Rock
Top 100 albums of the 1990s (Lossy mp3 VBR Pitchforkmedia)
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Torrent Files List
01 - Radiohead - (1997) - OK Computer (Size: 7.23 GB) (Files: 1467)
01 - Radiohead - (1997) - OK Computer
01 - Airbag.mp3
02 - Paranoid Android.mp3
03 - Subterranean Homesick Alien.mp3
04 - Exit Music (For A Film).mp3
05 - Let Down.mp3
06 - Karma Police.mp3
07 - Fitter Happier.mp3
08 - Electioneering.mp3
09 - Climbing Up The Walls.mp3
10 - No Surprises.mp3
11 - Lucky.mp3
12 - The Tourist.mp3
OK Computer.log
Radiohead - OK Computer.m3u
02 - My Bloody Valentine - (1991) - Loveless
01 - Only Shallow.mp3
02 - Loomer.mp3
03 - Touched.mp3
04 - To Here Knows When.mp3
05 - When You Sleep.mp3
06 - I Only Said.mp3
07 - Come In Alone.mp3
08 - Sometimes.mp3
09 - Blown A Wish.mp3
10 - What You Want.mp3
11 - Soon.mp3
Loveless.log
Loveless.m3u
03 - The Flaming Lips - (1999) - The Soft Bulletin
01 - Race For The Prize [Remix].mp3
02 - A Spoonful Weighs A Ton.mp3
03 - The Spark That Bled.mp3
04 - The Spiderbite Song.mp3
05 - Buggin' [Remix].mp3
06 - What Is The Light_.mp3
07 - The Observer.mp3
08 - Waitin' For A Superman.mp3
09 - Suddenly Everthing Has Changed.mp3
10 - The Gash.mp3
11 - Feeling Yourself Disintegrate.mp3
12 - Sleeping On The Roof.mp3
13 - Race For The Prize.mp3
14 - Waitin' For A Superman [Remix].mp3
04 - Neutral Milk Hotel - (1998) - In The Aeroplane Over The Sea
01 - The King Of Carrot Flowers, Pt. 1.mp3
02 - King Of Carrot Flowers, Pts. 2-3.mp3
03 - In The Aeroplane Over The Sea.mp3
04 - Two-Headed Boy.mp3
05 - The Fool.mp3
06 - Holland, 1945.mp3
07 - Communist Daughter.mp3
08 - Oh Comely.mp3
09 - Ghost.mp3
10 - [Untitled].mp3
11 - Two-Headed Boy, Pt. 2.mp3
05 - Pavement - (1992) - Slanted & Enchanted
01 - Summer Babe [Winter Version].mp3
02 - Trigger Cut_Wounded Kite At_ 17.mp3
03 - No Life Singed Her.mp3
04 - In The Mouth A Desert.mp3
05 - Conduit For Sale!.mp3
06 - Zurich Is Stained.mp3
07 - Chesley's Little Wrists.mp3
08 - Loretta's Scars.mp3
09 - Here.mp3
10 - Two States.mp3
11 - Perfume V.mp3
12 - Fame Throwa.mp3
13 - Jackals, False Grails_ The Lonesome Era.mp3
14 - Our Singer.mp3
06 - Nirvana - (1991) - Nevermind
01 - Smells Like Teen Spirit.mp3
02 - In Bloom.mp3
03 - Come As You Are.mp3
04 - Breed.mp3
05 - Lithium.mp3
06 - Polly.mp3
07 - Territorial Pissings.mp3
08 - Drain You.mp3
09 - Lounge Act.mp3
10 - Stay Away.mp3
11 - On A Plain.mp3
12 - Something In The Way.mp3
Nevermind.log
Nirvana - Nevermind.m3u
07 - DJ Shadow - (1996) - Endtroducing
01 - Best Foot Forward.mp3
02 - Building Steam With A Grain Of Salt.mp3
03 - The Number Song.mp3
04 - Changeling.mp3
05 - What Does Your Soul Look Like, Pt. 4.mp3
06 - [Untitled].mp3
07 - Stem_Long Stem.mp3
08 - Mutual Slump.mp3
09 - Organ Donor.mp3
10 - Why Hip Hop Sucks In '96.mp3
11 - Midnight In A Perfect World.mp3
12 - Napalm Brain_Scatter Brain.mp3
13 - What Does Your Soul Look Like, Pt. 1_ Blue Sky Revisit.mp3
DJ Shadow - Endtroducing......m3u
Endtroducing......log
08 - Pavement - (1994) - Crooked Rain, Crooked Rain
01 - Silence Kit.mp3
02 - Elevate Me Later.mp3
03 - Stop Breathin.mp3
04 - Cut Your Hair.mp3
05 - Newark Wilder.mp3
06 - Unfair.mp3
07 - Gold Soundz.mp3
08 - 5 - 4 = Unity.mp3
09 - Range Life.mp3
10 - Heaven's A Truck.mp3
11 - Hit The Plane Down.mp3
12 - Fillmore Jive.mp3
Crooked Rain, Crooked Rain.log
Pavement - Crooked Rain, Crooked Rain.m3u
09 - Bonnie 'Prince' Billy - (1999) - I See a Darkness
01 - A Minor Place.mp3
02 - Nomadic Revery (All Around).mp3
03 - I See A Darkness.mp3
04 - Another Day Full Of Dread.mp3
05 - Death To Everyone.mp3
06 - Knockturne.mp3
07 - Madeleine-Mary.mp3
08 - Song For The New Breed.mp3
09 - Today I Was An Evil One.mp3
10 - Black.mp3
11 - Raining In Darling.mp3
10 - Guided By Voices - (1994) - Bee Thousand
01 - Hardcore Ufos.mp3
02 - Buzzards And Dreadful Crows.mp3
03 - Tractor Rape Chain.mp3
05 - Hot Freaks.mp3
06 - Smothered In Hugs.mp3
07 - Yours To Keep.mp3
08 - Echos Myron.mp3
09 - Gold Star For Robot Boy.mp3
10 - Awful Bliss.mp3
11 - Mincer Ray.mp3
12 - A Big Fan Of The Pigpen.mp3
14 - Her Psychology Today.mp3
15 - Kicker Of Elves.mp3
16 - Ester's Day.mp3
17 - Demons Are Real.mp3
18 - I Am A Scientist.mp3
19 - Peep-Hole.mp3
20 - You're Not An Airplane.mp3
Bee Thousand.log
Bee Thousand.m3u
100 - The Orb - (1991) - The Orb's Adventures Beyond the Ultraworld
101 - Little Fluffy Clouds.mp3
102 - Earth (Gaia).mp3
103 - Supernova At The End Of The Universe.mp3
104 - Back Side Of The Moon.mp3
105 - Spanish Castles In Space.mp3
201 - Perpetual Dawn.mp3
202 - Into The Fourth Dimension_ Essenes In Starlight.mp3
203 - Outlands.mp3
204 - Star 6 & 7 8 9.mp3
205 - A Huge Ever Growing Pulsating Brain That Rules From The Centre Of The Ult.mp3
11 - Talk Talk - (1991) - Laughing Stock
01 - Myrrhman.mp3
02 - Ascension Day.mp3
03 - After The Flood.mp3
04 - Taphead.mp3
05 - New Grass.mp3
06 - Runeii.mp3
Laughing Stock.log
Talk Talk - Laughing Stock.m3u
12 - Slint - (1991) - Spiderland
01 - Breadcrumb Trail.mp3
02 - Nosferatu Man.mp3
03 - Don, Aman.mp3
04 - Washer.mp3
05 - For Dinner....mp3
06 - Good Morning Captain.mp3
Slint - Spiderland.m3u
Spiderland.log
13 - Nirvana - (1993) - In Utero
01 - Serve The Servants.mp3
02 - Scentless Apprentice.mp3
03 - Heart Shaped Box.mp3
04 - Rape Me.mp3
05 - Frances Farmer Will Have Her Revenge On Seattle.mp3
06 - Dumb.mp3
07 - Very Ape.mp3
08 - Milk It.mp3
09 - Pennyroyal Tea.mp3
10 - Radio Friendly Unit Shifter.mp3
11 - Tourette's.mp3
12 - All Apologies.mp3
In Utero.log
Nirvana - In Utero.m3u
14 - Belle & Sebastian - (1996) - If You're Feeling Sinister
01 - The Stars Of Track And Field.mp3
02 - Seeing Other People.mp3
03 - Me And The Major.mp3
04 - Like Dylan In The Movies.mp3
05 - The Fox In The Snow.mp3
06 - Get Me Away From Here, I'm Dying.mp3
07 - If You're Feeling Sinister.mp3
08 - Mayfly.mp3
09 - The Boy Done Wrong Again.mp3
10 - Judy And The Dream Of Horses.mp3
If You're Feeling Sinister.log
If You're Feeling Sinister.m3u
15 - Radiohead - (1995) - The Bends
01 - Planet Telex.mp3
02 - The Bends.mp3
03 - High And Dry.mp3
04 - Fake Plastic Trees.mp3
05 - Bones.mp3
06 - (Nice Dream).mp3
07 - Just.mp3
08 - My Iron Lung.mp3
09 - Bullet Proof...I Wish I Was.mp3
10 - Black Star.mp3
11 - Sulk.mp3
12 - Street Spirit (Fade Out).mp3
The Bends.log
The Bends.m3u
16 - The Dismemberment Plan - (1999) - Emergency & I
01 - A Life Of Possibilities.mp3
02 - Memory Machine.mp3
03 - What Do You Want Me To Say_.mp3
04 - Spider In The Snow.mp3
05 - The Jitters.mp3
06 - I Love A Magician.mp3
07 - You Are Invited.mp3
08 - Gyroscope.mp3
09 - The City.mp3
10 - Girl O'Clock.mp3
11 - 8½ Minutes.mp3
12 - Back And Forth.mp3
Emergency & I.log
Emergency & I.m3u
17 - Public Enemy - (1990) - Fear of A Black Planet
01 - Contract On The World Love Jam [Instrumental].mp3
02 - Brothers Gonna Work It Out.mp3
03 - 911 Is A Joke.mp3
04 - Incident At 66.6 FM [Instrumental].mp3
05 - Welcome To The Terrordome.mp3
06 - Meet The G That Killed Me.mp3
07 - Pollywanacraka.mp3
08 - Anti-Nigger Machine.mp3
09 - Burn Hollywood Burn.mp3
10 - Power To The People.mp3
11 - Who Stole The Soul_.mp3
12 - Fear Of A Black Planet.mp3
13 - Revolutionary Generation.mp3
14 - Can't Do Nuttin' For Ya Man.mp3
15 - Reggie Jax.mp3
16 - Leave This Off Your Fu_Kin Charts [Instrumental].mp3
17 - B Side Wins Again.mp3
18 - War At 33 1_3.mp3
19 - Final Count Of The Collison Between Us And The Damned [Instrumental].mp3
20 - Fight The Power.mp3
Fear of A Black Planet.log
Public Enemy - Fear of A Black Planet.m3u
18 - Smashing Pumpkins - (1993) - Siamese Dream
01 - Cherub Rock.mp3
02 - Quiet.mp3
03 - Today.mp3
04 - Hummer.mp3
05 - Rocket.mp3
06 - Disarm.mp3
07 - Soma.mp3
08 - Geek U.S.A..mp3
09 - Mayonaise.mp3
10 - Spaceboy.mp3
11 - Silverfuck.mp3
12 - Sweet Sweet.mp3
13 - Luna.mp3
19 - Beck - (1996) - Odelay
01 - Devils Haircut.mp3
02 - Hotwax.mp3
03 - Lord Only Knows.mp3
04 - The New Pollution.mp3
05 - Derelict.mp3
06 - Novacane.mp3
07 - Jack-Ass.mp3
08 - Where It's At.mp3
09 - Minus.mp3
10 - Sissyneck.mp3
11 - Readymade.mp3
12 - High 5 (Rock The Catskills).mp3
13 - Ramshackle.mp3
Odelay.log
Odelay.m3u
20 - Björk - (1995) - Post
01 - Army Of Me.mp3
02 - Hyper-Ballad.mp3
03 - The Modern Things.mp3
04 - It's Oh So Quiet.mp3
05 - Enjoy.mp3
06 - You've Been Flirting Again.mp3
07 - Isobel.mp3
08 - Possibly Maybe.mp3
09 - I Miss You.mp3
10 - Cover Me.mp3
11 - Headphones.mp3
Post.log
Post.m3u
21 - Björk - (1997) - Homogenic
01 - Hunter.mp3
02 - Joga.mp3
03 - Unravel.mp3
04 - Bachelorette.mp3
05 - All Neon Like.mp3
06 - 5 Years.mp3
07 - Immature.mp3
08 - Alarm Call.mp3
09 - Pluto.mp3
10 - All Is Full Of Love.mp3
Homogenic.log
Homogenic.m3u
22 - Built to Spill - (1997) - Perfect From Now On
01 - Randy Described Eternity.mp3
02 - I Would Hurt A Fly.mp3
03 - Stop The Show.mp3
04 - Made Up Dreams.mp3
05 - Velvet Waltz.mp3
06 - Out Of Site.mp3
07 - Kicked It In The Sun.mp3
08 - Untrustable, Pt. 2.mp3
23 - The Beta Band - (1998) - The Three EPs
01 - Dry The Rain.mp3
02 - I Know.mp3
03 - B + A.mp3
04 - Dogs Got A Bone.mp3
05 - Inner Meet Me.mp3
06 - The House Song.mp3
07 - Monolith.mp3
08 - She's The One.mp3
09 - Push It Out.mp3
10 - It's Over.mp3
11 - Dr. Baker.mp3
12 - Needles In My Eyes.mp3
Cover Art.jpg
The Beta Band - The Three EPs.m3u
24 - Built to Spill - (1994) - There's Nothing Wrong With Love
01 - In The Morning.mp3
02 - Reasons.mp3
03 - Big Dipper.mp3
04 - Car.mp3
05 - Fling.mp3
06 - Cleo.mp3
07 - The Source.mp3
08 - Twin Falls.mp3
09 - Some.mp3
10 - Distopian Dream Girl.mp3
11 - Israel's Song.mp3
12 - Stab.mp3
13 - Preview [Hidden Track].mp3
There's Nothing Wrong With Love.log
There's Nothing Wrong With Love.m3u
25 - Yo La Tengo - (1997) - I Can Hear the Heart Beating as One
01 - Return To Hot Chicken.mp3
03 - Sugarcube.mp3
04 - Damage.mp3
05 - Deeper Into Movies.mp3
06 - Shadows.mp3
07 - Stockholm Syndrome.mp3
08 - Autumn Sweater.mp3
09 - Little Honda.mp3
10 - Green Arrow.mp3
11 - One PM Again.mp3
12 - The Lie And How We Told It.mp3
13 - Center Of Gravity.mp3
14 - Spec Bebop.mp3
15 - We're An American Band.mp3
16 - My Little Corner Of The World.mp3
I Can Hear the Heart Beating as One.log
I Can Hear the Heart Beating as One.m3u
26 - Weezer - (1994) - Weezer (Blue Album)
01 - My Name Is Jonas.mp3
02 - No One Else.mp3
03 - The World Has Turned And Left Me Here.mp3
04 - Buddy Holly.mp3
05 - Undone - The Sweater Song.mp3
06 - Surf Wax America.mp3
07 - Say It Ain't So.mp3
08 - In The Garage.mp3
09 - Holiday.mp3
27 - Guided By Voices - (1995) - Alien Lanes
01 - A Salty Salute.mp3
02 - Evil Speakers.mp3
03 - Watch Me Jumpstart.mp3
04 - They're Not Witches.mp3
05 - As We Go Up We Go Down.mp3
06 - (I Wanna Be A) Dumbcharger.mp3
07 - Game Of Pricks.mp3
08 - The Ugly Vision.mp3
09 - A Good Flying Bird.mp3
10 - Cigarette Tricks.mp3
11 - Pimple Zoo.mp3
12 - Big Chief Chinese Restaurant.mp3
13 - Closer You Are.mp3
14 - Auditorium.mp3
15 - Motor Away.mp3
16 - Hit.mp3
17 - My Valuable Hunting Knife.mp3
18 - Gold Kick.mp3
19 - King & Caroline.mp3
20 - Striped White Jets.mp3
21 - Ex-Supermodel.mp3
22 - Blimpe Go 90.mp3
23 - Straw Dogs.mp3
24 - Chicken Blows.mp3
25 - Little Whirl.mp3
26 - My Son Cool.mp3
27 - Always Crush Me.mp3
28 - Alright.mp3
Alien Lanes.log
Alien Lanes.m3u
28 - Pixies - (1990) - Bossanova
01 - Cecilia Ann.mp3
02 - Rock Music.mp3
03 - Velouria.mp3
04 - Allison.mp3
05 - Is She Weird.mp3
06 - Ana.mp3
07 - All Over The World.mp3
08 - Dig For Fire.mp3
09 - Down To The Well.mp3
10 - The Happening.mp3
11 - Blown Away.mp3
12 - Hang Wire.mp3
13 - Stormy Weather.mp3
14 - Havalina.mp3
Bossanova.m3u
29 - Modest Mouse - (1997) - The Lonesome Crowded West
01 - Teeth Like God's Shoeshine.mp3
02 - Heart Cooks Brain.mp3
03 - Convenient Parking.mp3
04 - Lounge (Closing Time).mp3
05 - Jesus Christ Was An Only Child.mp3
06 - Doin' The Cockroach.mp3
07 - Cowboy Dan.mp3
08 - Trailer Trash.mp3
09 - Out Of Gas.mp3
10 - Long Distance Drunk.mp3
11 - Shit Luck.mp3
12 - Truckers Atlas.mp3
13 - Polar Opposites.mp3
14 - Bankrupt On Selling.mp3
15 - Styrofoam Boots_It's All Nice On Ice, Alright.mp3
The Lonesome Crowded West.log
The Lonesome Crowded West.m3u
The Moon and Antarctica (Expanded and Remastered Edition).log
30 - Liz Phair - (1993) - Exile in Guyville
01 - 6' 1_.mp3
02 - Help Me Mary.mp3
03 - Glory.mp3
04 - Dance Of The Seven Veils.mp3
05 - Never Said.mp3
06 - Soap Star Joe.mp3
07 - Explain It To Me.mp3
08 - Canary.mp3
09 - Mesmerizing.mp3
10 - Fuck And Run.mp3
11 - Girls, Girls, Girls.mp3
12 - Divorce Song.mp3
13 - Shatter.mp3
14 - Flower.mp3
15 - Johnny Sunshine.mp3
16 - Gunshy.mp3
17 - Stratford-On-Guy.mp3
18 - Strange Loop.mp3
31 - Wilco - (1999) - Summerteeth
01 - Can't Stand It.mp3
02 - She's A Jar.mp3
03 - A Shot In The Arm.mp3
04 - We're Just Friends.mp3
05 - I'm Always In Love.mp3
06 - Nothing'severgonnastandinmyway (Again).mp3
07 - Pieholden Suite.mp3
08 - How To Fight Loneliness.mp3
09 - Via Chicago.mp3
10 - ELT.mp3
11 - My Darling.mp3
12 - When You Wake Up Feeling Old.mp3
13 - Summer Teeth.mp3
14 - In A Future Age.mp3
15 - Candyfloss [Hidden Track].mp3
16 - Summer Teeth [Alternate Version] [Hidden Track].mp3
17 - In A Future Age [Alternate Version] [Hidden Track].mp3
Summerteeth.log
Wilco - Summerteeth.m3u
32 - The Notorious B.I.G. - (1994) - Ready to Die
01 - Intro.mp3
02 - Things Done Changed.mp3
03 - Gimme The Loot.mp3
04 - Machine Gun Funk.mp3
05 - Warning.mp3
06 - Ready To Die.mp3
07 - One More Chance.mp3
08 - #! _@ Me (Interlude).mp3
09 - The What.mp3
10 - Juicy.mp3
11 - Everyday Struggle.mp3
12 - Me & My Bitch.mp3
13 - Big Poppa.mp3
14 - Respect.mp3
15 - Friend Of Mine.mp3
16 - Unbelievable.mp3
17 - Suicidal Thoughts.mp3
33 - Nas - (1994) - Illmatic
01 - The Genesis.mp3
02 - N.Y. State Of Mind.mp3
03 - Life's A Bitch.mp3
04 - The World Is Yours.mp3
05 - Halftime.mp3
06 - Memory Lane (Sittin' In Da Park).mp3
07 - One Love.mp3
08 - One Time 4 Your Mind.mp3
09 - Represent.mp3
10 - It Ain't Hard To Tell.mp3
Illmatic .log
Nas - Illmatic .m3u
34 - Beastie Boys - (1992) - Check Your Head
01 - Jimmy James.mp3
02 - Funky Boss.mp3
03 - Pass The Mic.mp3
04 - Gratitude.mp3
05 - Lighten Up.mp3
07 - So What'cha Want.mp3
08 - The Biz Vs. The Nuge.mp3
09 - Time For Livin'.mp3
10 - Something's Got To Give.mp3
11 - The Blue Nun.mp3
12 - Stand Together.mp3
13 - Pow.mp3
14 - The Maestro.mp3
15 - Groove Holmes.mp3
16 - Live At P.J.'s.mp3
17 - Mark On The Bus.mp3
18 - Professor Booty.mp3
19 - In 3's.mp3
20 - Namasté.mp3
Beastie Boys - Check Your Head.m3u
Check Your Head.log
35 - Boards of Canada - (1998) - Music Has the Right to Children
01 - Wildlife Analysis.mp3
02 - An Eagle In Your Mind.mp3
03 - The Color Of The Fire.mp3
04 - Telephasic Workshop.mp3
05 - Triangles & Rhombuses.mp3
06 - Sixtyten.mp3
07 - Turquoise Hexagon Sun.mp3
08 - Kaini Industries.mp3
09 - Bocuma.mp3
10 - Roygbiv.mp3
11 - Rue The Whirl.mp3
12 - Aquarius.mp3
13 - Olson.mp3
14 - Pete Standing Alone.mp3
15 - Smokes Quantity.mp3
16 - Open The Light.mp3
17 - One Very Important Thought.mp3
18 - Happy Cycling.mp3
Boards of Canada - Music Has the Right to Children.m3u
Music Has the Right to Children.log
36 - Wu-Tang Clan - (1993) - Enter the Wu-Tang (36 Chambers)
01 - Bring Da Ruckus.mp3
02 - Shame On A Nigga.mp3
03 - Clan In Da Front.mp3
04 - Wu-Tang_ 7th Chamber.mp3
05 - Can It Be All So Simple_Intermission.mp3
06 - Da Mystery Of Chessboxin'.mp3
07 - Wu-Tang Clan Ain't Nuthing Ta F' Wit.mp3
08 - C.R.E.A.M..mp3
09 - Method Man.mp3
10 - Protect Ya Neck.mp3
11 - Tearz.mp3
12 - Wu-Tang_ 7th Chamber, Pt. 2.mp3
13 - Conclusion.mp3
37 - The Magnetic Fields - (1999) - 69 Love Songs
101 - Absolutely Cuckoo.mp3
102 - I Don't Believe In The Sun.mp3
103 - All My Little Words.mp3
104 - A Chicken With Its Head Cut Off.mp3
105 - Reno Dakota.mp3
106 - I Don't Want To Get Over You.mp3
107 - Come Back From San Francisco.mp3
108 - The Luckiest Guy On The Lower East Side.mp3
109 - Let's Pretend We're Bunny Rabbits.mp3
110 - The Cactus Where Your Heart Should Be.mp3
111 - I Think I Need A New Heart.mp3
112 - The Book Of Love.mp3
113 - Fido, Your Leash Is Too Long.mp3
114 - How Fucking Romantic.mp3
115 - The One You Really Love.mp3
116 - Punk Love.mp3
117 - Parades Go By.mp3
118 - Boa Constrictor.mp3
119 - A Pretty Girl Is Like....mp3
120 - My Sentimental Melody.mp3
121 - Nothing Matters When We're Dancing.mp3
122 - Sweet-Lovin' Man.mp3
123 - The Things We Did And Didn't Do.mp3
201 - Roses.mp3
202 - Love Is Like Jazz.mp3
203 - When My Boy Walks Down The Street.mp3
204 - Time Enough For Rocking When We're Old.mp3
205 - Very Funny.mp3
206 - Grand Canyon.mp3
207 - No One Will Ever Love You.mp3
208 - If You Don't Cry.mp3
209 - You're My Only Home.mp3
210 - (Crazy For You But) Not That Crazy.mp3
211 - My Only Friend.mp3
212 - Promises Of Eternity.mp3
213 - World Love.mp3
214 - Washington, D.C..mp3
215 - Long-Forgotten Fairytale.mp3
216 - Kiss Me Like You Mean It.mp3
217 - Papa Was A Rodeo.mp3
218 - Epitaph For My Heart.mp3
219 - Asleep And Dreaming.mp3
220 - The Sun Goes Down And The World Goes Dancing.mp3
221 - The Way You Said Good-Night.mp3
222 - Abigail, Belle Of Kilronan.mp3
223 - I Shatter.mp3
301 - Underwear.mp3
302 - It's A Crime.mp3
303 - Busby Berkeley Dreams.mp3
304 - I'm Sorry I Love You.mp3
305 - Acoustic Guitar.mp3
307 - Love In The Shadows.mp3
308 - Bitter Tears.mp3
309 - Wi' Nae Wee Bairn Ye'll Me Beget.mp3
310 - Yeah! Oh, Yeah!.mp3
311 - Experimental Music Love.mp3
312 - Meaningless.mp3
313 - Love Is Like A Bottle Of Gin.mp3
315 - Blue You.mp3
316 - I Can't Touch You Anymore.mp3
317 - Two Kinds Of People.mp3
318 - How To Say Goodbye.mp3
319 - The Night You Can't Remember.mp3
320 - For We Are The King Of The Boudoir.mp3
321 - Strange Eyes.mp3
322 - Xylophone Track.mp3
323 - Zebra.mp3
69 Love Songs, Vol. 1.log
69 Love Songs, Vol. 1.m3u
69 Love Songs, Vol. 2.log
69 Love Songs, Vol. 2.m3u
69 Love Songs, Vol. 3.log
69 Love Songs, Vol. 3.m3u
38 - The Jesus Lizard - (1991) - Goat
01 - Then Comes Dudley.mp3
02 - Mouth Breather.mp3
03 - Nub.mp3
04 - Seasick.mp3
05 - Monkey Trick.mp3
06 - Karpis.mp3
07 - South Mouth.mp3
08 - Lady Shoes.mp3
09 - Rodeo In Joliet.mp3
AlbumArtSmall.jpg
AlbumArt_{2C0B6DB5-2D99-43B5-B3C6-5962E9BB5283}_Large.jpg
AlbumArt_{2C0B6DB5-2D99-43B5-B3C6-5962E9BB5283}_Small.jpg
desktop.ini
Folder.jpg
39 - The Olivia Tremor Control - (1996) - Dusk at Cubist Castle
01 - The Opera House.mp3
02 - Frosted Ambassador.mp3
03 - Jumping Fences.mp3
04 - Define A Transparent Dream.mp3
05 - No Growing (Exegesis).mp3
06 - Holiday Surprise.mp3
07 - Courtyard.mp3
08 - Memories Of Jacqueline 1906.mp3
09 - Tropical Bells.mp3
10 - Can You Come Down With Us_.mp3
11 - Marking Time.mp3
12 - Green Typewriters.mp3
13 - Green Typewriters [Continued].mp3
14 - Green Typewriters [Continued].mp3
15 - Green Typewriters [Continued].mp3
16 - Green Typewriters [Continued].mp3
17 - Green Typewriters [Continued].mp3
18 - Green Typewriters [Continued].mp3
19 - Green Typewriters [Continued].mp3
20 - Green Typewriters [Continued].mp3
21 - Green Typewriters [Continued].mp3
22 - Spring Succeeds.mp3
23 - Theme For A Very Delicious Grand Piano.mp3
24 - I Can Smell The Leaves.mp3
25 - Dusk At Cubist Castle.mp3
26 - The Gravity Car.mp3
27 - NYC-25.mp3
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40 - Aphex Twin - (1996) - Richard D. James Album
01 - 4.mp3
02 - Cornish Acid.mp3
03 - Peek 824545301.mp3
05 - Corn Mouth.mp3
06 - To Cure A Weakling Child.mp3
07 - Goon Gumpas.mp3
08 - Yellow Calx.mp3
09 - Girl_Boy Song.mp3
10 - Logon Rock Witch.mp3
11 - Milkman.mp3
12 - Inkeys.mp3
13 - Girl_Boy Song [£18 Snare Rush Mix] [E 18 Snore Rush Mix].mp3
14 - Beetles.mp3
15 - Girl_Boy Song [Redruth Mix].mp3
Richard D. James Album.log
Richard D. James Album.m3u
41 - Yo La Tengo - (1993) - Painful
01 - Big Day Coming.mp3
02 - From A Motel 6.mp3
03 - Double Dare.mp3
04 - Superstar-Watcher.mp3
05 - Nowhere Near.mp3
06 - Sudden Organ.mp3
07 - A Worrying Thing.mp3
08 - I Was The Fool Beside You For Too Long.mp3
09 - The Whole Of The Law.mp3
10 - Big Day Coming.mp3
11 - I Heard You Looking.mp3
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42 - Fugazi - (1995) - Red Medicine
01 - Do You Like Me.mp3
02 - Bed For The Scraping.mp3
03 - Latest Disgrace.mp3
04 - Birthday Pony.mp3
05 - Forensic Scene.mp3
06 - Combination Lock.mp3
07 - Fell, Destroyed.mp3
08 - By You.mp3
09 - Version.mp3
10 - Target.mp3
11 - Back To Base.mp3
12 - Downed City.mp3
13 - Long Distance Runner.mp3
43 - R.E.M. - (1992) - Automatic for the People
01 - Drive.mp3
02 - Try Not To Breathe.mp3
03 - The Sidewinder Sleeps Tonite.mp3
04 - Everybody Hurts.mp3
05 - New Orleans Instrumental No. 1 [Instrumental].mp3
06 - Sweetness Follows.mp3
07 - Monty Got A Raw Deal.mp3
08 - Ignoreland.mp3
09 - Star Me Kitten.mp3
10 - Man On The Moon.mp3
11 - Nightswimming.mp3
12 - Find The River.mp3
Automatic for the People.log
Automatic for the People.m3u
44 - Boredoms - (1998) - Super Ae
01 - Super You.mp3
02 - Super Are.mp3
03 - Super Going.mp3
04 - Super Coming.mp3
05 - Super Are You.mp3
06 - Super Shine.mp3
07 - Super Good.mp3
45 - Godspeed You Black Emperor! - (1996) - F#A# Infinity
01 - The Dead Flag Blues (Intro).mp3
02 - East Hastings.mp3
03 - Providence.mp3
46 - Air - (1998) - Moon Safari
01 - La Femme D'Argent.mp3
02 - Sexy Boy.mp3
03 - All I Need.mp3
04 - Kelly Watch The Stars.mp3
05 - Talisman.mp3
06 - Remember.mp3
07 - You Make It Easy.mp3
08 - Ce Matin La.mp3
09 - New Star In The Sky (Chanson Pour Solal).mp3
10 - Le Voyage De Penelope.mp3
47 - Oval - (1995) - 94 Diskont
01 - Do While.mp3
02 - Store Check.mp3
03 - Line Extension.mp3
04 - Cross Selling.mp3
05 - Commerce Server.mp3
06 - Shop In Store.mp3
07 - Do While.mp3
48 - Portishead - (1994) - Dummy
00-portishead-dummy-1994-eos.m3u
00-portishead-dummy-1994-eos.nfo
00-portishead-dummy-1994-eos.sfv
01 - Mysterons.mp3
02 - Sour Times.mp3
04 - It Could Be Sweet.mp3
05 - Wandering Star.mp3
06 - It's A Fire.mp3
07 - Numb.mp3
08 - Roads.mp3
09 - Pedestal.mp3
10 - Biscuit.mp3
11 - Glory Box.mp3
49 - Tom Waits - (1992) - Bone Machine
01 - Earth Died Screaming.mp3
02 - Dirt In The Ground.mp3
03 - Such A Scream.mp3
04 - All Stripped Down.mp3
05 - Who Are You.mp3
06 - The Ocean Doesn't Want Me.mp3
07 - Jesus Gonna Be Here.mp3
08 - Little Rain (For Clyde).mp3
09 - In The Colosseum.mp3
10 - Goin' Out West.mp3
11 - Murder In The Red Barn.mp3
12 - Black Wings.mp3
13 - Whistle Down The Wind (For Tom Jans).mp3
14 - I Don't Wanna Grow Up.mp3
15 - Let Me Get Up On It.mp3
16 - That Feel.mp3
50 - OutKast - (1998) - Aquemini
01 - Hold On, Be Strong.mp3
02 - Return Of The _G_.mp3
03 - Rosa Parks.mp3
04 - Skew It On The Bar-B.mp3
05 - Aquemini.mp3
06 - Synthesizer.mp3
07 - Slump.mp3
08 - West Savannah.mp3
09 - Da Art Of Storytellin' (Pt. 1).mp3
10 - Da Art Of Storytellin' (Pt. 2).mp3
11 - Mamacita.mp3
12 - Spottieottiedopaliscious.mp3
13 - Y'all Scared.mp3
14 - Nathaniel.mp3
15 - Liberation.mp3
16 - Chonkyfire.mp3
Aquemini.log
OutKast - Aquemini.m3u
51 - Stereolab - (1996) - Emperor Tomato Ketchup
01 - Metronomic Underground.mp3
02 - Cybele's Reverie.mp3
03 - Percolator.mp3
04 - Les Yper-Sound.mp3
05 - Spark Plug.mp3
06 - Olv 26.mp3
07 - The Noise Of Carpet.mp3
08 - Tomorrow Is Already Here.mp3
09 - Emperor Tomato Ketchup.mp3
10 - Monstre Sacre.mp3
11 - Motoroller Scalatron.mp3
12 - Slow Fast Hazel.mp3
13 - Anonymous Collective.mp3
Emperor Tomato Ketchup.log
Stereolab - Emperor Tomato Ketchup.m3u
52 - PJ Harvey - (1993) - Rid of Me
01 - Rid Of Me.mp3
02 - Missed.mp3
03 - Legs.mp3
04 - Rub 'Til It Bleeds.mp3
05 - Hook.mp3
06 - Man-Sized Sextet.mp3
07 - Highway 61 Revisited.mp3
09 - Yuri-G.mp3
10 - Man-Size.mp3
11 - Dry.mp3
12 - Me-Jane.mp3
13 - Snake.mp3
14 - Ecstasy.mp3
Rid of Me.log
Rid of Me.m3u
54 - Blur - (1994) - Parklife
01 - Girls & Boys.mp3
02 - Tracy Jacks.mp3
03 - End Of A Century.mp3
04 - Parklife.mp3
05 - Bank Holiday.mp3
06 - Badhead.mp3
07 - The Debt Collector.mp3
08 - Far Out.mp3
09 - To The End.mp3
10 - London Loves.mp3
11 - Trouble In The Message Centre.mp3
12 - Clover Over Dover.mp3
13 - Magic America.mp3
14 - Jubilee.mp3
15 - This Is A Low.mp3
16 - Lot 105.mp3
Blur - Parklife.m3u
Parklife.log
55 - Spiritualized - (1997) - Ladies and Gentlemen We Are Floating in Space
01 - Ladies And Gentlemen We Are Floating In Space.mp3
02 - Come Together.mp3
03 - I Think I'm In Love.mp3
04 - All Of My Thoughts.mp3
05 - Stay With Me.mp3
06 - Electricity.mp3
07 - Home Of The Brave.mp3
08 - The Individual.mp3
09 - Broken Heart.mp3
10 - No God Only Religion.mp3
11 - Cool Waves.mp3
12 - Cop Shoot Cop.mp3
Ladies and Gentlemen We Are Floating in Space.log
Ladies and Gentlemen We Are Floating in Space.m3u
56 - A Tribe Called Quest - (1991) - The Low End Theory
01 - Excursions.mp3
02 - Buggin' Out.mp3
03 - Rap Promoter.mp3
04 - Butter.mp3
05 - Verses From The Abstract.mp3
06 - Show Business.mp3
07 - Vibes And Stuff.mp3
08 - The Infamous Date Rape.mp3
09 - Check The Rhime.mp3
10 - Everything Is Fair.mp3
11 - Jazz (We've Got).mp3
12 - Skypager.mp3
13 - What_.mp3
14 - Scenario.mp3
A Tribe Called Quest - The Low End Theory.m3u
The Low End Theory.log
57 - Brainiac - (1994) - Bonsai Superstar
01 - Hot Metal Doberman's.mp3
02 - Hands Of The Genius.mp3
03 - Fucking With The Altimiter.mp3
04 - Radio Apeshot.mp3
05 - Transmissions After Zero.mp3
06 - Juicy (On A Cadillac).mp3
07 - Flypaper.mp3
08 - Sexual Frustration.mp3
09 - To The Baby-Counter.mp3
10 - You Wrecked My Hair.mp3
11 - Meathook Manicure.mp3
12 - Status_ Choke.mp3
13 - Collide.mp3
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58 - The Jesus Lizard - (1992) - Liar
01 - Boilermaker.mp3
02 - Gladiator.mp3
03 - The Art Of Self-Defense.mp3
04 - Slave Ship.mp3
05 - Puss.mp3
06 - Whirl.mp3
07 - Rope.mp3
08 - Perk.mp3
09 - Zachariah.mp3
10 - Dancing Naked Ladies.mp3
Thumbs.db
59 - Elliott Smith - (1997) - Either,Or
01 - Speed Trials.mp3
02 - Alameda.mp3
03 - Ballad Of Big Nothing.mp3
04 - Between The Bars.mp3
05 - Pictures Of Me.mp3
06 - No Name No. 5.mp3
07 - Rose Parade.mp3
08 - Punch And Judy.mp3
09 - Angeles.mp3
10 - Cupid's Trick.mp3
11 - 2_45 AM.mp3
12 - Say Yes.mp3
Either Or.log
Either Or.m3u
60 - Palace Music - (1995) - Viva Last Blues
01 - More Brother Rides.mp3
02 - Viva Ultra.mp3
03 - The Brute Choir.mp3
04 - The Mountain Low.mp3
05 - Tonight's Decision (And Hereafter).mp3
06 - Work Hard_Play Hard.mp3
07 - New Partner.mp3
08 - Cat's Blues.mp3
09 - We All, Us Three, Will Ride.mp3
10 - Old Jerusalem.mp3
61 - Pulp - (1995) - Different Class
01 - Mis-Shapes.mp3
02 - Pencil Skirt.mp3
03 - Common People.mp3
04 - I Spy.mp3
05 - Disco 2000.mp3
06 - Live Bed Show.mp3
07 - Something Changed.mp3
08 - Sorted For E's & Wizz.mp3
09 - F.E.E.L.I.N.G.C.A.L.L.E.D.L.O.V.E.mp3
10 - Underwear.mp3
11 - Monday Morning.mp3
12 - Bar Italia.mp3
Different Class.log
Different Class.m3u
62 - Aphex Twin - (1994) - Selected Ambient Works, Vol. 2
101 - Cliffs.mp3
102 - Radiator.mp3
103 - Rhubarb.mp3
104 - Grass.mp3
105 - Mould.mp3
106 - Curtains.mp3
107 - Blur.mp3
108 - Weathered Stone.mp3
109 - Tree.mp3
110 - Domino.mp3
111 - White Blur.mp3
201 - Blue Calx.mp3
202 - Parallel Stripes.mp3
203 - Shiny Metal Rods.mp3
204 - Grey Stripe.mp3
205 - Z Twig.mp3
206 - Window Sill.mp3
207 - Hexagon.mp3
208 - Lichen.mp3
209 - Spots.mp3
210 - Tassels.mp3
211 - White Blur 2.mp3
212 - Match Sticks.mp3
Selected Ambient Works, Vol. 2 (Disc 1).log
Selected Ambient Works, Vol. 2 (Disc 1).m3u
Selected Ambient Works, Vol. 2 (Disc 2).log
Selected Ambient Works, Vol. 2 (Disc 2).m3u
63 - De La Soul - (1991) - De La Soul Is Dead
01 - Intro.mp3
02 - Oodles Of O's.mp3
03 - Talkin' Bout Hey Love.mp3
05 - Skit 1.mp3
06 - Johnny's Dead AKA Vincent Mason (Live From The BK Lounge) [Live].mp3
07 - A Roller Skating Jam Named _Saturdays_.mp3
08 - WRMS' Dedication To The Bitty.mp3
09 - Bitties In The BK Lounge.mp3
10 - Skit 2.mp3
11 - My Brother's A Basehead.mp3
12 - Let, Let Me In.mp3
13 - Afro Connections At A Hi 5 (In The Eyes Of The Hoodlum).mp3
14 - Rap De Rap Show.mp3
15 - Millie Pulled A Pistol On Santa.mp3
16 - Who Do U Worship_.mp3
17 - Skit 3.mp3
18 - Kicked Out Of The House.mp3
19 - Pass The Plugs.mp3
20 - Not Over Till The Fat Lady Plays The Demo.mp3
21 - Ring Ring Ring (Ha Ha Hey).mp3
22 - WRMS_ Cat's In Control.mp3
23 - Skit 4.mp3
24 - Shwingalokate.mp3
25 - Fanatic Of The B Word.mp3
26 - Keepin' The Faith.mp3
27 - Skit 5.mp3
De La Soul - De La Soul Is Dead.m3u
De La Soul Is Dead.log
64 - The Breeders - (1993) - Last Splash
01 - New Year.mp3
02 - Cannonball.mp3
03 - Invisible Man.mp3
04 - No Aloha.mp3
05 - Le Roi.mp3
06 - Do You Love Me Now_.mp3
07 - Flipside.mp3
08 - I Just Wanna Get Along.mp3
09 - Mad Lucas.mp3
10 - Divine Hammer.mp3
11 - S.O.S..mp3
12 - Hag.mp3
13 - Saints.mp3
14 - Drivin' On 9.mp3
15 - Le Roi (Reprise).mp3
66 - Tricky - (1994) - Maxinquaye
01 - Overcome.mp3
02 - Ponderosa.mp3
03 - Black Steel.mp3
04 - Hell Is Around The Corner.mp3
05 - Pumpkin.mp3
06 - Aftermath.mp3
07 - Abbaon Fat Track.mp3
08 - Brand New You're Retro.mp3
09 - Suffocated Love.mp3
10 - You Don't.mp3
11 - Strugglin'.mp3
12 - Feed Me.mp3
Maxinquaye.log
Maxinquaye.m3u
67 - Mouse on Mars - (1995) - Iaora Tahiti
01 - Stereomission.mp3
02 - Kompod.mp3
03 - Saturday Night Worldcup Fieber.mp3
04 - Schunkel.mp3
05 - Gocard.mp3
06 - Kanu.mp3
07 - Bib.mp3
08 - Schlecktron.mp3
09 - Preprise.mp3
10 - Papa, Antoine.mp3
11 - Omnibuzz.mp3
12 - Hallo.mp3
68 - Elliott Smith - (1998) - XO
01 - Sweet Adeline.mp3
02 - Tomorrow Tomorrow.mp3
03 - Waltz #2 (XO).mp3
04 - Baby Britain.mp3
05 - Pitseleh.mp3
06 - Independence Day.mp3
07 - Bled White.mp3
08 - Waltz #1.mp3
09 - Amity.mp3
10 - Oh Well, Okay.mp3
11 - Bottle Up And Explode!.mp3
12 - A Question Mark.mp3
13 - Everybody Cares, Everybody Understands.mp3
14 - I Didn't Understand.mp3
XO.log
XO.m3u
69 - Jeff Buckley - (1994) - Grace
01 - Mojo Pin.mp3
02 - Grace.mp3
03 - Last Goodbye.mp3
04 - Lilac Wine.mp3
05 - So Real.mp3
06 - Hallejujah.mp3
07 - Lover, You Should've Come Over.mp3
08 - Corpus Christi Carol.mp3
09 - Eternal Life.mp3
10 - Dream Brother.mp3
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desktop.ini
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Thumbs.db
70 - Jawbox - For Your Own Special Sweetheart
01 - FF=66.mp3
02 - Savory.mp3
03 - Breathe.mp3
04 - Motorist.mp3
05 - LS_MFT.mp3
06 - Cooling Card.mp3
07 - Green Glass.mp3
08 - Cruel Swing.mp3
09 - Jackpot Plus!.mp3
10 - Chicago Piano.mp3
11 - Reel.mp3
12 - U-Trau.mp3
13 - Whitney Walks.mp3
71 - Dr. Octagon - (1997) - Dr. Octagonecologyst
01 - Intro.mp3
02 - 3000.mp3
03 - I Got To Tell You.mp3
04 - Earth People.mp3
05 - No Awareness.mp3
06 - Real Raw.mp3
07 - General Hospital.mp3
08 - Blue Flowers.mp3
09 - Technical Difficulties.mp3
10 - A Visit To The Gynecologyst.mp3
11 - Bear Witness.mp3
12 - Dr. Octagon.mp3
13 - Girl Let Me Touch You.mp3
15 - Wild And Crazy.mp3
16 - Elective Surgery.mp3
17 - Halfsharkalligatorhalfman.mp3
18 - Blue Flowers Revisited.mp3
19 - Waiting List [DJ Shadow_Automator Mix] [DJ Shadow_Automaster Mix].mp3
20 - 1977.mp3
Dr. Octagonecologyst.log
Dr. Octagonecologyst.m3u
72 - Silver Jews - (1998) - American Water
01 - Random Rules.mp3
02 - Smith & Jones Forever.mp3
03 - Night Society.mp3
04 - Federal Dust.mp3
05 - People.mp3
06 - Blue Arrangements.mp3
07 - We Are Real.mp3
08 - Send In The Clouds.mp3
09 - Like Like The The The Death.mp3
10 - Buckingham Rabbit.mp3
11 - Honk If You're Lonely.mp3
12 - The Wild Kindness.mp3
folder.jpg
Silver Jews - American Water.nfo
73 - Brainiac - (1996) - Hissin Prigs in Static Couture
01 - Indian Poker, Pt. 3.mp3
02 - Pussyfootin'.mp3
03 - Vincent Come On Down.mp3
05 - Strung.mp3
06 - Hot Seat Can't Sit Down.mp3
07 - The Vulgar Trade.mp3
08 - Beekeepers Maxim.mp3
09 - Kiss Me U Jacked Up Jerk.mp3
10 - 70 KG Man.mp3
11 - Indian Poker, Pt. 2.mp3
12 - Nothing Ever Changes.mp3
13 - I Am A Cracked Machine.mp3
74 - Ride - (1990) - Nowhere
01 - Seagull.mp3
02 - Kaleidoscope.mp3
03 - In A Different Place.mp3
04 - Polar Bear.mp3
05 - Dreams Burn Down.mp3
06 - Decay.mp3
07 - Paralysed.mp3
08 - Vapour Trail.mp3
09 - Taste.mp3
10 - Here And Now.mp3
11 - Nowhere.mp3
75 - A Tribe Called Quest - (1993) - Midnight Marauders
01 - Midnight Marauders Tour Guide.mp3
02 - Steve Biko (Stir It Up).mp3
03 - Award Tour.mp3
04 - 8 Million Stories.mp3
05 - Sucka Nigga.mp3
06 - Midnight.mp3
07 - We Can Get Down.mp3
08 - Electric Relaxation.mp3
09 - Clap Your Hands.mp3
10 - Oh My God.mp3
11 - Keep It Rollin'.mp3
12 - The Chase, Pt. 2.mp3
13 - Lyrics To Go.mp3
14 - God Lives Through.mp3
A Tribe Called Quest - Midnight Marauders.m3u
Midnight Marauders.log
76 - Mercury Rev - (1998) - Deserter's Songs
01 - Holes.mp3
02 - Tonite It Shows.mp3
03 - Endlessly.mp3
04 - I Collect Coins.mp3
05 - Opus 40.mp3
06 - Hudson Line.mp3
07 - The Happy End (The Drunk Room).mp3
08 - Goddess On A Hiway.mp3
09 - The Funny Bird.mp3
10 - Pick Up If You're There.mp3
11 - Delta Sun Bottleneck Stomp.mp3
77 - Primal Scream - (1991) - Screamadelica
01 - Movin' On Up.mp3
02 - Slip Inside This House.mp3
03 - Don't Fight It, Feel It.mp3
04 - Higher Than The Sun.mp3
05 - Inner Flight.mp3
06 - Come Together.mp3
07 - Loaded.mp3
08 - Damaged.mp3
09 - I'm Comin' Down.mp3
10 - Higher Than The Sun [A Dub Symphony In Two Parts].mp3
11 - Shine Like Stars.mp3
78 - Stereolab - (1994) - Mars Audiac Quartet
01 - Three-Dee Melodie.mp3
02 - Wow And Flutter.mp3
03 - Transona Five.mp3
04 - Des Étoiles Electroniques.mp3
05 - Ping Pong.mp3
06 - Anamorphose.mp3
07 - Three Longers Later.mp3
08 - Nihilist Assault Group.mp3
09 - International Colouring Contest.mp3
10 - The Stars Our Destination.mp3
11 - Transporte Sans Bouger.mp3
12 - L' Enfer Des Formes.mp3
13 - Outer Accelerator.mp3
14 - New Orthophony.mp3
15 - Fiery Yellow.mp3
79 - Dr. Dre - (1992) - The Chronic
01 - The Chronic (Intro).mp3
02 - Fuck Wit Dre Day (And Everybody's Celebratin').mp3
03 - Let Me Ride.mp3
04 - The Day The Niggaz Took Over.mp3
05 - Nuthin' But A _G_ Thang.mp3
06 - Deeez Nuuuts.mp3
07 - Lil' Ghetto Boy.mp3
08 - A Nigga Witta Gun.mp3
09 - Rat-Tat-Tat-Tat.mp3
10 - The $20 Sack Pyramid.mp3
11 - Lyrical Gangbang.mp3
12 - High Powered.mp3
13 - The Doctor's Office.mp3
15 - The Roach [The Chronic Outro].mp3
16 - Bitches Ain't Shit.mp3
80 - The Pharcyde - (1992) - Bizarre Ride II The Pharcyde
01 - 4 Better Or 4 Worse (Interlude).mp3
02 - Oh Shit.mp3
03 - It's Jigaboo Time (Skit).mp3
04 - 4 Better Or 4 Worse.mp3
05 - I'm That Type Of Nigga.mp3
06 - If I Were President (Skit).mp3
07 - Soul Flower [Remix].mp3
08 - On The D.L..mp3
09 - Pack The Pipe (Interlude).mp3
10 - Officer.mp3
11 - Ya Mama.mp3
12 - Passing Me By.mp3
13 - Otha Fish.mp3
14 - Quinton's On The Way (Skit).mp3
15 - Pack The Pipe.mp3
16 - Return Of The B-Boy.mp3
The Pharcyde - Bizarre Ride II The Pharcyde.m3u
81 - The Breeders - (1990) - Pod
01 - Glorious.mp3
02 - Doe.mp3
03 - Happiness Is A Warm Gun.mp3
04 - Oh!.mp3
05 - Hellbound.mp3
06 - When I Was A Painter.mp3
07 - Fortunately Gone.mp3
08 - Iris.mp3
09 - Opened.mp3
10 - Only In 3's.mp3
11 - Lime House.mp3
12 - Metal Man.mp3
82 - Sonic Youth - (1990) - Goo
01 - Dirty Boots.mp3
02 - Tunic.mp3
03 - Mary-Christ.mp3
05 - Mote.mp3
06 - My Friend Goo.mp3
07 - Disappearer.mp3
08 - Mildred Pierce.mp3
09 - Cinderella's Big Score.mp3
10 - Scooter & Jinx.mp3
11 - Titanium Exposé.mp3
Goo.log
Goo.m3u
83 - Pixies - (1991) - Trompe le Monde
01 - Trompe Le Monde.mp3
02 - Planet Of Sound.mp3
03 - Alec Eiffel.mp3
04 - The Sad Punk.mp3
05 - Head On.mp3
06 - U-Mass.mp3
07 - Palace Of The Brine.mp3
08 - Letter To Memphis.mp3
09 - Bird Dream Of The Olympus Mons.mp3
10 - Space (I Believe In).mp3
11 - Subbacultcha.mp3
12 - Distance Equals Rate Times Time.mp3
13 - Lovely Day.mp3
14 - Motorway To Roswell.mp3
15 - The Navajo Know.mp3
Pixies - Trompe le Monde.m3u
Trompe le Monde.log
85 - Massive Attack - (1991) - Blue Lines
01 - Safe From Harm.mp3
02 - One Love.mp3
03 - Blue Lines.mp3
04 - Be Thankful For What You Got.mp3
05 - Five Man Army.mp3
06 - Unfinished Sympathy.mp3
07 - Daydreaming.mp3
08 - Lately.mp3
09 - Hymn Of The Big Wheel.mp3
Blue Lines.log
Massive Attack - Blue Lines.m3u
86 - Destroyer - City of Daughters
01 - Comments On The World As Will.mp3
02 - No Cease Fires.mp3
03 - The Space Race.mp3
04 - Dark Purposes.mp3
05 - Emax I.mp3
06 - I Want This Cyclops.mp3
07 - Loves Of A Gnostic.mp3
08 - Emax II.mp3
09 - State Of The Union.mp3
10 - School, And The Girls Who Go There.mp3
12 - War On Jazz.mp3
13 - Emax III.mp3
14 - You Were So Cruel.mp3
15 - Signs.mp3
16 - Rereadng The Marble Faun.mp3
17 - Son Of The Earth.mp3
87 - GZA_Genius - (1995) - Liquid Swords
01 - Liquid Swords.mp3
02 - Duel Of The Iron Mic.mp3
03 - Living In The World Today.mp3
04 - Gold.mp3
05 - Cold World.mp3
06 - Labels.mp3
07 - 4th Chamber.mp3
08 - Shadowboxin'.mp3
10 - Investigative Reports.mp3
11 - Swordsman.mp3
12 - I Gotcha Back.mp3
13 - Basic Instructions Before Leaving Earth.mp3
88 - Wilco - (1996) - Being There
101 - Misunderstood.mp3
102 - Far, Far Away.mp3
103 - Monday.mp3
104 - Outtasite (Outta Mind).mp3
105 - Forget The Flowers.mp3
107 - I Got You (At The End Of The Century).mp3
108 - What's The World Got In Store.mp3
109 - Hotel Arizona.mp3
110 - Say You Miss Me.mp3
201 - Sunken Treasure.mp3
202 - Someday Soon.mp3
203 - Outta Mind (Outta Sight).mp3
204 - Someone Else's Song.mp3
205 - Kingpin.mp3
206 - (Was I) In Your Dreams.mp3
207 - Why Would You Wanna Live.mp3
208 - The Lonely 1.mp3
209 - Dreamer In My Dreams.mp3
90 - Cocteau Twins - (1990) - Heaven or Las Vegas
01 - Cherry-Coloured Funk.mp3
02 - Pitch The Baby.mp3
03 - Iceblink Luck.mp3
04 - Fifty-Fifty Clown.mp3
05 - Heaven Or Las Vegas.mp3
06 - I Wear Your Ring.mp3
07 - Fotzepolitic.mp3
08 - Wolf In The Breast.mp3
09 - Road, River And Rail.mp3
10 - Frou-Frou Foxes In Midsummer Fires.mp3
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AlbumArt_{216BB516-9140-4BDE-AC4D-4E9393E18214}_Small.jpg
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91 - Tortoise - (1998) - TNT
01 - TNT.mp3
02 - Swung From The Gutters.mp3
03 - Ten-Day Interval.mp3
04 - I Set My Face To The Hillside.mp3
05 - The Equator.mp3
06 - A Simple Way To Go Faster Than Light That Does Not Work.mp3
07 - The Suspension Bridge At Iguazú Falls.mp3
08 - Four-Day Interval.mp3
09 - In Sarah, Mencken, Christ, And Beethoven There Were Women And Men.mp3
10 - Almost Always Is Nearly Enough.mp3
11 - Jetty.mp3
12 - Everglade.mp3
92 - Scott Walker - (1995) - Tilt
01 - Farmer In The City.mp3
02 - The Cockfighter.mp3
03 - Bouncer See Bouncer....mp3
04 - Manhattan.mp3
05 - Face On Breast.mp3
06 - Bolivia '95.mp3
07 - Patriot [(A Single)].mp3
08 - Tilt.mp3
09 - Rosary.mp3
Folder.jpg
Thumbs.db
93 - Bob Dylan - (1997) - Time Out of Mind
01 - Love Sick.mp3
02 - Dirt Road Blues.mp3
03 - Standing In The Doorway.mp3
04 - Million Miles.mp3
05 - Tryin' To Get To Heaven.mp3
06 - 'Til I Fell In Love With You.mp3
07 - Not Dark Yet.mp3
08 - Cold Irons Bound.mp3
09 - Make You Feel My Love.mp3
10 - Can't Wait.mp3
11 - Highlands.mp3
94 - Frank Black - (1994) - Teenager of the Year
01 - Whatever Happened To Pong_.mp3
02 - Thalassocracy.mp3
03 - (I Want To Live On An) Abstract Plain.mp3
04 - Calistan.mp3
05 - The Vanishing Spies.mp3
06 - Speedy Marie.mp3
07 - Headache.mp3
08 - Sir Rockaby.mp3
09 - Freedom Rock.mp3
10 - Two Reelers.mp3
11 - Fiddle Riddle.mp3
12 - Ole Mulholland.mp3
13 - Fazer Eyes.mp3
14 - I Could Stay Here Forever.mp3
15 - The Hostess With The Mostest.mp3
16 - Superabound.mp3
17 - Big Red.mp3
18 - Space Is Gonna Do Me Good.mp3
19 - White Noise Maker.mp3
20 - Pure Denizen Of The Citizens Band.mp3
21 - Bad, Wicked World.mp3
22 - Pie In The Sky.mp3
95 - Massive Attack - (1998) - Mezzanine
01 - Angel.mp3
02 - Risingson.mp3
03 - Teardrop.mp3
04 - Inertia Creeps.mp3
05 - Exchange.mp3
06 - Dissolved Girl.mp3
07 - Man Next Door.mp3
08 - Black Milk.mp3
09 - Mezzanine.mp3
10 - Group Four.mp3
11 - Exchange.mp3
Massive Attack - Mezzanine.m3u
Mezzanine.log
96 - Herbert - (1998) - Around the House
01 - [Untitled].mp3
02 - So Now.mp3
03 - Around The House.mp3
04 - Close To Me.mp3
05 - The Last Beat.mp3
06 - Going Round.mp3
07 - This Time.mp3
08 - We Still Have (The Music).mp3
09 - In The Kitchen.mp3
10 - Never Give Up.mp3
11 - We Go Wrong.mp3
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around the house.m3u
Thumbs.db
97 - Mogwai - (1997) - Young Team
01 - Yes! I Am A Long Way From Home.mp3
02 - Like Herod.mp3
03 - Katrien.mp3
04 - Radar Maker.mp3
05 - Tracy.mp3
06 - Summer [Priority Version].mp3
07 - With Portofolio.mp3
08 - R U Still In 2 It_.mp3
09 - A Cheery Wave From Stranded Youngsters.mp3
10 - Mogwai Fear Satan.mp3
98 - K.M.D. - (1991) - Mr. Hood
01 - Mr. Hood At Piocalles Jewelry,Crackpot.mp3
02 - Who Me (With An Answer From Dr. Bert).mp3
03 - Boogie Man!.mp3
04 - Mr. Hood Meets Onyx.mp3
05 - Subroc's Mission.mp3
06 - Humrush.mp3
07 - Figure Of Speech.mp3
08 - Bananapeel Blues.mp3
09 - Nitty Gritty (Featuring Brand Nubian).mp3
10 - Trial 'N Error.mp3
11 - Hard Wit No Hoe.mp3
12 - Mr. Hood Gets A Haircut.mp3
13 - 808 Man.mp3
14 - Boy Who Cried Wolf.mp3
15 - Peachfuzz.mp3
16 - Preacher Porkchop.mp3
17 - Soulflexin'.mp3
18 - Gasface Refill (Bonus Track).mp3
19 - Nitty Gritty Remix (Featuring Busta Rhymes And Brand Nubian).mp3
KMD - Mr. Hood (--aps).sfv
99 - Raekwon - (1995) - Only Built 4 Cuban Linx
01 - Striving For Perfection.mp3
02 - Knuckleheadz.mp3
03 - Knowledge God.mp3
04 - Criminology.mp3
05 - Incarcerated Scarfaces.mp3
06 - Rainy Dayz.mp3
07 - Guillotine (Swordz).mp3
08 - Can It Be All So Simple.mp3
09 - Shark Niggas (Biters).mp3
10 - Ice Water.mp3
11 - Glaciers Of Ice.mp3
12 - Verbal Intercourse.mp3
13 - Wisdom Body.mp3
15 - Ice Cream.mp3
16 - Wu-Gambinos.mp3
17 - Heaven & Hell.mp3
18 - North Star (Jewels).mp3
Only Built 4 Cuban Linx.log
Raekwon - Only Built 4 Cuban Linx.m3u
Torrent description
[color=blue]Top 100 albums of the 1990s[/SIZE][/color]
Top 100 albums of the 1990s
1 Radiohead OK computer 1997
2 My bloody Valentine Loveless 1991
3 Flaming lips The soft bulletin 1999
4 Neutral milk hotel In the aeroplane over the sea 1998
5 Pavement Slanted and enchanted 1992
6 Nirvana Nevermind 1991
7 DJ Shadow Endtroducing 1996
8 Pavement Crooked rain, crooked rain 1994
9 Bonnie 'Prince' Billy I see a darkness 1999
10 Guided by voices Bee thousand 1994
11 Talk talk Laughing stock 1991
12 Slint Spiderland 1991
13 Nirvana In utero 1993
14 Belle and Sebastian If you're feeling sinister 1996
15 Radiohead The bends 1995
16 Dismemberment plan Emergency & I 1999
17 Public enemy Fear of a black planet 1990
18 Smashing pumpkins Siamese dream 1993
19 Beck Odelay 1996
20 Björk Post 1995
21 Björk Homogenic 1997
22 Built to spill Perfect from now on 1997
23 Beta band The 3 ep's 1998
24 Built to spill There's mothing wrong with love 1994
25 Yo la tengo I can hear the heart beating as one 1997
26 Weezer Weezer ("blue album") 1994
27 Guided by voices Alian lanes 1995
28 Pixies Bossanova 1990
29 Modest mouse The lonesome crowded West 1997
30 Liz Phair Exile in Guyville 1993
31 Wilco Summer teeth 1999
32 Notorious B.I.G. Ready to die 1994
33 Nas Illmatic 1994
34 Beastie boys Check your head 1992
35 Boards of Canada Music has the right to children 1998
36 Wu-Tang clan Enter the Wu-Tang (36 chambers) 1993
37 Magnetic fields 69 love songs 1999
38 Jesus lizard Goat 1991
39 Olivia tremor control Dusk at Cubist castle 1996
40 Aphex twin Richard D. James album 1996
41 Yo la tengo Painful 1993
42 Fugazi Red medicine 1995
43 R.E.M. Automatic for the people 1992
44 Boredoms Super are 1998
45 Godspeed you black emperor! F#a#oo 1998
46 Air Moon safari 1997
47 Oval 94 Diskont 1995
48 Portishead Dummy 1994
49 Tom Waits Bone machine 1992
50 Outkast Aquemeni 1998
51 Stereolab Emperor Tomato Ketchup 1996
52 PJ Harvey Rid of me 1993
53 Weezer Pinkerton 1991
54 Blur Parklife 1994
55 Spiritualized Ladies and gentlemen we are floating in space 1997
56 A Tribe called quest The low end theory 1991
57 Brainiac Bonsai superstar 1994
58 Jesus lizard Liar 1992
59 Elliott Smith Either/Or 1997
60 Palace Viva last blues 1995
61 Pulp Different class 1995
62 Aphex twin Selected ambient works, volume 2 1994
63 De la soul De la soul is dead 1991
64 Breeders Last splash 1993
65 Daft punk Homework 1996
66 Tricky Maxinquaye 1995
67 Mouse on Mars Iahora Tahiti 1995
68 Elliott Smith XO 1998
69 Jeff Buckley Grace 1994
70 Jawbox For your own special sweetheart 1994
71 Dr. Octagon Ecologyst 1996
72 Silver jews American water 1998
73 Brainiac Hissing prigs in static couture 1996
74 Ride Nowhere 1990
75 A Tribe called quest Midnight marauders 1993
76 Mercury rev The deserter's song 1998
77 Primal scream Screamadelica 1991
78 Stereolab Mars audiac quintet 1994
79 Dr. Dre The chronic 1992
80 Pharcyde Bizarre ride II The Pharcyde 1992
81 Breeders Pod 1990
82 Sonic youth Goo 1990
83 Pixies Trompe le monde 1991
84 Company flow Funcrusher plus 1997
85 Massive attack Blue lines 1991
86 Destroyer City of daughters 1998
87 Genius/GZA Liquid swords 1995
88 Wilco Being there 1996
89 Squarepusher Music is rotted one note 1998
90 Cocteau twins Heaven or Las Vegas 1990
91 Tortoise TNT 1998
92 Scott Walker Tilt 1995
93 Bob Dylan Time out of mind 1997
94 Frank Black Teenager of the year 1994
95 Massive attack Mezzanine 1998
96 Herbert Around the house 1998
97 Mogwai Young team 1997
98 KMD Mr. Hood 1991
99 Raekwon Only built 4 Cuban linx 1995
100 Orb The Orb's adventures beyond the Ultraworld 1991
100: The Orb
The Orb's Adventures Beyond the Ultraworld
[Big Life; 1991]
At the very start of the 1990s, The Orb's Adventures Beyond the Ultraworld managed to make ambient house a perpetual "next big thing" for the rest of the decade. As fearless psychic peregrinators, Dr. Alex Paterson, Thrash, and around 20 other musicians loaded the record up with BBC Shakespeare performances and Apollo 11 recordings, then hit the spaceways, making stops in Detroit clubs, Indian dancehalls, London philharmonics, and Tibetan monasteries. It made for an album that could appeal to everyone from new age receptionists to dubheads to prog-rock pharmacists.
Lest it be forgotten, this is also one of the most supremely hypnotizing drug albums ever. There are more rocket launches here than a New Years' Eve Kiss concert in Los Alamos. Under carbonated cosmo-fountains of astro-juice, the Ultraworld expedition encounters pulsing photon beats and God himself ("And the mountains shall drop sweet wine and the hills shall melt"). It's simultaneously liquid enough to put you to sleep and frighteningly exotic enough to hype your nerves up on the way to the rave. House music was now officially epic. --Alex Linhardt
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099: Raekwon
Only Built 4 Cuban Linx
[Loud; 1995]
is "ghetto haiku"
still the leading Wu cliché,
or..."cinematic?"
but here it's true, like
magnetic poetry mixed
up by Kool G. Rap
Rae and Ghost, lovers
never more opaque, slanged-out
wandering the streets
black mafioso
inventors, raw rhyme spitters
(Deck kills "Guillotine")
yet other rappers
bring their lucid best-- Nas on
"Verbal Intercourse"!
and beats aren't dull or
inert as older chambers;
"Ice Cream", "Knowledge God". -- Mullah Omar
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098: KMD
Mr. Hood
[Asylum; 1991]
How much more fun can you have with race politics? On KMD's 1991 underground hip-hop classic, the clueless, white-as-starched-napkins Mr. Hood disses Onyx's mom, Sesame Street's Bert helps us hunt for Little Sambo, and the group's political speechifying rolls masterfully over scratchy old R&B samples. It's not only a crime but also a mystery why this is still out of print-- especially considering MF Doom's current prominence. In KMD, he went by the name Zev Love X, fresh-faced instead of metal-faced, but still dropping rhymes from his mouth like coils of rope; Onyx, who quit after this record, and the late DJ Sub-Roc fill out the trio. What happened after this record is legend: Their grittier and lower-fi follow-up, Black Bastards, was pulled by their label for years, and Sub-Roc was unfortunately killed in an accident. Yet with all that tragic baggage-- and all of its angry rhetoric and heavy themes-- Mr. Hood is still a blast to listen to, an easy-going record rich with neighborhood stories, folklore allusions, some of the funniest skits of all time, and one classic cut after another. --Chris Dahlen
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097: Mogwai
Young Team
[Jetset; 1997]
Mogwai weren't the first rock band to stack up thick, hypnotic layers of ambient drone, thread in some raw cellos and violins, maximize the rushing crescendo, and then proudly brand the result "post-rock." But they are, inarguably, some of the most successful noodlers their field has seen. Dealing in pedals, ploys and big, galactic drama, Mogwai consistently capture the experience of loping up every last hill in Scotland, then tumbling back down with a gorgeous, triumphant blast of sound. While Mogwai's output may be perpetually swelling, it's hardly facile: Young Team, the band's stunning 1997 debut, pulled together unexpected bits of found sound, carefully tinkered piano, and plenty of now-trademark crashing guitars, each lulling wave of sound eventually punctuated by an explosion of feedback or jarring soft-loud shift. Successfully transcending the tedium of instrumental drone rock, Young Team remains a thrilling listen, dynamic, arch and occasionally terrifying: Check the unforeseeable guitar eruption three minutes into "Like Herod". You will fall out of your chair. --Amanda Petrusich
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096: Herbert
Around the House
[!K7; 1998]
The title of Mathew Herbert's first proper full-length under his own name is a pun, of course-- one that states his M.O. quite nicely. Around the House is playful and open-ended, veering from straight pop to exercises in sound manipulation, but its comforting 4/4 post-disco beat puts it all in the vicinity of house music. The title also alludes to the common objects that served as sound sources throughout the record, something that for the listener is incidental.
Herbert has always thrown a light on his composition method, going so far as to spell it out formally and draft a written manifesto for music creation, but the "how" of Herbert's music is easy to ignore as you immerse yourself in his sound. Around the House, save a long soundscape at its end, is airy, spacious and warm, the aural equivalent of late fall afternoon sun. The record has no duds, but the highlight is definitely "So Now", which, elevated by collaborator Dani Siciliano's vocals, is one of the greatest pop songs in Herbert's oeuvre. Given the limitless sonic possibilities of the computer, Matthew Herbert is a genius with limitation. --Mark Richardson
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095: Massive Attack
Mezzanine
[Virgin; 1998]
It's hard to improve on Brent DiCrescenzo's original review of this album, which pointed out that Mezzanine absorbs light. Even in the blacklit genre of trip-hop, nothing hit the low register like the pulses of the brooding "Angel" or the choked-out, smoked-out vocals on "Risingson". But what saves this from being a mere opium drip soundtrack are the flashes of pop: the subtle hooks, the dependable songwriting, and-- most of all-- the spare use of Elizabeth Fraser's high vocal wisps. On "Teardrop" and especially "Group Four", the contrast between that fleeting beacon and the void below evoke far more drama than their writing ever could-- like some classic mythological painting where the gates of heaven are just barely in sight of whatever's damned at the bottom. --Chris Dahlen
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094: Frank Black
Teenager of the Year
[4AD; 1994]
Though originally panned by critics and fans for its bug-eyed sense of humor and perceived lack of focus, Frank Black's Teenager of the Year has since come to be regarded as the defining statement of his solo career. Spanning 22 sprawling tracks and more than 60 minutes, it's not an album that quickly reveals itself, but beneath its initially rabid veneer lie moments brilliant enough to rival any of the Pixies' 1990s work, and Black's greatest lyrical achievements. Witness "Speedy Marie", whose profoundly romantic lines, like many on the album, exhibit a near-poetic depth: "Wise is the tongue, wet of perfect thought/ And softest neck where always do I/ Lay my clumsy thoughts." "White Noise Maker" laments the modern age with a vintage amplifier as its central symbol: "That billboard prose shining on me/ And it shines because/ It's been so long since my Telstar/ I hope it crashes in the sea." "Headache" details its namesake with the evocative turn, "My heart is crammed in my cranium and it still knows how to pound."
These songs serve not only as examples of Black's lyrical ingenuity, but also his mastery of the three-minute pop song. This album is, in fact, filled with evidence of Black's songwriting proficiency: From the bouncy piano pop of "The Vanishing Spies", to the wistful rocker "Calistan", to "Freedom Rock", "I Could Stay Here Forever" and "Space Is Gonna Do Me Good", Teenager of the Year is the kind of cerebral pop masterpiece that could only be deemed a disappointment in the wake of such an indomitable precedent as the Pixies. --Ryan Schreiber
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093: Bob Dylan
Time Out of Mind
[Columbia; 1997]
Bob Dylan will always be understood as a stubbornly prolific songwriter, his magnificent, fuck-off scowl belying a throbbing penchant for unadulterated self-expression. In the post-Blood on the Tracks 1970s, Dylan served up loads of unilaterally unwelcome records about his newfound (and adamant) embrace of born-again Christianity; when necessary, he shot the appropriate sneer at open-mouthed detractors, refusing to play any other material at his live shows. In the 1980s, he spit out a few insufferable quasi-dance experiments (see 1985's Empire Burlesque), an infamously wretched Grateful Dead pile-up (1989's Dylan & The Dead), and embarked on an, um, ambitious never-ending world tour. In the early 1990s, we glimpsed a brief return to traditional acoustic folk, a greatest hits record, and then, finally, in 1997, the stunning Time Out of Mind.
Dylan's groundbreaking work in the 1960s had already provided him with a valid, non-expiring pass for late-millennium stumbling; Time Out of Mind wasn't especially necessary to preserve his legacy, a fact that makes the record feel even more quintessentially Dylan-esque. Unexpected, unprecedented and wholly remarkable, Time Out of Mind contained Dylan's strongest songwriting since in two decades, a gritty, dark and hauntingly spare lamentation of mortality and love. Opener "Lovesick" stands as one of the most heartbreakingly vitriolic love songs ever recorded, while "Standing in the Doorway"-- with its delicate electric guitar and plaintive vocals-- sees Dylan at his most vulnerable. Indeed: Bob came back, again. --Amanda Petrusich
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092: Scott Walker
Tilt
[Drag City; 1995]
Scott Walker's retreat from the public eye in the 1980s only assisted his ascent into the realm of the avant-garde. His 1984 Climate of the Hunter LP hinted at a newfound interest in eclectic ambience but was nothing compared to the creative supernova of 1995's Tilt. Here, Walker's music wasn't completely removed from his classic 1960s existential baroque-pop, but rather allowed to evolve naturally into a bizarre and engaging dark suite of art-songs. "Farmer in the City"-- a tribute to Italian art-house director Paolo Pasolini-- connects Walker's affinities for cinematic orchestral arrangements and weighty, minor key balladry. "The Cockfighter", like many of Tilt's tracks, uses natural ambience and subtle electronic touches to establish a mood, and then suddenly erupts into abrasive, aggressive avant-rock, as Walker operatically wails, "It's a beautiful night!"
In fact, Tilt resembles nothing so much as an extended, post-modern aria; its structure defying the simple arrangement of verses and choruses, it delivers a faithful presentation of stream-of-consciousness self-discovery and even dementia. The most ambitious moments ("Patriot [A Single]", "Bouncer See Bouncer") elude description entirely, but are stunning examples of what can happen when an artist is allowed to explore his muse on his own terms. The chilling "Rosary", featuring only a trembling Walker accompanying himself on guitar, perhaps betrays the intense isolation at the heart of Tilt, but it also exposes his raw-nerve expression as both a beacon of originality and something capable of truly moving emotional resonance. --Dominique Leone
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091: Tortoise
TNT
[Thrill Jockey; 1998]
Consider this post-rock's problem child. TNT marked a confluence of avant-garde jazz, indie rock and minimalist lite-techno that circuitously landed itself in territory carefully avoided by traditional rock albums: easy listening. Never too abrasive, yet consistently challenging, TNT was like a hypnotic snowglobe that refused to settle without ever having required shaking. Tortoise showcased their musicians' talents with an improviser's bent, leaving behind the sometimes production-centric electronic dub leanings of Millions Now Living Will Never Die in favor of a more inspired, organic feel. You can feel the groove in the album's opening minutes: fragmented loose drum forms slowly take shape behind scattered angular guitar chords, only to fall perfectly in line for a subdued, but determined, steady full-circuit instrumental jam. From there the doors are thrown wide open until the mesmerizing tones of "Everglade" float you home. Tortoise let you inside for this one, so just keep it down and don't touch anything. --William Morris
<!--pagebreak-->090: Cocteau Twins
Heaven or Las Vegas
[4AD; 1990]
Initially, the glacial textures conjured by guitarist Robin Guthrie on Heaven or Las Vegas may seem like frozen artifacts from a forgotten shoegazer past. But behind its icy exterior lies the album's beating heart-- a core of ungodly gorgeous songs that is every bit as moving and relevant today as it ever was. Elizabeth Fraser's vocal performance, more straightforward here than on any of the Cocteaus' 80s output, is strikingly nuanced, imbuing the record's haunting melodies with an entirely unique and entrancing character. The songs themselves are remarkably complex, weaving crisp electronic beats, monolithic synthesizers, effects-laden guitar, and Fraser's stately and angelic voice into a seamless sonic velour. --Matt LeMay
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089: Squarepusher
Music Is Rotted One Note
[Warp; 1999]
Perhaps it was unexpected that one of the pioneering electronic music performers of the 1990s would produce a truly definitive post-rock album, but of course, Squarepusher has always been excitable. Tom Jenkinson's striking 1998 release bore more in common with Herbie Hancock's Headhunters than it did anything in his own catalog-- or, indeed, all of Warp's. The jazz fusion-informed bass figures on his previous albums only hinted at what must have been an extensive background in the genre, but this sound came to the fore on Music Is Rotted One Note, and did so with a vengeance. "Chunks" bursts out of the gate like a funky jungle cat, sounding like something ripped off the cutting room floor of Miles Davis' On the Corner sessions. "Don't Go Plastic" dropped the hyperspeed drums (also courtesy of Jenkinson) and vintage Fender Rhodes piano, applying extremely subtle electronic manipulations. One of the most obvious accomplishments of the record was its success in updating a model long since to have been perfected. However, it's the dark, hazy mood Squarepusher sustains that gives the album life. --Dominique Leone
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088: Wilco
Being There
[Reprise; 1996]
Jeff Tweedy's first post-Uncle Tupelo venture began as all-around underwhelming substitute for hungry, belt-buckled alt-country fans: Wilco's humble debut, the twang-heavy country-pop offering A.M., contained virtually no hints of the band's potential for subtle sound-sketching. It wasn't until 1996's double-disc, the 19-track Being There, that Tweedy and company began tapping into the skittish, textured atmospherics that would-- nearly six years later-- secure them a fixed spot in the American canon. Being There is a notoriously inconsistent effort. Deeply ambitious, its missteps (see the overstated, Stones-lite faux-boogie of "Monday") were ultimately incapable of sullying the transcendence of its epic successes. Among those, opener "Misunderstood" pit 60s psychedelia (pinging strings, studio fuzz and unexpected splats of sound) against a sweet, spare piano melody, while "The Lonely 1" cemented the band's ability to eschew sentimentality without sacrificing warmth. Being There was Wilco's original coming-of-age, an occasionally awkward, ultimately profound transformation into something altogether new and beautiful. --Amanda Petrusich
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087: GZA/Genius
Liquid Swords
[Geffen; 1995]
This blurb is coming to you live from a Wal-Mart laptop at my grandmother's funeral. GZA is bragging on a cassette I'm playing through headphones hooked up to a karaoke toy. The family curse is in full effect: My cousin's been hit by an SUV, my mom's boyfriend is wheelchair-bound after a fall at his junkyard, and four people in our party have contracted a virus, including the girlfriend I dragged along. Let's just say this tape befits a climate of localized terror. Too band the word "ultrasound" already has something to do with babies, because RZA's peak production deserves its own noun to encapsulate the tense beats and samples that dipped Cold Chillin' round-beat cartoonishness in Scorsese dread-mospherics (a style Eminem lately lives to crib).
Liquid Swords was the rare Wu-Tang splinter project that didn't feel like a footnote to 36 Chambers: The songs seem driven by bassists, hit more like metal than funk, and are strewn with gangsta detritus (rough neighborhoods, bitch cops, doomed children). The album's hosts are impolitic enough to threaten that their challengers will go out like Brandon Lee and Pan Am Flight 103, breaking up their boasts with martial-arts dialogue about using older styles to avenge themselves. The bent, Bomb Squad-esque horns of "Living in the World Today" rank among hip-hop's most unnerving, while the retarded keyboards of "4th Chamber" and "Killah Hills 10304" are way sicker than they ought to be. The echoing ampitheatrics rock as scarily as they did when I first heard them, in the days before we judged music with our hard-earned modems: I was sweeping up pigeon shit in the attic of a indie record store shut down by a chain's emergence across the street when-- oh god, no. My cassette just snapped. --William Bowers
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086: Destroyer
City of Daughters
[Triple Crown; 1998]
An acoustic guitar and some CB fuzz was all the yelpy brainball Daniel Bejar needed to join the untradition of songwriting greatness, hurling forth more political metaphors for love than early Songs: Ohia. Like the work of the Silver Jews' David Berman, the lyrics steal the often-awkward show: "The ties that blind us bind us." "Steeples don't hurt any more than they used to hurt." "Boys set fire to the seasons." "Impenitent brothers, sway to the song of a new heretical dawn." "Nothing does a body good like another body." "Maybe I know where to run/ Brother, I know where to hide." "I am a tastemaker and I kill things/ I am not a tastemaker and I kill things." "And Jennifer, your haltertop, a consecrated altar/ But I've run my hands and knees in shame there one too many times." "Outlandish schemes for the Andover dreams/ We've weaned ourselves off of and off of and off of." "You were so cruel, and it was her house." "Modern times, modern minds/ Signs, signs, everywhere, signs." "A pleasantry the blonde in you responded to." "I just finished the book, and some of it's true." "Go girlish down the aisle." Damn straight, darn tooting and dark purposes. --William Bowers
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085: Massive Attack
Blue Lines
[Virgin; 1991]
In 1990, hip-hop was steadily winding its way into the mainstream, and aside from a handful of hardcore acts (Public Enemy, NWA), the genre was splitting into two camps-- creatively bankrupt pop-rap like Hammer and Kid N' Play, or softer, accessible edutainment like Tribe, LL and Brand Nubian-- neither of which were too appealing to those with subversive leanings. Needless to say, it was time for the Brits to bring some much-needed fog and terror. The first lines of "Safe from Harm" were like a smooth kick to the velveted head: "Midnight rockers/ City slickers/ Gunmen and maniacs"-- and this was one of the romantic songs! Massive Attack's amalgamation of vintage dub, ambient starkness, hip-hop beats, siren divas, and drawling, purring raps was the sound of the street, whether you were in an embrace in the park or a gunfight in the alley.
3D, Daddy G, and Mushroom packed all the talent of Bristol (including reggae superstar Horace Andy and a young anti-go-getter then known as Tricky Kid) into a cellar and drew up smoke. 3D and Daddy G invented stoned insouciance a year and a half before Snoop would debut on Dre's The Chronic, tossing off smooth antinomies and meandering stories at a slug's pace. And when they were conjoined to earthy strings, minimalist samples, and Shara Nelson's voice, it incontestably changed the world's perception of the resonance of rap. --Alex Linhardt
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084: Company Flow
Funcrusher Plus
[Rawkus; 1997]
It can safely be assumed that El-P is the only rapper who has ever listed Philip K. Dick, Thomas Pynchon, and Terry Gilliam as his primary influences. As well as being one of the most prominent producers in underground hip-hop today, this is the kind of lyricist who calls himself a "sycophant" and other rappers "vainglorious." Yet, unlike many of the underground intelligentsia's other offerings on Rawkus, this ain't soft self-contemplation. El-P, Big Juss, and Mr. Len might know who Jackson Pollack is, but they also know his art looks a hell of a lot like splattered blood all over the park. On Funcrusher Plus, tales of molestation, murder, and assaults on capitalism were encapsulated in dense, smart, impenetrable lyrics without precedent, delivered at a fractured pace that required more listens than mortality will permit.
No one was prepared for the accompanying beats. As Big Juss puts says, they're "hardcore like Kool G Rap made for concert piano." Minimal percussion, piano and trumpet raise their heads over the walls of a police state. The beats are utterly disconcerting, like funk squeezed of their essence, popped into shells, and heard through dusty gramophones miles away. Purposefully defying anything remotely resembling mainstream sheen, the rhythms are sheer stuttering, shambling masterpieces, as sporadic and calamitous as gunshots. There was only one thing more dystopic and frightening this decade; I believe it was called the Zaire dictatorship. --Alex Linhardt
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083: Pixies
Trompe le Monde
[4AD; 1991]
The surrealistic heights of Doolittle were never replicated, and by the time of Trompe le Monde, the Pixies' in-band squabbles had become common knowledge. Yet this still made a powerful finale, recasting the ingredients that had caused fans to fall so deeply in love with the Boston foursome in the first place. While somewhat skimpy with the dreamy vocal interplay of Frank Black and Kim Deal (when someone says "4AD," I still think of that ghostly echo), the best songs smoked regardless, boasting brilliant drums fills and scattershot rhythms, an unpredictable compositional sense, and Black's increasingly opaque lyricism. His words sounded sexy even when they didn't make much sense, and "U-Mass"' "Oh kiss me cunt/ Oh kiss me cock" remains one of rock 'n' roll's better come-ons. It was all in the chemistry, even when nobody was talking to one another. --Brandon Stosuy
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082: Sonic Youth
Goo
[DGC; 1990]
After spending most of the 1980s flaunting their Branca-inspired free-form guitar squall, seminal noise-rockers Sonic Youth tumbled into the 90s with Goo, the largely anticipated (and comparably amiable) follow-up to 1988's groundbreaking Daydream Nation. The band's first album after switching to major DGC, Goo was a notoriously "transitional" record, with Sonic Youth cramming their feedback-heavy dissonance into a slightly more focused aesthetic and pushing memorable melodies without compromising their much-beloved contentiousness. By demanding full creative control and limited A&R capacities from the label, Sonic Youth unknowingly etched a successful template for future indie bands yearning for the double-dip of major-label distribution and indie-like sovereignty. --Amanda Petrusich
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081: The Breeders
Pod
[4AD; 1990]
Pod is a blissful mindfuck of a record. Deal may have played coy and seductive throughout, but there was something subtly sinister to her cooing-- like a siren or a schoolgirl concealing a butcher knife, her methods of enticement immediately struck as inherently destructive. This dynamic was fully realized in the songs themselves, which came across like the product of a band caught in a constant cycle of self-destruction and rebirth. Sure, the songs were catchy-- frighteningly so, in fact-- but that just served to make them all the more poignant when they fall apart. Deal's tobacco-stained delivery and Steve Albini's sharp, make-up-free production make songs like "Oh", "Doe", and the unforgettable "Iris" are as oddly wrenching as they are outwardly pretty and well-constructed.
More than a decade later, this record remains deliciously inscrutable. Sometimes it's disarmingly gorgeous. Other times it's punishingly gritty and violent. Usually, it's both. Pod's bipolar cover of "Happiness Is a Warm Gun" perfectly encapsulates the record as a whole-- whether Deal was playing it cool or tearing shit up, she seemed to be enjoying every second of it. --Matt LeMay
<!--pagebreak-->080: The Pharcyde
Bizarre Ride II The Pharcyde
[Delicious Vinyl; 1992]
Offshoots of the same Los Angeles Good Life open mic night that brought up Freestyle Fellowship, Project Blowed and Jurassic 5, The Pharcyde also adopted the same flippant disregard for structure, preferring to build upon a loose sing-song style influenced by their jazz upbringings. Combining a love for both traditional hip-hop and abstract jazz, their unflinching cadence changes and spectrum of vocal tones made for not just one of the most distinctive rap records of the decade, but also a defining voice for the youth of the 90s: defiant and original but keenly aware of the past.
Personifying hip-hop as a partner in marriage, admonishing the crooked nature of police officers, and lamenting lack of success with the opposite sex were just a few of their prerogatives, as they rolled across J-Swift's diversely smooth production canvas, mashing Jimi Hendrix with Quincy Jones one moment while flipping James Brown unlike anyone else ever would the next. These days, Fatlip is recovering from a drug problem, and SlimKid3 flails in the grip of Scientology, but in 1992, they represented the fresh face of hip-hop through frantic vocal manipulation and gorgeous jazz backdrops. Essential. --Rollie Pemberton
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079: Dr. Dre
The Chronic
[Death Row; 1992]
I graduated from college in 1992, and during my time at Michigan State University, Public Enemy dominated the hip-hop landscape. Great singles by Young MC and Digital Underground were also popular, but PE was the perfect rap foil to what was then called "college rock." That year, however, things changed-- mostly due to The Chronic. On that album, the West Coast gangsta fantasy took wing, boosted by Dre's deeply funky sound and the brutal dreams of nearby Hollywood. The spectrum of nihilist violence on The Chronic is numbing, ranging from gangland territorial pissings to vengeful prison rape-style scenarios to naked misogyny.
With his feminized Slick Rick-inspired flow, Snoop Dogg manages to make a lot of this somehow charming-- or at least a little funny. Dre is occasionally awkward on the mic (he would later improve as a rapper), but Snoop is bursting with the skill and energy of someone who senses his big moment has finally come. Oddly, the backing tracks now sound rather thin and cheap, miles from the slick sound for which Dre has deservedly become famous, but the relative low fidelity works in this context. Dr. Dre's debut was a watershed moment. Every hip-hop record after had to address The Chronic in some way, either embracing or rejecting what it popularized. Hip-hop's indie/mainstream split started here. --Mark Richardson
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078: Stereolab
Mars Audiac Quintet
[Elektra; 1994]
One summer, my entire driving soundtrack consisted of Peng!, Transient Random-Noise Bursts with Announcements and Mars Audiac Quintet. The propulsive opiate repetitions of Stereolab's radical elevator music went well with shifts in cloud formations and managed to slow-down the frantic New Jersey traffic patterns. In some ways, Mars Audiac Quintet is the least ambitious record of Stereolab's early-90s period, but it still sounds savvy: Check the subversive "Ping Pong", which contrasts sunny-day musicality with anti-war economic theory. Better yet are the hopeful sentiments expressed within the dreamy "Wow and Flutter": "I thought IBM was born with the world/ The U.S. flag would float forever/ The cold opponent did pack away/ The capital will have to follow/ It's not eternal, imperishable/ Oh yes, it will go." Death as a liberating force: If we die, it seems IBM will die, too. --Brandon Stosuy
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077: Primal Scream
Screamadelica
[Sire; 1991]
While Nirvana were summing up the past and changing the economic landscape of U.S. indie rock, a handful of the UK's guitar bands were altering the sonics of that country's indie sounds by engaging with and absorbing the ground-shifting acid house and rave movements. Unlikely members of that future-think fraternity were retro chameleons Primal Scream, whose Screamadelica made an immediate and seismic impact. Featuring collaborations with producers such as Andrew Weatherall and The Orb, Screamadelica thumbed its nose at issues of authorship (and not just with Bobby Gillespie's penchant for lyrical larceny) and rock music's limiting confines of bass, guitar, drums, and vox. Live playing met process music and all that mattered was what came out of the speakers, a buoyant blend of the immediacy of 60s/70s psych and rock with the texture and elasticity of acid house, dub and deep house.
A clarion call for rock fans to stop fighting the future, Screamadelica made no effort to hide its mission statements. Even its song titles read like calls to arms: "Movin' On Up", "Come Together", "Don't Fight It, Feel It", "Shine Like Stars", "Higher Than the Sun", "Slip Inside This House". From the sanguine rattle and hum of the dub version of "Higher Than the Sun" to the heart-lifting melody of "Come Together", Screamadelica's atmospheric and imaginative hybrid of past, present and future captured its moment in vivid color and splendor, and it still radiates with a kaleidoscopic glow. --Scott Plagenhoef
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076: Mercury Rev
Deserter's Songs
[V2; 1998]
Leaving behind the transient random noise bursts and free-ranging psychedelia that made Mercury Rev notorious (they were once kicked off a Lollapalooza tour for being too loud), Deserter's Songs wove a beautiful orchestral tapestry that gave us our first unfiltered peak at the heavenly glow producer Dave Fridmann would later perfect. "The Hudson Line" burst open with Grasshopper's ecstatic guitar, "Delta Sun Bottleneck Stomp" treated us to a promenade in outer space, "Endlessly" made a generation of hipsters fall in love with bassoons and musical saws, and Jonathan Donahue's strange pack-a-day-choirboy voice levitated in the Technicolor explosion of "Opus 40". Deserter's Songs is at once a lullaby, a trip, and a triumph. You'll never hear "Silent Night" the same way again. --Joe Tangari
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075: A Tribe Called Quest
Midnight Marauders
[Jive; 1993]
Heralded as one of the charter members of the conscious rap compendium collectively known as the Native Tongues, A Tribe Called Quest rose to the upper echelon of the industry through their accessible grip on the conveyance of modern problems. They discussed the social ramifications of the N-word, detailed the myriad possibilities in late-night New York, pontificated on various strategies of attracting the opposite sex, and managed to confuse the practical definition of gravity, all while informing the listener of their vast superiority to their peers. Saddled with derivative face value, a deep listen to this record unveils the sound that helped promote the current chilled vibe-oriented underground (Frank and Dank, Madlib, Little Brother) while maintaining a purely independent view of the New York hip-hop landscape of the time.
Further developing the low end sound that made them famous, ATCQ collectively produced a jazz-hop clinic that finds itself equal parts Pete Rock, Buckshot and Diamond D. Their natural use of hard drums and smooth samples were par for the course, with their major triumph being the chiming piano, upright bass and cold groove of "Electric Relaxation". In combining extremes and extrapolating their original concepts, ATCQ made an album suitable for both city driving and sexual encounters. --Rollie Pemberton
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074: Ride
Nowhere
[Sire; 1990]
Those drums are the very thunder of irritated gods, I tell you. Laurence Colbert's kit sounded like giants battling in a cavern, and guitarists Andy Bell and Mark Gardener stretched old-fashioned jangle into heavenly drone and walls of breathtaking feedback. Bassist Steve Queralt was the axis that everything swirled around, and he kept it all tethered as best as he could. Opener "Seagull" is the ultimate musical bloodrush, an army of guitars fanning out as the bass snaps to and the drums clear away any opposition. "Polar Bear" is a stunning climax, freezing Bell and Gardener's everyman harmonies in a vault of ice that Colbert ultimately shatters. The real stunner, though, is "Vapour Trail", a masterful swath of guitar condensation arcing across the pop stratosphere that simply defies gravity. Nowhere was Ride's greatest achievement, and remains one of the greatest statements of the UK's shoegazer movement. --Joe Tangari
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073: Brainiac
Hissing Prigs in Static Couture
[Touch & Go; 1996]
Bridging the gap nicely between the nearly quaint spazcore of Bonsai Superstar and the outwardly experimental Electro-Shock for President EP, Hissing Prigs in Static Couture boasts three of Brainiac's best compositions: the one-two punch of "Pussyfootin'" and "Vincent Come On Down", and the penultimate frenzy "Nothing Ever Changes". Bands don't come much tighter than Brainiac were at this creative zenith, and Hissing Prigs finds these Daytonians unusually in control of their rabid freakouts, even maintaining their earlier releases' charming uneasiness. No talk of Brainiac is safe from the blemishing journalistic mention of singer Timmy Taylor's untimely death, but there's a reason for that: At all times the talented frontman managed weirdness without alienation, a balance that so few vocalists venture to strike in the first place, let alone achieve with this magnitude. --Nick Sylvester
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072: Silver Jews
American Water
[Drag City; 1998]
American Water is one of the great roadtrip records, with its loafing, resplendent guitar lines reverberating from Odessa to Malibu. Though it's fundamentally westward bound, it still sounds like five guys-- two of which are indie heroes (David Berman and Stephen Malkmus)-- sequestered in a basement, churning out affable trots without any particular incentive. The guitar exchanges are as penetrating as Berman's wit and the rhythm section's obstinate blues ensures that nothing gets too maudlin. The solos, illuminating and serene, are played like they might actually be better than the songs themselves. With melodies and inflection cribbed from The Band and Abbey Road, it's like Berman's vocals are crossing the country in a car fueled by wah-wah pedals, honky-tonk, and endlessly bent strings.
They're staggering songs, and it's a shame Berman had to go and write lyrics that were even better to distract us from them. He delivers his lines like someone reduced to monotony because he's felt so many emotions he can barely summon enough effort to express them anymore. His loitering, sing/speak offers blatant rebel posturing ("I am the trick my mother played on the world"), stoned observations ("My ski vest has buttons like convenience store mirrors"), and genuinely affecting romance ("Before I go I gotta ask you, dear, about the tan line on your ring finger"). It's probably the most charismatic band no one listens to, making an album it takes years to hear because you just keep endlessly repeating the first song. --Alex Linhardt
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071: Dr. Octagon
Octagonecologyst
[Dreamworks; 1996]
The winner of the award for the "most creative uses of the word 'rectum,'" Octagonecologyst is an underground hip-hop classic starring Kool Keith's most famous persona, Dr. Octagon, whose blindingly scatological rhymes mixed sci-fi, sex fantasy, and medical horrors (chimpanzee acne? moose bumps?). Rolling on DJ Q-Bert's scratching and Dan the Automator's production-- which bumps like a space-station bootycall-- Dr. Octagon's even, surreal flow comes straight outta Jupiter on "Earth People", camps up the EC comic book of "halfsharkalligatorhalfman", and then slides into slow delirium on "Blue Flowers". Even if there's something voyeuristic about studying this man-- who in real life, may or may not have done time in Bellevue-- it works because it's gripping, not gawk-worthy: Keith is in control of his delusion, and he unravels it into a kind of virtuosity. Look away and you'll miss one hell of a brilliant car wreck. --Chris Dahlen
<!--pagebreak-->070: Jawbox
For Your Own Special Sweetheart
[Atlantic; 1994]
As the first band to leave the Dischord nest for the proverbial "bigger, better things," Jawbox broke a few DIY hearts when they signed to Atlantic. Subsequent dismissal would later fragment the band, but not before they laid down their magnum opus, For Your Own Special Sweetheart. Simultaneously violent and sublime as J. Robbins' gravelly rasp flies over the crunching chords of "Savory", or the drunken lurch of a wayward bassline collides with a tower of guitar at seventy miles per on the ominous "Motorist", all the gears turn in unison, creating a near perfect blend of heavy, uncompromising rock and an overarching sense of melody. The balancing act is flawless; Jawbox started in Fugazi's shadow as all Dischord bands inevitably do, but for a moment, superceded them, managing a feat that their ancestors wouldn't duplicate for several albums. --Eric Carr
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069: Jeff Buckley
Grace
[Columbia; 1994]
It's difficult to imagine the world of contemporary singer/songwriters without the influence of Jeff Buckley. Indeed, it's difficult to imagine Radiohead in their current guise without the eerily affecting songcraft of Grace and its argument that modern rock needn't be just another run-through of post-Nirvana dynamics. Buckley's voice-- if not as recklessly expressive as his father's, certainly as overtly seductive-- soars angelically over his own chiming guitar figures. Gary Lucas (ex-Captain Beefheart) provides additional guitar and co-writes two of the best songs: "Mojo Pin"-- an epic transfiguration of Debussy with the heavenly grandeur of Led Zeppelin-- and the title track, which is at once perfect pop and an otherworldly declaration of freedom from the constraints of the material world.
Even as Buckley's vision seems incapable of disguising itself, his reinterpretations of Nina Simone's "Lilac Wine", Benjamin Britten's "Corpus Christi Carol", and especially Leonard Cohen's deeply affirming "Hallelujah" seem definitive. Grace ends enigmatically yet perfectly with "Dream Brother", as good an epitaph as any for an artist having clearly unfinished business in this world. It would have been nice to see where Buckley's promise would have led, but Grace will continue to spur on the midnight romantics for as long as it's within earshot. --Dominique Leone
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068: Elliott Smith
XO
[Dreamworks; 1998]
A singer/songwriter with a major label recording budget is, as they say, kind of like a mule with a spinning wheel-- no one knows how he got it, and damned if he knows how to use it. But rather than obfuscating his songwriting gift with syrupy string sections and armies of backup singers, Elliott Smith used his Dreamworks debut, XO, as an opportunity to further focus the emotional power of his previous releases. Melancholy and grandiosity may seem mutually exclusive, but on XO, they're combined to wonderful effect, each crystalline guitar line and majestic piano arpeggio adding momentum and depth to Smith's gorgeous and impassioned vocals.
Indeed, the most striking thing about XO may very well be the elegance and restraint Smith brings to his songs. Smith always managed to say a lot with a striking economy of sounds and words, and not a single note here seems forced or gratuitous. Though Smith was being preened for stardom at the time of its release, there's not a self-indulgent moment to be found on the record-- even its most elaborate parts seem infused with the unassuming spirit of Smith's own musical discovery. XO shows a man poised to take over the world, still content to find new and moving ways to sing about it. --Matt LeMay
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067: Mouse on Mars
Iaora Tahiti
[Too Pure; 1995]
It's difficult to name the best Mouse on Mars album because Jan St. Werner and Andi Toma have such different goals for each. Over the course of their career, they've made atmospheric soundtracks, collaborated with vocalists, and dabbled in noise. No two records sound alike. But Iaora Tahiti is often cited as a favorite simply because it's so damn listenable. With its squishy, organic synths, swaths of space and dub references, Iaora Tahiti just feels good, especially the record's first half. Eventually, Mouse on Mars would head off in more abstract directions, but here, there's nothing deep or challenging about songs with names such as "Saturday Night Worldcup Fieber". The record's second half is filled with longer, more intense tracks that touch on techno and drum-n-bass while incorporating guitars and live drums (some people called this post-rock, see), but Iaora Tahiti never strays too far from pop. This is sunny electronic music operating in accordance with the pleasure principle. --Mark Richardson
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066: Tricky
Maxinquaye
[Island; 1995]
The influences peel off like stickers on a notebook. Utilizing Bomb Squad-confrontational production and subtly primitive IDM textures, Tricky's uniquely muddy form of soundclash shocked the mid-90s listening populace with his merger of angular, raw sampling, dark synth innovation, and pseudo-intellectual lyrics to build the convention-destroying music of Maxinquaye. A collaborative effort from a former husband/wife team, Adrian Thawes and singer Martina Topley-Bird, demonstrated a bizarrely genuine chemistry in such shielded music. Topley-Bird's distinctively British dialect developed a refreshing retreat from her more typical peers, yielding a more modern voice for a changing musical landscape. As she sings, Tricky's monstrously cracking vocals shadow hers to make the listening experience a more personal feat than many pieces before it.
Borrowing more than lyrics from his previous tenure guesting for Massive Attack, Tricky's producer/singer relationship is stronger than the interplay in more linear genres, making this an obsessive work of customization. Unforgettable moments appear frequently, from the gorgeously hard drum break of "Ponderosa" to the clicking future saloon shootout screamer of "Strugglin'" to the Michael Jackson-sampling "Brand New, You're Retro". It's hard to imagine the landscapes of modern electronica and underground hip-hop without this record's influence. --Rollie Pemberton
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065: Daft Punk
Homework
[Virgin; 1997]
This is the kind of homework kids used to get in Paris, way back in 1997: French disco-breaks, dance-funk, and baguettes (a dietary staple from the "pretentious" food group). The latter is part of a balanced breakfast; the former two would be combined by Daft Punk to create the instantly accessible, so-simple-they're-unstoppable electro-fusion beats of Homework, the surprise success of which single-handedly brought French progressive house to worldwide prominence. Dmitri from Paris didn't show his work, and Air were just looking off Daft Punk's paper anyway; "Da Funk" is the original, with a sleazy, distorted vibe that sounds like 1970 imagining music in 1997, and still absolutely slays on the floor. Homework is a testament to elegance through simplicity, brilliant in its form. But Daft Punk never let that distract the listener; they would rather you just kept right on dancing. --Eric Carr
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064: The Breeders
Last Splash
[4AD; 1993]
Like many records of the early 90s, Last Splash was a casualty of the alternative rock boom-- a wildly experimental album with a highly accessible standout single (in this case, two: "Cannonball" and the facetiously straightforward "Divine Hammer") that sent throngs of teenagers scrambling to buy it as quickly as to sell it back, and ten years later, it still has yet to fully overcome its reputation as a bargain-bin staple. This album, of course, was clearly never intended for mainstream consumption: its jarring blasts of feedback and screeching noise, angular vocal melodies, instrumental jam sessions, and unusual wordplay even seemed alien to some Pixies fans. Yet anyone open-minded to experimentation and the advancement of the form reveled in its brilliant, boundary-breaking melodies.
Kim and Kelley Deal beamed with girlish charisma and sibling chemistry, carefully crafting an album whose diversity was outweighed only by its artistry. "Invisible Man" is an aching pop ballad overdriven with distortion and longing; "No Aloha" opens with a disorienting vocal line and punchdrunk Hawaiian guitar before being swallowed by a vortex of chugging, blissful guitar pop; "Do You Love Me Now" is a searching love song that swoons like lovestruck 60s girl groups; "Saints" looks forward to summer with Jim MacPherson's skipping drumbeat and the Deal sisters' anthemic one-line chorus. Last Splash proved Kim Deal had more to do with the Pixies success than anyone had previously thought, and was so tight even its B-sides are classic. --Ryan Schreiber
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063: De La Soul
De La Soul Is Dead
[Tommy Boy; 1991]
From the beginning, they knew their style of speak wouldn't be wholly accepted. Developed as an affront to the success of their debut album Three Feet High and Rising, De La squashed the D.A.I.S.Y theory, while tilting their sound toward denser and more introspective ends. The new incarnation of De La lampooned thug rappers, hip house, demo-toting hopefuls and Burger King employees, while tempering their more light-hearted humor with darker territory like child rape and crack addiction. Not only did the group manage to master the art of the skit and invent myriad off-kilter rhyme schemes; they also contributed the first notable concept album to hip-hop, basing this record around the meta subtext of a listening session with a discarded copy of itself.
Prince Paul stood tall as the figurehead for obscure production tricks, taking sample-based fare into a new level of conscious beat design. Enter song manipulation mastered: tracks from Funkadelic's Maggot Brain morphed into a depressive jazz piano bass march, "Rhythm and Rhyme" samples transformed into a clattering horn prance through a mine field. De La Soul Is Dead boasted absurd levels of diversity, changing face at nearly every turn, yet always maintaining the group's already-distinctive style. --Rollie Pemberton
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062: Aphex Twin
Selected Ambient Works, Vol. II
[Warp; 1994]
Selected Ambient Works, Vol. II has few identifiable beats, choruses, or hooks. It doesn't even have song titles. Often, there's nothing but timbre. If you're lucky, a track might contain faint, arrhythmic squeaks. At its most approachable, it's a pop song attenuated to a classical structure and stripped of its purpose. It's music the same way the Bible is some book. Reportedly written in Richard D. James' lucid dreams, the pieces are lighter and more natural than death, necromantic vocals occasionally emerging out of tangible textures only to instantly recede.
On a couple of tracks, James audaciously manages to transform ambient Stockhausen/Reich-inspired phantasms into something a deaf man might almost call funky. On the more "disturbing" tracks, the incontestably sonorous-- perhaps even religious-- melodies seem to elliptically elude themselves and quietly uproot peals of static and a bitter spirit of languor. It simultaneously pledges to fulfill every desire and expose us all to fates terminated in Arctic graveyards. As an aftershock, it also spurred on one of the great trajectories of pop music in the 1990s, influencing everyone from Radiohead to Timbaland. Cloistered cubicle-dwellers and yoga instructors everywhere gobbled up every Aphex mouse pad and called him the messiah. Mojo called him the next Mozart, and in The Ambient Century, Mark Prendegrast compared one of his songs to Chopin. These are probably overreactions; then again, after buying this album, I've rarely had an inclination to listen to anything else. --Alex Linhardt
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061: Pulp
Different Class
[Island; 1995]
In the UK, an oft-asked question throughout the summer of 1995 was "Blur or Oasis?" The correct answer was "Pulp." Months before the Blur-Oasis duel-- and about 15 years into their career-- Pulp reached #2 on the singles chart with "Common People", a rare moment of inspired anger and vitriol amidst the empty nationalism of Britpop. The song's bitter claim that "You'll never fail like common people/ And watch your life slide out of view" could have been aimed at Damon Albarn and his embrace of lower-class culture, the new anti-intellectualism of laddist slumming, or the conservatism of then-burgeoning Noel-rock. It was probably a bit of all three, simply disguising itself as the story of a brief fling between some anonymous low-rent bloke and the heiress to a family fortune.
Pulp's Jarvis Cocker wrote the bulk of Different Class after the success of "Common People", and it oozes with the confidence, ambition, and relief of a man who, after years of trying, was finally in the right place at the right time. He had to get it right and, spectacularly, he did, articulating the rage of the misshapen and the chronicling the dreams and small victories of broken people with a sparkling and biting blend of wit, panache, class warfare, sexual politics, and glorious (and "Gloria"-borrowed) pop hooks. In the process, Sheffield: Sex City's uncommon heroes proved themselves worthy of the record's titular compliment, and managed to avoid treading the same bloated, conservative waters in which their contemporaries eventually drowned, becoming Britpop's most transcendent stars and one of the UK's most engaging pop acts. --Scott Plagenhoef
<!--pagebreak-->060: Palace Music
Viva Last Blues
[Drag City; 1995]
The influence of Appalachian folk music is tremendously manifest in Viva Last Blues, Will Oldham's third album under the Palace moniker. But rather than simply copping the rustic mystique of early American music, he chose to recreate it on his own terms. Combining stark acoustic numbers with Neil Young-style rockers, Oldham managed to expand his sound significantly without sacrificing the character and intimacy of his early offerings. Producer Steve Albini leaves every instrument crisp and distinct, allowing Oldham's songs to shine through with no intrusive atmospherics. And as with all of Oldham's most compelling work, the songs on Viva Last Blues are absolutely timeless, utilizing an oft-antiquated vocabulary but never sounding like the product of any specific time or place.
Of course, no discussion of Viva Last Blues would be complete without acknowledging "New Partner", a fan favorite and possibly the finest song Oldham has ever written. "New Partner" reveals itself over time-- immediately striking for its melodic beauty, repeat listens reveal unsettling undercurrents in Oldham's lyrics and delivery. Like the best of his work, "New Partner" offers up a unique and striking take on the ageless themes of love, sex and death, and here, it's hard to tell if Oldham even acknowledges any difference between the three. Oldham enlisted a talented (and credited) band for this album, including Sebadoh's Jason Loewenstein, and the extra investment paid off in spades: Viva Last Blues still stands as one of Oldham's best and most-loved records. --Matt LeMay
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059: Elliott Smith
Either/Or
[Kill Rock Stars; 1997]
Elliott Smith's third and final independently released full-length has always been the favorite. His elliptical lyricism and slithery song structures moved beyond the overwrought metaphors and folk regularity of his previous material to arrive at this logical, if unforeseen, conclusion. Achingly spare, these songs were hushed and intimate, devoid of the distance that came with multi-tracked instrumentation, and hadn't yet adopted the more obviously George Harrison-inflected melodies of XO and Figure 8. And even while those two records were brilliantly outstanding achievements, neither were as diary-like or tightly musical as this one.
I lived in Portland when Either/Or was released and felt an added kinship with the sense of place, the street names, and local events. He was the poet laureate of that always rainy town, and as time went on, "Say Yes" would become the hollowed-out wish of those hapless kids I'd see at shows, uncomfortable in their bodies but cocky with their obsessive grasp of musical minutiae. But here, it's clear that he wrote it for himself, not for them, and the insight into his character makes its impact doubly powerful. --Brandon Stosuy
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058: Jesus Lizard
Liar
[Touch & Go; 1992]
Around the time of Liar, Jesus Lizard played a sweaty, half-nude show at CBGB's. Midway through their set, frontman David Yow somehow knocked himself out via contact with an angry audience member: He fell off the stage, the rest of his band followed, and I jumped over two or three kids to watch the melee unfold. That sense of danger and melody hasn't resurfaced in rock-- not even in the fiery realm of black metal or the forced antics of keyed-up art-kids from New York who punch their fans with duct tape.
Featuring graduates of seminal bad-asses Scratch Acid and Rapeman, this Chicago foursome (with important Texas roots) looked like handymen or real-life truckers and laid down significantly heavy staccato rhythms, pleasingly violent guitar riffs, and an unsurpassable lead-bass-- all for Yow to eviscerate with h
