Interesting thread. Not really a lot to add; I was getting corporate back then so lost precious exploration time.
Would assume the “right” answers would be Nevermind and OK Computer, with Exile in Guyville as a critics’ darling.
At first blush, I’d go with Soundgarden’s Superunknown or Alice in Chain’s Dirt, with MBV’s Loveless as my critic’s darling.
And any Top 90’s list that doesn’t include Public Enemy’s fear of a Black Planet, or A Tribe Called Quest’s The Low End Theory just doesn’t feel complete, even if they aren’t rock.
I thought of a few more that encapsulate the 90s for me, and are close to dud-free. In order from “pure rock” to “not really rock”: Stunt (Barenaked Ladies), *Joys and Concerns *(The Negro Problem), *Under the Table and Dreaming *(Dave Matthews Band), *Tigerlily *(Natalie Merchant), Wicked Game (Chris Isaak), Bizarre Ride II (The Pharcyde), and the *Dead Man Walking *soundtrack (various, including Tom Waits, Bruce Springsteen, Patti Smith, and Eddie Vedder).
Love this inclusion. It Must Be Wrong to Love You is a personal favorite.
You had to include Natalie Merchant? I have an irrational hatred for her - such a great vocal instrument, used in such a limp way. Her range is about 5 notes, and if she ever invested a lyric with emotional gravity, I’ve never heard it - she was too busy twirling onstage. Her version of Peace Train makes me want to to smack someone.
My personal favorite as ‘best’ from the decade would be The Flaming Lips’ Zaireeka album (1997). It definitely did not have high volume sales and exposure because the listener is required to use 4 sound systems to play each of the 4 CDs simultaneously (or 4 vinyl records beginning in April 2013).
Sorry about that! I don’t like her voice, either, but I like much of her songwriting, arrangements, and sound, especially on that particular album.
ETA: I am enjoying MBV’s Loveless at the moment, thanks to your heads-up. Not my absolute favorite genre, but I’m digging the LP, and appreciate its role in the evolution of rock.
I was going to mention The Fall, but their best and most influential album, Hex Enduction Hour, was from 1982. (Admittedly I’m not familiar with all their stuff).
JKelly - Merchant and the Maniacs sure had their day then. That doesn’t mean we have to like it.
Loveless - it’s like an immersive pillow of distortion, right? It’s the only use of whisper lyrics I can handle because that whole package works as intended. MBV were known for playing at intentionally damagingly high volume - the mastermind of their sound, Kevin Shields, is trying to trip some neurological triggers our Brain has when confronted by so much. He talks about nailing some specific Hertz or something - leaves stars in your eyes due to the volume. Folks who went to the show’s describe getting to that point as transcendent - a Mark Rothko-like accessing the void by tickling the fringes of your perception. I am glad I can only imagine.
Back in the '80s, when I was in college, my friend Lance once stumbled into the living room in a state of, oh, lets just say total inebriation and asked us if we wanted to listen to a thousand screaming maniacs.
I don’t like her voice, either, but I like much of her songwriting, arrangements, and sound, especially on that particular album.
And I stopped caring about what the cool kids thought decades ago. 