While it may be most notable for her cover of Betty Hutton’s “It’s Oh So Quiet” (her biggest U.S. Building on the blend of pop, electronica, trip-hop and the kitchen sink of her debut, Debut, Post is probably Bjork’s best and made her a critical darling for years to come. Iceland’s most famous daughter is, for some, an acquired taste, but there’s no denying she is also a taste-maker, both in her original band the Sugarcubes, and then as a solo artist. But Gwen Stefani channeled her heartbreak, and post-teenage angst into some of the biggest girl-power anthems of the decade, including “I’m Just a Girl” and “Spiderwebs”. So-Cal ska-punk group had been around since 1992, but their first two albums failed to connect with a wider audience, and between principal songwriter Eric Stefani’s worsening depression and the breakup of singer Gwen Stefani and bassist Tony Kanal, it wasn’t a happy time for the group. But it is an enduring statement of a band at its creative peak while simultaneously holding things together. It is bigger and bolder than The Verve’s debut, and even their more famous Urban Hymns, the product of drugs and drink and heartbreak.
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Sticking with the Brits for one more entry, we have another sophomore effort, full of angst, anguish and existential dread, all set to swirling guitars, and mild psychedelia. It features some of the band’s best singles, and cemented their place among the alt-rock canon. The lyrics on some songs also moved away from personal angst to broader themes. The English five-piece took a different approach for their second album, adding keyboards and effects, and utilizing three guitarists in individual roles, filling out the sound. Thom Yorke and company could easily have tried to be the next U2, and done a couple of clones of their breakthrough hit “Creep”, and called it a career as a middling 1990s UK act. Catchy and sneering, it is the band’s defining artistic statement. But the apex of the whole scene was Oasis’s massive smash, which unleashed a Champagne Supernova on all of us knocking us up against a Wonderwall.
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It is one of the biggest-selling albums of all-time, and influenced a generation of female songwriters.īritpop had been gaining steam in the early ’90s, and things were ready to boil over in 1994, when Oasis and Blur both released big hits, Definitely Maybe and Parklife, respectively. I get that it’s hard to categorize a Canadian pop singer’s debut on Madonna’s record label as “alternative.” But Morrisette was able to take a lot of what was great about mid-90s music (crunchy guitars, personal lyrics, wailing vocals, not to mention alt-rock legends Dave Navarro and Flea) and pair it with Glen Ballard’s production and make something that captured a particular moment in music, and hit a wide audience while doing it. This advertisement has not loaded yet, but your article continues below.