English rock band Space were one of the many Britpop bands to hit it big in the 90s.
Thirty years later, while everyone remembers Oasis and Blur (and Suede and Pulp), you may not think much of Space these days any more than you do of Gene, Supergrass, Ash, or Ocean Colour Scene.
Space's moment in the sun was better than some. They showed up in the Austin Powers end credits with "Female of the Species". "Species" is an instant classic, and the band put out two other songs that rival that - "Ballad of Tom Jones (with Cerys Matthews) and "Neighborhood". All three are just fantastic tunes.
Space had much the same touchpoints as everyone else, but had a bit of an electronic, hip hop/synthpop vibe which made them stand out. Clever lyrics put them on the map with their singles. That said, as one hit wonders tend to go, Space's album Spiders is a surprisingly good listen. Much more of an achievement than you will find from many of their rivals.
If you didn't know, Space's drummer (Andy Parle)died in 2009. They had put the band to bed by then, but a couple of years after Parle's used that as incentive to get the band back together.
They released a new album Attack of the 50 Ft Kebab in 2014, and have since released two more new albums, a "lost" album (which would have been their third album in the year 2000 when they worked with Edwyn Collins), and a box set 'best of' compilation.
I don't think the new material captures that 'lightning in the bottle' but how could it?. Always a party band, they seem to be intent on playing up the ska edge of the band along with the usual pop and punk influences they already had, with a bit of garage rock, spy and surf thrown in (in the American sense of garage, not the British). Not a bad thing, it seems to capture a natural progression for the band. In that, the new albums actually remind me a bit of the US punk band the Dickies in the juvenile, playful aspect, and though hardly essential, is still a fun listen.
One of the greatest 90s#90swhatevertunes is "Spooky Vibes" by English band Blind Mr Jones.
They released their debut Stereo Musicale in 1992 and the song was a very minor alternative hit. That said, the impact of the band is such that whenever I run into someone who knows the band, they seem to universally love them.
The music was "shoegaze'- a term that seems to evolve through the years- but in this case, I am talking the original form that attracts terms like "dream pop", adds some of the gothier post punk elements of bands like the Cure and I might compare them to bands like Ride, Chapterhouse and Kitchens of Distinction.
Spooky Vibes is a killer tune, and I don't think any other song on that album could quite capture that magic, but they had a wonderful mix of sounds to their tunes, and probably most uniquely added a flute to the mix.
Although the band were signed to the wonderful Cherry Red records, and their early EPs included appearances from Slowdive's Neil Halstead, and Radiohead's Jonny Greenwood, the band never quite reached the heights of some of their peers.
They recorded a second album- 1994s Tatooine but broke up that same year. The two albums have seen some reissuing and repackaging over the years- 2008's Over My Head collects everything in one place.
There isn't a ton of info still on the band, but I did see that singer/guitarist Richard Moore passed in 2023. It's sad that he is gone, but his music is still tremendously loved
I think my protocol of taking small video snippets if concerts is fine (I hope( because I generally only use a few seconds and then really to hype the artist.
Anyway, I am taking advantage of the video collage my phone made for me. I feel like I don't make it to a ton of shows, so this makes me feel better
In rock music, the coolest dude is usually the lead singer aka the front man.
But throughout rock's history, there has also often been the cool sideman. The guy who isn't the main vocalist, but exudes cool rock image.
It's Keith Richards, of course as the godfather, but you know the lineage.
You can name dozens.
Johnny Thunders, Jimmy Page, Mick Ronson, Ronnie Lane & Ron Wood, Joe Perry, Ace Frehley, Steve Stevens, Randy Rhodes, Brian May, Nancy Wilson, Peter Farndon &James Honeyman-Scott, Paul Simonon and many more that I surely forget.
In more recent years, that list would surely include people like Izzy Stradlin, Johnny Marr, John Fruiscante, Dave Navarro and Kim Gordon.
I am talking less of the virtuosos- Eddie Van Halen, Steve Vai, Billy Sheehan, Flea, Buckethead- though they certainly qualify, but more of the image that puts attitude over talent, like Sid Vicious.
In which case, Tommy Stinson is on the short list of rock n roll cool.
By weird ironic turns and factual arithmetic, Stinson was in Guns N Rose longer than he was in the Replacements, and he had longer tenure in Guns N Roses than everybody in that band save Axl and Use Your Illusion keyboardist Dizzy Reed.
The Replacements legacy was firm in the 90s, and if anything is more cemented now. Like the Pixies, it's possible that younger generations will know their songs more than mine. I Will Dare, Left of the Dial, B*stards of Young, Kiss me on the Bus, Alex Chilton
Trouble Boys was one of the most highly acclaimed music biographies of the 2010s.
By the accounts I have seen, the 2012-2015reunion tour was a success. Even Paul Westerberg's 2016 project with Juliana Hatfield called the I Don't Cares (while not widely reviewed) got high marks.
The 90's aren't a fond time for the Replacements:1989's Dont Tell a Soul and 1990's All Shook Down were well received by all aspects of the rock press. (DTaS is a very good album, even if it is "polished") . Like many "new Dylan's" Westerberg was dubbed the next "can't miss" star, and at the time, everyone predicted many years of commercial and critical acclaim for him. That of course, didn't happen.
1993's 14 Songs was generally well-liked if not universally loved, but the years that followed were marred by what is regarded as subpar material, then label issues, then Westerberg just finally going off and doing what he damned well pleased. Westerberg did get a hit single with "Dyslexic Heart" which still gets played on Adult Alternative stations and is part of 90s Nostalgia.
Bassist Stinson formed a band called Perfect, but that band had limited success, before he got a better paying gig in Axl's Army. A quick look at Wikipedia offers obvious and not so obvious live gigs with Soul Asylum, Frank Black, the Old 97s and playing on Puff Daddy's "All About the Benjamins" remix.
But for a brief moment, it did look like the Mats would be successful in the post-Nevermind world. Chris Mars and even Slim Dunlap had albums on the larger indie labels.
Stinson went away and made his own noise on the wonderfully titled "Friday Night is Killing Me". It wasn't quite a success, given the fact it became ubiquitous (where I found it) in the cutout bin. Still, in the 90s, everyone got a major label chance.
FNiKm is a pretty good, if not great album. It is very much what you would expect. Yes, it probably would be a better record with Westerberg, but it's worthwhile.
Allmusic gives it a terrible two and half star review, though I suspect it would fare better these days. Removed from any expectation as being the next Mats album, it's a great Mats-style, Faces-type bar band record. It would fit well on the shelf with Keef's "Talk is Cheap" and Izzy Stradlin's first Juju Hounds record. Looking back 30 years later now, it strikes me that it predates Wilco and the Old 97s, two bands that owed heavily to the Replacements
And shockingly, in 2017, Bash & Pop returned for a second record after almost 25 years. The band is different (the two Foley Brothers he collaborated with in the 90s have since passed away) and that debut record also had contributions from members of Wire Train and Tom Pettys' Heartbreakers (Benmont Tench and Mike Campbell). The new band retains the sound and members of this second lineup could put together a CV as diverse as The Mighty Mighty Bosstones, the Hold Steady, Screeching Weasel, the Black Crowes, North Mississippi All Stars and Stinson-era GnR.
It got a decent amount of press, and reviews were positive. I also took the fact that the band was signed by Fat Possum Records as a good thing. In short, Stinson was Americana before there was Americana.
I imagine we will continue to see stuff from Stinson. In 2023, he started a group called Cowboys in the Campfire with Bash & Pop mk. 2 guitarist Chip Roberts, and once again, press and positive reviews
I have been writing about 90s music and coincidentally this week, everyone has been writing about the passing of Steve Albini.
I don’t have any passing insight that you won’t read elsewhere. He famously said he was an engineer and not a producer. He captured bands in a raw, live sound. This was occasionally controversial with PJ Harvey’s second album Rid of Me.
I didn’t have the same tastes as Albini but I would say he worked best when that sound was needed. So on that record as with his most famous recordings Nirvana’s In Utero and the Pixies Surfer Rosa, it was usually a compliment to the band’s style.
Albini was prolific and had some high profile clients. Again, it only meant that we crossed paths at certain times. His most recent records that I really enjoyed are as often was the case a motley bunch- Flogging Molly (Swagger, Drunken Lullabies), Gogol Bordello (Gypsy Punks, East Infection), the Stooges reunion (The Weirdness), and the Cloud Nothings (Attack on Memory).
He worked with a range of styles and artists- the Breeders, the Wedding Present, Neurosis, Sun0))), Ty Seagall, Man or AstroMan, Page and Plant, the Manic Street Preachers, Chevelle and Jon Spencer Blues Explosion but really dozens.
One of my favorite albums was that perfect mix of an unexpected artist with a light sound (the Auteurs) taking a different route with the stark and tough approach (After Murder Park). It is without a doubt one of my favorite albums.
Albini was active on social media and I consider that I could have interacted more with him (I don’t know what I would have said except telling him how much I loved After Murder Park).
Albini based in Chicago was a pioneer and not someone who got a lot of national press before In Utero. But as he was well known in Illinois - his bands did have a reputation and it was apparent in their names- Rapeman. Big Black and later, Shellac. Of course, the band the Jesus Lizard eventually made a name for themselves with that noise rock (David Wm Sims played on both Rapeman and the Lizard and Albini produced the bands work).
Big Black lasted from 1981 to 1987 but by the time the 90s rolled around, they started to get some attention. Many heard Ministry and Nine Inch Nails and said they were only doing what Big Black had done. I listened to their album “Songs about F*cking” and immediately went out to buy it.
I don’t consider myself a huge noise rock fan but I thought it was a great album. In subsequent years, Pitchfork and the Guardian would herald them as an all time great band.
In 1994, Albini again put himself in the drivers seat with the trio Shellac and again unexpectedly I was drawn to their debut At Action Park. I haven’t followed the band that closely but their sixth album was expected this year.
There’s so much that has been written about Albini - a real rock character. Like his peers and predecessors, he embodied the eccentric Producer. He would be in the limelight again as a World Poker champion, of all things, with his biggest winnings in 2018 and 2022.
Death brings review and in this case, not always glowing. As much loved as Albini was, he equally was a provocateur and his obituary surely would include that part of his life with a focus on how much Albini hated hip hop and dance music, a view that was probably short sided at best and racist at worst.
Albini’s biggest remembrance may be as that old crank- a meme. He hated certain bands with passion and he had a probably improbable view on technology. I find it funny that there is even a Shellac profile on Spotify at all (any music posted there is surely not his). Albini’s claims that Compact Discs would degenerate was at odds with the professional opinion in the 90s that they would last forever, but time has proven Steve correct.
By coincidence, I was watching a documentary the week he passed that had Albini in it (Albini is in a few, he’s pretty inescapable in modern music). I was always struck at the difference in his sound and his appearance. He looked more like George Martin or Joe Meek than he looked like Rick Rubin or a Mutt Lange
I miss some of those fringe bands from the 90s. Those bands that quietly disappeared, and you only think of when you run across them on streaming or mentioned in a music blog.
I don't know anyone so punk that Alternative Tentacles (the record company ran by Jello Biafra) was their favorite label. There were a couple of bands on there I really liked, but Jello specialized in signing the most uncommerical acts around (Japanese noise band Zeni Geva, Wesley Willis, dykecore band Tribe 8, the Crucifucks, Dutch punk jazz band Dog Faced Hermans).
Another one of those love-em-or-hate-em bands signed to AT were Alice Donut. I always thought Donut were kind of like what would have happened to the Smashing Pumpkins if they took a left turn at Gish, or maybe if Sonic Youth wanted to make big dumb rock. They were firmly in that Butthole Surfers/NoMeansNo/fIREHOSE camp of just being too weird in everything they did to become mainstream.
I always kind of dug that psychedelic punk thing they did. Everything they recorded was pretty interesting, and 92's The Untidy Suicides of Your Degenerate Children is sort of a commercial (as it was) and artistic peak. They got a video played on public access shows and I really seriously love the album.
That particular album is a song cycle of American angst that Allmusic has retroactively compared to the work of Marilyn Manson, which is odd but possibly fair.
Even in the age of Lollapalooza and people like Daniel Johnston getting major label deals, AD were never going to crossover, but they put their effort into making their most mainstream sounding album Pure Acid Park . Unfortunately it’s kind of a dud to this listener and critics at large who it seems always compared it to the Butthole Surfers Electriclarryland.
The band broke up soon after, but reunited in 2003 and since recorded three albums with 2009s Ten Glorious Animals coming out on Alternative Tentacles.
There seems to be a certain radio silence since 2016 when a new album was on the horizon but their Last Fm profile proclaims that they will record albums until they die
There were plenty of indie punk bands in the 90s that all kind of fit the same mold. Every once in awhile you ran into one that fit the bill, but added something more, and Dayton's Braniac was that.
They covered Tones on Tail's "Go" and there was an element of synth-pop to their noisy rock. Maybe you could compare them to Beck or the Flaming Lips (or a loud Stereolab), but they were something altogether different bringing the Moog to the indie masses.
They were always a bit of a cult band, but the list of people who claim their influence is impressive: Nine Inch Nails, Muse, Death Cab for Cutie, the Mars Volta.
The band broke up after lead singer Tim Taylor died in a car crash in 1997, leaving 3 albums and several 7"s and EPs as their recorded legacy. Band members have since played in Enon, John Stuart Mill, the Breeders, the Dirty Walk, O-matic and Shesus.
I was lucky enough to catch the band live and they were something else - a true jewel of 90s indie rock.
I wrote the above words over a decade ago. I probably wouldn’t add much except to say Brainiac were something special. Their cover of Go that I referenced appeared on the 1994 Mammoth Records compilation Jabberjaw: Pure Sweet Hell.
Those compilations showed how varied and wildly imaginative 90s bands were. The first (1994s Good to the Last Drop) would feature artists like Helmet, Hole and Beck but also bands like Karp, Unwound, Chokebore, Surgery and many more - a variety of sounds of noise rock and post hardcore punk. Pure Sweet Hell featured Man or Astro Man, the Bomboras and Low.
In 2019, Hotshot Robot made Transmissions After Zero- A Brainiac documentary.
In many ways, it is the perfect 90s indie band doc. Taylor’s death has frozen the band in time. It’s no doubt that they were one of the most interesting bands of the era.
But perhaps there’s no better story of the way a band goes up and down. Brainiac feels the push and pull of commercial and artistic, of touring and working full time jobs, of being loyal to the indie label and being courted by the majors.
Being from the unusual locale of Dayton , Taylor and gang make their own legend. It’s not all great as the band unceremoniously dumps their guitarist Michelle Bodine. But it also (like the other recent doc I saw about another Ohioan Stiv Bators shows how needle sized close bands can go from making it to breaking up and staying obscure)
Of note, a concert that I (and most everyone I know) attended is mentioned here so that was cool.
It is hagiography but I don’t really find a problem with that. Taylor has the charisma to lead a documentary the way say Anton Newcombe did in Dig. I hate to say it, but the death froze the “What if”.
Band producer Eli Janney mentions the way his band Girls Against Boys went through some of the same things and though he didn’t intend to, it feels like Brainiac would have ran a certain course.
Yet that’s thjs cynical middle aged indie fan’s view. I can’t argue Brainiac was not a unique talent. One can draw an arrow to the latter success of superfan Cedric Bixler-Zavala in Mars Volta and At the Drive In. There’s no doubt that a major label, production from Rick Rubin, a tour with Rage Against the Machine could easily have made the band a household name.
But the doc is much more than that. You might think Taylor was a genius as doc guests like Melissa Auf de Mar, Steve Albini, Fred Armisen, David Yow, Buzz Osbourne and Zavala proclaim (though if doubt few won’t find the music at least interesting).
It is about the push and pull of creativity. The imagination of youth and finding similarly minded individuals. The make or break of going after your dream no matter what it costs. The fight between art and sales.
The impact of Taylor’s death is perhaps the most affecting thing in the doc. The band members struggle to finds themselves once the band is gone. This emotional gravity definitely makes it a much watch.
In 2023, the band got together to finish demos that they had been working on in 1997. These 9 songs form The Predator Nominate EP
One of my favorite 90s records and great “lost album” is Licorice Root Orchestra by Raymond Listen.
In 1993, the Edward Moyse fronted Newark Delaware band released that album on Shimmy Disc Records. Unfortunately, the quirky record label that released albums by acts like King Missile, Daniel Johnston and Ween among many others was going out of business. So did the band Raymond Listen.
I thought of the album often. I remember thinking of them during the MySpace days. There wasn’t a ton of info but of course, these days there’s a bit more. They even have a rather reverential Allmusic profile.
What had happened after the band broke up, was Moyse reformed them after a brief hiatus, renamed them the Licorice Roots and released Melodeon in 1997. Albums followed in 2001, 2006, 2007, 2008 and 2009. These last four self released albums are available on streaming services.
Neutral Milk Hotel references pop on the few band reviews I have seen. I definitely sense some Marc Bolan/ T Rex but the Flaming Lips psychedelica is certainly there. Articles on the band are scattered over the years, but fun to read as most everyone who heard them fell in love with them.
If there is any criticism it’s the more recent stuff does sort of blend in together. One critic blamed Moyse’s distinct vision. But it’s also worth making note of Allmusic’s biography- that the band predates NMH, Olivia Tremor Control and Apples in Stereo
I can't do a series on alt-music in the 90s without some mention of 3rd wave ska. Being a big fan of new wave and a total Anglophile, I always loved the "second wave" of 2 Tone crowd (Specials, English Beat, Madness). And yes, I do love the original Jamaican stuff.
Third Wave ska took that Two Tone sound and added a 90s punk feel to it. Bands came across the country and across labels, but in many ways, Moon Records in New York was the home.
Critics generally didn't go for it, but cult genres like this, it doesn't matter. Ska has went in and out of favor over the years, and seems to be back again. For the most part, when ska did break through, it either was heavily polished with a pop sound (No Doubt, Mighty Mighty Bosstones) or as a joke (Less than Jake, Bowling for Soup, Reel Big Fish). Even bands like Goldfinger, were still generally held to a modicum of success.
I am glad that I saw quite a few of these bands who almost always were a fun time, whether they became national acts or regional acts that have grown via the internet years. The Bosstones were one of the best live bands on the planet.
I also saw ska and ska-adjacent bands: The Toasters, Murphys Law, Rancid, Hepcat. MU330, Johnny Socko, Skankin Pikcle, MU330, Blue Meanies and the Dance Hall Crashers.
One of my favorite albums is 1994's God Bless Satan by New York's Mephiskapheles.
If you can't tell from that, at least the track listing would let you know it's a bit of a joke mixing the Devil and Ska. I can only imagine it owes a great deal to 1990's Devil's Night Out - the Bosstones' debut- which was one of the first albums to give ska a metal edge.
Produced by Bill Laswell, it's an album that seems likely to have connected with a big crowd if more people had heard it- catchy tunes set to strong musicianship played fast and tight. On the other hand, of course, as with much of the third wave genre, it's all played for jokes. Still, it's an incredible example of what the best of the genre was.
The band released two more albums before breaking up in 2001, riding the ska wave to its top and then fading along with the scene.
The band did reunite in 2012and have been pretty active touring since; as the Third wave becomes popular again. They have recorded two EPs since the reunion - 2015s self titled six song EP which was engineered by All/Descendents guitarist Stephen Egerton and 2019s four song Never Born Again. 2023 saw the release of a live album "Live at Supernova Ska Fest 2021"
There is something about Johnny Thunders. I have spent many of my years seeking out every tidbit about him. Separately, I have run into others who have done much the same.
I got into the New York Dolls and so it was only a matter of time, I suppose. But after 1977s LAMF and 1978s So Alone, there’s not much else held in critic acclaim. But that didn’t stop me from picking up the two ROiR cassettes and as the internet opened up sharing, I sought out every recording I could find
What is it about Thunders? I suppose that so what the #rockdocs 2014 Looking for Johnny: The Legend of Johnny Thunders is trying to find out.
The doc does a fairly in depth look at the Dolls career- going light on some of the early years but hitting the highlights and doing good coverage of the final days including the stint in the band by Pure Hell’s drummer Spider Sanders.
Even as someone obsessed with the Dolls, I learned stuff.
The doc has the right mix of important people. Of course, many are no longer with us. Dolls guitarist Sylvain Sylvain is probably as expert as anyone, as was Thunders friend famed photographer Bob Gruen. Sylvain has passed away now as has Dolls manager Marty Thau, and Heartbreaker sidekicks Walter Lure and Billy Rath. Thunders compadre Jerry Nolan has long gone but two significant others are interviewed. Thunders biographer Nina Antona is here as are musicians who played or toured with Thunders.
Malcolm McLaren who was famously the Dolla manager in their final days is present via interview footage. And of course, most of all, Thunders himself is telling his story via archive interviews.
The Thunders story isn’t often told, as it’s such a mess post So Alone. But here it is - a life and career where success is constantly being snatched away by Johnny’s penchant for self destruction.
The Heartbeakers hit the London scene as talented veterans led by Thunders and Nolan. Their playing heads and shoulders over the young punk crowd. Unfortunately, the LAMF album is sabotaged by crappy recording. Nolan fights it, but it is released as is. The record label (Track Records) has become a bit of a joke propped up as a way to still collect royalties from the Who's catalog)
Thunders finds compatriots in Peter Perrett and Phil Lynott for his next album So Alone but success is to elude him.
Over and over again, Thunders seems to sabotage himself. His dependence on drugs ruin his road to the fame he wanted and wrecks his family life. Meanwhile, his stage show becomes more and more about the car crash he had become. He breaks up and continually reforms the Heartbreakers to make money off final and reunion gigs.
Thunders joins with MC5 guitarist Wayne Kramer to start a band called Gang War. Drugs always seem to get in the way. He works with producer Jimmy Miller (Beggars Banquet, Exile on Main Street, Sticky Fingers) but it doesn’t lead to a successful album.
There’s a lot of great footage of Johnny. He pursues acting and occasionally records. He definitely had the rock n roll look. Whether they knew it or not, every American glam band of the 80s were trying to copy Johnny as did plenty of hip indie bands like the Strokes.
Johnny’s story doesn’t lend itself to a cohesive story as there are more downs than ups but this movie tells it well.
Famously, Thunders dies in New Orleans and it has always been controversial. Some suggest he was killed, but the police classified it as an overdose.
Thunders seemed to be making peace with himself in those final weeks which imply that his heart wasn’t ready to go on. At the same time, the details seem sketchy and inconsistent.
This movie is down really well and really tells the story of someone who became a cult personality. Someone who had become a bit of an unknown and yet a legend. Someone who was the life of the party but also often sad. This at least presents a document that will keep his legend alive.
