago, and other parts around the world, a loose movement of quiet and introspective artists rallied (quietly) around sparse arrangements, hushed vocals, and an appreciation for traditional to 60s folk. Ida covers most of that ground and more on their fourth album, 2000's Will You Find Me. Thanks to a wide range of guest musicians and a major label budget, the band incorporates electric piano, moog, wurlitzer, viola, and a host of other instruments to fill out the nooks and crannies of their deliberate sound. When at their best, the foursome use the three vocals to perfection, crafting haunting and beautiful sound scapes. But on the flip-side, some of the less fussed-over tracks sound bare in comparison, or tracks meander when they should be more concise.

Songs in this Episode:

Intro - Shrug

21:24 - Down on Your Back

26:19 - Turn Me On

32:29 - Encantada

40:18 - Shotgun

48:09 - Man in Mind

Outro - The Radiator

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By the early 90s metal music faced a crossroads - fixtures of the 70s and 80s influenced by Black Sabbath and Led Zeppelin were less connecting less with a younger generation of fans whose exposure to the thrash of Metallica, the hardcore of Bad Brains, and a new wave of guitar gods like Vernon Reid of Living Colour and Tom Morello of Rage Against The Machine. From their early years in high school through years of demoing and playing gigs in Southern California, the Deftones tapped into this wide variety of sounds, as well as new wave and post-punk, to craft a uniquely 90s take on metal. Thought dubbed nu-metal at the time on their 1995 debut album Adrenaline and 1997 follow-up Around The Fur, both with producer Terry Date, their sound continued to expand in the 2000s, incorporating shoegaze, space rock, and more. We revisit their 1990s output to trace the beginnings of one of the most interesting and influential alternative metal bands of the past twenty years.

Songs In This Episode:

Intro - My Own Summer (Shove It) from Around The Fur

20:11 - 7 Words from Adrenaline

35:23 - Be Quiet And Drive (Far Away) from Around The fur

42:28 - The Chauffeur (Duran Duran cover)

Outro - Bored from Adrenalin

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Few names evoke the 90s like Ned's Atomic Dustbin. It doesn't hurt that the band also sported an unusual line-up of two bass players that made full use of the sonic range - one carrying the low end and the other mid-range riffs ala Peter Hook of New Order. It gave The Neds something extra to play with, and on 1992's Are You Normal? the band shed their punkier, less polished debut sound for a rhythmic, bouncy follow-up effort. While the rhythm section carries a large amount of songs, if gives the guitar room to roam, from metalish funk riffs to blissed out delays. On the stronger material, it gels nicely, but the album takes time to find its footing, with a back-half that shows more range and depth that keeps us from loving the whole.

Songs In This Episode:

Intro - Suave And Suffocated

29:42 - Walking Through Syrup

40:30 - Not Sleeping Around

57:03 - Intact

Outro - Swallowing Air

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Chicago had a reputation for producing some of the notable heavier bands of the 1990s, including Ministry, Smashing Pumpkins, The Jesus Lizard, Shellac, and My Life with the Thrill Kill Kult. You can now add Wicker Man to that list. Not familiar with the band Wicker Man, you say? We're here to help, thanks to one of our knowledgeable Patreon patrons. The band managed just one full-length, their 1995 self-titled debut for Hollywood Records, and it's both hard and easy to understand why the band is all but forgotten. The quality and craftsmanship is clear, heavy riffs that touch on power metal, stoner rock, post-hardcore, and more that could satisfy a wide variety of metal fans. But looking back on 1995, it's also easy to see how the band was out of step with the emerging nu metal and industrial scenes, which makes rediscovering the band all the sweeter.

Songs In This Episode:

Intro - You Annoy Me

19:26 - Party Grrrl

26:56 - Don't Believe A Word

29:58 - Hey Hey Hey

39:47 - Brainfreeze

Outro - Sugarfoot

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Rusty's 1995 debut album Fluke pulls off a neat trick, sound both of the times and yet somehow ticking the boxes of previous generations. There is the swampy garage blues of "Warning" that Royal Trux or Beck would appreciate as much as ZZ Top of Rory Gallagher. There is a blast of hardcore-ish punk on the aptly titled "Punk" and nods from everyone to the Stooges, Nirvana, Dinosaur Jr. and The Replacements across the record. Separated, the guitars might sound too gnarly or the drums to lo-fi, but the overall combination mostly finds the sweet spot.

Song In This Episode:

Intro - Groovy Dead

13:22 - Misogyny

18:07 - K.D. Lang

19:52 - Warning

23:50 - Punk

Outro - California

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Best known for their string of mid-90s hit singles that smoothed off the harder edges of what we once called alternative rock, Collective Soul returned in 1997 under difficult circumstances with Disciplined Breakdown. A legal battle with their ex-manager lead to a canceled tour and recording the record on their own. Thanks to Ed Roland's tenured history as a musician and songwriter, the band barely misses a step combining pop-friendly melodies with rock arrangements and sounds, even taking some unexpected detours that work ("Link") and don't work ("Full Circle").

Songs in this Episode:

Intro - Precious Declaration

25:02 - Disciplined Breakdown

34:51 - Link

40:18 - Crowded Head

Outro - Listen

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While the double album (two vinyl LPs) has long been the medium for big-thinking artists from Bob Dylan to Pink Floyd, introducing cassettes and compact discs in the 1980s changed the format length and what actually qualified as a double album. In the 1990s, artists again began pushing the limits of the dominant medium, as evidenced by double album releases over two compact discs not only by 90s rock bands like The Smashing Pumpkins or Wilco, but with hip-hop, electronic and others expanding their releases like from The Notorious B.I.G., Nine Inch Nails, The Orb, Tupac Shakur, and others. 

Songs in this Episode:

Intro - We're In This Together by Nine Inch Nails (from The Fragile)

21:26 - Bodies by The Smashing Pumpkins (from Mellon Collie and the Infinite Sadness)

30:06 - Outta Mind (Outta Sight) by Wilco (from Being There)

46:40 - Brown Paper Bag (Single Remix) by Roni Size - Reprazent (from New Forms)

56:20 - The Sound by Swans (from Soundtracks For The Blind)

Outro - Little Fluffy Clouds by The Orb (from The Orb's Adventures Beyond The Ultraworld)

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The moniker "jam bands" had been around for decades before their 90s counterparts in Phish, Rusted Root, and String Cheese Incident brought their own takes out on the road. Athens, Georgia based Widespread Panic draw on the southern sounds of The Allman Brothers Band as well as other guitar heroes like Eric Clapton and J. J. Cale to craft their guitar and keyboard driven sounds. The trick with jam bands, regardless of decade, has always been converting the energy and improvisation of the live performance into a crafted studio product. On 1997's Bombs and Butterflies, Widespread Panic smartly avoids overly long passages for trimmed down and concise songwriting.

Songs in this Episode:

Intro - Radio Child

17:18 - Aunt Avis

19:06 - You Got Yours

41:18 - Glory

52:32 - Hope In A Hopeless World

Outro - Gradle

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Plenty of bands messed around with a lo-fi sound in the 90s, sometimes to euphoric effects, sometimes not so much. Swell dabbles: a white noise fractured guitar lead here, a flat acoustic guitar riff there. But on Too Many Days Without Thinking, they are merely small pieces of a more layered puzzle. Had it been played on Les Paul's through big amps, the album would have sounded very familiar, so dialing back the noise and putting it to sparing use helps elevate the band above their 90s rock peers.

Songs in this Episode:

Intro - Make Mine You

14:27 - When You Come Over

19:08 - Throw the Wine

22:36 - What I Always Wanted

29:01 - (I Know) The Trip

Outro - F*ck Even Flow

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Well-regarded music historians often explain the 90s explosion of alternative music into the mainstream boiled down as the rise of Seattle grunge, the So-Cal pop-punk sound going national, and the movements that followed like the swing revival, electronica, nu-metal, and more. But lost in that simplicity is the more difficult and (quite frankly) weirder starting point of the decade, where bands were mixing and moshing across a spectrum of hard rock, funk, and more. A prime example is the one-and-done band Hash, who released their self-titled album on Elektra in 1993. The band sounds comfortable mixing Red Hot Chili Peppers-style funk with Living Colour-esque swagger and shredding with touches of 60s sitar-spiked psychedelia, all topped with big melodies and harmonies. It's a talented if at times overcooked stew, but finding bands that can play in this many sandboxes and maintain a level of quality is few and far between, even if some of the big swings are misses.

Songs In This Episode:

Intro - Twilight Ball

17:09 - In The Grass

22:08 - Ghetto

27:58 - Mr. Hello

29:36 - Traveling

Outro - American Chorus

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Lots of bands have brothers, but how about two pairs of brothers? Perhaps growing up with a musical sibling is the reason the Kerns and Dahle brothers are able to crafty such a hooky and satisfying album of power-pop tinged rock on their third and final released as The Age of Electric - 1996's Make A Pest A Pet. Along with fellow Canadian 90s rock bands like Sloan, Odds, and Zumpano, TAOE bring their own take to the nebulous power-pop genre, bashing through three-minute guitar lead bursts without sacrificing dynamics or melody. 

Songs In This Episode:

Intro - Remote Control

18:56 - Mad at the World

21:34 - Nothing Happens

29:35 - Don't Wreck It

Outro - Unity or Grenadine

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Launched in 1991 by Perry Farrell as a farewell tour for Jane's Addiction, Lollapalooza immediately became the defining musical tour of the decade. Inspired by the UK festivals like Reading, Farrell concocted an underground music celebration based on the bands he wanted to see and tour with - Siouxsie and the Banshees, Living Colour, Nine Inch Nails, Ice-T & Body Count, Butthole Surfers, Rollins Band, Violent Femmes, and Fishbone. After it proved a success, the tour exploded in size until, but seemed to lose steam at point through the decade, as the once groundbreaking festival became another opportunity to chase trends and showcase already hugely popular bands. We look back at each tour in the 90s, as well as compare it to the current incarnation as a corporate-driven destination festival in Chicago.

Songs in this Episode:

Intro - Smells Like Teen Spirit by Soundgarden (Nirvana cover, 7/22/92)

Outro - Sabotage by Beastie Boys (8/6/94)

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Of all the bands to release big albums in 1994, there may be none bigger than Live's sophomore album Throwing Copper. In the studio heavyweights like Jerry Harrison (production), Lou Giordano (engineering), and Tom Lord-Alge (mixing) helmed the album that prepared the band for multiple radio singles, MTV hits, album sales around the globe. It also helped that they leaned into their successful influences, channeling U2, R.E.M., and Pearl Jam without coming across as imitators. Revisiting an album that was everywhere for over a year (it took fifty-two weeks to reach number one, the third-longest ever), digging into the lesser-known album tracks reveals a band that could embrace simplistic fun as easily as dour universalism.

Songs in this Episode

Intro - All Over You

17:19 - Selling The Drama

22:11 - Stage

33:13 - Lightning Crashes

44:19 - Waitress

Outro - I Alone

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With vocals equal part sneer and sweet, supported by a thick and fuzzy bass, Moler is a little pop, a little punk, slightly grunge, and very interesting on their lone album from 1997, Golden Duck. The three-piece is at no loss for volume, cranking out over a dozen two and a half to four-minute gems that have plenty of attitude and energy. Lead singer and bassist Helen Cattanach, along with Julien Poulson on guitar and Steven Boyle on the drums, are a tight unit that only falters when the melodies don't shine, which happens a few times on the back half of an otherwise engaging album.

Songs on this Episode:

Intro - Mustang Base

11:35 - Pseudoephedrine

23:06 - I Do, I Do

31:39 - Warning Sign

Outro - Red Light Disco

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We've revisited many 90s rock bands from Australia of various types, but Big Heavy Stuff is the first to nail the post-hardcore sound made (underground) famous by bands in D.C., Kansas City, and Chicago. On 1997's Maximum Sincere, the band takes full advantage of the spacious room recording to showcase the drumming via slowed tempos and minimal arrangements that spark and blaze sonically at just the right times. There is enough melody and interesting guitar work to keep the album interesting, always a tricky proposition when slowing down, but that leads to some less than stellar material on the back half the overall strong album.

Songs in this Episode:

Intro - The Train Stops Here

14:07 - Maximum Sincere

25:31 - Cheating on a Dead Wife

29:43 - May

Outro - Big Mouth

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Few bands are more rightly associated with the rise of alternative music from the underground to the mainstream than Soundgarden. Starting out in the mid 80s as a prototypical Seattle band backed by Sub Pop, produced by Jack Endino, and indebted to the heavy thud of 70s Black Sabbath combined with punk aggression, the original line-up quickly coalesced, releasing a slew of material in just three years. With Sub Pop in financial dire straits, the band recorded the debut album for SST, and showcased Chris Cornell's unique falsetto paired with the band's growing technical proficiency. A year later, they would end the decade on A&M records and release Louder Than Love, which further evolved the band into the metal sound that drove original bassist Hiro Yamamoto to quit, unhappy with the musical direction of the band. Within these recordings are the DNA that would lead to the breakthrough Badmotorfinger, and set the band up as the pre-eminent hard rock band of the 90s.

Songs In This Episode:

Intro - Hands All Over (from Louder Than Love)

14:48 - Nothing To Say (from Screaming Life EP)

32:07 - Flower (from Ultramega OK)

42:26 - Head Injury (from Ultramega OK)

50:46 - Ugly Truth (from Louder Than Love)

Outro - I Awake (from Louder Than Love)

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For such a short career, Jellyfish managed to pack decades worth of musical ambition and melodic knowhow into just two studio albums. The comparisons are nothing new - The Beatles, Queen, The Beach Boys, Badfinger, Wings - but while plenty of bands have been tagged with the "power-pop" label over the years, Jellyfish occupy a unique space of both defining and transcending the label. On 1993's Spilt Milk, for as much Raspberries and Cheap Trick influence a listener can spot, the band is clearly going for a bigger, more grandiose sound that draws inspiration from the stage and screen.

Songs In This Episode:

Intro - Joining A Fan Club

17:36 - All Is Forgiven

28:13 - Brighter Day

32:55 - Sebrina, Paste and Plato

Outro - New Mistake

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On their 1995 sophomore album Killjoy, New Zealand's Shihad might fool you with their opening Helmet-like salvo of "You Again" and "Gimme Gimme," two tracks of chugging down-tuned riffage with bass and kick locked-in. But this is not a Helmet clone, or a clone of any American post-punk band you might conjure, as the band shows off a variety of stylistic and rhythmic approaches that recall late 80s albums by The Cure. Somehow this band managed to slip under our radar in the mid-nineties, which is surprising considering the comparisons to bands such as Barkmarket and Jawbox.

Songs In This Episode:

Intro - You Again

19:22 - Deb's Night Out

26:55 - The Call

34:34 - Bitter

41:49 - Silvercup

Outro - Gimme Gimme

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Eclectic bands can be a tricky proposition. Too much genre-switching and musical diversity can strip a band of an identity, with the disparate parts not adding up too much. But done right, and finding a unified sound in the song-to-song evolution, can make for an exciting listen. Luckily, with Boston's Tribe and their 1991 album Abort, it's the latter. While chronologically they're at the start of the emerging 90s rock scene, their sound harkens back to the 80s in a variety of ways, weaving in new wave, jangle pop, and underground college rock with layered harmonies, nods to shoegaze and dream pop, while keeping the arrangements tight.

Songs In This Episode:

Intro - Joyride (I Saw The Film)

19:19 - Abort

21:03 - Here At Home

29:42 - Jackpot

32:25 - Daddy's Home

Outro - Tied

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Regionality isn't talked about much outside Seattle with regard to 90s rock, but just like how the Pacific Northwest was experimenting with punk and metal in unique ways, other parts of the United States had an impact on the bands from their locales. Like our recent Better Than Ezra episode, Cowboy Mouth is from Louisiana, a state which boasts a deep and rich musical history that can't help but imprint on the latest generation. In the case of Cowboy Mouth and their 1996 album Are You With Me?, and the members' previous 80s bands Dash Rip Rock and Red Rockers, the influence of roots rock, blues, Americana, and more can be heard throughout in subtle nods and swinging rhythms. Unfortunately, some of the personality gets sanded off for a sound that is ready for mainstream radio, but also lacking some needed edge.

Song In This Episode

Intro - Jenny Says

20:39 - Man On The Run

30:27 - God Makes The Rain

34:28 - Love Of My Life

38:02 - How Do You Tell Someone

Outro - New Orleans

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Lo-fi isn't unique to the 1990s, but it is the first decade that the recording technique (meaning literally "lo-fidelity") merged with indie rock and take on a genre identity. Artists like Pavement, Sebadoh, Guided By Voices, Liz Phair, and more found their bedroom and basement recordings appealing to more than just a tape-trading crowd with the advent of cheap CD reproduction and small labels with better distribution. But it begs the question - is lo-fi simply a recording technique based on circumstance, or an aesthetic artists strive for to attain a particular emotional effect.

Song In This Episode

Intro - I Am A Scientist by Guided By Voices

12:57 - Splendid Isolation by The Bevis Frond

22:49 - Drive All Over Town by Elliott Smith

32:37 - Losercore by Sentridoh

45:56 - Parting Shot by The Grifter

1:06:38 - Anytime You Want by Eric's Trip

Outro - Summer Babe (Winter Version) by Pavement

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After the early 90s explosions of Seattle grunge and alternative rock, labels swept up bands from across the country (and globe) that had any sonic resemblance to the chart toppers. By 1994, the signing frenzy was in full swing, and bands new and old found their way to major labels. Some were teenagers from Australia, while others might have veterans of midwestern hard rock and metal bands, as was the case with Sponge. If there is a reason why their major label debut Rotting Piñata from 1994 sounds so confident, it's because these weren't first timers figuring it out. That confidence shows as the album balances tight, melodic singles with album tracks that incorporate a wide pallet of influences from 80s Psychedelic Furs and R.E.M. to 90s shoegaze and metal.

Songs In This Episode:

Intro - Molly

16:32 - Miles

18:00 - Neenah Menasha

28:00 - Giants

31:36 - Pennywheels

Outro - Drowned

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Bands only get to make their debut album once, but for Jimmie's Chicken Shack, a few practice swings paid off. Taking tracks from several low-profile independent releases and combining them for the 1997 major label debut means the material on Pushing the Salmanilla Envelope sounds refined and well-thought-out without being stale and lifeless. Unlike some contemporaries who relied on thick, down-tuned guitars to push their angst, JCS work in layers of intricate guitar leads that recall 1970s progressive rock or 90s math rock but with a funk metal twist.

Songs In This Episode

Intro - High

21:00 - Dropping Anchor

24:16 - When You Die You're Dead

33:14 - This Is Not Hell

36:02 - Milk

Outro - Hole

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We've listened to plenty of Australian 90s rock that made little to no impact in the United States many times but rarely has a band sounded so US-based in its influences as Hoss. On their third album Bring On The Juice, swinging punk rhythms recall Detroit's 70s action rock scene, while more dissonant moments sound like pre-90s grunge from the likes of Mudhoney or early Dinosaur Jr. Attitude, confidence, and swagger abound on these eleven tracks, sometimes leading the band into overly long excursions that could use some trimming. But overall, Hoss finds a way to sound off the moment and timeless concurrently, not an easy feat to pull off.

Songs In This Episode

Intro - 11:11 Again

21:36 - Mighty Hand

28:04 - Lip From Lip

31:27 - Gentle Claws

Outro - The Tiredest Man Awake

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While 1996's Congratulations, I'm Sorry charted higher than 1992's New Miserable Experience for the Gin Blossoms, it failed to produce the same number of singles and managed only a quarter of the sales. The simplistic answer is to pin the decline on the loss of guitarist and songwriter Doug Hopkins, who penned their biggest and most enduring hit "Hey Jealousy." But as we have learned, the landscape changed fast for bands in 90s rock. NME singles made an impact in 1993 and 1994, and the band's contribution to the Empire Records soundtrack, "Til I Hear It From You," was also a hit. Is it possible listeners had Gin Blossoms fatigue in 1996? The album charted well upon release, and "Follow You Down" was a hit, but no other singles connected, and the band would break-up the following year for a four-year hiatus. So does Congratulations, I'm Sorry deserve its sophomore slump status, or is it worthy of redemption?

Songs In This Episode

Intro - Follow You Down

20:38 - Virginia

30:54 - Day Job

45:46 - Competition Smile

Outro - As Long As It Matters

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By 1995, it was difficult for American "alternative" bands to make a dent in the US, let alone a rookie Australian band on a new label with just a handful of releases to crack MTV and radio. Ammonia did that with the quirky single "Drugs," which found singer/guitarist Dave Johnstone melding the quiet/loud bombast of Nirvana with a delivery more reminiscent of Wayne Coyne. But "Drugs" is the classic case of a single not exactly representing the sound of the record, as the rest of Mint 400 shifts between big fuzzed-out riffing in the vein of Swervedriver's shoegaze and Superchunk's early noise pop. The band works best in short, loud bursts, only losing focus when the tempo drops and running time drags.

Songs In This Episode:

Intro - Drugs

22:17 - Suzi Q

30:40 - Ken Carter

43:41 - Mint 400

Outro - Sleepwalking

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Of the all bands that scored alternative hits in the 90s rock, few managed to recapture that sales magic on ensuing albums. But that doesn't mean their follow-ups records were lesser, and in some cases they made superior albums that got overlooked by fickle record buyers. Case in point: Better Than Ezra. After having their 1993 self-released sophomore album Deluxe repackaged and reissued by Elektra in 1995, and scoring a hit single with "Good," the band quickly reconvened and recorded the follow-up Friction, Baby. What the 1996 album lacks is the killer-hook single, but what it gains is confidence. While still boasting a pair of quality radio friend tracks in "King of New Orleans" and "Desperately Wanting," the album overall has the air of a band confident and secure in the sound while still stretching. That can lead to some magic, like on the blazing "Long Lost" and somber "Speeding Up To Slow Down," but also some hubris to go too far on the bad funk of "Normal Town" and "Still Live with Cooley."

Songs In This Episode:

Intro - King of New Orleans

19:36 - Long Lost

27:33 - Scared, Are You?

31:24 - Speeding Up To Slow Down

34:31 - Normal Town

Outro - Desperately Wanting

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The balance between the "pop" and the "punk" in "pop-punk" can be tricky, especially when a band comes from the latter scene. On the Shades Apart 1999 album Eyewitness, the punk of the 90s (i.e. Green Day, The Offspring, Blink-182, Rancid, etc.) is represented more in the songwriting than the speed, something a lot of those bands would incorporate as time wore one. But Eyewitness goes one step further by adding subtle yet effective ska and reggae flourishes more akin to The Police than Less Than Jake. With producer Lou Giordano behind the board, the band crafts a well-manicured sonic pallet but like many, falls victim to the late 90s/early 00s guitar tones that haven't aged as well as the songwriting.

Songs In This Episode:

Intro - Edge Of The Century

19:35 - Stranger By The Day

31:14 - One Starry Night

37:03 - Chasing Daydreams

Outro - 100 Days

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Count to four. Do it seventy-five times, only interrupted by blistering feedback, screaming, and manic drums. And do it in about thirty-one minutes. That is Tokyo An*l Dynamite by The Gerogerigegege. In the world of experimental and avante-garde, noise has been tackled by artists as big as Neil Young and Lou Reed. Sonic Youth made a career out of crafting feedback into a symphony of melody. But if punk is about stripping rock 'n roll down to components and putting in the hands of the most rudimentary players, Tokyo Anal Dynamite might be the most punk rock album ever made.

Songs In This Episode:

Intro - Rock 'n Roll

Outro - Atama

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Despite what the million-dollar deal with Virgin Records might have implied, Royal Trux we're never going to be hitmakers. The label bought their cool factor based largely on the 1993 album Cats and Dogs, their first to embrace the songwriting end of their lo-fi aesthetic that danced on the edges of 90s rock via critical praise and underground hype. Part droning Velvet Underground, part deconstructed Exile On Main Street-era Rolling Stones, with touches of Sonic Youth and Pavement, Royal Trux concocted a stew of brittle, off-kilter blues without a hint of irony. The result is occasionally blistering, but not without fragile moments that sound like collapse is imminent.

Songs In This Episode:

Intro - The Flag

15:48 - Let's Get Lost

18:38 - Up the Sleeve

25:42 - Turn of the Century

37:22 - Driving in That Car (with the Eagle on the Hood)

Outro - The Spectre

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Neil Young has always been one to buck convention and follow his own muse, but the 80s saw him fall out of favor with mainstream audiences as he explored rockabilly, synthesizers, hard rock, traditional country, etc. with half-baked results. By the end of the decade, he was back on solid footing with Freedom, setting up Young's renaissance in the 90s. 1990's Ragged Glory paired him again with Crazy Horse, marking the start of a decade that found him touring with a variety of taste-making young acts, like Sonic Youth, Soundgarden, and Pearl Jam, who backed him on the generational crossover album Mirror Ball. Unlike many well-known acts from the 70s and 80s that continued in the 90s, Young might have been the most fully immersed in what was actually happening in 90s rock and pop culture.

Song In This Episode:

Intro - Downtown from Mirror Ball

17:47 - Love To Burn from Ragged Glory

22:25 - Harvest Moon from Harvest Moon

37:56 - Peace And Love from Mirror Ball

49:31 - Big Time from Broken Arrow

Outro - Arc

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While stoner and desert rock has been associated primarily with California bands like Kyuss, Fu Manchu, and Sleep, in reality artists across the country were putting their own spin on Black Sabbath's tracks like "Sweet Leaf" for decades. Bands like Monster Magnet in New Jersey, Corrosion of Conformity in North Carolina, and Clutch in Maryland have each contributed to 90s rock and beyond. On Clutch's sophomore self-titled album from 1995, the band tone down their freshman punk and louder tendencies, dialing back the distortion and locking into 70s psychedelic head-nodding grooves paired with the occasional frantic jammy freak out. The dividing line for listeners is vocalist Neil Fallon, who possesses one of the most otherworldly heavy voices that can bellow with the best, but is unafraid to explore funkier, sing-songy melodies that may not be for everyone.

Songs In This Episode:

Intro - Big News II

15:31 - Rock N Roll Outlaw

23:42 - Spacegrass

30:40 - Droid

Outro - Seven Jam

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With three decades of records to look back on, it's safe to say Polly Jean Harvey doesn't stand still for long. From the minimalist blues of To Bring You My Love to the eerie piano pieces of White Chalk, Harvey has become indie rock's David Bowie, evolving her style steadily and consistently, often at odds with expectations. On her second album as PJ Harvey, Rid Of Me stands the test of time thanks to her raw and intimate approach while unleashing Pixies-ish punk and Bo Diddley blues rhythms. Harvey plays in a big sandbox, and her handpicked producer Steve Albini is game, giving plenty of space for light and dark to crash and thrash.

Songs In This Episode:

Intro - 50ft Queenie

16:19 - Rid Of Me

27:03 - Dry

32:52 - Me-Jane

44:03 - Yuri-G

Outro - Missed

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