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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.

77

Neil Young and Crazy Horse, ‘Ragged Glory’

To kick-start the Nineties, Neil Young reunited with Crazy Horse, cranked the amps and, as a songwriter, took a look back to see if anything was still standing. There's some blood on the tracks ("Love to Burn," "Fuckin' Up"), but "Days That Used to Be" and "Mansion on the Hill" revisit the era of peace, love and granola with a sentimentality that Young rarely permits himself. The long guitar solos are this album's real story, however. They're ragged and glorious, indeed, and they turn this look back into a look ahead: The guitar barrage of grunge is right around the corner.

Rolling Stone's 100 Greatest Guitarists of All Time: Neil Young

Photos:MusiCares Person of the Year Tribute to Neil Young

Video: Rock and Roll Hall of Fame With Tom Waits and Neil Young, Darlene Love and Bruce Springsteen

76

The Rolling Stones, ‘Bridges to Babylon’

Maybe it was the biz markie sample on "Anybody Seen My Baby?" that suggested the Rolling Stones were up for invigoration on Bridges to Babylon. Not that their rockers ("Flip the Switch") or ballads of taunting regret ("Already Over Me") are missing. It's that everything sounds vivified — from the reggae swagger of Keith Richards' "You Don't Have to Mean It" to Mick Jagger's hedonist manifesto "Saint of Me." A bridge to the twenty-first century? For the Stones, Babylon will do just fine.

Photos: Rare and Intimate Pictures of the Rolling Stones

Rolling Stone's 100 Greatest Artists of All Time: The Rolling Stones

Photos: The Rolling Stones on the Cover of Rolling Stone

75

Belle and Sebastian, ‘If You’re Feeling Sinister’

This instrument-switching Scottish outfit represented the ultimate triumph of twee, that British subgenre that applies rock-style hipness and amateurish fervor to unrock interests such as coffeehouse folk, French 1960s pop and the works of Burt Bacharach. Casually led by real-life choirboy and Smiths admirer Stuart Murdoch, Belle and Sebastian attached cello, trumpet and strings to a skiffle beat and melodies devised after hours of lonely listening to vintage Top Forty radio. Not since Nick Drake had so quiet a band spoken so loudly.

Rolling Stone's Original 1997 Review

Photos: Belle and Sebastian Stay Loose

74

Rage Against the Machine, ‘The Battle of Los Angeles’

Rage Against the Machine's first two records sound better than they used to, now that we know they were leading up to something. But they sure don't howl or move like The Battle of Los Angeles. Tom Morello is the most adventurous metal guitarist since Eddie Van Halen Hagar-ed out, and his boombastic sonics in "Born of a Broken Man," "Ashes in the Fall" and "War Within a Breath" rumble like crosstown turntable traffic. Zack de la Rocha has figured out how to project with his major