100 Best Albums of the '90s - Rolling Stone
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100 Best Albums of the ’90s

From Moby to Nirvana, the records that defined a decade

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Rolling Stone picks the 100 greatest albums of the 1990s.

The Nineties as a musical era started late and ended early — kicked in by the scritchy-scratch power chords of “Smells Like Teen Spirit,” ushered out by the doomy piano intro of “. . . Hit Me Baby One More Time.” Anti-pop defeated by pop — full circle, all apologies. You’ve heard the story.

But the real Nineties were richer, funnier and weirder than that, with fake grunge bands writing better songs than some of the real ones, Eighties holdovers U2 and R.E.M. reaching creative peaks with Achtung Baby and Automatic for the People, Metallica and the Black Crowes co-existing on MTV, Phish tending to the Deadhead nation after Jerry’s passing — and Vanilla Ice and MC Hammer ceding their pop thrones in a few short years to Dr. Dre, Snoop and Eminem. — Brian Hiatt

This is an excerpt from the introduction to Rolling Stone‘s book The ’90s: The Inside Stories From the Decade that Rocked. Copyright © 2010 by Collins Design, an Imprint of HarperCollins Publishers.


Lauryn Hill, ‘The Miseducation of Lauryn Hill’

After months locked in tuff Gong Studios in Kingston, Jamaica, Lauryn Hill emerged from the shadow of the Fugees to create a stunning musical document that is equal parts Stevie Wonder, Joni Mitchell and, well, no one but Lauryn Hill. She sings and rhymes; she gives us ballads, party rockers and doo-wop; she sings of love for men, her son, Zion, her New Jersey childhood and (maybe) her ex-boyfriend, Wyclef Jean. She wraps it all in a raw, completely human sound in which you can hear fingers plucking guitars, needles meeting vinyl and drumsticks touching cymbals. When someone asks you, “What is hip-hop soul?” play them The Miseducation.

Video: Booker T & The Roots Cover Lauryn Hill’s ‘Everything Is Everything’

Video: Lauryn Hill Performs Intimate Gig to Kick Off Tour


U2, ‘Achtung Baby’

It was one of the most extreme personality transformations in pop music — ever. U2, the Irish bards of cathedral-chime guitar and pub-stool sermonizing, said goodbye to the Eighties and the suffocating tide of their own sincerity by setting up their recording gear in post-Wall Berlin and saying hello to the two i's: irony and industrial dance music. The music — slower than The Joshua Tree — is corrosive, razed-city funk laced with mad laughter and creeping paranoia. Yet the album's crackle and empty-hallway echo are really a kind of protective armor for the defiant heart in Bono's lyrics ("One," "Ultra Violet [Light My Way]") and the real lesson of Achtung Baby's post­modern giggles: To appreciate the joys of heaven, sometimes you have to take a little walk through hell.

Rolling Stone's Original 1992 Review

U2, Live From Outer Space: Launching the Biggest Tour of All Time

Photos: Three Decades of the World's Biggest Band, Onstage and Backstage


Radiohead, ‘OK Computer’

Progress is a bitch, but don't let the machines, or their masters, grind you down: That is the simple message encoded in the art-rock razzle-dazzle of OK Computer. Hailed as The Dark Side of the Moon for the Information Age, Computer is too brittle in its time-signature twists and hairpin guitar turns, too claustrophobic in mood, to qualify as space rock. Instead, Radiohead shatter the soul-sucking echo of isolation and enforced routine with the violent mood swings of "Paranoid Android" and Thom Yorke's arcing vocal anguish in the gaunt, yearning ballads "Let Down" and "Lucky." Somehow, OK Computer went platinum a year after its release — a welcome testament that smart still sells.

Rolling Stone's Original 1997 Review

The Future According to Radiohead: Rolling Stone's 2008 Cover Story

Photos: Fifteen Years of Radiohead, From 'Pablo Honey' to 'In Rainbows'


Dr. Dre, ‘The Chronic’

Once upon a time, Dr. Dre was just one of the guys from N.W.A, Suge Knight was just a bodyguard and Snoop Dogg wasn't a star. Then The Chronic dropped, and the earth moved on Planet Hip-Hop. The sound is culled from George Clinton's funk, the images are loosely inspired by the ominous malfeasance of The Godfather, and it is all pulled together by a tall, skinny new kid from Long Beach, California, who delivers vivid ghetto stories and marijuana paeans in a light, singsongy drawl that seems the epitome of cool under fire. It was the most original MC style since Rakim, and it magnetized listeners from coast to coast the first time they heard him say, "Ain't nuttin' buh a gee thang, bayyy-bay."

• Rolling Stone's Original 1993 Review

• Photos: Nate Dogg's Best Guest Appearances

• Rolling Stone's 500 Greatest Albums of All Time: 'The Chronic' by Dr. Dre


Nirvana, ‘Nevermind’

The album that guaranteed the nineties would not suck. Every word and note Kurt Cobain wrote for Nevermind now rings with the heavy clang of compound retrospect: his sad, foolish death; the thousand grunge-alikes who aped Cobain's pain well enough but blew it with the music. In fact, Cobain's special genius — and that of drummer Dave Grohl and bassist Krist Novoselic — was in barbed humor and the amp-joy classicism of the Sex Pistols, Cheap Trick and AC/DC. Nevermind pulled the decade's ultimate mosh-party record out of a generation's discontent — and showed that rock & roll, in its messy middle age, could still fuck things up, gloriously.

• Rolling Stone's Original 1991 Review

• Kurt Cobain's Downward Spiral: Rolling Stone's 1994 Feature

• Photos: The Rise of Nirvana, Smashing Pumpkins, Pearl Jam and More

Photos: Rolling Stone Readers Pick the Top 10 Albums of the Nineties

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