Smells Like the Nineties Part 1: "Grace" by Jeff Buckley.

Ah, the nineties. Specifically the music. When the eighties finally grew up and embraced its long ignored angst. Sadly (it seemed to me at least), this happened at the cost of talent and creativity. Nirvana kicked the door in on the "ability" to "write" without being virtuosic. Suddenly everyone that didn't know how to compose, or even play, were given free license to make full on records with full on record companies backing them. It was like the music industry had funded an open mic, and america loved it. Grunge was essentially redneck music for people who hated country. This all dawned on me while I was having a conversation with an ex about nineties music, and I overreacted with the (possibly radical) statement that nineties music was not only unimportant in the history of popular music's growth, but irrelevant. Only after I had said this (I had only meant it as a retort), had I realized its accuracy. As far as Grunge was concerned, anyway.

After that sunk in, we both thought for a moment and decided to challenge ourselves by coming up with ten records from the nineties that were not only good, but at least mostly main stream and relevant to the growth of popular music. Basically, "Was it a record that most people were familiar with?" and "Did the record leave its thumbprint on the years to follow by shaping a new genre or at least inventing something that was picked up and used with any frequency by subsequent artists?" These are the records I could come up with. I'll intersperse one of these in between every couple of "mystery cd" posts, in no particular order, to keep things interesting.

1. "Grace" by Jeff Buckley.


Quite possibly the best record of the decade. Make no mistake though, this album is a two man show. Polished to an understated sheen by the masterful ear of Andy Wallace, Jeff's compositional skill could never have been so perfectly realized without him. That fact is clearly evidenced by the pothumous release "Sketches for My Sweetheart the Drunk". Listen to both back to back and the differences are glaringly obvious. Jeff was a wildly talented individual, but he needed Andy's guiding to reach the perfection that is Grace. The songs seem to flow organically from some distant idea, rather than from a person, and Mr. Wallace knows exactly how to not only capture that mood, but to focus and direct it for the listener. For a certainty, this is one for the ages.

Castle Von Buhler Presents: "Anon" (Disc 2)

This was another compilation put out by a label with an unusually, and misleadingly, kick-ass name: Castle Von Buhler. Comprised almost entirely of lackluster electronic "music", this record fails to be anything other than a huge let-down. There is one good song, though, and it's the first track, "Tuba Edit" by Eardrum. It's made entirely from 16-bit samples, and it builds at a nice, even pace, incorporating subtle, but effective key changes to keep things moving. I might check them out later...At any rate, all this compilation "showcases" is Castle Von Buhler's inability to sign anyone good to their label.

North of Nowhere Presents: "19 Bands From Bellingham".

This was a compilation put out by an independent record label called North of Nowhere. Based in Bellingham, this was evidently a showcase of the local bands at the time. Not much was going on here other than the Grunge "phenomenon" hard at work. Overall, a pretty lame disc. I couldn't even locate any artwork for the release. Poop.

"Lead Pipe Cinch" by Uncle Otto.

Boy. This is getting tough. I almost don't have the energy to rip on this album as much as it deserves. Suffice it to say this: Talented drumming, acceptable production, boring and uninspired vocals, and generally crappy songs of which there are way too many. I'm crossing my fingers and hoping the next one's a gem.

"Cathexis" by Vexed.

The drummer for this band is talented, but the guitar "tone" is nearly intolerable and the bassist, evidently only knows how to slap. There are some interesting time signatures at work here, but all they do is distract you from the middling vocalist's forgettable ramblings just long enough to annoy you once you notice him again. All in all, a pretty stupid record. I hope they broke up and the drummer joined an awesome band.

"Splay" by Shiner.

Shiner is a pretty cool band, but the poor production on this record really holds it back in a big way. The guitar parts are all completely interesting, and the rest of the band are clearly behind the songs 100%, but if you have this record playing in the background, it's somewhat forgettable, and at times, borders on annoying. Only when heard on headphones, does the album sufficiently come to life, and boy does it ever. These guys are ready to rock, but only on their own terms, and only when they're good and ready. Splay is embellished with intricate arrangements and odd time signatures delivered at a steady, even pace, which only serves to enrich the listening experience. I'd love to hear some later works by Shiner, if the production has improved.

"Bingham's Hole" by The Mommyheads.

This was a great record to listen through. The major player here is Art Cohen. As in, Leonard Cohen's son. Surprizingly, though, this is a pretty straightforward outing. Immensely colorful guitar parts intertwine with melodic keyboard splashes and playfully dancing basslines. Understand that this happens harmoniously and with an alarming lack of effort. Through it all, is a rolling, gliding drummer who is spot on at all times. Not one note is out of place, either. These songs seem to happen of their own volition, and that takes an ammount of innate talent in all parties involved that surpasses "gifted" and borders on "scary". Oh, and the vocals remind me of what might have happened if Queen started an Indie-Pop band. Buy this album. It will sparkle in your ears.