Dig Me Out - The 90's Rock Podcast

Although we host a 90s-focused music podcast, if you think Fugazi is a no brainer for us, think again. While we both had passing interest and exposure, neither of us were ardent followers of punk, hardcore or post hardcore during that time, and really only came to it years later thanks to our varied appreciations for bands like Jawbox, Sonic Youth and At The Drive-in. This makes revisiting Fugazi's 1993 third album In On The Kill Taker an even more enlightening experience. The band stretches their sound, we won't call it jamming, incorporating long musical passages that teeter on the edge of ambient dissonance. With their stellar rhythm section, the guitars and vocals play off each other with increasing confidence.   Songs On This Episode:   Intro - Returning The Screw 15:18 - Facet Squared 24:43 - Great Cop 29:31 - Rend It Outro - Smallpox Champion   To support the podcast, join us at Patreon for bonus content and more. Facebook / Twitter / Instagram   Zazzle Merch Store   http://www.digmeoutpodc

With his work as Sparklehorse, Mark Linkous left behind a collection of music wholly unique - masterfully combining the intimacy of his home recording setup paired with his singular lyrical approach. His songs shift from abrasive guitar driven "Pig" and "Ghost Of His Smile" to the laid back pop of "Sick Of Goodbyes" with little interruption, managing to find common ground in melody with such contemporary artists as Grandaddy, The Jayhawks and Guided By Voices. During this episode we discussed our current partnership with Sudio. Check them out online and use the discount code "DMO" to receive 15% off your purchase. For the holiday season, each purchase includes a gift box, and shipping is free worldwide.   Songs On This Episode: Intro - Painbirds 11:53 - Pig 14:58 - Ghost Of His Smile 22:19 - Sick Of Goodbyes 30:27 - Chaos Of The Galaxy/Happy Man 34:04 - Maria's Little Elbows Outro - Hundreds Of Sparrows   To support the podcast, join us at Patreon for bonus content and more. Facebook / Twitter / 

While the Seattle record label Sub Pop is primarily associated with "grunge," the list of artists and catalog of releases is far more broad. Take for example Eric Matthews, whose whispered vocal and orchestral arrangements couldn't stray further from the so-called Sub Pop sound. On his sophomore solo release from 1997, The Lateness Of The Hour, Matthews expertly and often densely constructs songs that would sound at home on either an Elliott Smith album or coming out of Pet Sounds by The Beach Boys, never forgetting to layer sweet melodies on top of his sometimes classical arrangements. While the vocal approach took some getting used to, we discovered an album that reveals more musicially and emotionally upon repeated listens. During this episode we discussed our current partnership with Sudio. Check them out online and use the discount code "DMO" to receive 15% off your purchase. For the holiday season, each purchase includes a gift box, and shipping is free worldwide.   Songs In This Episode: Intro - Id

There are not many 1990s albums that fall under the "alternative rock" banner that prominently feature harp and horns the way the lone 1997 album Free Mars by Lusk does. The fact that it does so featuring a wide cast of characters from bands such as Tool (Paul D'Amour), Failure (Greg Edwards), Guns 'n Roses (Chris Pitman) and Medicine (Brad Laner) only adds to the unique and intriguing charm of this one-and-done release. During this episode we discussed our current partnership with Sudio. Check them out online and use the discount code "DMO" to receive 15% off your purchase. For the holiday season, each purchase includes a gift box, and shipping is free worldwide.   Songs In This Episode: Intro - Backworlds 16:15 - Savvy Kangaroos 23:02 - The Hotel Family Affair 30:31 - Free Mars Outro - Kill The King   To support the podcast, join us at Patreon for bonus content and more. Facebook / Twitter / Instagram   Zazzle Merch Store   http://www.digmeoutpodcast.com

Power pop, as we have learned over the years, is a hard subgenre of rock 'n roll to pin down. The 1999 self-titled debut by Owsley has been referred to as power pop, with some calling it a masterpiece. It's not hard to hear why, as the album is chock full of catchy hooks, harmonies, tasteful nods to The Beatles and checks all the boxes of retro without being nostalgic. For as much as we've enjoyed debating the merits of what is and isn't power pop, we can't overlook the fact that this record didn't quite live up to the masterpiece billing, as we often struggled with slower tunes that slid into a jangle pop plod.   Songs In This Episode: Intro - I'm Alright 14:44 - Zavelow House 17:57 - Coming Up Roses 25:26 - Oh No The Radio Outro - Sonny Boy   To support the podcast, join us at Patreon for bonus content and more. Facebook / Twitter / Instagram   Zazzle Merch Store   http://www.digmeoutpodcast.com

Our "In The 90s" series exploring successful 1970s and 80s artists and bands has discovered a common theme - sometimes it was not the rise of grunge and alternative music that through a wrench into their success, sometimes overwhelming success created a watershed moment leaving the band in flux. What was Metallica to do after the Black album? And in this case for our latest episode, what was Aerosmith to do after they fully rebounded from their early 80s descent into drugs with a pair of successful albums to close out the decade (Permanent Vacation and Pump) leading into the ubiquitous 1993 chart topper Get A Grip. Becoming MTV darlings and radio mainstays pushed the band into more pop territory, culminating in the 1998 Diane Warren-penned single "I Don't Want To Miss A Thing" for the Armageddon soundtrack. We walk through the decade and wonder if the apparent wedge driven between lead singer Steven Tyler and guitarist Joe Perry started when the band reached its cultural and chart apex.   Songs In This Epis

Many musical genres and subgenres previously found in the cultural underground bubbled to the mainstream surface in the 1990s thanks to a major label feeding frenzy and the ever expanding definition of "alternative." Like punk, ska, swing and even grunge, industrial and electronic music had their moments in various ways, and gave rise to interesting iterations that briefly snuck onto MTV and commercial radio. God Lives Underwater is one such example, who wrote traditional structures and melodies wrapped with an electronic and industrial exterior. Thanks to uber-producer Rick Rubin, their 1995 debut Empty has a unique reverb-free sound at odds with many of their peers, providing more intimacy and less expanse without sacrificing quality, even if all the songs themselves cannot match the stellar production.   Songs In This Episode: Intro - Still 13:08 - Empty 18:00 - All Wrong 21:10 - No More Love 27:03 - We Were Wrong Outro - Weaken   To support the podcast, join us at Patreon for bonus content and m

For some, metal shock rockers Gwar are more style than substance. In fact, we were in that camp, having paid little attention to the band beyond their notorious stage antics and costumes. But thanks to our second annual Halloween-themed episode, we're checking out the 1990 sophomore album Scumdogs Of The Universe. While we expected over the top lyrics with various R-rated subject matter, we did not anticipate how musically diverse the band would sound, managing to integrate New York thrash ala Anthrax along side Quiet Riot-esque glam metal riffs, and even some hardcore punk attitude. It all made for interesting sound they may have slightly overstayed its welcome by the end.   Songs In This Episode: Intro - Sick Of You 13:44 - Vlad The Impaler 22:59 - Slaughterama 26.52 - Sick Of You 30:27 - Cool Place To Park Outro - King Queen   To support the podcast, join us at Patreon for bonus content and more. Facebook / Twitter / Instagram   Zazzle Merch Store   http://www.digmeoutpodcast.com

Built To Spill have remained an anomaly in a number of ways throughout their career - a band steeped in classic rock conventions that seamlessly integrates 1990s indie rock guitar shredding, but does so without sacrificing vocal melodies, and doing in on major label Warner Bros. for twenty years. On 1999's Keep It Like A Secret, Doug Martsch shortened the length and kept the six plus minute long jams to a minimum, but still manages to concoct his stew of six string wizardry and even throw in a kitschy tune (You Were Right) that would have sounded at home on a Ben Folds Five album.   Songs in this Episode: Intro - Carry The Zero 19:49 - The Plan 22:49 - Time Trap 29:55 - You Were Right Outro - Center Of The Universe   To support the podcast, join us at Patreon for bonus content and more. Facebook / Twitter / Instagram   Zazzle Merch Store   http://www.digmeoutpodcast.com

After the success of the Sound Of White Noise album with new lead singer John Bush, New York city thrashers Anthrax took the band in a direction that angered and alienated longtime fans. For Stomp 442 from 1995, the band relied less on the chugging thrash riffage of their past, and played with sounds that would be at home in Helmet's post hardcore and alternative metal sound, or the mainstream hard rock that Metallica had cultivated on their Black album. While tag as a "grunge" sell-out, over twenty years later we find it hard to locate an trace of Seattle sound, and find a band brimming with confidence and swagger. Perhaps they made the wrong album at the wrong time, but looking back, it's not hard to hear why so many were confused by the new direction - hopefully this time around they'll give it another spin.   Songs in this Episode: Intro - Fueled 11:19 - Fueled 15:22 - In A Zone 23:14 - Perpetual Motion 29:21 - Nothing 33:36 - Bare Outro - Random Acts Of Senseless Violence   To support the podc

Cleveland is the home of the Rock 'n Roll Hall of Fame, Cincinnati is home to legendary soul label King Records and The Afghan Whigs, Akron has Devo and the The Pretenders, but if there is a 1990s alternative and indie rock epicenter of Ohio, it's Dayton, known for its Air Force Base and (alleged) alien cover-ups. The Breeders, Guided By Voices and Brainiac all call Dayton home, breaking through in their own unique ways, but Dayton's musical roots dig deep into 1980s punk and 1970s funk all the way into the 2000s. We discuss the venues, record stores, bands and more that made and make Dayton unique.   Songs in this episode: Intro - Dayton Medley (Guided By Voices, The Amps, Brainiac) 12:56 - No Wrong Track by The Method 23:48 - God Bless America by Toxic Reasons 30:33 - Flying Pizza by Swearing At Motorists 41:40 - Listen To The Quiet by Mink 45:13 - Toilet Knife by Dirty Walk Outro - Weapons Of Love Destruction by Shesus   To support the podcast, join us at Patreon for bonus content and more. Fac

For his 1998 album Since, Richard Buckner enlisted a strong supporting cast (John McEntire of Tortoise, The Sea And Cake / Dave Schramm of Yo La Tengo, The Schramms / David Grubbs of Squirrel Bait, Gastr Del Sol, Bastro) to shape an Americana/Alt Country record that feels out of place for the time, but perfectly in sync with the Jason Isbell's and John Moreland's of today's musical landscape. It helps that Buckner's poetic approach eschews the compact disc bloat and hones a tight sixteen track / thirty seven minute album that actually left us wanting more in spaces rather than wishing for restraint and editing.   Songs in this episode: Intro - Believer 12:04 - Raze 16:56 - Brief & Boundless 20:12 - Lucky Buzz 29:34 - Coursed Outro - Goner w/Souvenir   To support the podcast, join us at Patreon for bonus content and more. Facebook / Twitter / Instagram   Zazzle Merch Store   http://www.digmeoutpodcast.com

We revisit Beck's major label debut Mellow Gold, was it a warm-up for the multi-platinum Odelay, or is Loser the only worthwhile nugget?   Songs in this episode: Intro - Loser 12:54 -Soul Suckin' Jerk 17:58 - Beercan 26:28 - Truckdrivin Neighbors Downstairs (Yellow Sweat) Outro - Sweet Sunshine   To support the podcast, join us at Patreon for bonus content and more. Facebook / Twitter / Instagram   Zazzle Merch Store   http://www.digmeoutpodcast.com

Wondering about our exclusive content over at Patreon? Here's a sample of the first five minutes of our extended twenty minute discussion on Power Pop as we chat about the 2000s. Hear the entire bonus content, be eligible for quarterly contests, vote in our polls, and support the podcast at patreon.com/digmeout.

For a lot of people, the rock music subgenre known as "power pop" is one of those "you know it when you hear it" situations. However, over the years many have tried to describe and dissect what makes power pop unique from musical cousins such as pop rock or jangle pop. Like the 70s and 80s before them, 90s power pop bands put their own spin on the sound, adding a little more guitar crunch while incorporating the hallmark harmonies, British Invasion influenced melodies and arrangements, and other key elements, thanks bands like Sloan, Jellyfish, Teenage Fanclub, Superdrag, Fountains Of Wayne and The Posies, and artists like Matthew Sweet, Tommy Keene and Jason Falkner. With our panel, we dig into the sounds, the songs, the albums and the artists of 90s power pop.   Songs in this episode: Intro - Sick Of Myself by Matthew Sweet 32:14 - Buddy Holly by Weezer 37:05 - Bottle Of Fur by Urge Overkill 46:17 - Money City Maniacs by Sloan 52:41 - What You Do To Me by Teenage Fanclub Outro - Red Dragon Tattoo by

Craig Finn is best known for his distinctive vocal and lyrical style thanks to The Hold Steady in the 2000s. But while that band channeled Bruce Springsteen, The Replacements and The Band for musical inspiration, his 1990s outfit Lifter Puller took a decidedly more angular approach with nods to Television, Nick Cave and the Bad Seeds and Pavement. Digging into 1997's sophomore released Half Dead and Dynamite, the drugged up and drunken stories familiar to Finn fans are there, but the band backing him presents a different sonic approach, eschewing bombast and power chords for jagged rhythms and Radioshack keyboards. Intro - The Gin and the Sour Defeat 10:45 - Half Dead and Dynamite 17:03 - Nassau Coliseum 21:18 - I Like The Lights 29:17 - Rock for Lite Brite Outro - The Bears Facebook / Twitter / Instagram   Zazzle Merch Store   http://www.digmeoutpodcast.com

Concept albums are as old as albums themselves, though defining what exactly qualifies as a concept album is flexible. The 90s were no different, as many bands and artists took loose ideas and strung together narratives and themes to form a cohesive idea. Of all the bands you were probably expecting to do so back in day, Local H was probably not high on that list, but songwriter/guitarist/singer Scott Lucas has dipped into the concept album well often during the past several decades, first with their 1996 break-through As Good As Dead, and then the 1998 follow-up Pack Up The Cats. Lucas and drummer Joe Daniels weave a tale not unfamiliar to rock fans - the rise and fall of a musician, but with the decade specific twists and turns that make it a uniquely 90s affair, both lyrically and sonically, and craft a concept album worthy of the decades medium of choice: the compact disc. Intro - All The Kids Are Right 32:13 - All-Right (Oh Yeah) 34:49 - Cool Magnet 36:58 - Laminate Man 40:47 - Deep Cut 43.46 - Luc

The 1990s are known as the grunge decade, but really Seattle's reign was contained to the first half, which is when The Posies power-pop tour de force Frosting On The Beater happened to be released in 1993. It's not hard to understand why this band from the Pacific Northwest struggled to find an broad audience - the singles are teeming with Big Star, Cheap Trick, The Beatles, and other classic power pop influence, and only Matthew Sweet was able to crack mainstream radio playlists and MTV video rotation with a similar but equally melodic approach. It doesn't help that in an era of Discman players and vinyl decline, Don Fleming's beefed up production truly only finds its sweet spot when the stereo speakers are pushing serious air, which we are happy to oblige. Intro - Dream All Day 9:54 - Definite Door 13:28 - Love Letter Boxes 19:51 - How She Lied By Living 29:37 - Solar Sister Outro - Flavor Of The Month Facebook / Twitter / Instagram   Zazzle Merch Store   http://www.digmeoutpodcast.com

When musicians aren't busy writing, recording and touring with their main band, often times you'll find them in side projects, mixing it up with new sounds and new collaborators. The 1990s were no different, as folks from the biggest bands to lesser known indie artists often found a new creative outlet outside their main gig. But what exactly makes it a side project, as opposed to just putting out a solo album, or recording with a fabled "super group?" We try to lay down some (admittedly) shaky criteria to figure out what makes a side project, revisiting those that worked, a few that didn't, some that left us scratching our heads and some that left us wanting more. Intro - Side Project Medley (Friends Of P by The Rentals, Hunger Strike by Temple Of The Dog, Tipp City by The Amps) 7:17 - That's Just How That Bird Sings by The Twilight Singers 20:06 - Gimme Indie Rock by Sebadoh 26:48 - Wasting Away by Nailbomb 40:57 - Song For A Dead Girl by Three Fish 46:54 - 20th Century by Brad Outro - Yoo Hoo by Imp

After Nirvana exploded in the 1990s, bands across the globe got signed for sounding just enough like the Kurt, Krist, and Dave, an inevitable result of major labels hoping to find "the next Nirvana." It was also inevitable that young artists would be influenced by the band dominating radio and MTV, and so began the delicate balance of imitation and influence, recycling and reinterpretation. On their sophomore album Into The Pink, Verbena had a lot to shoulder. With the multi-pronged assault of electronica, nu-metal and manufactured pop, some decried the end of rock'n'roll in the later half other decade, and searched for a savior. With a single that tipped a nod to Cobain vocally and Nirvana sonically, and with Dave Grohl onboard as producer, the hype machine declaring Verbena to be "the next Nirvana" was in full swing, coloring the band before most got to hear the record in full. We try to get beneath the marketing and figure out what really worked, what didn't, and why rock music fans in general are so inten