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This is a list of 1990s music albums that multiple music journalists, magazines, and professional music review websites have considered to be among the best of the 1990s and of all time, separated into the years of each album's release. The albums listed here are included on at least four separate "best/greatest of the 1990s/all time" lists from different professional publications (inclusive of all genres and nationalities) as chosen by their editorial staffs or by a sample size of an entire publication's audience, and/or hall of fame awards and historical preservation measures.
Release Date | Album | Artist | Genre(s) | Label | Notes | Accolades |
---|---|---|---|---|---|---|
15 January 1990 | Reading, Writing And Arithmetic | The Sundays | ||||
January 1990 [5] | Flood | They Might Be Giants | Alternative rock | Elektra |
| |
5 February 1990 | Chill Out | The KLF | KLF Communications | Ambient-styled concept album featuring an extensive selection of samples, portraying a mythical night-time journey throughout the U.S. Gulf Coast states, beginning in Texas and ending in Louisiana. [13] | ||
19 March 1990 [18] | Violator | Depeche Mode | Mute | Reception | ||
10 April 1990 [19] | People's Instinctive Travels And The Paths Of Rhythm | A Tribe Called Quest | Jive | Accolades | ||
10 April 1990 | Fear Of A Black Planet | Public Enemy | Contributed significantly to the popularity of Afrocentric and political subject matter in hip hop, and the genre's mainstream resurgence at the time. [28] | Appraisal | ||
19 April 1990 | Repeater | Fugazi | Post-hardcore [29] | Dischord | Accolades | |
18 May 1990 [30] | AmeriKKKa's Most Wanted | Ice Cube | Priority | Accolades | ||
17 September 1990 [34] | Heaven Or Las Vegas | Cocteau Twins | 4AD | Critical reception and legacy | ||
24 September 1990 | Rust In Peace | Megadeth | Thrash metal | Capitol | Regarded as one of the best thrash metal records of all time. [36] [37] | Legacy and influence |
15 October 1990 | Nowhere | Ride | Creation | Acclaimed as one of the greatest albums of the shoegaze genre. [38] | Critical reception | |
26 June 1990 | Goo | Sonic Youth | DGC | |||
27 July 1990 | Bellybutton | Jellyfish | Power pop [43] | Charisma |
| |
1 October 1990 | The La's | The La's | Widely considered to be a precursor to the Britpop phenomenon of the mid-1990s. [48] | |||
10 September 1990 [52] | Ragged Glory | Neil Young & Crazy Horse | Reprise |
| ||
17 September 1990 | Canción Animal | Soda Stereo | Alternative rock | Considered one of the best and most influential albums in the history of Latin American rock music, with many calling it the best album to ever come out of South America. [56] [57] | ||
22 October 1990 | Behaviour | Pet Shop Boys | Parlophone | Critical reception NME's "The 500 Greatest Albums Of All Time": #234 [2] |
Release Date | Album | Artist | Genre(s) | Label | Notes | Accolades |
---|---|---|---|---|---|---|
27 March 1991 [61] | Spiderland | Slint | Touch and Go | Widely regarded as foundational to the 1990s post-rock and math rock movements. [62] [63] | ||
2 April 1991 | The Orb's Adventures Beyond The Ultraworld | The Orb | Credited with popularizing theambient house movement. [66] | Reception | ||
8 April 1991 | Blue Lines | Massive Attack | Generally regarded as the first "trip hop" album. [68] | Reception | ||
22 April 1991 | Peggy Suicide | Julian Cope | Island | |||
14 May 1991 | Yerself Is Steam | Mercury Rev |
| |||
27 August 1991 | Ten | Pearl Jam | Epic | Considered to have been instrumental in the rise and dominance of alternative rock throughout the decade. [74] | Legacy | |
16 September 1991 | Laughing Stock | Talk Talk | Cited as a watershed entry for the at-the-time budding post-rock genre. [79] | Legacy | ||
23 September 1991 | Screamadelica | Primal Scream |
| Critical reception and legacy | ||
23 September 1991 | Trompe Le Monde | Pixies | Alternative rock | 4AD | ||
24 September 1991 | Nevermind | Nirvana | DGC | Brought grunge and alternative rock to a mainstream audience, and is regarded as having initiated a resurgence of interest in punk culture among teenagers and young adults of Generation X, becoming seminal to the counterculture of the decade. [89] [90] [91] | Legacy | |
24 September 1991 | The Low End Theory | A Tribe Called Quest | Jive | Garnered recognition from music critics and writers as a milestone in alternative hip hop, and for Q-Tip's production, which advanced the development and exposure of jazz rap. [92] [93] [94] | Accolades | |
24 September 1991 | Blood Sugar Sex Magik | Red Hot Chili Peppers | Warner Bros. | Accolades | ||
4 November 1991 | Bandwagonesque | Teenage Fanclub |
| |||
4 November 1991 | Loveless | My Bloody Valentine | Creation | Widely praised by critics for its sonic innovations and session leader Kevin Shields' "virtual reinvention of the guitar". [110] | Accolades | |
18 November 1991 | Achtung Baby | U2 | Alternative rock | Island | Legacy |
Release Date | Album | Artist | Genre(s) | Label | Notes | Accolades |
---|---|---|---|---|---|---|
6 January 1992 | Little Earthquakes | Tori Amos | Singer-songwriter [111] | Regarded as having shaped the female singer/songwriter movement of the '90s. [111] | Legacy | |
10 February 1992 | Generation Terrorists | Manic Street Preachers | Columbia | |||
25 February 1992 [114] | Vulgar Display Of Power | Pantera | Groove metal [115] [116] | Atco | Legacy and accolades | |
9 March 1992 [117] | Going Blank Again | Ride | Creation/Sire | Considered "predictive" of later genres of indie rock. [120] | ||
30 March 1992 | Lazer Guided Melodies | Spiritualized | Dedicated | Regarded as having anticipated dream pop. [122] | ||
30 March 1992 | Dry | PJ Harvey | Too Pure | |||
20 April 1992 | Slanted And Enchanted | Pavement | Matador | Accolades | ||
21 April 1992 | Check Your Head | Beastie Boys | Critical reception | |||
21 April 1992 | Wish | The Cure | Fiction |
| ||
12 May 1992 | The Southern Harmony And Musical Companion | The Black Crowes | Blues rock [134] | Def American | ||
2 June 1992 | It's A Shame About Ray | The Lemonheads | Atlantic | |||
8 June 1992 | Angel Dust | Faith No More | Critical reception and legacy | |||
7 July 1992 | Images And Words | Dream Theater | Progressive metal [145] | ATCO | Accolades | |
4 September 1992 | Copper Blue | Sugar | Rykodisc/Creation | |||
8 September 1992 | Bone Machine | Tom Waits | Experimental rock | Island | Often noted for its rough, stripped-down, percussion-heavy style, as well as its dark lyrical themes revolving around death and decay. [148] | Critical reception |
29 September 1992 [150] | Dirt | Alice In Chains | Columbia | Often considered as one of the most influential albums to the sludge metal subgenre. [154] [155] | Reception and legacy | |
5 October 1992 [156] | Automatic For The People | R.E.M. | Warner Bros. | Critical reception | ||
26 October 1992 | Love Deluxe | Sade | Epic | |||
3 November 1992 [164] | Rage Against The Machine | Rage Against The Machine | Epic | Critical reception | ||
9 November 1992 | Selected Ambient Works 85–92 | Aphex Twin | Considered a classic, defining work of electronica and ambient techno. [169] [170] | Reception and legacy | ||
24 November 1992 | Bizarre Ride II The Pharcyde | The Pharcyde | One of the first alternative rap acts on the West Coast to have wide appeal. [172] | |||
15 December 1992 | The Chronic | Dr. Dre | Popularized the G-funk subgenre within gangsta rap, and is widely regarded as an album that re-defined West Coast hip hop. [175] | Accolades |
Release Date | Album | Artist | Genre(s) | Label | Notes | Accolades |
---|---|---|---|---|---|---|
1 March 1993 | Everybody Else Is Doing It, So Why Can't We? | The Cranberries | Island |
| ||
29 March 1993 | Suede | Suede | Nude | Often cited as one of the first Britpop records. [184] [185] | Accolades | |
26 April 1993 [186] | Rid Of Me | PJ Harvey | Island | Accolades | ||
24 May 1993 | Orbital | Orbital |
| Accolades | ||
24 May 1993 | Red House Painters | Red House Painters | 4AD | Praised extensively for its melancholic instrumentation and emotional depth. [193] [194] |
| |
1 June 1993 | Souvlaki | Slowdive | Creation | Legacy | ||
22 June 1993 | Exile In Guyville | Liz Phair | Matador | Regarded as exceptional for its lo-fi sound and the emotional honesty of Phair's lyrics, inspiring several imitators. [202] [203] | Accolades | |
5 July 1993 | Debut | Björk | Credited as one of the first albums to introduce electronic music into mainstream pop. [207] [208] | Accolades | ||
27 July 1993 | Siamese Dream | The Smashing Pumpkins | Virgin | Regarded as one of the greatest alternative rock albums for its diverse musical influences and lyrical material considered unique relative to other contemporary releases. [215] | Release, reception and legacy | |
10 August 1993 [216] | Transient Random-Noise Bursts With Announcements | Stereolab | Duophonic/Elektra | |||
30 August 1993 | Last Splash | The Breeders | 4AD/Elektra Records | Regarded as a significant album for alternative rock's crossover into the mainstream. [222] [223] | Accolades | |
6 September 1993 | Wild Wood | Paul Weller | Rock | Go! Discs | ||
21 September 1993 | In Utero | Nirvana | DGC | Reappraisal | ||
27 September 1993 | Very | Pet Shop Boys | Parlophone | |||
5 October 1993 | Gentlemen | The Afghan Whigs | Elektra | Critically considered to be among the best-written breakup albums. [230] |
| |
11 October 1993 | Tindersticks | Tindersticks | Chamber pop | This Way Up | ||
19 October 1993 [233] | Vs. | Pearl Jam | Epic | Accolades | ||
9 November 1993 | Enter The Wu-Tang (36 Chambers) | Wu-Tang Clan | Served as a landmark release in the era of hip-hop known as the East Coast Renaissance. [234] | Retrospect | ||
9 November 1993 | Midnight Marauders | A Tribe Called Quest | Jive | Frequently credited as a contributor to a "second golden age" of hip hop in the mid-1990s, as well as the pinnacle of the Native Tongues movement. [235] [236] [237] | Accolades | |
23 November 1993 | Doggystyle | Snoop Dogg | Regarded as having helped introduce the hip-hop subgenre of G-funk to a mainstream audience, bringing forward West Coast hip-hop as a dominant force in the early-mid 1990s. [238] [239] Praised for the lyrical "realism" that Snoop Dogg delivers on the album and for his distinctive vocal flow. [240] [241] | Accolades | ||
29 November 1993 | Incunabula | Autechre | Warp |
Release Date | Album | Artist | Genre(s) | Label | Notes | Accolades |
---|---|---|---|---|---|---|
24 January 1994 | Dubnobasswithmyheadman | Underworld | Junior Boy's Own | |||
1 February 1994 | Dookie | Green Day | Reprise | Considered pivotal in solidifying punk rock and pop-punk's mainstream popularity. [248] | Accolades | |
14 February 1994 | Hex | Bark Psychosis | Circa | The term "post-rock" was coined by music journalist Simon Reynolds in his review of the album for Mojo magazine. [249] | ||
14 February 1994 | Crooked Rain, Crooked Rain | Pavement | Matador | Legacy | ||
18 February 1994 | I Could Live In Hope | Low | Vernon Yard | Helped to birth the genre known as slowcore due to its "unprecedent pace". [252] [253] | Legacy | |
28 February 1994 | D. I. Go Pop | Disco Inferno | Rough Trade | Highly influential for its innovative production approach that incorporated found sound elements through extensive use of digital samplers and its advancement of post-rock as a genre, alongside five EPs released by the band also during the 90s. [254] [255] [256] | ||
7 March 1994 | Selected Ambient Works Volume II | Aphex Twin | Warp | Was "a very early example of a record being anticipated, experienced, and, ultimately, analyzed in minute detail through online communication." [259] | ||
8 March 1994 | The Downward Spiral | Nine Inch Nails | Nothing/Interscope | Regarded as one of the most important albums of the 1990s in part due to its abrasive and eclectic nature and dark themes. [260] | Accolades | |
8 March 1994 | Superunknown | Soundgarden | A&M | Accolades | ||
14 March 1994 | Vauxhall And I | Morrissey | Alternative rock [261] |
| ||
12 April 1994 | Live Through This | Hole | DGC | Reappraisal | ||
18 April 1994 [263] | Let Love In | Nick Cave & The Bad Seeds | Mute | |||
18 April 1994 | His 'N' Hers | Pulp | Britpop [265] [266] | Island | ||
19 April 1994 | Illmatic | Nas | Columbia | Regarded as a landmark album in East Coast hip hop, as one of the greatest and most influential hip hop albums of all time, and having significantly contributed to the revival of the New York City rap scene. [268] [269] | ||
25 April 1994 | Parklife | Blur | Food | Accolades | ||
26 April 1994 | Yank Crime | Drive Like Jehu | Regarded as a catalyst for the eclectic San Diego music scene and the emerging national emo scene of the 1990s. [51] [270] | |||
26 April 1994 | American Recordings | Johnny Cash | American | Critical reception | ||
10 May 1994 | Diary | Sunny Day Real Estate | Sub Pop | Considered by many to be a defining emo album of the second wave, and key in the development of its subgenre, Midwest emo. [274] | ||
10 May 1994 | Weezer (Blue Album) | Weezer | DGC | Regarded as a formative influence on "melodic emo". [281] | Accolades | |
20 May 1994 [282] | Teenager Of The Year | Frank Black | Alternative rock |
| ||
31 May 1994 | Ill Communication | Beastie Boys | Critical reception | |||
1 June 1994 | 76:14 | Global Communication | Dedicated | |||
6 June 1994 | Blade Runner | Vangelis | East West (Europe) / Atlantic (USA) | Soundtrack for Ridley Scott's 1982 science-fiction noir film Blade Runner. Acclaimed as an influential work in the history of electronic music and as one of the greatest film soundtracks of all time. [288] | Legacy | |
7 June 1994 | Purple | Stone Temple Pilots | Atlantic | Legacy | ||
21 June 1994 | Bee Thousand | Guided By Voices | Scat | Hallmark album in the "lo-fi" genre. [295] | Accolades | |
4 July 1994 | Music For The Jilted Generation | The Prodigy | ||||
15 August 1994 | Grace | Jeff Buckley | Columbia | Accolades | ||
22 August 1994 | Dummy | Portishead | Trip hop | Go! Beat/London | Accolades | |
29 August 1994 | Definitely Maybe | Oasis | Creation | Regarded as a cornerstone of the Britpop genre, and significant in revitalizing British pop/rock music in the 1990s. [301] [304] | Legacy | |
30 August 1994 | The Holy Bible | Manic Street Preachers | Epic | Considered to be among the darkest albums due to its lyrical contents written by Richey Edwards as he was struggling with severe depression, alcohol abuse, self-harm and anorexia nervosa. [305] | Legacy | |
13 September 1994 | Ready To Die | The Notorious B.I.G. | Significant for revitalizing the East Coast hip hop scene. [307] | Accolades | ||
10 October 1994 | Dog Man Star | Suede | Nude | Accolades | ||
24 October 1994 | At Action Park | Shellac | Touch and Go | |||
1 November 1994 | MTV Unplugged In New York | Nirvana | DGC | Live album. [312] | Retrospective | |
1 November 1994 [313] | Wildflowers | Tom Petty | Warner Bros. | |||
15 November 1994 | CrazySexyCool | TLC | Accolades |
Release Date | Album | Artist | Genre(s) | Label | Notes | Accolades |
---|---|---|---|---|---|---|
30 January 1995 | Leftism | Leftfield | Progressive house | Columbia | Praised as one of the first major album-length works of dance music. [318] | Legacy |
20 February 1995 | Maxinquaye | Tricky | 4th & B'way | Regarded as a significant influence on electronica, underground hip hop and British hip hop, and a key release of the burgeoning trip hop genre. [319] | Critical reception and legacy | |
27 February 1995 | To Bring You My Love | PJ Harvey | Island | Accolades | ||
13 March 1995 | The Bends | Radiohead | Accolades | |||
March 1995 | Elastica | Elastica | Legacy | |||
4 April 1995 | Alien Lanes | Guided By Voices | Matador | |||
11 April 1995 | Wowee Zowee | Pavement | Matador | |||
25 April 1995 | The Infamous | Mobb Deep | Credited with helping to redefine the sound of hardcore hip hop, using its production style, which incorporated eerie piano loops, distorted synthesizers, eighth-note hi-hats, and sparse filtered basslines. [329] [330] | |||
15 May 1995 | I Should Coco | Supergrass |
| |||
29 May 1995 [331] | Grand Prix | Teenage Fanclub |
| |||
7 June 1995 | Post | Björk | Considered an important exponent of art pop, and praised by critics for its ambition and timelessness. [339] | Accolades | ||
13 June 1995 | Jagged Little Pill | Alanis Morissette | Credited with leading to the introduction of several female singers such as Fiona Apple, [341] Shakira, Tracy Bonham, Meredith Brooks, and in the early 2000s, Pink, Michelle Branch, and Avril Lavigne. [342] | Impact and legacy | ||
1 August 1995 | Only Built 4 Cuban Linx... | Raekwon | Loud/RCA | Widely regarded as a pioneer of the mafioso rap subgenre. [344] | ||
7 August 1995 | Timeless | Goldie | FFRR | Widely regarded as a groundbreaking release in the history of drum and bass music. [345] | ||
15 August 1995 | Garbage | Garbage | Almo | Highly regarded for its unique production incorporating several genres of rock and electronic music together. [346] [347] [348] |
| |
26 September 1995 | Wrecking Ball | Emmylou Harris | Asylum/Elektra | |||
2 October 1995 | (What's The Story) Morning Glory? | Oasis | Creation | Legacy | ||
24 October 1995 | Mellon Collie And The Infinite Sadness | The Smashing Pumpkins | Virgin | Widely lauded for its 28-song scope and wide array of musical styles. [351] [352] | Accolades | |
30 October 1995 | Different Class | Pulp | Island | Accolades | ||
6 November 1995 | Tri Repetae | Autechre | Warp | |||
7 November 1995 | Liquid Swords | GZA/Genius | Geffen | Highly regarded for its complex lyricism. [355] | Accolades | |
1995 | 94diskont. | Oval | Mille Plateaux/Thrill Jockey | Praised for its glitch music styling methods involving literally deconstructing music and digital audio by using exacto knives, paint, and tape to damage the surfaces of compact discs to stitch back together. [356] |
Release Date | Album | Artist | Genre(s) | Label | Notes | Accolades |
---|---|---|---|---|---|---|
30 January 1996 | Millions Now Living Will Never Die | Tortoise | Thrill Jockey | Renowned as a groundbreaking album for the post-rock genre. [359] | ||
5 February 1996 | Murder Ballads | Nick Cave |
| Mute |
| |
13 February 1996 | All Eyez On Me | 2Pac | Death Row/Interscope | The first ever double-full-length hip-hop solo studio album released for mass consumption globally. [365] | Accolades | |
13 February 1996 | The Score | Fugees | Ruffhouse/Columbia | Accolades | ||
11 March 1996 | Second Toughest In The Infants | Underworld | Junior Boy's Own | |||
18 March 1996 | Emperor Tomato Ketchup | Stereolab | Critical reception and legacy | |||
29 April 1996 | In Sides | Orbital | Internal/FFRR | |||
20 May 1996 | Everything Must Go | Manic Street Preachers | Epic | Legacy | ||
18 June 1996 | Odelay | Beck | Legacy | |||
25 June 1996 | Reasonable Doubt | Jay-Z | Roc-A-Fella/Priority [371] | Regarded as one of the greatest albums of New York's hip-hop renaissance of the '90s", and instrumental in transfiguring gangsta rap into mafioso rap. [372] [373] | Legacy and influence | |
6 August 1996 | Music From The Unrealized Film Script: Dusk At Cubist Castle | The Olivia Tremor Control | Flydaddy | 74 minute double album comprising 27 songs. [374] | ||
13 August 1996 | Beautiful Freak | Eels | Alternative rock [376] | DreamWorks |
| |
27 August 1996 | ATLiens | OutKast | LaFace/Arista | Legacy | ||
9 September 1996 | New Adventures In Hi-Fi | R.E.M. | Warner Bros. | Awards | ||
16 September 1996 | Endtroducing..... | DJ Shadow | Mo' Wax | Considered a landmark recording in the development of instrumental hip hop. [378] Cited by Guinness World Records as the first album created entirely from samples. [379] | Legacy | |
17 September 1996 [380] [381] | Ænima | Tool | ||||
24 September 1996 | Pinkerton | Weezer | DGC | Accolades | ||
22 October 1996 | Soundtracks For The Blind | Swans | Young God | Critical reception Paste's "The 300 Greatest Albums of All Time": #175 [14] | ||
25 October 1996 | Long Season | Fishmans | Polydor | Consists of a single 35-minute composition based on the band's earlier single "Season". [391] Regarded as a landmark of Japanese rock music. [392] | ||
29 October 1996 | Being There | Wilco | Reprise | Reception | ||
4 November 1996 | Richard D. James Album | Aphex Twin | Warp | Highly regarded for its production, incorporating fast breakbeats and intricate drum programming, lush string arrangements, ambient melodies, modulated vocals, and unstable time signatures. [398] [399] [400] [401] | Critical reception | |
18 November 1996 | If You're Feeling Sinister | Belle And Sebastian | Jeepster | Critical reception |
Release Date | Album | Artist | Genre(s) | Label | Notes | Accolades |
---|---|---|---|---|---|---|
28 January 1997 | Perfect From Now On | Built To Spill | Warner Bros. | Stylistically, the album was marked by its experimentation with longer song structures and philosophical lyrics. [410] | ||
10 February 1997 | Blur | Blur | Food |
| ||
11 February 1997 | Baduizm | Erykah Badu | Credited with contributing to the commercial visibility of neo-soul. | Accolades | ||
25 February 1997 | Either/Or | Elliott Smith | Kill Rock Stars | Legacy | ||
3 March 1997 | The Boatman's Call | Nick Cave & The Bad Seeds | Singer-songwriter [419] | Mute/Reprise |
| |
18 March 1997 | Whatever And Ever Amen | Ben Folds Five | Alternative rock [421] | |||
7 April 1997 | Dig Your Own Hole | The Chemical Brothers | Freestyle Dust/Virgin (UK) | Critical reception and legacy | ||
8 April 1997 | Dig Me Out | Sleater-Kinney | Punk rock | Kill Rock Stars | Acclaimed for its energy and feminist lyrics. [424] | Legacy |
22 April 1997 | I Can Hear The Heart Beating As One | Yo La Tengo | Matador | Legacy | ||
21 May 1997 | OK Computer | Radiohead | Cited as one of the greatest albums of all time for its anticipation of the mood of 21st-century life's rampant consumerism, capitalism, social alienation, paranoia, and political malaise and its influence in pushing British rock from Birtpop towards melancholic, atmospheric alternative rock. [426] [427] | Accolades | ||
16 June 1997 | Ladies And Gentlemen We Are Floating In Space | Spiritualized | Dedicated | Legacy | ||
30 June 1997 | The Fat Of The Land | The Prodigy | Reception | |||
14 August 1997 (CD Version: June 8, 1998) | F♯ A♯ ∞ | Godspeed You! Black Emperor | Notable for being devoid of traditional lyrics and is mostly instrumental, featuring lengthy songs segmented into movements. [434] | |||
16 September 1997 | Buena Vista Social Club | Buena Vista Social Club | Recognized by the Guinness World Records as the best-selling world music album. [436] | Reception | ||
22 September 1997 | Dots And Loops | Stereolab | Duophonic/Elektra | Praised for its blend of accessible bossa nova and 1960s pop music-inspired music with experimental and avant-garde sounds, and for being one of the first albums produced with a digital audio workstation. [437] [438] | ||
22 September 1997 | Homogenic | Björk | Regarded as one of the most groundbreaking albums of all-time, and is often credited for connecting art pop to electronic dance music. [439] | Accolades | ||
29 September 1997 | Urban Hymns | The Verve | Hut | Accolades and legacy | ||
30 September 1997 | Time Out Of Mind | Bob Dylan | Columbia | Aftermath and legacy | ||
7 October 1997 | The Velvet Rope | Janet Jackson | Virgin | Regarded as a template for pop artists transitioning to a darker or rebellious sound and as a precursor to the development of alternative R&B. [444] | Accolades | |
21 October 1997 | Mogwai Young Team | Mogwai | Chemikal Underground | |||
18 November 1997 | The Lonesome Crowded West | Modest Mouse | Indie rock [445] | Up | Critical reception Paste's "The 300 Greatest Albums of All Time": #300 [14] |
Release Date | Album | Artist | Genre(s) | Label | Notes | Accolades |
---|---|---|---|---|---|---|
16 January 1998 | Moon Safari | Air |
| Credited with helping to establish the stage for the budding downtempo music style. [455] | Accolades | |
26 January 1998 | Mark Hollis | Mark Hollis | Polydor | Noted for being extremely sparse and minimal in its sound; AllMusic called it "quite possibly the most quiet and intimate record ever made". [456] | ||
10 February 1998 | In The Aeroplane Over The Sea | Neutral Milk Hotel | Merge | Highly regarded for its hard-to-categorize mix of genres, use of less conventional instruments like the singing saw and uilleann pipes, its lo-fi production, and its surrealistic and opaque lyrics inspired by Anne Frank's The Diary of a Young Girl. Notable for developing a substantial cult following. [459] [460] [461] | Critical reevaluation and sales | |
22 February 1998 | Ray Of Light | Madonna | Credited for bringing electronica music into global pop culture. [462] | Accolades | ||
10 March 1998 | TNT | Tortoise | Thrill Jockey | Critically acclaimed for its postmodern sound using hard disk technology in a "forward-then-back" approach, with members individually adding parts to tracks at different stages until the tracks were completed. [463] [464] | Critical reception | |
30 March 1998 | This Is Hardcore | Pulp | Island | Reception and legacy Diariocrítico's The 100 Best Albums of the 90s: #69 [466] | ||
20 April 1998 | Music Has The Right To Children | Boards Of Canada | Noted as a major influence on the electronic music genre, using vintage synthesisers, degraded analogue production, found sounds and samples, and hip hop-inspired rhythms in its production. [467] [468] [471] | Legacy and influence NME's "The 500 Greatest Albums Of All Time": #181 [49] | ||
20 April 1998 | Mezzanine | Massive Attack |
| Praised for its darker aesthetic and more atmospheric style influenced by British post-punk, industrial music, hip hop and dub music. [472] | Reception | |
23 June 1998 | Mermaid Avenue | Billy Bragg & Wilco | Elektra | |||
30 June 1998 | Car Wheels On A Gravel Road | Lucinda Williams | Mercury | Credited with popularizing Americana music. [476] | Critical reception and legacy | |
19 August 1998 | The Miseducation Of Lauryn Hill | Lauryn Hill | Contributed to bringing hip hop and neo soul to the forefront of popular music, and regarded as among the best hip-hop albums of all time. [477] [478] | Accolades | ||
25 August 1998 | XO | Elliott Smith | DreamWorks |
| ||
21 September 1998 | Electro-Shock Blues | Eels | Indie rock | DreamWorks | Acclaimed for its representation of frontman Mark Oliver "E" Everett's personal losses and coming to terms with suddenly becoming the only living member of his family. [486] | |
28 September 1998 | The Three E.P.'s | The Beta Band | Regal | Compilation album. | ||
29 September 1998 | Deserter's Songs | Mercury Rev | V2 | |||
29 September 1998 | Aquemini | Outkast | LaFace/Arista | Praised for being one of the most creative rap albums for its musicality, eclectic sound, and unique lyrical themes. [492] [493] | Accolades | |
29 September 1998 | Mos Def & Talib Kweli Are Black Star | Black Star | ||||
September 1996 | Horse Stories | Dirty Three | Touch and Go |
| ||
12 October 1998 | Without You I'm Nothing | Placebo | Hut | Reception | ||
20 October 1998 | American Water | Silver Jews | Drag City | |||
27 October 1998 | The Shape Of Punk To Come | Refused | Burning Heart | Incorporated experimental combinations of post-hardcore, post-punk, techno, and jazz sounds into its punk framework. [503] |
Release Date | Album | Artist | Genre(s) | Label | Notes | Accolades |
---|---|---|---|---|---|---|
19 January 1999 | I See A Darkness | Bonnie 'Prince' Billy | Palace/Domino | |||
2 February 1999 | Keep It Like A Secret | Built To Spill | ||||
23 February 1999 | Things Fall Apart | The Roots | MCA | |||
23 February 1999 | The Slim Shady LP | Eminem | Praised for its unique lyrical style, dark humor lyrics involving cartoonish depictions of violence and heavy use of profanity, and unusual personality. [515] | Accolades | ||
9 March 1999 | Summerteeth | Wilco | Reprise | |||
15 March 1999 | 13 | Blur | Accolades | |||
16 April 1999 | Mule Variations | Tom Waits | ANTI- |
| ||
17 May 1999 | The Soft Bulletin | The Flaming Lips | Warner Bros. | |||
17 May 1999 | Play | Moby | Critical reception | |||
24 May 1999 | The Man Who | Travis | Post-Britpop [535] | Independiente |
| |
8 June 1999 | Californication | Red Hot Chili Peppers | Warner Bros. | Retrospective commentary | ||
12 June 1999 | Ágætis Byrjun | Sigur Rós | Highly regarded for its "cosmic", "other-worldly" and "timeless" nature due to the unique sound of the band's music. [538] | Reception | ||
28 June 1999 | Bocanada | Gustavo Cerati | BMG International | Regarded as one of the greatest Argentine and Latin-American rock albums of all time. [540] [541] |
| |
14 September 1999 | 69 Love Songs | The Magnetic Fields | Merge | A three-volume concept album composed of 69 love songs. [543] | Critical reception | |
14 September 1999 | American Football | American Football | Polyvinyl | Considered one of the most important math rock and Midwest emo records of the 1990s. | ||
21 September 1999 | The Fragile | Nine Inch Nails | Acclaimed for its ambition and composition incorporating vast influences and genres. [546] [547] | |||
12 October 1999 | Black On Both Sides | Mos Def | East Coast hip hop [549] | Rawkus/Priority | ||
19 October 1999 | Operation: Doomsday | MF DOOM | Fondle 'Em | Regarded as one of the most influential albums in independent and underground hip-hop history. [550] | Accolades | |
26 October 1999 | Emergency & I | The Dismemberment Plan | Regarded as a landmark indie rock album and influential to its development. [552] | Accolades and retrospective reviews | ||
2 November 1999 | The Battle Of Los Angeles | Rage Against The Machine | Epic | Critical reception | ||
9 November 1999 | When The Pawn... | Fiona Apple |
| When_the_Pawn... | ||
10 December 1999 | Vision Creation Newsun | Boredoms | Birdman/WEA Japan |
Last Splash is the second album by American alternative rock band the Breeders, released on August 30, 1993. Originally formed as a side project for Pixies bassist Kim Deal, the Breeders quickly became her primary recording outlet. Last Splash peaked at number 33 on the Billboard 200 albums chart, and by June 1994, the album had been certified platinum by the Recording Industry Association of America (RIAA) for shipments in excess of one million units.
Parklife is the third studio album by the English rock band Blur, released on 25 April 1994, by Food Records. After moderate sales for their previous album Modern Life Is Rubbish (1993), Parklife returned Blur to prominence in the UK, helped by its four hit singles: "Girls & Boys", "To the End", the title track and "End of a Century".
Check Your Head is the third studio album by the American hip hop group Beastie Boys, released on April 21, 1992, by Grand Royal and Capitol Records. Three years elapsed between the releases of the band's previous studio album Paul's Boutique (1989) and Check Your Head, which was recorded at the G-Son Studios in Atwater Village in 1991 under the guidance of producer Mario Caldato Jr., the group's third producer in as many albums. Less sample-heavy than their previous records, the album features instrumental contributions from all three members: Adam Horovitz on guitar, Adam Yauch on bass guitar, and Mike Diamond on drums.
Exile in Guyville is the debut album by American singer-songwriter Liz Phair, released on June 22, 1993, by Matador Records. It was recorded at Idful Music Corporation in Chicago between 1992 and 1993 and produced by Phair and Brad Wood. The album received critical acclaim and in 2020, it was ranked No. 56 by Rolling Stone in its 500 Greatest Albums of All Time list. It was certified gold in 1998.
The Soft Bulletin is the ninth studio album by American rock band the Flaming Lips, released by Warner Bros. Records on May 17, 1999, in the United Kingdom, and on June 22, 1999, in the United States. The album was released to widespread acclaim, and was hailed by critics as a departure from their previous guitar-heavy alternative rock sound into a more layered, intricately arranged work.
This Is Hardcore is the sixth studio album by English rock band Pulp, released on 30 March 1998. Following the success of Different Class (1995), friction grew in the band, culminating in the notable departure of guitarist and violinist Russell Senior; frontman Jarvis Cocker left for New York alone to decompress and write in isolation from the rest of the band. These new songs took a much more art rock approach and glam rock influence from its predecessor. After reconciling with the band, work on the album began in November 1996 and finished in January 1998. Lead single "Help the Aged" was released on 11 November 1997, followed by the album's title track on 16 March 1998. After the album's release on 30 March, two more singles were released; "A Little Soul" on 8 June and "Party Hard" on 7 September.
Either/Or is the third studio album by American singer-songwriter Elliott Smith. Either/Or was recorded in several locations, mostly in Portland, Oregon – while Smith was still a member of Heatmiser – and was produced by Smith, Tom Rothrock and Rob Schnapf. Either/Or was released on February 25, 1997, on the Kill Rock Stars record label, following Heatmiser's dissolution. Book-ended by its two singles, "Speed Trials" and "Ballad of Big Nothing", Either/Or did not chart in the US, but was acclaimed by critics.
XO is the fourth studio album by the American singer-songwriter Elliott Smith, released on August 25, 1998, by DreamWorks Records.
Weezer is the debut studio album by the American rock band Weezer, released on May 10, 1994, by DGC Records. It was produced by Ric Ocasek of the Cars.
Slanted and Enchanted is the debut studio album by American indie rock band Pavement, released on April 20, 1992 by Matador Records. It is the only Pavement album to feature drummer Gary Young.
Tidal is the debut studio album by American singer-songwriter Fiona Apple, released on July 23, 1996, by The WORK Group. Tidal produced three singles: "Shadowboxer", "Sleep to Dream", and "Criminal". The latter was the album's most popular single, winning a Grammy Award for Best Female Rock Vocal Performance in 1998. In 2017, Tidal got its first vinyl run as a "Vinyl Me Please" exclusive "Record of the Month".
If You're Feeling Sinister is the second album by the Scottish indie pop band Belle and Sebastian. It was released in 1996 on Jeepster Records in the United Kingdom and in 1997 by Matador Records in the United States. It is often ranked among the best albums of the 1990s, including being ranked #14 in Pitchfork's list of Top 100 Albums of the 1990s.
There's Nothing Wrong with Love is the second full-length album released by American indie rock band Built to Spill. There's Nothing Wrong with Love was recorded in May and June 1994, and released September 13, 1994, on the Up Records label. It was produced by Phil Ek. The songs "Car" and "Distopian Dream Girl" were released as singles. Sub Pop reissued the album on vinyl in 2015. This is the only album to feature drummer Andy Capps and the first to feature bassist Brett Nelson.
"Bitter Sweet Symphony" is a song by the English rock band the Verve, released on 16 June 1997 by Hut Recordings and Virgin Records as the lead single from their third album, Urban Hymns. It was produced by Youth at Olympic Studios, London.
"Groove Is in the Heart" is a song by American dance band Deee-Lite, released in August 1990 by Elektra as their debut and lead single from their first album, World Clique (1990). Written and produced by the band, it was a hit in many countries, reaching number-one in Australia and on both the Canadian RPM and US Billboard dance charts. Today it is widely recognized as a classic of its genre. It was accompanied with a psychedelic 60s-themed music video directed by Hiroyuki Nakano.
Reading, Writing and Arithmetic is the debut studio album by English alternative rock band the Sundays. It was released in 1990 on Rough Trade Records in the United Kingdom, and on DGC Records in the United States. The album's title is a reference to the band's hometown, Reading, Berkshire.
"Da Funk" is an instrumental track by French electronic music duo Daft Punk, initially released as a 12-inch single in May 1995 by Soma and Virgin and later included on their debut album, Homework (1997). Prior to its inclusion on the album, "Da Funk" received little attention and was limited to 2,000 copies. The song and its accompanying music video directed by Spike Jonze are considered classics of 1990s house music. It went on to sell 30,000 copies in 1997. A reversed clip of the song was also released on Homework as "Funk Ad", which is the final track on the album.
"Maps" is a song by American indie rock band Yeah Yeah Yeahs from their debut full-length album, Fever to Tell (2003). The song is about the relationship between Liars frontman Angus Andrew and Yeah Yeah Yeahs lead singer Karen O. Released in September 2003, the song reached number nine on the US Billboard Modern Rock Tracks chart and number 26 in the United Kingdom. The band performed the song at the 2003 MTV Movie Awards, and the music video received extensive play on MTV.
From #1 to number nowhere, Cauty and Drummond turned their attention away from the mainstream and concentrated, instead, upon ambient music. While Cauty founded The Orb, Chill Out (1990), an album still regarded highly by dance-trance aficionados, was released by the band under the new name of The KLF. Sadly, like the other records the band released during their ambient phase, it didn't sell particularly well.
The KLF's 1990 Chill Out album had pioneered the tautological 'ambient house', mixing train noises, post-punk dub and pre-punk Floyd.
An audio collage of everything from Elvis to the Tuvan throat singing of Siberia, the album tells the story of an imaginary night-time journey from Texas to Louisiana.
The KLF's extraordinary 1990 ambient sonic collage Chill Out was the landmark: a forty-five-minute, distinctly tongue-in-cheek odyssey through sound effects and environmental noise..
By 1990, when Cocteau Twins released Heaven or Las Vegas—their final album for 4AD, the independent UK label that had shepherded their journey from post-punk mystics to ambient-pop dream-weavers...
...the complex, pastoral post-rock of final two albums Spirit of Eden and Laughing Stock.
...the Scream's urban-guerrilla guise was as much a fleeting phase as the acid-house love-in of 1991's Screamedelica...
Lovey is certainly not the confident, accessible grunge of Ray
With G-funk crumbling pavements in the Wild West, Bizarre Ride II the Pharcyde offered a breezier boom-bap alternative.
Arguably it was Orbital, and this album in particular, that cemented the idea of a dance long-player as a cohesive artistic statement...
Siamese Dream is a powerful collection of the Pumpkins' psychedelic indie-rock sound mixed with Billy Corgans and doomy lyrics.
Last Splash thrust the Breeders...into the surf-grunge sunshine.
Pavement's decision to graft a shadow history of '60s and '70s California folk-rock and psychedelia onto the abrasive, Fall-inspired noise of their previous sound made total sense...
Outside of all those particulars, though, and applying the narrative to Britain itself as well as how Britpop figured in here, is the fact that Definitely Maybe was the final shot in the first round of the genre's peak.
...his second solo record was a turning point for the then-44-year-old rocker into a wiser era, strolling through folk, blues, and rock...
...Different Class, a full-length that alchemized bubblegum, glam, and luxe new wave into artful pop.
All that this record represents has basically fallen from grace rather awkwardly, and the few truly great albums of the whole Chicago Instrumental Post Rock Jazz Fusion scene...
the lush g-funk of All Eyez On Me
...these songs set the standard for pretty much all indie pop that was to come.
Without Björk, electronic and art-pop music would not exist in the same capacity that it does today.
Coincidences aside, though, "Love and Theft" cemented Dylan's late-era resurgence, assuring listeners that 1997's Time Out of Mind hadn't been a fluke. Even grittier and dirtier than its blues rock predecessor, the record roars through an old-time South whose gentility has been corrupted and sullied by an album's worth of rogues, scoundrels, and treacherous women who bring only pain.
The music calls back to ancestral country and roadhouse blues, but it's not a retro sound.
If one single event could be identified as triggering the refurbishment of Dylan's fading reputation, it was his 1997 album, Time Out Of Mind. A haunted collection of blues, rockabilly and ballads apparently reaching out from beyond the grave, it confirmed that he hadn't, after all, lost the ability to hypnotise his listeners, nor to mine an indefinable sense of spiritual profundity from the simplest of musical tools.
Lucinda Williams was two decades into her career at the cross-section of country and rock when she finally released her full-length opus...
...this is where the Kentuckian's eccentric vision comes into sharp focus: Appalachian-inspired country-folk, existential musings, vivid storytelling...
...Summerteeth aspired to be nothing less than the alt-country Pet Sounds.
...The Soft Bulletin [provides a] breathtaking symphonic-rock rapture [that] is ultimately a function of escapist fantasia...
This album blew the fuck out of anyone who heard it back in '99. The result, of course, was backlash against overstated hype. No one wants to hear about how (s)he must hear the BEST POP ALBUM OF OUR TIME...