Last Updated on December 5, 2025 by Black Sunshine Media
There was one morning I woke up in 1992 and I felt like I’d been asleep for a couple of years.
Right here, right now, 1992, I think the 1001 Albums list should end and start over.
The book and list should be split into two volumes: Analog Era (1956–1992) and Digital Age (1993–present).
My point is very simple. We are leaving (and in some ways, have already left) the analog era of popular music. That’s incredibly important, in two somewhat related ways.
Goodbye Analog, Hello Digital
First, without dumbing it down too much, computer technology has been used in music as soon as it could be developed. Early digital recording in the 1970s and 80s was hella expensive and super inconvenient. In 1978, Soundstream built what could be considered the first digital audio workstation (DAW) using some of the most current computer hardware of the time.
By the late 1980s, several consumer-level computers, such as the Apple Macintosh, had enough power to handle digital audio editing. Engineers used Macromedia’s Soundedit, with Microdeal’s Replay Professional and Digidesign’s Sound Tools and Sound Designer to edit audio samples for sampling keyboards like the E-mu Emulator II and the Akai S900. Soon, people began to use these tools for simple two-track audio editing and CD mastering.
In the early to mid-1990s, many major recording studios went digital after Digidesign introduced its Pro Tools software, modeled after the traditional method and signal flow in most analog recording devices. At this time, most audio production platforms were Apple Mac-based. Around 1992, the first Windows-based DAWs started to emerge.
On top of DAWs, you have MIDI (Musical Instrument Digital Interface), which simulates a wide variety of electronic musical instruments, at the same time, allowing computers and other related devices to connect and communicate with one another.
The Chips Ahoy! Dilemma
The debate over analog versus digital recording is founded on sound quality, which, beyond a certain threshold of scientific measurement, is subjective from every angle. How does it sound? I don’t know. I only know how it sounds to me.
If you’re eating a Chips Ahoy! chocolate chip cookie, and I ask, “How does it taste?” You might use one of several adjectives to describe your experience of the cookie. Delicious, average, sweet, etc.
“Is it good?” I persist.
“Yes, it is good,” you say.
“Is it better than a similar Pepperidge Farm Sausalito chocolate chunk macadamia nut cookie?”
“No. Maybe,” you stutter. “I like it. Chips Ahoy! has a better texture than Pepperidge Farm.”
This is the kernel of the argument between analog and digital. Matters of discretion and taste.
Taken From the Equation
In a nutshell, digital recording made it possible for anybody to create music using a cut-and-paste formula. You don’t need to play an instrument while sitting behind a console, composing mediocre symphonic ambient trance music with an eight-key MIDI controller and a wireless mouse.
When the actual ‘musician’ part is taken out of the musical equation, you get bullshit. You get freshly manicured, synchronized electronic noise.
Moreover, digital recording enables even the most ham-fisted musician to sound competent on their instrument. We’ve been overdubbing since the beginning of recorded sound, and the old “punch-in/punch-out” routine has saved many recordings from being trashed. Digital takes overdubbing and turns it inside out.
Musicians in the digital age can modify waveforms with unlimited precision. Cut, copy, paste, sync, loop, import, export, align, trim, sample rate, plot spectrum, file size, hardware buffer, and zero crossings are computer terms that generally have nothing to do with music. And now, with less computer aptitude than a toddler, you could open the music editing software that’s most likely on your computer, and record a song without ever getting up from your seat.
Perhaps my argument tends toward elitism, but music thrives on discretion. And so, this is where the Internet plays an important role in the big picture.
The World As Our Marketplace
Consider this: In August 1991, Tim Berners-Lee published a summary of the World Wide Web project on the newsgroup alt.hypertext. This date also marked the debut of the Web as a publicly available service on the Internet. For this reason, August 23 is considered Internaut’s Day, i.e., the Internet’s birthday.
Now, take that song you just recorded on your computer, rip it to MP3, and send it off into the world. Put it on YouTube, Tunecore, Spotify, Bandcamp, Soundcloud, and a dozen other streaming services, and promote the shit out of it on Facebook, X, and other social media platforms. Congratulations, you have just released your first single!
But think for a moment, if art museums started opening their doors to unsolicited submissions and upheld a promise to exhibit all works of fine art, just imagine what kind of thrift store menagerie you’d be walking into.
Maybe Music Shouldn’t Be “For Everyone”
I have never believed that music is for everyone, nor is painting for everyone. Learning an instrument, playing in a band, and facing and accepting failure time and time again are part of the natural selection process. That’s why there are so few half-assed trumpet players in music. You gotta be committed to playing that horn.
Though I don’t believe in it, I understand the idea that music can and should be for everyone, and the point of making music is not to make money, but to express something through the music, and that’s fine. Artists are free to express themselves in the digital format; it’s just that the bulk of it isn’t music. It’s something else now.
You can say such-and-such contemporary pop record is a great work of art, but it cannot be compared to a pop record made in 1966. Indeed, this has less to do with the music of the era than the way music will be made from here on out. And this is the first reason I think the list should stop and start over here.
I’m not saying that digital music doesn’t sound great – it does. And this is not to say that great music hasn’t been made since 1992 – it has. I can think of at least a dozen post-analog albums that are very near and dear to my heart. Many of those albums were recorded on analog tape, but digitized for mass distribution.
To be honest, as a musician, the majority of my experience has been recording in the digital realm.
The Importance of Hip-Hop in Popular Music
Years back, an article on CNN.com (Is rap the most important music since 1960? Scientists say they have proof by Jethro Mullen) described a study published in the journal Royal Society Open Science, which says the most important development in pop music in the past 50 years is hip-hop.
In the study, the researchers employed scientific severity and discounted “musical lore and aesthetic judgment”, citing a lack of empirical evidence in the discussion of popular music. Using music recognition technology – similar to the apps SoundHound and Shazam – they analyzed more than 17,000 songs; 86% of the U.S. Billboard Hot 100 between 1960 and 2010.
Taking 30-second clips of each song, researchers further categorized these samples into topics relating to harmony and timbre, like “major chords without changes” and “guitar, loud, energetic.” Teaming up with the Internet music site Last.fm, the researchers then studied how the different topics fit into different genres and styles, and how their popularity rose and fell over the decades.
Here are some of the most interesting findings of the study:
- The rise of rap music and related genres appears to be “the single most important event that has shaped the musical structure of the American charts” in the period the research covered.
- Despite talk of a “British invasion,” bands like the Beatles and the Rolling Stones didn’t set off the revolution in American music in 1964. But they did benefit from it and “fanned its flames.”
- Although many people complain that pop music has grown generic and similar-sounding, diversity actually increased in the ’80s and ’90s as hip-hop emerged and flourished. The researchers said they found “no evidence for the progressive homogenization of music in the charts.”
- The low point for variety was in the early 1980s, when genres like new wave, disco, and hard rock dominated.
The impact of hip-hop cannot be underestimated, said music journalist Dorian Lynskey. “It redefines what counts as a pop song and what elements you can use: the rapping on one level takes you away from the need for vocal melodies, while the production on the other is more about loops than chords and sampling.
“Hip-hop is a realization of how James Brown saw music, which is that it’s about the beats and grooves rather than chords and harmonies. It’s the realization of the innovations of funk.”
Three Key Years: 1964, 1983, 1991
The study by the researchers also identified three key years in which music evolved the most: 1964, 1983, and 1991. Lynskey said that for him, the last of these three years was the most exciting.
“I think 1991 was such a diverse year for albums: You have Achtung Baby by U2, which is the sound of a big mainstream stadium act radically overhauling its sound, you’ve got Nevermind by Nirvana, which sees alternative underground music suddenly becoming a big seller, continuing to this day.
Lynskey continued, “Then there are these genre-mixing albums, Screamadelica (Primal Scream), Foxbase Alpha (St. Etienne), and Blue Lines (Massive Attack), which are all empowered by sampling and new technology, and the idea that your record collection can be edited and merged to form something new. Along with Loveless by My Bloody Valentine – these albums are not just collections of classic songs, they’re about experiments and expanding the parameters – those records spawned so much.”
The mainstream success of alternative rock was a decade in the making and should not have taken anyone by surprise, but nobody really saw the hip-hop revolution coming except for the artists themselves.
1001 Albums Rating Key
- Strikethrough indicates what you probably think it does
- Green indicates highly recommended listening
- Underlined indicates a questionable but ultimately acceptable record
- Blue bold italic indicates ABSOLUTELY MUST HEAR BEFORE YOU DIE
- Also, anything in Red generally indicates hazardous material
Note: Suggested alternatives are from the same year as the contested entry unless otherwise indicated
Albums You Must Hear Before You Die…Or Not (1991–1992)
A Tribe Called Quest – Low End Theory (1991)
Writing about music is difficult when you’re trying to write about something that doesn’t want to be written about.
Crowded House – Woodface (1991)
On the other hand, some artists make it really easy for you, especially when they put out innocuous, middle-of-the-freeway albums of borderline adult contemporary rock like Woodface.
Cypress Hill – Cypress Hill (1991)
Track 2 (“How I Could Just Kill a Man“) changed the way I listened to hip-hop music.
Gang Starr – Step in The Arena (1991)
I’m not sold on these cats. They were influential on the East Coast rap scene, with hardcore threads running through the cloth of future artists like Wu-Tang Clan. It’s cool…but. Gang Starr never really gets cooking on Step. It’s reminiscent of A Tribe Called Quest, but without the excitement or verve. It’s just kind of…there.
Suggested Alternative: Ice Cube – Death Certificate (1991)
While Fear of a Black Planet (1990) may be the best hip-hop record ever made, Death Certificate is by far my favorite hip-hop record, .
Ice T – OG: Original Gangster (1991)
I was a suburban washout who hadn’t been exposed to a lot of hip-hop and hardcore gangster rap. You could have knocked me over with a wave of your hand the first time I heard OG: Original Gangster.
Jah Wobble & The Invaders Of The Heart – Rising Above Bedlam (1991)
The application of “world music” to Rising Above Bedlam is misleading. World music is bastardized, adulterated ethnic music under a convenient, marketable name. And so I bristle at the idea of taking, for instance, Senegalese folk music and trying to dress it up in Western clothing. There’s a big difference between appreciation and Cosplay, which is one of the main reasons that Japanese noise punk bands are not considered world music, even though the genre is specific and endemic to Japan.
The term world music arrived in the 1980s as a marketing category for non-Western traditional music and has grown to include hybrid subgenres such as world fusion, global fusion, ethnic fusion, and worldbeat. Anything with the word “fusion” that doesn’t involve Miles Davis is not going on my turntable. End of.
Here’s what you need to know about Jah Wooble: He was in Public Image Ltd., and you’ve heard most of his good ideas.
Julian Cope – Peggy Suicide (1991)
Julian Cope was unhappy with the over-produced My Nation Underground (1990), so he changed directions and, unfortunately, headed for double-LP territory. Seventy-five minutes of post-punk Julian Cope is completely unnecessary.
One critic described this album as “Iggy Pop doing Syd Barrett.”
I’d be into hearing that—if it were actually Iggy Pop doing Syd Barrett covers.
But you gotta give Cope credit for trying to keep Peggy Suicide interesting. We’ll hear about his hatred of organized religion and his interest in women’s rights, the occult, alternative spirituality (including paganism and Goddess worship), animal rights, and ecology. Halfway through the record, he sits down for an interview on NPR with Terri Gross, and he talks about John Sinclair and the White Panther Party. Riveting stuff.
Julian Cope is most definitely a best-of collection artist. He’s got a single LP’s worth of tasty cuts. A couple of them are on Peggy Suicide. Good luck finding them.
Suggested Alternative: Mercury Rev – Yerself is Steam (1991)
Experimental neo-psych noise pop at its finest.
Koffi Olomide – Haut De Gamme: Koweit, Rive Gauche (1991)
Koffi Olomide is a Congolese soukous singer, dancer, producer, and composer, also known by a multitude of other names and aliases. Soukous is a genre of dance music that originated from Cuban Rumba music in the Belgian Congo and French Congo during the 1940s and gained popularity throughout Africa.
I disliked Haut de Gamme more than I thought possible. Rumba is bossa nova’s next-door neighbor. Tango lives down the street.
Massive Attack – Blue Lines (1991)
How lucky am I to have never heard “Teardrop” before today? I swear to God that I have never, ever, not once ever listened to Massive Attack on purpose. If I’m ever in a joint that starts playing music even slightly like this, I will leave. Period. Seriously, it’s UNBELIEVABLE that any reasonable person would consider this music. Two DJs and a graffiti artist?
Metallica – Metallica (1991)
I can’t say I was disappointed when Metallica jumped the shark on this record, aka The Black Album. To be honest, I was in the mood to see Fonzie on the water again.
What does “jump the shark” mean?
The phrase “jump the shark” is an idiom used to describe the moment a creative work, such as a TV show, movie series, or even a public figure, has reached its peak and then begins an irreversible decline in quality, often by resorting to a desperate or absurd gimmick to maintain attention.
The expression originated from a specific episode of the popular 1970s American sitcom Happy Days. In the fifth-season premiere, titled “Hollywood: Part 3,” which aired in September 1977, the character Arthur “Fonzie” Fonzarelli, a symbol of cool, accepts a challenge to his bravery. Clad in his signature leather jacket and swim trunks, he jumps over a confined shark while on water skis.
To many fans and critics, this ludicrous stunt—which strayed far from the show’s original, more grounded premise of nostalgic 1950s family life—was the defining moment when the show sacrificed substance for an outlandish gimmick.
In essence, “jumping the shark” is synonymous with a moment of peak hubris or a turning point into a continuous decline in quality.
Despite the mixed effort of …And Justice For All (1988), there was still a glimmer of hope for these guys. As a huge fan of Master of Puppets (1986) and, to a lesser degree, Ride the Lightning (1984), seeing and hearing the arguably best thrash metal band of the ’80s put out a radio-oriented mainstream rock album was like watching Michael Jordan play baseball.
Metallica is a classic mainstream hard rock album, and you are going to hear it whether you like it or not. To be honest with you, I’ve sat through it once, which was one time too many. “Enter Sandman”? Exit: this guy.
Suggested Alternative: Ween – The Pod (1991)
This record was a personal affirmation of sorts, in that it was possible, in some alternate universe, for a couple of stoners to sit around with a bong, a can of Scotchguard, and a four-track, and write utterly delightful rock songs that not only thought outside the box, but they took the box outside and set it on fire.
Mudhoney – Every Good Boy Deserves Fudge (1991)
Say hello to Seattle grunge. Good noisy sloppy rockin’, and I guess you should give it a spin, but be forewarned; Every Good Boy ain’t Nevermind.
My Bloody Valentine – Loveless (1991)
By far—light years—the most original, unique, and spellbinding alternative guitar record since, well, ever. People may never stop trying to figure out Kevin Shields’ guitar sound.
Nirvana – Nevermind (1991)
Pearl Jam – Ten (1991)
Honestly, I’ve never owned a recording by either artist, and I’m completely content to be familiar with their radio hits and maybe a deep cut or two. Now that I’ve sat through both albums, here are my two main thoughts.
- If you own one of these records, there is a 76% chance you own both records.
- Ten is arguably as important, if not slightly more important than Nevermind*, and everybody wanted to be Eddie Vedder. Nobody wanted to be Kurt Cobain.
*Ten is certified platinum 13x by the RIAA vs Nevermind 10x
To date, Pearl Jam has sold nearly 32 million records in the U.S. and an estimated 60 million worldwide—and counting. They’ve outlasted and outsold all their contemporaries from the alternative rock breakthrough of the early 1990s and are considered one of the most influential bands of that decade. Stephen Thomas Erlewine of AllMusic called Pearl Jam “the most popular American rock & roll band of the ’90s.”
To put a finer point on it, Ten hit the G-spot for traditional mainstream hard rock fans, some of whom, as I recall, didn’t like the “grunge shit” and “alternative faggot stuff”, i.e., the Pixies, Jane’s Addiction, and Sonic Youth. A lot of alternative rock bands were far too edgy for rednecks and whatnot. Metal was over, Freddie Mercury was dead, and by this time, it was clear that Guns N’ Roses and Use Your Illusion wasn’t the answer to the question: What does the hillbilly redneck white trash world need right now? Enter: Pearl Jam.
In the grand scheme of things, PJ turned out to be a new classic rock band. You could like GN’R and PJ without losing a lot of sleep at night or selling your Ford F-150 to buy a Vespa scooter. And they had “jam” in their name, which fans of the Grateful Dead and Ted Nugent could relate.
Musically, Ten has eleven songs plus a hidden track that I wasn’t happy about being arsed to find. Fuck you, by the way, if you put hidden tracks on your album for any other reason except to avoid copyright infringement. Otherwise, Ten contains at least three mainstream classic rock grand slams in “Even Flow”, “Alive”, and “Jeremy”. And “Black” was a huge radio hit, but I’d change the station if that shit came on.
★★★★
2013
Reissue of Rearviewmirror (Greatest Hits 1991–2003), a two-disc compilation album with all the hits and more
Whereas these PJ and Nirvana have clearly different record collections—Pearl Jam loved the Who and Led Zeppelin; Nirvana were informed by the Stooges and Creedence Clearwater Revival—the main stylistic difference comes down to Eddie Vedder vs. Kurt Cobain as archetypal rock star, and it can be distilled thusly.
Cobain had a raspy, thin voice with two gears: slacker drawl and tortured howl. Vedder had a far more dynamic vocal range and a much more traditional approach to singing—he actually sang a lot, when he wasn’t shouting “Yeah!” or “Whoo!” or “Uhhhh-nngghh.” And for a while there, Vedder was a dedicated frontman sans guitar, so he had the luxury of climbing on the scaffolding and shit.
If Nevermind has any glaring weaknesses, they are twofold. First, it’s slick as hell. That was not the band’s intention, but that’s the final cut. The songs exploded from the speakers like the Kool-Aid Man, and I would be hard-pressed to name a record from 1991 with better production values. How is that a weakness? Did you hear their first album, Bleach(1989)? We’re not on Sub Pop anymore, Dorothy.
This is formulaic, radio-friendly quasi-grunge, and there is everything in the world wrong with the first half of this sentence. It’s an exceedingly polished and appealing collection of punk pop songs. Nothing I can say or do will ever change that.
Second, it gets terribly screamy after a while. By the time we get to Track 10 (“Stay Away”), I don’t think I need to hear any more screaming vocals for the next couple of days. Overall, it’s a hard-charging record, and I could easily see dialing it in during a cross-country road trip.
I don’t have anything else to say about Nevermind. It is what it is. But please note: Of the 10 million people who bought this album, yours truly is not one of them. And by “bought” I mean both purchased and fully appreciated.
★★★
2002
Contains all their hits and then some, but disappointing to established fans
Primal Scream – Screamadelica (1991)
I’m giving scientist Dorian Lynskey and original editor Robert Dimery the benefit of the doubt here.
Public Enemy – Apocalypse ‘91…The Enemy Strikes Back (1991)
Only the true greats have been able to follow up a masterpiece with something equally worthy of best-ever status. The Beatles, the Stones, Hendrix, the Who, etc. Add Public Enemy to the list with The Enemy Strikes Back. The collaboration with Anthrax (“Bring the Noize”) might be the hottest rock jam ever. E-V-E-R.
Red Hot Chili Peppers – Blood Sugar Sex Magic (1991)
The Red Hot Chili Peppers are more responsible for 1990s fraternity rape culture than beer.
Suggested Alternative: Fishbone – The Reality of My Surroundings (1991)
These cats knew how to put on A SHOW. After seeing them on this tour, I thought to myself, “How could our measly suburban rock outfit even share the same stage with those guys?” We couldn’t and we didn’t.
Anyway, I was so impressed by The Reality of My Surroundings that my above-mentioned rock band immediately started covering “Sunless Saturday” and would continue to play it for the duration of the band’s existence.
Saint Etienne – Foxbase Alpha (1991)
Sophisti-pop. No dice. See Cocteau Twins and Everything About the Girl.
Sepultura – Arise (1991)
Arise is the first truly worthwhile metal album in at least two years, if you don’t count GWAR’s Scumdogs of the Universe.
Slint – Spiderland (1991)
I used to hang out with a dude who loved Spiderland, and, on several occasions, he called it “the best album ever made.”
He gave me so much shit for not owning or liking the record.
“Eh,” I’d shrug, “they’re not my thing.”
He would sneer dismissively, “You’re a moron.”
This redundant conversation always rubbed me the wrong way because his attitude symbolized the exact type of elitist, art school snobbery that just about everybody who likes this record is guilty of exhibiting at one time or another. Of course, I’m not above calling someone a moron for liking an album, but in this situation, I would take a different approach.
“Look,” I would say, “the fact that you call me a moron for not liking Slint doesn’t change the fact that I think it’s mediocre American shoegazing with very little substance.”
“It’s one of the most influential guitar albums ever, and probably the first post-rock album.”
“My point exactly. All the succeeding bands who went on to make their own Spiderland are bands I can’t be bothered with.”
Suggested Alternative: Dread Zeppelin – 5,000,000 (1991)
An Elvis meets ska reggae version of “The Song Remains the Same” you didn’t know you needed.
Teenage Fanclub – Bandwagonesque (1991)
Who had any idea that 20 years after the fact, Big Star would be a massive influence on a new wave of bands? Well, I probably should have included Badfinger and 10cc in the discussion. But the point is, have a listen to this.
Bandwagonesque is the ambition of almost every power pop band on the planet in 1991. Sonic Youth meets Cheap Trick and Elvis Costello at Big Star’s house. It’s good music, but not must-hear material.
Suggested Alternative: Sloan – Smeared (1992)
What do you get when you cross Sonic Youth with nothing more than the Beatles? Genius! “Underwhelmed” is one of the best solid rock songs of the ’90s, and Sloan might be one of the greatest Canadian rock bands ever.
U2 – Achtung Baby (1991)
If Metallica jumped the shark, U2 tried to jump the fountain at Caesar’s Palace ala Evel Knievel, and we all know how that ill-advised stunt ended. Not well.
Back in the day, somebody in our crew bought this album, and from the opening guitar crunch of “Zoo Station”, instinctively, I knew this was the worst rock record since Dire Straits’ Brothers in Arms (1985).
And I sometimes think Achtung Baby might be worse, and by worse, I mean, top to bottom sad. It’s a past-their-prime, let’s reinvent ourselves, rock band identity crisis collage of stupid shit. Dance music? Why? What was wrong with the post-punk alternative stadium rock format? You were the Irish Bon Jovi. Now you want to be played in the clubs? Hey, maybe Aphex Twin can do a remix! Are you going to start rapping over 808 beats? Dope. You can’t front on that.
Seriously, Achtung Baby is bullshit more egregious than trotting out B.B. King for Rattle and Hum (1987), and directly responsible for Coldplay. And “One” is the most tepid, meandering power ballad since R.E.M.’s “Losing My Religion”, meaning last week.
Bono called Achtung: “U2 at our funkiest… Sly and the Family Stone meets Madchester baggy.” The one thing everybody liked about U2 in the first place is that they had very little “funk” in ‘em. They made white people rock music, which is generally what white people do when they are given an option. Gang of Four was not funk. The Red Hot Chili Peppers are not funk. You must be joking.
If U2 was your favorite band in 1991, they just spit in your stupid, MDMA smiley face. And I don’t have a hanky.
Alice In Chains – Dirt (1992)
Alice In Chains were an influence on the future of alternative rock and metal, but…not a must-hear. It’s a super-druggy record and not in a good way. Everybody involved in the making of this record had big problems. And it sounds like it. But overall, a fine piece of hard rockery.
Suggested Alternative: Soundgarden – Badmotorfinger (1992)
People forget that Soundgarden was relatively popular as early as 1989 with Louder Than Love and predate some of the bigger names we’re destined to encounter very soon. Plus, this is a delicious serving of alternative metal, and snuffs out Alice in Chains like a cigarette.
Aphex Twin – Selected Ambient Works 85-92 (1992)
I appreciate it when artists use the title to warn me of what’s actually on an album. Bands don’t “name the genre” like they used to in the old days, and I suppose they really can’t. What would a band Soundgarden call their third album? 15 Alternative Prog Rock Jams? Too clunky.
Aphex Twin is one of the first “rock star” DJs – guys who spin dance records at dumbshit parties and call themselves artists – to emerge from the rave scene, which is now in full effect. In those days, kids who dressed in rave culture fashions were today’s equivalent of kids who wear Ed Hardy. Thank you for the warning.
Egregious Must-Hear Omission: Beastie Boys – Check Your Head (1992)
We’re too far down the rabbit hole to keep complaining about obvious and egregious 1001 Albums oversights, but this one… Christ Almighty. Check Your Head is easily one of the ten best records of the 90s, if not the last 25 years, in any genre.
Arrested Development – 3 Years, 5 Months And 2 Days In The Life Of Arrested Development (1992)
And one hit single. Don’t forget to mention that, while you’re at it. But kudos.
Baaba Maal – Lam Toro (1992)
Which is the better? This, or Djam Leelii? Dunno.
Disposable Heroes Of Hiphoprisy – Hypocrisy Is The Greatest Luxury (1992)
I don’t want to hate on these cats too hard, but that’s a terrible band name. Inventing your own word is gauche. Just ask Kajagoogoo, Hoobastank, and Chumbawumba. I mean, it’s clever, but clever only goes so far.
KD Lang – Ingenue (1992)
Yeah, OK. Get your butch on. It’s about as classy as it gets.
Lemonheads – It’s a Shame About Ray (1992)
Despite my tireless and striving efforts, I can’t seem to find a reason why this album should be a must-hear.
Ray was mildly popular at the time it came out, but when the Lemonheads eventually faded back into obscurity, nobody missed them. Thanks to his good looks and boyish charm (People named him one of the “50 Most Beautiful People” in 1993), Evan Dando became something of a curiosity, particularly as he slid into drug addiction and who knows what.
The cover of Simon & Garfunkel’s “Mrs. Robinson”, which brought the Lemonheads to the mainstream, was not included on the original release, but was eventually tacked on to the reissue.
I can’t find one band that names the Lemonheads as a primary influence, and I suspect that’s because nobody found this throwaway pastiche of punkish indie pop, country, and metal to be substantial enough to copy. I could always be wrong, and Green Day doesn’t exist without the Lemonheads. Pretty sure I’m right though.
Suggested Alternative: Soul Asylum – Grave Dancers Union (1992)
Three big cuts on this album, including Dave Pirner’s first power ballad, the Grammy-winning “Runaway Train”, which is important because a bunch of bands are immediately going to start writing and recording “Runaway Train, Part 2”, ad infinitum. On the other hand, “Somebody to Shove” and “Black Gold” received substantial modern and mainstream rock radio airplay. All told, Grave has sold in excess of 3 million copies in the U.S. alone.
Ministry – Psalm 69 (1992)
More industrial metal from Uncle Al. Would it have killed him to give us a scrap of melody here and there? Anyway, this is probably the most relentless record of the last three years or so. I don’t know of another industrial record that reeks of amphetamine sweat like Psalm 69. Tell you what. You go on without me.
Morrissey – Your Arsenal (1992)
Given the vaguely homoerotic nature of his previous work (and album covers, natch), how could you not read the title of this record as some kind of gay/butt/arse innuendo? Poor old sad sack Morrissey. The one thing you could count on with this cat was at least one clever or slightly amusing song title per album, in this case, “You’re the One for Me, Fatty”.
On a positive note, critics say Your Arsenal is his hardest rocking album to date. Let’s get one thing straight. Morrissey may have crooned, swooned, posed, and preened, but never, not once, ever rocked. He co-wrote some top-notch songs in the alternative rock genre, but he never once sounded happy about it. So, Moz doesn’t “rock.” Not in the traditional sense of rocking. He’d have looked silly jumping up on stage during an Aerosmith encore.
Suggested Alternative: The Flaming Lips – Hit to Death in the Future Head (1992)
Not the go-to album from this band, but it’s their breakthrough hit, and it doesn’t sound like Morrissey.
Nick Cave & The Bad Seeds – Henry’s Dream (1992)
If you like Nick Cave, you’re going to listen to his music no matter what I think, and you are right to believe that my opinion should be punched in the spleen.
If you are undecided about Nick Cave, this record just might change your mind. If you are unaware of Nick Cave, then you haven’t been paying attention; we have already heard the Birthday Party.
If you don’t like Nick Cave, then you don’t like Nick Cave and that’s the end of that.
Must-Hear Alternative:
Rage Against The Machine – Rage Against The Machine (1992)
A Michael Jordan from the free-throw line slam-dunk for Team Rock
No other band came close to this marriage of alternative rap and heavy metal.
NOTE: The official 1001 Albums list has this album erroneously listed as a Must Hear in 1993. The record was released on November 6, 1992.
Nusrat Fateh Ali Khan – Devotional Songs (1992)
This is not world music; it’s Qawwali, the devotional music of the Sufis. And it’s incredible.
Pantera – Vulgar Display of Power (1992)
Ladies and gentlemen of metal, I have bad news for you. This is nowhere near as good as you think it is, but then again, Metallica hasn’t be this good in several years. The truth is, these cats have the weight of the metal world on their shoulders.
P.J. Harvey – Dry (1992)
You must hear this album before you die because if you don’t, you’re going to miss one of the best rock records of the 1990s.
R.E.M. – Automatic for The People (1992)
Hey, bet you didn’t notice that R.E.M.’s Out of Time (1991) didn’t make the official 1001 Albums list. That’s too bad. It also means I must take time to talk about the full smorgasbord of complete bullshit they foisted upon the general public.
Honestly, we’re not getting out of here without a jawbone about the travesty that is now R.E.M. and the record that redefined the meaning of shitball, Out of Time. You’re free to skip this part and get to the actual discussion about Automatic for the People, but you never know. You might get a chuckle or two out of this.
A New Standard in Shitball Music
Up until very recently, the gold standard for shitball pop songs had to be Starship’s “We Built This City (On Rock and Roll)”, but let’s not forget Vanilla Ice’s “Ice Ice Baby” and basically every power metal ballad this side of Night Ranger. So, we’re dodging shitballs every time we turn on the radio in 1991-92.
R.E.M. showed flashes of fraudulence on Green (1988), and their first top 10 hit, “Stand”. Had anyone suspected they would allow this treachery to dominate their music, I’d like to think that someone might have tried to stop them. Out of Time opens with our first serving of shitball, “Radio Song” featuring KRS-One, which not only contains a freestyle rap section, but Michael Stipe’s first-ever recorded “Hey hey hey!” Oh, and a string section. Pffftt. Fuckin’ assholes.
Track 2 is the big smash hit, “Losing My Religion”, a maudlin power ballad reeking of homoerotica and self-loathing. I don’t know why those two go together so well, but as Morrissey can tell you, it’s like peanut butter and jelly. But instead of a glass of milk to wash it down, you get served a shitball smoothie. Holy Christ, was this a major disappointment. R.E.M. finally gets played on mainstream radio with disturbing regularity, and it’s not just probably the worst song they’ve ever done – it’s by far the worst. But wait. There are 11 tracks on Out of Time.
A Shiny, Happy, Fuck You to the Fans
Tracks 3-5 are an unremarkable slog through mediocre Beach Boy-isms, conga drums, and acoustic guitars. Shitball, for sure, but innocuously unpleasant at worst. And then we get to Track 6, “Shiny Happy People”, our new champion of Shitball – the worst song in the history of popular music. Think of all the years that we bowed and scraped before the altar of Michael Stipe, and trust that he will find the delete button of your memory.
I really don’t have to do very much here. The first time I heard this song, I said, “You have got to be kidding me, R.E.M.” They weren’t. Well, not exactly, see, this is what they called an “ironic pop song”. You were supposed to think it was tongue-in-cheek; that they set out to write the most shitball pop song of all time. That was the idea, the ruse, the conceit. Hearing this song on the radio or your own stereo, you might think R.E.M. had succeeded in their quest for irony. Until you saw the video.
Not a fucking whisper of irony in the video, folks. Did you see any? I saw a shameless promotion of an album that will sell 18 million copies worldwide. I saw Michael Stipe wearing a stupid beanie. I saw the entire band genuinely smiling, knowing that they were about to become filthy rich.
David Letterman’s Watermelon
No, if R.E.M. wanted to make the perfect video for an ironic pop song, they should have had ME direct it, cuz I’m telling you, it would have been four minutes of human sacrifice, disembowlings, decapitations, immolations, and tattoo removals gone horribly wrong. You want shiny, happy people? How about if we actually coat a bunch of children in latex, surgically repair their faces to a permanent smile, and one by one, throw them from the roof of the Ed Sullivan Theater like David Letterman’s watermelon, each with a GoPro strapped to their heads.
As for the must-hear album in question, Automatic for the People, it picks up where “Losing My Religion” left off.
Suggested Alternative: The Jesus Lizard – Liar (1992)
And the Jesus Lizard picked up where Public Image Ltd. left off, and took it way way way beyond the threshold of pleasure. Heavens! These cats are fuckin’ top notch.
Pavement – Slanted And Enchanted (1992)
This was released in 1992, but it’s one of the benchmark indie noise pop records of the decade.
Sonic Youth – Dirty (1992)
You could flip a coin over this and Goo (1990).
Spiritualized – Lazer Guided Melodies (1992)
There’s always the off chance this record may have changed some kid’s life. It’s possible.
Stereo MCs – Connected (1992)
Rrrrrrrrruuuuuuuuuuuuuuuubbbbbbbbbbbbbiiiiiiiiiiiiiiiiisssssshhhhh.
Sugar – Copper Blue (1992)
Massive, enormous, staggering props to Bob Mould for being the first guy to name a band Sugar.
How many bands have a tambourine player? Then why would you feature tambourine on every track? Listen to “Helpless”, which would have been the best track on the LP if the lead instrument were something other than tambourine.
The Pharcyde – Bizarre Ride II The Pharcyde (1992)
Eh…this is a stretch. West Coast alternative hip hop with a solid sense of humor.
Tom Waits – Bone Machine (1992)
I like Tom Waits just as much as the next guy, but he’s really a two- or three-trick pony.
Suggested Alternative: Kyuss – Blues for the Red Sun (1992)
Further proof that stoner rock can be more than a couple of dudes hammering a Black Sabbath riff into the ground.
Tori Amos – Little Earthquakes (1992)
No dice. You’ll hear her next record. Maybe.
What do you think of our reviews? Did we get anything right? Anything wrong? Let us know in the comments!
2 Comments
You should definitely keep going forward with these, there is a ton of good music ahead in the book, especially in the 00’s. Great work overall, though!
Thanks for the encouragement. I’ve listened to a lot of records from ’92 forward but it would completely smash my theory about digital music if I were to continue writing about those records. To be blunt, that’s when I really stopped “listening” to music. I mean, I listen to a fair amount of newer stuff and I like a lot of post ’92 music. It’s just that I can’t justify the amount of time it would take me to write “this is fuckin’ garbage” however many times over. Thanks again. I appreciate your time and attention. Rock on.