Dig Me Out - The 90's Rock Podcast

The 90s featured the rise of a several varieties of electronic music into the mainstream. The electronica of Prodigy and The Chemical Brothers and the industrial of Nine Inch Nails and Stabbing Westward became household names thanks to MTV and alternative radio station playlists, but not far behind were the late night grooves of trip-hop thanks to Portishead and Massive Attack. Combining samples and live instrumentation, and taking influence from reggae, dub, soul, jazz and more, the 1998 third album Mezzanine slowly unfurls from the start with opener "Angel" and keeps the listener entranced. From there, the band carefully weaves drum, bass, synths, and a variety of other instruments with three perfectly matched guest vocalists into a constantly shifting sonic landscape.   Songs In This Episode Intro - Teardrop (from Mezzanine) 27:20 - Angel (from Mezzanine) 32:57 - Risingson (from Mezzanine) 35:57 - Rock That Doesn't Roll / Dope Nostalgia podcast promos 52:54 - Paradise Circus (from Heligoland) Outro - Inert

Though hailing from the same Champaign, Illinois scene that birthed Hum and Braid, Poster Children might have flown under your radar. Their major label years were fruitful artistically, but record sales didn't match the critical acclaim, and so the band ended their deal with 1997's RTFM. Opener "Black Dog" unleashes a thumping uppercut with massive guitars and a pummeling rhythm section, and while some of their indie-rock brethren from the time esched showy guitar licks, brothers Rick and Jim Valentin have no qualms about turning up the distortion and letting it rip, like on the frenzied "Music Of America" or dancy "21st Century." The album packs an unexpected punch, but doesn't ignore the subtle moments as well, like on the new wave-ish "Afterglow" or bass-driven "King Of The Hill."   Songs In This Episode Intro - Black Dog 18:49 - 0 for 1 22:39 - Dream Small 25:33 - King Of The Hill 30:45 - Rock That Doesn't Roll/Dope Nostalgia podcast promos 44:55 - 21st Century 48:00 - Music Of America 1:01:40 - Afterglow

Thanks to the sales explosion of compact discs in the 1990s, the expanded playable length of time from forty-four minutes of vinyl to nearly eight minutes gave bands plenty of room to stretch and experiment not only on albums but other releases as well. Re-enter the single, once the domain of 7" vinyl and cassingles, cd singles allowed for bands to release even more material across multiple formats, occasionally helping to propel bands on multiple charts with dance remixes and such. Depeche Mode were no stranger to using singles to release non-album material, and one fine example is the 1990 World In My Eyes maxi-single released by their American label, Sire Records. Compiling the single remix of the title track along with 12" club remixes, and adding a pair of non-album tracks in multiple mixes, turns a simple single into a forty minute, seven-track mini-album, and gives us even more Depeche Mode material to talk about.   Songs In This Episode Intro - World In My Eyes 7" Version 29:13 - World In My Eyes (Oil

Plenty of guitar-oriented bands rose to prominence in the 1990s thanks to wave after wave of new artists from various genres. The Seattle sound, pop punk, Britpop, etc. all offered a diverse array of sounds for six-string fans. It was like the 1980s era of guitar heroes, but with an emphasis on diversity of tone and style - the melodic mayhem of J. Mascis to the angular buzzsaw of Kim Thayil to the jazzy funk of John Frusciante - all finding the balance between creative tangents and serving the songs. That brings us to Big Hate, an Atlanta via New York band that utilize a fuzz pedal to its maximum potential. From the opener "Century," that features a lazy slide adding just the right amount of dissonance, to the riffing "Writer's Block," the band takes full advantage of their twin guitar attack. But while it shines musically, the band leaves a bit to be desired vocally, from not nailing a truly hooky chorus, to often sliding into early Our Lady Peace / Raine Maida territory.   Songs In This Episode Intro - Cen

By the end of the 1990s, mixing rock and other genres was no big deal, but in the first half the first half of the decade it was still a novel idea. 311 established their unique sound by mixing elements rock, reggae, hip-hop, and funk, and on their sophomore album Grassroots, bits of 70s progressive rock and psychedelic jam bands. The innovative fusion of genres, combined with high-energy vocal and musical performances, make the album an undeniable head-bobber. On the flip-side, the band can lock into a staccato delivery across instruments, not exploring interesting counter melodies or rhythms, while certain genre touches can go overboard into straight-up imitation. Depending on your musical preferences, it can make for an exciting experience or a repetitive disappointment.   Songs In This Episode Intro - Homebrew 23:54 - Lucky 28:32 - Salsa 40:40 - Rock That Doesn't Roll / Dope Nostalgia podcast promos 48:47 - Omaha Stylee 57:43 - 8:16 AM Outro - 1, 2, 3   Support the podcast, join the DMO UNION at Patreon.

After achieving massive success in the 1970s and 80s, Bruce Springsteen began the 1990s with the release of two albums in 1992, "Human Touch" and "Lucky Town," which showcased a departure from his work with the E Street Band. Like with his 1987 album "Tunnel of Love," Springsteen explored more personal themes at the end of his marriage and relocation from New Jersey to Los Angeles. Despite mixed critical reception, the albums produced notable singles like "Human Touch" and "Better Days." While some wrote off Springsteen as stale and out of touch, he returned on the soundtrack to the movie Philadelphia with the haunting and sparse "Streets of Philadelphia." He followed that up in 1995 with "The Ghost of Tom Joad," a stark, acoustic folk album that harkened back to the style of "Nebraska" and focused on social and economic issues, earning him critical acclaim and a Grammy Award for the title track. This period, though less commercially dominant than the 1980s, demonstrated Springsteen's versatility and commitme

The provocative album covers and lyrical content have kept the Dwarves an underground band for four decades, appreciated by punk enthusiasts and fellow musicians across musical genres. After getting dropped by Sub Pop, the band returned with The Dwarves Are Young and Good Looking in 1997. While a cursory listen pins this as classic punk rock, the band isn't afraid to push the pop end of punk thanks to doubled and harmonized vocals spitting out obviously catch choruses that only missed mainstream attention thanks to a liberal use of explicit language and themes.   Songs In This Episode Intro - Crucifixion Is Now 20:43 - I Will Deny 25:54 - Rock That Doesn't Roll / Dope Nostalgia podcast promos 28:17 - Everybodies Girl 30:08 - You Gotta Burn 39:02 - Unrepentant 45:52 - Demonica Outro - We Must Have Blood   Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

No one would have faulted the surviving members of For Squirrels for moving on from music after the horrific accident that claimed the life of their singer, bassist, and road manager. It took years for guitarist/singer Travis Tooke and drummer Jack Griego to regroup with new bassist Andy Jim Lord under the new moniker Subrosa and land a new record deal, the end result being their 1997 lone release Never Bet The Devil Your Head. While For Squirrels drew comparisons to the college rock of R.E.M., Subrosa dials up rock, dabbling in a post-hardocre riffage while Tooke switches between a lower register singing voice and a fiery growl. Passionate but uneven, the record doesn't shy away from the past for the Tooke and Griego, who channel their catharsis in equal parts volume and melancholy.   Songs In This Episode Intro - Never The Best 13:42 - World's Greatest Lover 23:01 - The Life Inside Me Killed This Song 28:38 - Antigen Fiend 32:33 - Dope Nostalgia Promo 34:27 - Damn The Youth Outro - Rollercoaster   Support t

It's hard to look back on the 1990s and remember a time when Alanis Morissette was not one of its most recognizable artists. At the start of the decade, unless you were familiar with Canadian pop music or the Nickelodeon show "You Can't Do That On Television," you'd be forgiven for not knowing her name. In 1995, that all changed. Thanks to a meeting with songwriter/producer Glen Ballard, the creatively frustrated 19-year old teen pop star was able to reinvent herself by stripping away the restraints of her previous career and starting anew. Songwriting sessions with Ballard allowed Morissette to unleash her voice, sonically and lyrically, one demo at a time into what would become one of the most successful albums in history. As impressive as the sales numbers are, unlike other massive multi-platinum world sellers, Jagged Little Pill does it without being glossy and over-produced, relying on simple drum loops, tasteful guitars, and the occasional bouncy bassline to provide the foundation for Morissette's singu

Nine Inch Nails' second studio album, The Downward Spiral, is Trent Reznor's chronicle of self-destruction through themes of addiction, depression, and existential despair. Free from the interference of TVT Records, it marked a significant recording and songwriting evolution for Reznor, building upon the . While the industrial rock genre had already combined heavy guitar riffs with electronic elements, Reznor's innovative production techniques combined with his ear for melody helped launch the album and band from the underground world to dance charts, daily MTV play, and global recognition.   Songs In This Episode Intro - Mr. Self Destruct 33:07 - Piggy 36:42 - I Do Not Want This 40:58 - The Becoming 46:02 - Heresy 58:39 - Closer To God (single) Outro - Hurt   Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

With their tenth album, Jump Rope, just released, a fortunate stroke of serendipity landed Buffalo Tom's third album Let Me Come Over at the top of our most recent Patreon album poll. Having recorded their first two albums with J Mascis of Dinosaur Jr., the band took a different approach for their 1992 release, heading to Fort Apache Studios to work with Sean Slade and Paul Q. Kolderie. With guitars and tempos dialed down a bit, introspective lyrics and melancholy melodies become clearer in the mix, while tasteful layers of acoustic guitars, keys, and other additions help fill-out the three-piece sound.   Songs In This Episode Intro - Staples 15:27 - Mineral 17:24 - Stymied 26:25 - Taillights Fade 29:54 - I'm Not There Outro - Porchlight   Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Following the end of Galaxie 500, Damon Krukowski and Naomi Yang were ready to give up on music. Thanks to Mark Kramer of Shimmy Disc, who coaxed them back into the studio, the pair formed Damon and Naomi, and released their debut More Sad Hits in 1992. While continuing the dream pop/slowcore sound of Galaxie 500, the band stretch their sound in various ways, with subtle basslines playing off the vocal melodies, hits of French pop and jazz, and the varied vocal approach with each taking lead, as well as harmonizing on several tracks. Neither high or lo-fi, it's melancholy but not depressing, a fine needle to thread.   Songs In This Episode Intro - Boston's Daily Temperature 13:25 - E.T.A. 17:28 - Information Age 24:19 - Once More 28:43 - Astrafiammante Outro - This Changing World   Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Starting as the inexplicable Rainbow Butt Monkeys in the early 90s, the band wisely changed their name after the 1995 debut release and reconfigured their sound on 1998's Tip as Finger Eleven. With the capable Arnold Lanni behind the board, the band combined contemporary elements of Our Lady Peace, Helmet, Quicksand, and more in their post-grunge approach. A pair of big, thick guitar sounds with a rock steady rhythm section give singer Scott Anderson a strong base to work with, like on the riff-heavy "Condenser" and "Glimpse." But the band has multiple gears, like the subdued "Awake and Dreaming" and Tool-lite closer, "Swallowtail." If there is anything working against the band, it's the restraint they adhere to, keeping second guitar leads to a minimum and occasionally drifting vocally into Raine Maida territory.   Songs In This Episode Intro - Condenser 26:46 - Alone 35:33 - Quicksand 40:25 - Swallowtail Outro - Glimpse   Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at D

In terms of unexpected successes in the music industry, Hootie & the Blowfish might be the biggest one of all. Having spent years playing southern bars as the 80s gave way to the 90s, the band couldn't get a record deal despite success with an independent EP. The A&R rep that signed them did so because they didn't sound like what was popular, and Atlantic Records gave them a fraction of their standard advance and no money to make a video for their 1994 debut Cracked Rear View. Years of honing their chops on the SEC circuit meant the pop-rock tunes with a tinge of southern flavor were tight and catchy - the perfect antidote to the domination of minor chord and drop-tuned Seattle sound that dominated after the release of Nevermind. Naturally, as their record sales exploded, backlash wasn't far behind, which quickly made the band fodder for comedians and music journalist poison pens. So is the hate directed at four compentent musicians with a goofy band name and over twenty-million albums sold valid? Tha

Led by vocalist Angie Hart and guitarist Simon Austin, Frente! emerged from Melbourne, Australia, with a sound that blended acoustic folk with a touch of alternative rock. On their 1992 debut Marvin the Album, Hart's angelic vocals combined with Austin's intricate guitar work create an intimate listening experience. It was completely out of step with the heavy Seattle sounds dominating radio playlists at the time, but the band made commercial inroads thanks to their non-album cover of New Order's classic synth-pop dance hit "Bizarre Love Triangle." For such a focused, stripped down record, some of the production choices left us scratching our heads, like an obnoxiously loud snare caked in heavy reverb, or a free jazz excursion completely out of step with the rest of the record.   Songs In This Episode Intro - Accidently Kelly Street 23:17 - No Time 27:00 - Cuscatlan 32:38 - 1.9.0 35:23 - Ordinary Angels 39:58 - Most Beautiful Outro - Labour of Love   Support the podcast, join the DMO UNION at Patreon. Listen

The 1994 album Foolish by Superchunk might be the defining indie rock album of the 1990s. Raw musical energy paired with introspective lyrics and hooks that grab hold from the first track to the last. The band's signature blend of punk and pop shines through in every distorted chord or note that guitarist and lead singer Mac McCaughan sings or strums, creating an album that feels both urgent and timeless. Tracks like "Driveway to Driveway" and "Like a Fool" showcase the band's knack for crafting sneakily catchy melodies while maintaining the emotional depth of a record that famously followed the breakup of McCaughan and bassist Laura Balance. The end result is a vital record that defines the 1990s indie rock sound.   Songs In This Episode Intro - Water Wings 17:23 - Driveway to Driveway 29:41 - Why Do You Have to Put a Date on Everything 35:07 - Kicked In 40:18 - Like A Fool Outro - The First Part   Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

When Muse released their debut album Showbiz in 1999, the Radiohead and Jeff Buckley comparison were unavoidable. Lumped in with Coldplay, Paloalto, Ours, and other bands whose male vocalists utilized a falsetto, the band never actually quite fit in, and their trajectory in the 2000s is evidence they were thinking bigger. While so many music critics were happy to cast aspersions of Matthew Bellamy for his vocal approach, the actual music got less attention than it deserved. Only a three piece, the rhythm section of bassist Chris Wolstenholme and drummer Dominic Howard were largely overlooked, which is a shame. Plenty has been written about Bellamy's vocals, but combined with the melodic bass lines often harmonizing with the vocal, or the variety in Howard's playing, that slyly incorporates non-rock rhythms like on the tango-influenced "Uno," the band is much more adventurous than any of its contemporaries.   Songs In This Episode Intro - Sunburn 16:11 - Muscle Museum 23:39 - Falling Down 30:20 - Uno Outro -

In 1992, INXS released Welcome to Wherever You Are and instead of touring, headed back into the studio for a quick follow-up. 1993's Full Moon, Dirty Hearts was the result, a mixed bag of innovation incorporating bass grooves on tracks like "The Gift" and "Cut Your Roses Down" while still writing anthemic choruses on tracks like "Days of Rust" and "Time." In the midst of the grunge takeover of America, it's not surprising the album didn't fare well with radio or the charts. While guest vocalists Ray Charles and Chrissie Hynde of The Pretenders are welcome, their inclusion didn't push the needle. Revisiting the album, it's an interesting crossroads of what the band was and the sounds of the decade to come, with electronic elements sneaking in that wouldn't sound out of place later in the decade.   Songs In This Episode Intro - The Gift 21:17 - Time 25:13 - Cut Your Roses Down 32:16 - Kill The Pain 41:12 - Please (You Got That...) Outro - Days of Rust   Support the podcast, join the DMO UNION at Patreon. Liste

All the way back in season seven, we reviewed Save Ferris’s 1997 release It Means Everything, the first ska album discussed on a deep dive for the podcast. Seven years later, we catch up with Save Ferris lead singer Monique Powell who discusses how she joined the ska-punk band, the highs and lows of signing to a major label, what it was like being on the road with artists like Sugar Ray and The Offspring in the late ‘90s and the current status of the band. During the interview, we briefly discussed the legal fight Powell was engaged in with former members which led to Powell taking ownership of the group and retroactively being given co-songwriting credits for songs that appeared on It Means Everything and 1999’s Modified. To read more about the case, read the 2019 Forbes magazine feature.   Songs in this Episode: Intro - The World Is New 30:47 - Come On Eileen Outro - The World Is New   Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.  

Rock music genres often get reduced to a "Big Four." For Grunge, it was Alice In Chains, Nirvana, Pearl Jam, and Soundgarden. For Thrash, Anthrax, Megadeth, Metallica, and Slayer made the grade. In 90s Britpop, Oasis, Blur, Pulp and Suede got the nod. But as if often the case, the bands on the cusp are often as interesting or even more-so thanks to being just outside the spotlight. In the case of Supergrass, The Beatles and The Rolling Stones creep in as influences like their Britpop contemporaries, but the energetic attitude and willingness to embrace the chaos of The Who's rhythm section and the concise songwriting perfection of The Kinks helps their second album, 1997's In It for the Money, exceed not just their debut, but most of the Britpop catalog. Looking at the charts, it's not hard to see why killer singles like "Richard III," "Cheapskate," "Sun Hits The Sky" and "Late in the Day" failed to impact American radio and pop culture consciousness. While Blur had "woo-hoos" and Third Eye Blind had "do do d