Record Revolution: 1993

Presenting: RECORD REVOLUTION

Join the Daly Brothers as they chronicle the essential years that shaped popular music as well as their own personal histories.

This episode, Ryan and Neil put the spotlight on 1993, a year that saw new releases from alternative rock groups such as Nirvana, Pearl Jam, and the Smashing Pumpkins, as well as emerging hip-hop stars 2pac, Snoop Dogg, and Ice Cube. Plus the debuts of the Cranberries and Dave Matthews Band, and the return of Aerosmith and Janet Jackson. Pop that CD in your Discman and press PLAY for this unique oral history of the year 1993 in music!

Click Read More to view the entire track list for this episode:

Tracks

  1. “Heart Shaped Box” by Nirvana
  2. “Go” by Pearl Jam
  3. “Disarm” by Smashing Pumpkins
  4. “You Know How We Do It” by Ice Cube
  5. “That’s The Way Love Goes” by Janet Jackson
  6. “Whoomp! (There It Is)” by Tag Team
  7. “Eat The Rich” by Aerosmith
  8. “Today” by Smashing Pumpkins
  9. “Holler If You Hear Me” by 2Pac
  10. “Keep Ya Head Up” by 2Pac
  11. “Creep” by Radiohead
  12. “Linger” by The Cranberries
  13. “Livin’ On The Edge” by Aerosmith
  14. “Cryin’” by Aerosmith
  15. “Knockin’ On Mine” by Paul Westerberg
  16. “First Glimmer” by Paul Westerberg
  17. “Like a Hurricane” by Neil Young
  18. “Stringman” by Neil Young
  19. “Zooropa” by U2
  20. “Rocket” by Smashing Pumpkins
  21. “Soma” by Smashing Pumpkins
  22. “Cherub Rock” by Smashing Pumpkins
  23. “Erotic City” by Prince
  24. “Feel U Up” by Prince
  25. “Rape Me” by Nirvana
  26. “All Apologies” by Nirvana
  27. “The Weeping Song (live)” by Nick Cave and the Bad Seeds
  28. “Deanna (live)” by Nick Cave and the Bad Seeds
  29. “Leash” by Pearl Jam
  30. “Daughter” by Pearl Jam
  31. “Rearviewmirror” by Pearl Jam
  32. “Tripping Billies (live)” by Dave Matthews Band
  33. “Are You Gonna Go My Way” by Lenny Kravitz
  34. “She Don’t Use Jelly” by The Flaming Lips
  35. “Far Behind” by Candlebox
  36. “Down for Whatever” by Ice Cube
  37. “Gin and Juice” by Snoop Dogg
  38. “Back Seat” by LL Cool J
  39. “Hip Hop Hooray” by N.W.A.
  40. “Cannonball” by the Breeders
  41. “Fuck and Run” by Liz Phair
  42. “If” by Janet Jackson
  43. “Shoop” by Salt-N-Pepa
  44. “Spin the Bottle” by the Julianna Hatfield Three
  45. “Asshole” by Denis Leary
  46. “Two Hearts” by Chris Isaak
  47. “Can’t Help Falling in Love” by UB40
  48. “Come Undone” by Duran Duran
  49. “Fields of Gold” by Sting
  50. “The Sign” by Ace of Base
  51. “Fade Into You” by Mazzy Star
  52. “Stack a Lee” by Bob Dylan
  53. “Los Angeles” by Frank Black
  54. “Amazing” by Aerosmith
  55. “Lurgee” by Radiohead
  56. “La Vie Boheme” by the Cast of RENT
  57. “Hummer” by Smashing Pumpkins

 

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Thanks for listening!

11 responses to “Record Revolution: 1993

  1. This is right in the middle of my heart. Junior in high school and living in the Pacific NW. Yeah….I cannot wait to listen to this episode!

  2. This just might be my favorite show on the network that I don’t EP and haven’t been on!

    Did we just bond over our love of the Backbeat Soundtrack?!?!

    Also, that Achtung Baby tour was phenomenal! I couldn’t believe I got to see the Sugar Cubes (RIP, band), P.E., and U2 on the same bill. Such a feat.

  3. Great show guys. I can’t say I was into every bit of that music, but I do remember it all, since I graduated High School and went to college in ’93. So a pretty important year in my life.

    Every time I sell off an old car, I play “Long May You Run” by Neil Young from that Unplugged album. I have to.

    Chris

  4. On the way to work, I was still at the point where you were talking about what the show was going to be, and on the way home you were still at the start of 1993, without entering into whatever that 57 track long listing is going to be. I guess I’ll be commenting in chunks. As I’ve mentioned elsewhere, I grew up on country and oldies, so I didn’t start paying serious attention to pop music until way into the ’80s. Possibly due to being raised by women in my formative years, I’ve always liked female singers, and gravitated to them especially once my tastes began expanding. If anything, the ’90s “butched” me up some, as I started paying more attention to male acts as I myself was becoming more masculine and aggressive. Also, “alternative” resonated with me far more than hair bands, and I was never particularly interested in metal.

    Oh wait, I just now figured out that the track listing in for the background music. Okay, I guess I can get started on that. I saw Poetic Justice on cable and thought it was alright. That and his cameo with Digital Underground in Nothing But Trouble fairly summarizes my relationship to Tupac Shakur. I caught some of the biopic because I like Danai Gurira. I dunno. I never knew anyone who was that into him, despite the prevalence of his iconography, and I barely know any of his music. Something to correct?

    As I’m sure was the case with a lot of people, I embraced Radiohead’s “Creep” immediately after hearing it on the radio as a personal anthem in my most misanthropic years while figuring them to be one-hit wonders based off the lameness of Pablo Honey. I’ve given it a few spins in the years since, but I can’t even hum a few bars of any other songs on that album. I’m confident this one will come up on a One Song Each, so I won’t dwell on it.

    “Linger” also got my immediate attention, and I liked their other singles. My memory is of “Linger” coming before “Dreams,” so even though my gut tells me it was contemporaneous with “Creep,” and Houston may have had a leg-up on the nation, my brain figures it’s more likely I’m familiar with the 1994 reissue. Apparently the album was flat until MTV picked up their videos after they gained visibility as an opening act, and “Dreams” was the second reissue after “Linger” broke through. It still feels like I was listening to both songs on my off-brand walkman while suffering acute paranoia from some unusually strong (presumably laced) pot I’d smoked before soliciting curb-paintings door-to-door in an upscale neighborhood. Anyway, I liked The Cranberries, but I didn’t go on a crying jag over Dolores O’Riordan or anything. To some degree, I brushed them off as a more commercial pass at The Sundays.

    It’s bizarre to me to hear 1993 treated as a banner year for Aerosmith because to me that banner was held in the mouths of the sharks they were jumping with Get a Grip. I was introduced to the band through the video for Run–D.M.C.’s cover of “Walk This Way,” and assumed they were actors playing a stereotypical hybrid of the Stones and glam rock. It wasn’t until “Dude (Looks Like a Lady)” came out over a year later that I realized they were a real band. Two hit singles later, I was a fan, and Permanent Vacation was among the first CDs I owned (and I may have had it on cassette, as well.) The compilation Gems followed in ’88, and there was already a greatest hits and three live albums besides. Pump was another instant classic, so expectations were high on the ’93 follow-up, with “Livin’ on the Edge” being an excellent start. “Eat the Rich” whimpered out, and then the Silverstone trilogy that SNL effectively lampooned. They still managed a few more decent singles, but they were back to being that embarrassing sell-out band my dad liked.

    Saturday Night Live: Aerosmith's Greatest Hits, 1990-1994 (Adam Sandler, Jay Mohr) So hilariously stupid, I'm rolling. pic.twitter.com/v3nKwLsPzN— Artie (@ArtieFox) August 23, 2017

  5. Forever crush Winona Ryder suggested for my then-favorite movie Heathers that the school her character went to should be named Westerberg High, which is referenced throughout the movie. Ironically, Paul Westerberg is probably then best known for a song off the Singles soundtrack, which was in direct competition for your cinematic alt-grunge Gen-X ensemble romantic comedy dollars with the OST of Ryder’s own Reality Bites (which was also good, in the way Ben Stiller at his best is good, but not Cameron Crowe at his best is great.) In the late ’90s there was a proto-meme on teh message boreds where you would compile a twelve track soundtrack to your life, and both “Creep” and “Dyslexic Heart” made it onto mine. A few years out from my teen angst bullshit (sans body count) I needed more space to address my burgeoning adult life, so the two tracks got merged into Violent Femmes’ “Promise” (less dramatic and more accurate, but not on the same level as either.)

    I first became aware of Neil Young in 1988 when Entertainment Tonight was hyping his big pop satire comeback “Old Man Yells at Cloud,” or I guess some might call it “This Note’s for You” (the one with the controversial burning of Michael Jackson in both elegy and homage.) Speaking of “Old Man,” it would probably make Mr. Fixit’s life soundtrack album, and he’s another favorite of Old Dude. I like some of the singles, but he’s not my jam overall.

    Bono and U2 have always gotten under my skin as self-important blowhards, so my natural inclination is always to take the piss out of them. After mocking the album cover of Zooropa on Twitter (I honestly couldn’t pick it out of a line-up,) I took a look at the track listing. I recall liking “Numb” quite a bit at the time, not so much “Lemon,” and I’d have sworn “Some Days Are Better Than Others” was a single. I never owned either, but Achtung Baby was certainly more memorable, with several songs so great that even I have to begrudgingly acknowledge their accomplishment.

    My brother had cable and watched 120 Minutes regularly, while I had broadcast and watched Friday Night Videos irregularly, so he was always way out in front of me on trends. He introduced me to Metallica and NWA in the ’80s, Nirvana and Stone Temple Pilots in the ’90s. I’m sure he was aware of The Smashing Pumpkins well before me, and I knew them more from buzz than music when “Cherub Rock” and “Today” started getting heavy airplay. It wasn’t until “Disarm” that I truly began to pay them heed, and it frankly reminded me of the both of us. By the Christmas of 1994, I was gainfully employed, and decided to finally buy presents for that side of my family. I was still to egocentric to investigate what they wanted, and instead bought them CDs that I would have wanted in hopes they’d feel the same. I’d gotten my brother Dead Man’s Party by Oingo Boingo and a copy of Siamese Dream for myself, but in a moment of conscience realized he’d probably prefer Pumpkins. As it happened, he also got me a CD that year. It was Queensrÿche. Maybe he was applying the same flawed principle I was, but at the time I felt like he’d betrayed a complete lack of awareness of who I was as a person with this purchase. I “forgot” it at my father’s place and it disappeared, presumably back home with my brother. I’ve never owned a copy of Siamese Dream, and in fact openly questioned my ability to ever tolerate Billy Corgan’s nasal whine for an entire album. Then in the late ’90s, one of my customers hooked me up with his library of Pumpkins tunes, and proved me wrong. Despite being a monolithic asshole, I don’t feel the same need to make a run at him as I do Bono, and still hope to see them live someday when that actually include D’arcy in their fucking reunions.

    An appropriate transition from Corgan is Prince, who I’ve been hoping to do a memorial mix-tape for three years going, and I’m running out of time again, so fingers crossed. I was still jamming the Love Symbol album in ’93, but I lost track of him for years after that with all that WB/TAFKAP hullabaloo.

    My brother was way more into Nirvana than I was, specifically In Utero, with “Serve the Servants,” “Scentless Apprentice,” and especially “Pennyroyal Tea” being his favorites. It’s not that my tastes were necessarily more mainstream, but certainly more melodic, so I favored “Rape Me,” “All Apologies,” and especially “Heart-Shaped Box.” As has been oft-noted, Cobain’s efforts had partially worked, and the album’s sales were slowing considerably by the time that shotgun fully backfired the gambit. I confess to giving their work more weight once it was sopped with his blood.

    Never underestimate a soundtrack. Though it may have been Songs in the Key of X, I’m pretty sure a years belated rental of Scream in the Napster era is what led me to robbing Nick Cave blind off Limewire. He’s the Edgar Allen Poe of rock, but “The Ship Song” is one of his less common non-lethal ballads that always takes me back to one specific bittersweet relationship.

  6. Finally finished this monster of a show. I will admit, the 90s are a relative dead zone for me in terms of music, so I only really had familiarity with some of the songs (“Better Man”, “Fields of Gold”) but nevertheless it was a fun listen, because the Daly Brothers have a great rhythm as co-hosts. And Ryan, I don’t know if it was intentional, but when you would lead into promos with “You’re listening to Fire and Water Records” it made the show sound like an actual radio show!

    I enjoyed everything up until the end, when you went out of your way to mention Bob Dylan’s cover of “Stack A Lee” just to suppose that it was “Bad Dylan.” UGGGGGHHHH. That WORLD GONE WRONG record is superb, have you no soul?

    So, other than that abomination, good show.

  7. As with Smashing Pumpkins and Mellon Collie, Pearl Jam got so much airplay with Ten that I wasn’t entirely conscious of the transition to the next album. That said, I was aware that “Daughter,” “Glorified G,” and “Rearviewmirror” had a noticeably poppier, goofier, frankly lamer sound. As a vanguard of grunge, I had a lot of respect and interest in Pearl Jam that was tempered and turned with each successive album. Eddie Vedder always seemed to feel the need to Say Important Things and tilt at windmills at a time when such crusading was much derided. I’m more conscious today of how the bourgeoisie seeks to break anyone who challenges their structures, but at the same time, it got to be a bit Bono, right? My main problem though was that Vedder was an increasingly unintelligible vocalist and the albums started to run together sonically into the grunge equivalent of muzak. All that having been said, “Elderly Woman Behind the Counter in a Small Town” is one of my favorite Vedder compositions, and I’m especially partial to the acoustic version. “Indifference” is underrated, while “Animal” and “Dissident” would have fit in perfectly on Ten.

    Alongside the Quixotic, there were the absurd, or the “Mmm Mmm Mmm Mmm” school of alt-rock that Dave Matthews Band appeared initially to emulate with “What Would You Say.” In retrospect, DMB appeared to be the house band playing the alternative movement off the stage, which might explain why their success seemed to be so resented to early on. For such an inoffensively pleasant group, they sure get a lot of hate directed at them. I apologetically enjoy a few of their singles, and they’re overall alright.

    Mr. Lisa Bonet seemed like he was going to be a one hit wonder with the minor Summer of Love throwback “Let Love Rule” in ’89, so when “Are You Gonna Go My Way” exploded like the second coming of Hendrix, I was taken totally by surprise. It was such a monster that it brought the singles Lenny Kravitz’s previous album back and into heavier rotation that at their debut, and I don’t think I’d heard them at all the first time. I never bought an album, but I dug most of the singles on the radio into the 21st century, until the godawful “Lady.”

    I hated “She Don’t Use Jelly” when it came out and thought it was weird that there were two songs referencing Vaseline out around the same time. I realize the critical consensus around The Flaming Lips changed mightily after Yoshimi Battles the Pink Robots, and I’ve liked some of their stuff, but I still think that first one sucks.

    I don’t think I ever owned a Candlebox album, but “Far Behind” was omnipresent and appears eternal, still getting spun on Houston’s modern rock station. All the singles from their debut were great, so I don’t know what it was about them that never inspired me to dig deeper. “Cover Me” comes to mind at least a few times a year, and thanks to someone I work with, I’ll go whole days with “You” stuck in my head without minding overly much.

    Weirdly because I noted familiarity with early acts like Luke Skywalker & 2 Live Crew, Fixit though I was really into old school rap when we first started hanging out, and I had to disabuse him of that notion. Rap’s fine. My brother had one of LL Cool J’s album that we listened to a lot (whichever one had “Jingling Baby”) and I still think “Doin’ It” is hot. Never was huge into gangster rap, but out of N.W.A. I favor Dre.

    Don’t think I knew about Tanya Donelly’s involvement with The Breeders, and initially thought there was some confusion with Throwing Muses. Dig both them and Belly. Definitely in my wheelhouse. I find your lack of faith in Pixies disturbing.

    I don’t think Liz Phair caught a break on Houston radio until “Supernova,” so I had a copy of Whip-Smart and a burn of Whitechocolatespaceegg years before I heard the vastly superior Exile in Guyville in its entirety. Obviously a watershed that will endure, and one of the music magazines recently did an oral history for its 25th anniversary that’s worth reading. Whenever I feel like I’m getting away with something, I think of “Girls! Girls! Girls!” and “Flower” will make your pee-pee purple. I own every album up to Somebody’s Miracle in tribute mostly to just Guyville, though her straight pop eponymous album was better than any of the rest.

    Aside from the all-timer “Pleasure Principle,” I never really thought of Ms. Jackson’s capacity to get nasty until janet., and she sure as hell proved that notion to be misguided. “That’s the Way Love Goes,” “If,” and “Any Time, Any Place” were a Prince-caliber erotic tour de force, and it still had several more solid hits besides.

    I liked Salt-N-Pepa well enough, but I’m strictly a singles guy, though I was surprised by how raunchy the video for “Shoop” was when I was inspired by Captain Marvel to revisit early ’90s girl groups.

    Julianna Hatfield is one of my all-time favorite singer-songwriters, and it all started with buying a used copy of Become What You Are at Wherehouse Music in the late ’90s (though I was already familiar with her singles as they were released. After the autobiographical Hey Babe was uncomfortably scrutinized, Harfield went out of her way to have a literary distance from the material on Become, and that calculated artifice makes me wince at a lot of the lyrics in retrospect. Julianna Hatfield doesn’t have a sister. My reading of “Spin the Bottle” is way more literal than yours, and I’m content with it staying that way. “Feelin’ Massachusetts” always comes to mind when I’m feeling “so so bored.” I believe the Police cover was from the meh singles & sundry comp Gold Stars 1992–2002. For my money, her best period was 1997-98. with the EP Please Do Not Disturb and the LP Bed. She’s still prolific, and I’m about eight albums behind in my collection, so she may have had a renaissance I’m unaware of.

    I forgot the “Asshole” song existed, and can’t for the life of me recall how I heard to way back when. My brother loved those Denis Leary MTV spots, so he’s the most likely source.

    I own a couple of Chris Isaak albums and love one or two of his songs, but it’s mostly pleasant retro background music. “Wicked Game” is probably in my top ten songs most sung in the shower.

    I’ve never loved Duran Duran as much as the 1-2 punch of “Come Undone” and “Ordinary World.”

    I used to tape music videos off TV, and still have VHS tapes where I pointedly cut off “Fields of Gold” and “If I Ever Lose My Faith In You.” I liked Sting, but he violent smashed into adult contemporary like a speeding car through a fruit stand in an action movie.

    UB40 had those two covers everyone liked a lot.

    I was also listening to “All That She Wants” a lot when I was doing those door-to-door solicitations, and the corny ABBAness of “The Sign” dispelled any notions of taking Ace of Base seriously. But do listen to it and “Alejandro” by Lady Gaga back-to-back sometime.

    We’ve joked on the podcast a few times about Fixit’s fixation on Redbone’s “Come And Get Your Love,” seemingly playing it and a few other ’70s tracks every time we were at his house. Lately, it’s been replaced by a live performance of “Fade Into You” that makes our hearts and other organs further south weep. Hope Sandoval was the O.G. lethargic morose dream girl. “Hallah” and “Ghost Highway” are also highly recommended.

    Nick Cave’s version of Stagger Lee would rank near the top, and Bob Dylan’s wouldn’t, but the best and most popular was obviously Lloyd Price’s from 1958.

  8. As with Smashing Pumpkins and Mellon Collie, Pearl Jam got so much airplay with Ten that I wasn’t entirely conscious of the transition to the next album. That said, I was aware that “Daughter,” “Glorified G,” and “Rearviewmirror” had a noticeably poppier, goofier, frankly lamer sound. As a vanguard of grunge, I had a lot of respect and interest in Pearl Jam that was tempered and turned with each successive album. Eddie Vedder always seemed to feel the need to Say Important Things and tilt at windmills at a time when such crusading was much derided. I’m more conscious today of how the bourgeoisie seeks to break anyone who challenges their structures, but at the same time, it got to be a bit Bono, right? My main problem though was that Vedder was an increasingly unintelligible vocalist and the albums started to run together sonically into the grunge equivalent of muzak. All that having been said, “Elderly Woman Behind the Counter in a Small Town” is one of my favorite Vedder compositions, and I’m especially partial to the acoustic version. “Indifference” is underrated, while “Animal” and “Dissident” would have fit in perfectly on Ten.

    Alongside the Quixotic, there were the absurd, or the “Mmm Mmm Mmm Mmm” school of alt-rock that Dave Matthews Band appeared initially to emulate with “What Would You Say.” In retrospect, DMB appeared to be the house band playing the alternative movement off the stage, which might explain why their success seemed to be so resented to early on. For such an inoffensively pleasant group, they sure get a lot of hate directed at them. I apologetically enjoy a few of their singles, and they’re overall alright.

    Mr. Lisa Bonet seemed like he was going to be a one hit wonder with the minor Summer of Love throwback “Let Love Rule” in ’89, so when “Are You Gonna Go My Way” exploded like the second coming of Hendrix, I was taken totally by surprise. It was such a monster that it brought the singles Lenny Kravitz’s previous album back and into heavier rotation that at their debut, and I don’t think I’d heard them at all the first time. I never bought an album, but I dug most of the singles on the radio into the 21st century, until the godawful “Lady.”

    I hated “She Don’t Use Jelly” when it came out and thought it was weird that there were two songs referencing Vaseline out around the same time. I realize the critical consensus around The Flaming Lips changed mightily after Yoshimi Battles the Pink Robots, and I’ve liked some of their stuff, but I still think that first one sucks.

    I don’t think I ever owned a Candlebox album, but “Far Behind” was omnipresent and appears eternal, still getting spun on Houston’s modern rock station. All the singles from their debut were great, so I don’t know what it was about them that never inspired me to dig deeper. “Cover Me” comes to mind at least a few times a year, and thanks to someone I work with, I’ll go whole days with “You” stuck in my head without minding overly much.

    Weirdly because I noted familiarity with early acts like Luke Skywalker & 2 Live Crew, Fixit though I was really into old school rap when we first started hanging out, and I had to disabuse him of that notion. Rap’s fine. My brother had one of LL Cool J’s album that we listened to a lot (whichever one had “Jingling Baby”) and I still think “Doin’ It” is hot. Never was huge into gangster rap, but out of N.W.A. I favor Dre.

    Don’t think I knew about Tanya Donelly’s involvement with The Breeders, and initially thought there was some confusion with Throwing Muses. Dig both them and Belly. Definitely in my wheelhouse. I find your lack of faith in Pixies disturbing.

    I don’t think Liz Phair caught a break on Houston radio until “Supernova,” so I had a copy of Whip-Smart and a burn of Whitechocolatespaceegg years before I heard the vastly superior Exile in Guyville in its entirety. Obviously a watershed that will endure, and one of the music magazines recently did an oral history for its 25th anniversary that’s worth reading. Whenever I feel like I’m getting away with something, I think of “Girls! Girls! Girls!” and “Flower” will make your pee-pee purple. I own every album up to Somebody’s Miracle in tribute mostly to just Guyville, though her straight pop eponymous album was better than any of the rest.

    Aside from the all-timer “Pleasure Principle,” I never really thought of Ms. Jackson’s capacity to get nasty until janet., and she sure as hell proved that notion to be misguided. “That’s the Way Love Goes,” “If,” and “Any Time, Any Place” were a Prince-caliber erotic tour de force, and it still had several more solid hits besides.

    I liked Salt-N-Pepa well enough, but I’m strictly a singles guy, though I was surprised by how raunchy the video for “Shoop” was when I was inspired by Captain Marvel to revisit early ’90s girl groups.

    Julianna Hatfield is one of my all-time favorite singer-songwriters, and it all started with buying a used copy of Become What You Are at Wherehouse Music in the late ’90s (though I was already familiar with her singles as they were released. After the autobiographical Hey Babe was uncomfortably scrutinized, Harfield went out of her way to have a literary distance from the material on Become, and that calculated artifice makes me wince at a lot of the lyrics in retrospect. Julianna Hatfield doesn’t have a sister. My reading of “Spin the Bottle” is way more literal than yours, and I’m content with it staying that way. “Feelin’ Massachusetts” always comes to mind when I’m feeling “so so bored.” I believe the Police cover was from the meh singles & sundry comp Gold Stars 1992–2002. For my money, her best period was 1997-98. with the EP Please Do Not Disturb and the LP Bed. She’s still prolific, and I’m about eight albums behind in my collection, so she may have had a renaissance I’m unaware of.

    I forgot the “Asshole” song existed, and can’t for the life of me recall how I heard to way back when. My brother loved those Denis Leary MTV spots, so he’s the most likely source.

    I own a couple of Chris Isaak albums and love one or two of his songs, but it’s mostly pleasant retro background music. “Wicked Game” is probably in my top ten songs most sung in the shower.

    I’ve never loved Duran Duran as much as the 1-2 punch of “Come Undone” and “Ordinary World.”

    I used to tape music videos off TV, and still have VHS tapes where I pointedly cut off “Fields of Gold” and “If I Ever Lose My Faith In You.” I liked Sting, but he violent smashed into adult contemporary like a speeding car through a fruit stand in an action movie.

    UB40 had those two covers everyone liked a lot.

    I was also listening to “All That She Wants” a lot when I was doing those door-to-door solicitations, and the corny ABBAness of “The Sign” dispelled any notions of taking Ace of Base seriously. But do listen to it and “Alejandro” by Lady Gaga back-to-back sometime.

    We’ve joked on the podcast a few times about Fixit’s fixation on Redbone’s “Come And Get Your Love,” seemingly playing it and a few other ’70s tracks every time we were at his house. Lately, it’s been replaced by a live performance of “Fade Into You” that makes our hearts and other organs further south weep. Hope Sandoval was the O.G. lethargic morose dream girl. “Hallah” and “Ghost Highway” are also recommended (plus “Sometimes Always” for The Jesus and Mary Chain.)

    Nick Cave’s version of Stagger Lee would rank near the top, and Bob Dylan’s wouldn’t, but the best and most popular was obviously Lloyd Price’s from 1958.

  9. I’m very early in the podcast, but I wanted to give you license to shift the 90s as needed. Cultural movements don’t really reset with the decade, so the 90s really start in 1987 with Guns & Roses and Run DMC changing the mainstream musical landscape, and of course we might count Violent Femmes, Pixies, etc. as 90s precursors inspiring the music of the decade. So the musical 90s are probably over by 1999!

  10. Well, the second half of the show was more my musical style, certainly. Big Pixies fan, so the Breeders and Frank Black were automatic buys. Frank’s first album didn’t see as much play as his second, but I Heard Ramona Sing turned up in the Scott Pilgrim movie, so it’s still in my life. (As is Cannonball, because I love a good revenge song – it was Kim Deal’s middle finger at Frank, post-Pixies. Just like I don’t care for LL Cool J, but I love Sonic Youth’s Kool Thing, which is a middle finger to HIM. Don’t cross rock chicks, folks.)

    Anyway, great premiere episode, keep ’em coming!

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