60. "Safe from Harm" - Massive Attack
One of my favorite genres of the 90s is trip-hop, a beautiful fusion of jazz, ambient, hip-hop and soul music invented by several of the best bands of the decade. And trip hop bands rarely come better than Massive Attack, the band that popularized the genre around the world. While "Angels" and "Unfinished Sympathy" are both more highly regarded tracks, I've opted for "Safe from Harm" for a few reasons. For one, trip-hop distinguishes itself from hip-hop by having mostly original melodies, and "Safe from Harm" has the best melody of any Massive Attack song. Second, it's my personal favorite Massive Attack song. Third, "Safe from Harm" is the first track on Blue Lines, Massive Attack's first album. Thus, "Safe from Harm" was probably many people's first exposure to this entire genre of music. Thus, on the whole, I consider "Safe from Harm" to be the best Massive Attack song.
"Safe from Harm" trickles into the listener's ear with the sound of wind and wind chimes, up until an excellent drum beat and bass line come to the fold. Each instrument gradually layers in, from synthesizers to record scratches, up until guest vocalist Shara Nelson plunges in with a terrific vocal performance. Nelson is quite an underrated singer, likely because her discography doesn't extend much further than her guest work with Massive Attack. That being said, she's the woman who brings "Safe from Harm" and all the other songs on Blue Lines to life. Throughout the song, Nelson takes the role of a vengeful lover or mother. She is willing to tolerate the violent culture of the city, but once that culture threatens those precious to her, she is on the assault. When she declares "But if you hurt what's mine / I'll sure as hell retaliate," it's a knife to the stomach.
What distinguishes trip-hop from straightforward rap and R&B is the strong alternative rock undercurrent. In "Safe from Harm," this rock edge comes in the form of several guitar samples throughout the song. The guitar licks belong to Eddie Hazel, the guitarist for the 70s funk band, Funkadelic; seeing as Eddie Hazel is quite possibly the best guitarist of the 70s, the lick is spectacularly funky. The drum beats come from a song by Billy Cobham, widely regarded to be the best jazz-fusion drummer of all. However, the layering of instrumentation makes all the samples gel into one cohesive unit. Everything, from the dissonant ninths of the verses to the triumphant and menacing chorus, melds together.
Even the rap elements of the song shine. The brief rap interludes from Massive Attack member Daddy G add a nice rhythmic edge to the song. While his performance would come more into play on songs like "Karmacoma," his additions to "Safe from Harm" produce more musical variety into one song. "Safe from Harm" thus anticipates many of the different trip-hop styles that the band puts into display on the whole Blue Lines album.
"Safe from Harm" is a tremendous song from trip-hop's most popular act. That being said, it's very much a silver standard for trip-hop rather than its peak. Trip-hop, due to its wide breadth in combining hip hop, soul, and rock, allowed for a tremendous amount of experimentation. Massive Attack, for the most part, played things fairly safe. Other groups, such as Tricky, DJ Shadow, and Portishead, would take the form and lift it to a higher level through diversifying its sound. We'll take a look at some of their songs later in the list, but "Safe from Harm" still deserves the honor of having inspired all those trip-hop songs that would perfect the form.
"Safe from Harm" trickles into the listener's ear with the sound of wind and wind chimes, up until an excellent drum beat and bass line come to the fold. Each instrument gradually layers in, from synthesizers to record scratches, up until guest vocalist Shara Nelson plunges in with a terrific vocal performance. Nelson is quite an underrated singer, likely because her discography doesn't extend much further than her guest work with Massive Attack. That being said, she's the woman who brings "Safe from Harm" and all the other songs on Blue Lines to life. Throughout the song, Nelson takes the role of a vengeful lover or mother. She is willing to tolerate the violent culture of the city, but once that culture threatens those precious to her, she is on the assault. When she declares "But if you hurt what's mine / I'll sure as hell retaliate," it's a knife to the stomach.
What distinguishes trip-hop from straightforward rap and R&B is the strong alternative rock undercurrent. In "Safe from Harm," this rock edge comes in the form of several guitar samples throughout the song. The guitar licks belong to Eddie Hazel, the guitarist for the 70s funk band, Funkadelic; seeing as Eddie Hazel is quite possibly the best guitarist of the 70s, the lick is spectacularly funky. The drum beats come from a song by Billy Cobham, widely regarded to be the best jazz-fusion drummer of all. However, the layering of instrumentation makes all the samples gel into one cohesive unit. Everything, from the dissonant ninths of the verses to the triumphant and menacing chorus, melds together.
Even the rap elements of the song shine. The brief rap interludes from Massive Attack member Daddy G add a nice rhythmic edge to the song. While his performance would come more into play on songs like "Karmacoma," his additions to "Safe from Harm" produce more musical variety into one song. "Safe from Harm" thus anticipates many of the different trip-hop styles that the band puts into display on the whole Blue Lines album.
"Safe from Harm" is a tremendous song from trip-hop's most popular act. That being said, it's very much a silver standard for trip-hop rather than its peak. Trip-hop, due to its wide breadth in combining hip hop, soul, and rock, allowed for a tremendous amount of experimentation. Massive Attack, for the most part, played things fairly safe. Other groups, such as Tricky, DJ Shadow, and Portishead, would take the form and lift it to a higher level through diversifying its sound. We'll take a look at some of their songs later in the list, but "Safe from Harm" still deserves the honor of having inspired all those trip-hop songs that would perfect the form.
59. "Regulate" - Warren G feat. Nate Dogg
A tremendous part of the West Coast rap sound was the genre known as "G-funk," a blend of smooth jazz samples and gangster rap themes. No song sums up this genre so perfectly as Warren G's classic "Regulate." One of the finest story-telling rap songs of the 90s, "Regulate" is the simple tale of two gangsters who fight off some rivals and sleep with some prostitutes. It's far from an ethical tale; Aesop would cringe. Indeed, in most any other rap song, the story of "Regulate" would be almost reprehensible, shamefully endorsing the gangster rap lifestyle. Essentially, "Regulate" is the embodiment of all the trends most hip hop critics hate about today's rap culture. However, the musical and lyrical prowess of "Regulate" makes these criticisms nigh irrelevant. Any song idea, no matter how cliché, can work if executed properly. Not to mention, "Regulate" established many of the clichés that would come to be distorted by Cash Money Records in the late 2000s.
"Regulate" relates its narrative from the perspective of two friends. Warren G gets caught up in a scuffle with some gangsters after they stick him up unfairly, and Nate Dogg comes to his aid. Nate kills all of the enemy gangsters, then he invites Warren G to go sleep with some prostitutes with him. Interestingly enough, one could argue that the story of "Regulate" is actually the story of G-funk itself. G-funk, as a genre, evolved out of raw gangster rap and relatively innocent 80s fusion-jazz soul; thus, the raw gangster quality of the muggers must die while the innocence of Warren G must fall to the carnal pleasures of G-funk. Call it Paradise Lost and Paradise Regained at the same time, if one will.
The best part of "Regulate" is the music. The main sample comes from Michael McDonald's "I Keep Forgettin'," one of the most beloved soul classics of the 80s. The bass adds a threatening quality, using its lowest frequencies to simulate both the bounce of Nate Dogg's car and the footsteps of the muggers. But the best instrument is Nate Dogg's voice. Many have compared Nate Dogg's smooth baritone tones to those of Isaac Hayes - sensuous but mysterious; it's a fair comparison, though I do think Hayes himself could have outshone Nate Dogg. But that's just my musical bias speaking. Regardless, Nate Dogg creeps up the minor scale pitch by pitch, letting the final half step switch accent the nastiest words of his verses.
"Regulate" went on to be one of the all-time biggest singles in Def Jam's history: considering the number of great groups that have come from the label, that's quite the accomplishment. Considering the raw quality of the song, it's hard to deny it the accolades. It's a classic G-funk track that represents everything that everyone likes about the genre.
"Regulate" relates its narrative from the perspective of two friends. Warren G gets caught up in a scuffle with some gangsters after they stick him up unfairly, and Nate Dogg comes to his aid. Nate kills all of the enemy gangsters, then he invites Warren G to go sleep with some prostitutes with him. Interestingly enough, one could argue that the story of "Regulate" is actually the story of G-funk itself. G-funk, as a genre, evolved out of raw gangster rap and relatively innocent 80s fusion-jazz soul; thus, the raw gangster quality of the muggers must die while the innocence of Warren G must fall to the carnal pleasures of G-funk. Call it Paradise Lost and Paradise Regained at the same time, if one will.
The best part of "Regulate" is the music. The main sample comes from Michael McDonald's "I Keep Forgettin'," one of the most beloved soul classics of the 80s. The bass adds a threatening quality, using its lowest frequencies to simulate both the bounce of Nate Dogg's car and the footsteps of the muggers. But the best instrument is Nate Dogg's voice. Many have compared Nate Dogg's smooth baritone tones to those of Isaac Hayes - sensuous but mysterious; it's a fair comparison, though I do think Hayes himself could have outshone Nate Dogg. But that's just my musical bias speaking. Regardless, Nate Dogg creeps up the minor scale pitch by pitch, letting the final half step switch accent the nastiest words of his verses.
"Regulate" went on to be one of the all-time biggest singles in Def Jam's history: considering the number of great groups that have come from the label, that's quite the accomplishment. Considering the raw quality of the song, it's hard to deny it the accolades. It's a classic G-funk track that represents everything that everyone likes about the genre.
58. "Mama Said Knock You Out" - LL Cool J
Behold LL Cool J, the most overrated rapper in music history.
Back in 1985, a 16-year-old LL Cool J released Radio to massive critical acclaim. It's still considered one of the best old-school rap albums ever. However, having listened to it, it's clear that rap had a long way to go. Every track on Radio has the same tempo, the same minimalist music, the same cadence, and the same flow. Plus, there are several dozen really bad rhymes, what with LL Cool J calling himself better than Shakespeare and discussing the ethics of lying to King Tut. The follow-up album, Bigger and Deffer, isn't much better, although the beats are somewhat more entertaining. Bigger and Deffer also gave the world "I Need Love" - a hip hop song, while not bad in and of itself, that introduced the malignant "thugs need love, too" genre unto the world. "I Need Love" is probably one of ten good songs in the entire genre of "thugs need love, too" songs, and it's the only truly innovative track LL Cool J ever released. LL Cool J is still considered one of the greatest em cees ever, but it's only because he came out at a time when there weren't future titans like Rakim and Chuck D to blow him out of the water. Looking over his entire career, only one song actually holds up to this day.
But what a song "Mama Said Knock You Out" is.
"Don't call it a comeback" might just be the most legendary opening lyric of any rap song. After dropping off after his third album, Walking with a Panther, LL Cool J came back with a vengeance. "Mama Said Knock You Out," inspired by a few choice words from LL Cool J's actual grandmother, is a response to critics who disliked the previous record. When people call this song a "comeback" (which, to be honest, it really is), LL Cool J responds that he never actually dropped off in the first place. Let's be clear: while LL Cool J's albums are over-hyped, they're not really that bad either. Not to mention, they sold decently, even Walking with a Panther. Thus, LL Cool J takes the critics to task for being overly harsh on a rapper who never actually dipped too much in quality, at least in a relative sense.
Manipulating internal rhyme, enjambment, puns, metaphors, and allusions, "Mama Said Knock You Out" is LL Cool J's most articulate track. My favorite line is probably "And when I pull out my jammy get ready cause it might go/BLAAW! How you like me now!" This particular line was written in response to a diss track from fellow rapper Kool Moe Dee, called "How Ya Like Me Now." LL Cool J flips the sentiment around, as if to say "Hey Kool, continue your beef with me, and you might end up dead! How you like them apples!" It's brash and arrogant, but it's the perfect sentiment for a track about beating one's enemies into submission.
"Mama Said Knock You Out" also distinguishes itself from the rest of LL Cool J's career by having his single most intense flow and cadence. While LL Cool J is not a very versatile rapper, he's certainly an effective one. On "Mama Said Knock You Out," he finally embraces the off-beat and rests that he strayed away from using in his first few LPs. Such syncopation and variety makes the flow more engaging to the listener, and it's great to hear a rapper of LL Cool J's intensity tearing up the track. In the final chorus, his voice practically cracks with rage, the final exertion of a rapper who's just laid down a legendary track.
The beat is great, too. One can't go wrong with the drum beat from James Brown's "Funky Drummer," the single most commonly sampled beat of all time. The multiple record scratches feel like a flurry of punches to the listener's face. The backing choir from Sly and the Family Stone adds an ominous chill, their riff wailing throughout the track as if spectral in origin. However, the key to it all is a sample from the Chicago Gangsters' "Gangster Boogie." It's an extremely light-hearted sample that's somewhat dissonant with the rest of the track, but the sheer joy of the singing makes the whole song danceable. Not only is LL Cool J going to crush his critics, but he's also going to bounce around the ring while doing it.
"Mama Said Knock You Out," in my opinion, earns LL Cool J at least some place in the rap hall of legends. While his earlier material is monotonous and dated, "Mama Said Knock You Out" sounds as fresh now as it did in 1990. While some of its lyrics have become cliché by now, it's the song that invented the clichés in the first place. "Mama Said Knock You Out" is one of the premier brag raps of the 90s, and it raised the bar for all subsequent rappers. Indeed, only a few rappers on this list managed to top it.
Back in 1985, a 16-year-old LL Cool J released Radio to massive critical acclaim. It's still considered one of the best old-school rap albums ever. However, having listened to it, it's clear that rap had a long way to go. Every track on Radio has the same tempo, the same minimalist music, the same cadence, and the same flow. Plus, there are several dozen really bad rhymes, what with LL Cool J calling himself better than Shakespeare and discussing the ethics of lying to King Tut. The follow-up album, Bigger and Deffer, isn't much better, although the beats are somewhat more entertaining. Bigger and Deffer also gave the world "I Need Love" - a hip hop song, while not bad in and of itself, that introduced the malignant "thugs need love, too" genre unto the world. "I Need Love" is probably one of ten good songs in the entire genre of "thugs need love, too" songs, and it's the only truly innovative track LL Cool J ever released. LL Cool J is still considered one of the greatest em cees ever, but it's only because he came out at a time when there weren't future titans like Rakim and Chuck D to blow him out of the water. Looking over his entire career, only one song actually holds up to this day.
But what a song "Mama Said Knock You Out" is.
"Don't call it a comeback" might just be the most legendary opening lyric of any rap song. After dropping off after his third album, Walking with a Panther, LL Cool J came back with a vengeance. "Mama Said Knock You Out," inspired by a few choice words from LL Cool J's actual grandmother, is a response to critics who disliked the previous record. When people call this song a "comeback" (which, to be honest, it really is), LL Cool J responds that he never actually dropped off in the first place. Let's be clear: while LL Cool J's albums are over-hyped, they're not really that bad either. Not to mention, they sold decently, even Walking with a Panther. Thus, LL Cool J takes the critics to task for being overly harsh on a rapper who never actually dipped too much in quality, at least in a relative sense.
Manipulating internal rhyme, enjambment, puns, metaphors, and allusions, "Mama Said Knock You Out" is LL Cool J's most articulate track. My favorite line is probably "And when I pull out my jammy get ready cause it might go/BLAAW! How you like me now!" This particular line was written in response to a diss track from fellow rapper Kool Moe Dee, called "How Ya Like Me Now." LL Cool J flips the sentiment around, as if to say "Hey Kool, continue your beef with me, and you might end up dead! How you like them apples!" It's brash and arrogant, but it's the perfect sentiment for a track about beating one's enemies into submission.
"Mama Said Knock You Out" also distinguishes itself from the rest of LL Cool J's career by having his single most intense flow and cadence. While LL Cool J is not a very versatile rapper, he's certainly an effective one. On "Mama Said Knock You Out," he finally embraces the off-beat and rests that he strayed away from using in his first few LPs. Such syncopation and variety makes the flow more engaging to the listener, and it's great to hear a rapper of LL Cool J's intensity tearing up the track. In the final chorus, his voice practically cracks with rage, the final exertion of a rapper who's just laid down a legendary track.
The beat is great, too. One can't go wrong with the drum beat from James Brown's "Funky Drummer," the single most commonly sampled beat of all time. The multiple record scratches feel like a flurry of punches to the listener's face. The backing choir from Sly and the Family Stone adds an ominous chill, their riff wailing throughout the track as if spectral in origin. However, the key to it all is a sample from the Chicago Gangsters' "Gangster Boogie." It's an extremely light-hearted sample that's somewhat dissonant with the rest of the track, but the sheer joy of the singing makes the whole song danceable. Not only is LL Cool J going to crush his critics, but he's also going to bounce around the ring while doing it.
"Mama Said Knock You Out," in my opinion, earns LL Cool J at least some place in the rap hall of legends. While his earlier material is monotonous and dated, "Mama Said Knock You Out" sounds as fresh now as it did in 1990. While some of its lyrics have become cliché by now, it's the song that invented the clichés in the first place. "Mama Said Knock You Out" is one of the premier brag raps of the 90s, and it raised the bar for all subsequent rappers. Indeed, only a few rappers on this list managed to top it.
57. "Nothing Compares 2 U" - Sinéad O'Connor
I think there's a law preventing people from disliking "Nothing Compares 2 U." I haven't seen a single list of the best songs of the 90s that doesn't include it somewhere. Its placement is usually a matter of politics and musical bias, but it's always there. Being perfectly honest, I don't completely understand why, even though it's on my own. Many, including musicologist Adam Brent Houghtaling, have called it one of the saddest pop songs of all time, but there's nothing sadder here than that which is on, say Harry Nilsson's "Without You," Elton John's "Sorry Seems to Be the Hardest Word," or even a few pop songs we'll see later on this list. It's just a break-up song - a very finely crafted break-up song.
As most readers know, "Nothing Compares 2 U" is not an original song. The original writer was Prince, who penned "Nothing Compares 2 U" for a side-project of his called The Family. The track is fairly forgettable in its original form, mostly because it's not very good. Prince added several unneeded harmonies to the track, the melody is somewhat lacking, and the synthesizers have too much saw applied to actually sound good. Given what Prince was doing at the time, the low quality of the original track makes sense: Prince had just finished his Around the World in a Day album and was about to start sessions for the even bigger Parade. It's clear that "Nothing Compares 2 U" was an afterthought in Prince's otherwise extraordinary 80s career. Thus, it makes sense that the carefully conceived and executed Sinéad O'Connor cover is more beloved.
Every element of "Nothing Compares 2 U" is explicitly planned. The song has a tremendous sense of build, with everything from the vocals, to the drums, to the backing choir gradually filling into the track. In a sense, "Nothing Compares 2 U" channels the spirit of a far superior Prince song, "Purple Rain" - itself a masterpiece of crescendo and emotional pay-off. One of my favorite touches is the doubled vocal from O'Connor herself. While I don't find the delivery overly sad in and of itself, the doubled voices makes it seem as if O'Connor is singing in a tunnel, offering an illusion of distance and separation. Furthermore, the viola is given more emphasis in the arrangement than the violin; given the increased sonority of the lower string instrument, the tone sounds much richer. Also, despite the large number of instruments in the track - the vocals, the choirs, the strings, the drum machines, the piano - "Nothing Compares 2 U" sounds remarkably sparse. Songs like "Nothing Compares 2 U" often become top-heavy and overblown, but the actual song avoids most of the traps associated with songs of its genre.
Though Prince might not have crafted the music of "Nothing Compares 2 U" with much care, he definitely did a good job with the lyrics. "Nothing Compares 2 U" is all about relation - the key word is compares, not "U." Sinéad O'Connor, after losing her lover, finds the greatest amount of pain in her inability to view any experience except in relation to her former loved one. Everything loses meaning, from dating to daily routines. She is thus consigned to her despair, ceaselessly mourning for someone who will never return. She even asks for a return to the relationship, being "willing to give it another try," even though the lover was the one who took the love away in the first place. There's no happy ending on the horizon here.
"Nothing Compares 2 U" is rightfully regarded as a classic 90s pop song. Is it the best pop song of the period? I say no. Is it the best break-up song of the period? As we'll see later, I say no to that as well. However, it undoubtedly left a profound emotional impact on the listeners of the time. Its video is still one of the most respected in MTV history. And, of course, one cannot forget that everyone loves this song. And I love it too: just not as much as everyone else.
Every element of "Nothing Compares 2 U" is explicitly planned. The song has a tremendous sense of build, with everything from the vocals, to the drums, to the backing choir gradually filling into the track. In a sense, "Nothing Compares 2 U" channels the spirit of a far superior Prince song, "Purple Rain" - itself a masterpiece of crescendo and emotional pay-off. One of my favorite touches is the doubled vocal from O'Connor herself. While I don't find the delivery overly sad in and of itself, the doubled voices makes it seem as if O'Connor is singing in a tunnel, offering an illusion of distance and separation. Furthermore, the viola is given more emphasis in the arrangement than the violin; given the increased sonority of the lower string instrument, the tone sounds much richer. Also, despite the large number of instruments in the track - the vocals, the choirs, the strings, the drum machines, the piano - "Nothing Compares 2 U" sounds remarkably sparse. Songs like "Nothing Compares 2 U" often become top-heavy and overblown, but the actual song avoids most of the traps associated with songs of its genre.
Though Prince might not have crafted the music of "Nothing Compares 2 U" with much care, he definitely did a good job with the lyrics. "Nothing Compares 2 U" is all about relation - the key word is compares, not "U." Sinéad O'Connor, after losing her lover, finds the greatest amount of pain in her inability to view any experience except in relation to her former loved one. Everything loses meaning, from dating to daily routines. She is thus consigned to her despair, ceaselessly mourning for someone who will never return. She even asks for a return to the relationship, being "willing to give it another try," even though the lover was the one who took the love away in the first place. There's no happy ending on the horizon here.
"Nothing Compares 2 U" is rightfully regarded as a classic 90s pop song. Is it the best pop song of the period? I say no. Is it the best break-up song of the period? As we'll see later, I say no to that as well. However, it undoubtedly left a profound emotional impact on the listeners of the time. Its video is still one of the most respected in MTV history. And, of course, one cannot forget that everyone loves this song. And I love it too: just not as much as everyone else.
56. "Venus as a Boy" - Björk
Of all the artists of the 90s, Björk is probably the hardest to discuss. Say so much as one negative thing about Björk in certain indie circles, and one will be crucified for criticizing the greatest avant-garde artiste of our generation. Say so much as one positive thing about Björk in certain classical circles, and one will be crucified for praising a woman who has inspired more damage to human vocal chords than any other. Say so much as anything about Björk to the average layperson, and you'll get a response of "that weird Icelandic chick who wore a giant swan?" Her music is challenging but often rewarding, grating but oddly beautiful. She clearly has no regard for proper vocal technique, but she has her own twisted approach to singing. What one can't deny, though, is her skill in arranging; she and her producers have crafted some truly extraordinary musical works. It was a tough call between "Venus as a Boy" and "All Is Full of Love," but while the latter is more beautiful and, dare I say it, more transcendent, "Venus as a Boy" is a bit more challenging, intellectually interesting, and more... Björky.
Upon release, "Venus as a Boy" became one of Björk's least beloved songs with the critics. I presume they were too won over by the rich, tribal beats of "Human Behavior" and the dance vibe of "Big Time Sensuality" to pay close enough attention to just how good "Venus as a Boy" is. Of all the tracks on Debut, it is certainly the most alien-sounding, using the sounds of the tablas and the vibraphone to create an otherworldly experience. There are clear Indian influences in the piece, particularly the sitar plucks at the end of each chorus. The vibraphone pulse that persists throughout the introduction and the verses is composed of two tones a whole step away; since there are only two pitches, they don't form a complete chord, but the step between them produces an alarming dissonance that pulls in the listener. It's certainly a jarring work of composition and instrumentation, but the musical elements ultimately manage to enhance the song's message.
"Venus as a Boy," like many other Björk songs, has very few actual lyrics aside from Björk's bizarre wailings. That being said, the lyrics here manage to produce a small but important message. "Venus as a Boy," as I see it, is an ode to female access to the carnal pleasures of lust. After the rise of Judeo-Christian morality, it became incredibly difficult for women to express sexuality without being censured (one can argue that this is still the case). But that inherent sexism was still in place in ancient Rome with men having access to carnal pleasure in the form of the female Venus, whereas heterosexual women lacked that same divine sanction of love. "Venus as a Boy" flips this, with the woman finally able to access the joys of access to the carnal with a male Venus. (Granted, this all assumes heteronormativity in sexual relationships, but that's a whole different topic; not every song can discuss the full range of gender political subjects.) Additionally, according to Björk herself, "Venus as a Boy" is equally about finding the beauty in everyday life, the beauty of brushing one's teeth in the morning, of a lovely autumn afternoon. When Venus "believes in beauty," he doesn't just believe in the beauty of the body; he believes in the beauty of the universe.
Of course, one cannot discuss a Björk song without discussing her singing voice. As a classically trained baritone, I do have some difficulty listening to Björk without wincing; her technique ranks right up with that of Yoko Ono in terms of heedless abandon and lack of control. However, I cannot call her singing as bad as Yoko's in any way. As I see it, Björk tries to test just what the human voice can do. If she were a guitarist, she'd be Jimi Hendrix, testing just how many ways she could play the instrument, as opposed to Andrés Segovia, who learned how to master classical guitar better than everybody else. Her vocal on "Venus as a Boy" is very much one of sexual ecstasy, with her screams evoking the spirit of an orgasm. This is not uncommon for Björk; the entire Vespertine album is essentially composed of the same sexual screams. However, "Venus as a Boy" was the first song in which Björk expressed her skill at expressing her sexual autonomy through singing. Thus, I'd give it the nod over anything else on that album.
Though not beloved in its day, "Venus as a Boy" has aged the best of all the songs on Debut. I vastly prefer it to anything on Post. Indeed, the only Björk song of the 90s I feel that challenges it is "All Is Full of Love," which deserves a few dozen listens (not to mention, it has one of the best music videos ever). Nonetheless, "Venus as a Boy" has the advantage of preceding most of Björk's other songs. It's sexual, alien, bizarrely beautiful - it's the perfect summation of Björk's 90s oeuvre. It's a challenge that continues to reward the listener.
"Venus as a Boy," like many other Björk songs, has very few actual lyrics aside from Björk's bizarre wailings. That being said, the lyrics here manage to produce a small but important message. "Venus as a Boy," as I see it, is an ode to female access to the carnal pleasures of lust. After the rise of Judeo-Christian morality, it became incredibly difficult for women to express sexuality without being censured (one can argue that this is still the case). But that inherent sexism was still in place in ancient Rome with men having access to carnal pleasure in the form of the female Venus, whereas heterosexual women lacked that same divine sanction of love. "Venus as a Boy" flips this, with the woman finally able to access the joys of access to the carnal with a male Venus. (Granted, this all assumes heteronormativity in sexual relationships, but that's a whole different topic; not every song can discuss the full range of gender political subjects.) Additionally, according to Björk herself, "Venus as a Boy" is equally about finding the beauty in everyday life, the beauty of brushing one's teeth in the morning, of a lovely autumn afternoon. When Venus "believes in beauty," he doesn't just believe in the beauty of the body; he believes in the beauty of the universe.
Of course, one cannot discuss a Björk song without discussing her singing voice. As a classically trained baritone, I do have some difficulty listening to Björk without wincing; her technique ranks right up with that of Yoko Ono in terms of heedless abandon and lack of control. However, I cannot call her singing as bad as Yoko's in any way. As I see it, Björk tries to test just what the human voice can do. If she were a guitarist, she'd be Jimi Hendrix, testing just how many ways she could play the instrument, as opposed to Andrés Segovia, who learned how to master classical guitar better than everybody else. Her vocal on "Venus as a Boy" is very much one of sexual ecstasy, with her screams evoking the spirit of an orgasm. This is not uncommon for Björk; the entire Vespertine album is essentially composed of the same sexual screams. However, "Venus as a Boy" was the first song in which Björk expressed her skill at expressing her sexual autonomy through singing. Thus, I'd give it the nod over anything else on that album.
Though not beloved in its day, "Venus as a Boy" has aged the best of all the songs on Debut. I vastly prefer it to anything on Post. Indeed, the only Björk song of the 90s I feel that challenges it is "All Is Full of Love," which deserves a few dozen listens (not to mention, it has one of the best music videos ever). Nonetheless, "Venus as a Boy" has the advantage of preceding most of Björk's other songs. It's sexual, alien, bizarrely beautiful - it's the perfect summation of Björk's 90s oeuvre. It's a challenge that continues to reward the listener.
55. "Animal Nitrate" - Suede
As good as Blur is, my favorite Britpop band is Suede. They're the second group to have two songs on the list, both from Suede's spectacular eponymous debut. "Animal Nitrate" is usually considered Suede's greatest and most popular song; while I'd argue that the former name is incorrect, the latter certainly is true. "Animal Nitrate" is nearly always the song that tops professional lists of the top ten Suede songs and that serves as Suede's representative track on top ten lists of the best Britpop songs. After all, it's the most beautiful song about dirty sex in British story.
"Animal Nitrate" begins with the greatest guitar riff in all of Britpop: Bernard Butler combines echo effects with a syncopated rhythm to produce a beautifully dark introduction. The heavy amount of distortion produces the effect of adding sevenths though the strummed chords themselves are simple triads. Thus, the entire introduction feels incomplete and sustained, as if an unfulfilled sexual desire lingering before the verse comes to satisfy it. It is quite difficult to hear Butler's stabbing strums throughout the verses as anything more than pelvic thrusts once one listens to the lyrics. Additionally, his bending the guitar strings throughout the chorus produces some melodic scoops that only further the raunchy nature of the tune.
Brett Anderson complements Butler's guitar at every turn. His gasping vocal practically swallows the words: indeed, his diction often muddles the specific terms of the lyrics. That being said, the general sentiment is not lost on the listener: Anderson's performance is very much sentiment over substance. The doubled vocals are a splendid touch, creating an auditory tunnel of sorts, boosting Anderson's light tenor into a clean channel. Normally, singers with weaker voices like Anderson wouldn't be able to sing over Butler's dominating guitar, but the studio manages to enhance Anderson's voice. While some might call this cheating, it certainly works in context. The hedonism of "Animal Nitrate" is one that overwhelms the senses; thus, each part of the track must work to produce the same washing effect upon the listener. To make that happen, the studio needs to enhance Anderson's voice. Thus, while I normally have disdain for artists who use studio tricks to compensate for lack of talent, I think I can give Suede a pass here.
Given how sexual the musical elements of the song are, one would expect the lyrics of "Animal Nitrate" to be similarly themed. While such an assumption is correct, the tone of "Animal Nitrate" is actually far less personal than one would expect. The band sings about a girl who is sexually and emotionally dependent on a man whose sexual exploits are nearly always drug-fueled and violent. Once the singer comes to have feelings for the girl, he realizes that he will always seem inferior to the extremely passionate (yet extremely unhealthy) sexual partner she had in her past. Perhaps the hazy atmosphere of the song is indicative of the narrator taking heavy drugs for the first time, so to gain some of the violent tendencies of his desire's previous lover.
That being said, "Animal Nitrate"'s creation and execution were just as drug-fueled as the subject matter. In the early years, Suede was extremely dependent on drugs to fuel their creativity. Suede found it difficult to channel the energy they had on stage into the music studio and - even more importantly - the music video studio. Thus, many of the music videos for their first few singles were made while the band was high. As a result, some of the imagery used - particularly some of the earliest instances of homosexual content in music video history - in the "Animal Nitrate" video ruffled some English feathers. Fortunately for British music, "Animal Nitrate" managed to endure in spite of the controversy, and the song itself has aged incredibly well. It's the "Purple Haze" of the 1990s.
"Animal Nitrate" begins with the greatest guitar riff in all of Britpop: Bernard Butler combines echo effects with a syncopated rhythm to produce a beautifully dark introduction. The heavy amount of distortion produces the effect of adding sevenths though the strummed chords themselves are simple triads. Thus, the entire introduction feels incomplete and sustained, as if an unfulfilled sexual desire lingering before the verse comes to satisfy it. It is quite difficult to hear Butler's stabbing strums throughout the verses as anything more than pelvic thrusts once one listens to the lyrics. Additionally, his bending the guitar strings throughout the chorus produces some melodic scoops that only further the raunchy nature of the tune.
Brett Anderson complements Butler's guitar at every turn. His gasping vocal practically swallows the words: indeed, his diction often muddles the specific terms of the lyrics. That being said, the general sentiment is not lost on the listener: Anderson's performance is very much sentiment over substance. The doubled vocals are a splendid touch, creating an auditory tunnel of sorts, boosting Anderson's light tenor into a clean channel. Normally, singers with weaker voices like Anderson wouldn't be able to sing over Butler's dominating guitar, but the studio manages to enhance Anderson's voice. While some might call this cheating, it certainly works in context. The hedonism of "Animal Nitrate" is one that overwhelms the senses; thus, each part of the track must work to produce the same washing effect upon the listener. To make that happen, the studio needs to enhance Anderson's voice. Thus, while I normally have disdain for artists who use studio tricks to compensate for lack of talent, I think I can give Suede a pass here.
Given how sexual the musical elements of the song are, one would expect the lyrics of "Animal Nitrate" to be similarly themed. While such an assumption is correct, the tone of "Animal Nitrate" is actually far less personal than one would expect. The band sings about a girl who is sexually and emotionally dependent on a man whose sexual exploits are nearly always drug-fueled and violent. Once the singer comes to have feelings for the girl, he realizes that he will always seem inferior to the extremely passionate (yet extremely unhealthy) sexual partner she had in her past. Perhaps the hazy atmosphere of the song is indicative of the narrator taking heavy drugs for the first time, so to gain some of the violent tendencies of his desire's previous lover.
That being said, "Animal Nitrate"'s creation and execution were just as drug-fueled as the subject matter. In the early years, Suede was extremely dependent on drugs to fuel their creativity. Suede found it difficult to channel the energy they had on stage into the music studio and - even more importantly - the music video studio. Thus, many of the music videos for their first few singles were made while the band was high. As a result, some of the imagery used - particularly some of the earliest instances of homosexual content in music video history - in the "Animal Nitrate" video ruffled some English feathers. Fortunately for British music, "Animal Nitrate" managed to endure in spite of the controversy, and the song itself has aged incredibly well. It's the "Purple Haze" of the 1990s.
54. "The Velvet Rope" - Janet Jackson
I like Janet Jackson more than Michael Jackson. Sue me.
In my view, Janet Jackson had all of the best elements of Michael Jackson while avoiding all of his downsides. Sure, she's never had a song as good as "Billie Jean" or "Beat It," but the number of solo pop stars who have had songs that good can be counted on one hand. More importantly, Janet Jackson is more consistently good, with not a single one of her hits being a dud, while Michael has had several ("The Girl Is Mine," "I Just Can't Stop Loving You"). She's had more high quality albums than Michael, with four unimpeachable records as compared to Michael's three. The last of these albums, 1997's The Velvet Rope, is as good an album as Thriller. And its title track is a powerhouse of introspective pop music the likes of which Michael Jackson wouldn't dare to tackle.
At its core, "The Velvet Rope" is about finding love and passion within a world built from oppression. Love serves as an escape, but the nature of the escape is somewhat uncertain. Is love a means of absolving oneself from the menaces of the world, a purifying of the spirit from the harms of oppression, or it merely a mask, hiding the pain underneath? The rest of the album discusses each of these possibilities in more detail, but "The Velvet Rope" suggests all the themes at once. Indeed, this is the central purpose of the symbol of the velvet rope. These ropes usually bar off the public from gaining access to the minds of pop stars, but Janet lets them down, so the public might see her pain, the pain of a world of constant demands and expectations. The hope is that someone might be able to see beyond the velvet sheen and appreciate that which is within. However, in a world as plastic as the United States in the late 1990s, such a hope is distant at best.
The element of "The Velvet Rope" that draws me most is the dissonance between the music and the lyrics. Overall, the general sentiment of the specific words of "The Velvet Rope" is hopeful: "Outside leave judgment/outside leave hate/one love's the answer/you'll find in you." However, the music illustrates the chaotic atmosphere both within and without. A cryptic piano line permeates the entire track, while funeral bells chime intermittently throughout the song. While Janet Jackson's voice beckons the listener in, the record scratches and drum machine strikes force him or her out, as if serving as the natural emotional barriers between two people. A haunting guitar line drifts in the background, while strings gradually lift the listener up. The world very much becomes a blur, in which Janet Jackson's voice is the only source of clarity.
Perhaps my favorite part of the entire song is the electric violin solo from British pop star Vanessa-Mae. A classically trained child prodigy, Vanessa-Mae is a violinist mired in controversy for both allegedly cheating in an alpine ski race as well as playing some solos for the human-rights abusing Chechnyan leader Ramzan Kadyrov at a gala. Though one might question her ethics, one cannot question her skills with the electric violin. Towards the end of the song, Vanessa-Mae pulls off a series of rapid runs that stun the listener, harnessing the full power of chaos into her instrument. The howl of the violin strings is the last sound one can hear on the track, and it's a fitting pitch to echo the pain of an injured world.
"The Velvet Rope" is an excellent start to an excellent album, one of my ten favorites of the entire decade. It's a diverse listen touching on a variety of controversial themes while incorporating several different genres of pop music. I'd even say it's the most daring album to come from any of the Jackson family members, if not the best album the family has ever made. It was difficult to choose any one song, what with "Got 'Til It's Gone" and "I Get Lonely" both making strong runs for the list. That being said, "The Velvet Rope" seems to encapsulate all the themes and struggles of the other tracks and harnesses them into a unified piece of music. It's intelligent pop music at its finest; why Janet didn't release it as a single is beyond me.
At its core, "The Velvet Rope" is about finding love and passion within a world built from oppression. Love serves as an escape, but the nature of the escape is somewhat uncertain. Is love a means of absolving oneself from the menaces of the world, a purifying of the spirit from the harms of oppression, or it merely a mask, hiding the pain underneath? The rest of the album discusses each of these possibilities in more detail, but "The Velvet Rope" suggests all the themes at once. Indeed, this is the central purpose of the symbol of the velvet rope. These ropes usually bar off the public from gaining access to the minds of pop stars, but Janet lets them down, so the public might see her pain, the pain of a world of constant demands and expectations. The hope is that someone might be able to see beyond the velvet sheen and appreciate that which is within. However, in a world as plastic as the United States in the late 1990s, such a hope is distant at best.
The element of "The Velvet Rope" that draws me most is the dissonance between the music and the lyrics. Overall, the general sentiment of the specific words of "The Velvet Rope" is hopeful: "Outside leave judgment/outside leave hate/one love's the answer/you'll find in you." However, the music illustrates the chaotic atmosphere both within and without. A cryptic piano line permeates the entire track, while funeral bells chime intermittently throughout the song. While Janet Jackson's voice beckons the listener in, the record scratches and drum machine strikes force him or her out, as if serving as the natural emotional barriers between two people. A haunting guitar line drifts in the background, while strings gradually lift the listener up. The world very much becomes a blur, in which Janet Jackson's voice is the only source of clarity.
Perhaps my favorite part of the entire song is the electric violin solo from British pop star Vanessa-Mae. A classically trained child prodigy, Vanessa-Mae is a violinist mired in controversy for both allegedly cheating in an alpine ski race as well as playing some solos for the human-rights abusing Chechnyan leader Ramzan Kadyrov at a gala. Though one might question her ethics, one cannot question her skills with the electric violin. Towards the end of the song, Vanessa-Mae pulls off a series of rapid runs that stun the listener, harnessing the full power of chaos into her instrument. The howl of the violin strings is the last sound one can hear on the track, and it's a fitting pitch to echo the pain of an injured world.
"The Velvet Rope" is an excellent start to an excellent album, one of my ten favorites of the entire decade. It's a diverse listen touching on a variety of controversial themes while incorporating several different genres of pop music. I'd even say it's the most daring album to come from any of the Jackson family members, if not the best album the family has ever made. It was difficult to choose any one song, what with "Got 'Til It's Gone" and "I Get Lonely" both making strong runs for the list. That being said, "The Velvet Rope" seems to encapsulate all the themes and struggles of the other tracks and harnesses them into a unified piece of music. It's intelligent pop music at its finest; why Janet didn't release it as a single is beyond me.
53. "This Is Hardcore" - Pulp
I was torn as to whether or not to include Pulp's iconic "Common People," a song many publications consider to be the finest song of the 90s and the greatest piece of music to come from the Britpop scene. It is a great song, however, I find its "cathartic" accelerando to be somewhat contrived and simplistic. Additionally, its storytelling isn't particularly profound; it's essentially Billy Joel's "Uptown Girl" with more direct lyrics. Thus, I decided to put a different Pulp song on the list: the ever-controversial "This Is Hardcore." Many a band has written of its struggles to deal with the demands of the public, but few come as biting and cynical as this one.
At its core, "This Is Hardcore" is Pulp's response to the massive success of their disco-pop opus, Different Class. The public adored Different Class; the album went 4x platinum in 1996, being one of the most popular and enduring albums of the Britpop movement. That being said, the stress of following up this album and building on its momentum was tremendous; the strain of commercialism was not something of which Pulp frontman and lead singer, Jarvis Cocker, was particularly fond. Thus, with "This Is Hardcore," he likened the state of Pulp and the public to pornography. However, rather than merely insult the public, Cocker notes the tender balance between the band and the public. Though the public might demand more product, Pulp certainly enjoyed the money. Thus, when Cocker declares, "I wanna make a movie so let's star in it together," he opens up the dual complicity in the pornographic act. Sure, the actors make the movie, but they only make it because they'll earn money for it.
Musically, "This Is Hardcore" evokes the aesthetic of a James Bond picture, with languid trumpet pulses forming the song's musical backbone. The closed-fret guitar strokes are especially effective in creating an ominous atmosphere, allowing the simplistic melodies of the piano and the trumpets to ring over a tumultuous backing. The lower brass drives the song at its most tremendous points in the pre-chorus, with strings entering with several staccato notes to create miniature climaxes. The entire piece builds up to a massive final chorus, in which guitars, synthesizers, brass, strings, and strums all come together in a tremendous 4/4 throb.
Critically, "This Is Hardcore" has gotten more praise with age. Initially, there was quite a bit of backlash against the record, mostly due to the album cover depicting a woman in a sexually submissive position. Graffiti claiming "This Is Offensive" became common on English billboards advertising the album. Furthermore, some didn't like Pulp's shift from their disco-pop leanings to a more grim, mature sound. As I see it though, "This Is Hardcore" is the song in which Pulp shifted into high gear, the song in which they fully demonstrated their potential. It's a great song from one of the greatest Britpop bands.
At its core, "This Is Hardcore" is Pulp's response to the massive success of their disco-pop opus, Different Class. The public adored Different Class; the album went 4x platinum in 1996, being one of the most popular and enduring albums of the Britpop movement. That being said, the stress of following up this album and building on its momentum was tremendous; the strain of commercialism was not something of which Pulp frontman and lead singer, Jarvis Cocker, was particularly fond. Thus, with "This Is Hardcore," he likened the state of Pulp and the public to pornography. However, rather than merely insult the public, Cocker notes the tender balance between the band and the public. Though the public might demand more product, Pulp certainly enjoyed the money. Thus, when Cocker declares, "I wanna make a movie so let's star in it together," he opens up the dual complicity in the pornographic act. Sure, the actors make the movie, but they only make it because they'll earn money for it.
Musically, "This Is Hardcore" evokes the aesthetic of a James Bond picture, with languid trumpet pulses forming the song's musical backbone. The closed-fret guitar strokes are especially effective in creating an ominous atmosphere, allowing the simplistic melodies of the piano and the trumpets to ring over a tumultuous backing. The lower brass drives the song at its most tremendous points in the pre-chorus, with strings entering with several staccato notes to create miniature climaxes. The entire piece builds up to a massive final chorus, in which guitars, synthesizers, brass, strings, and strums all come together in a tremendous 4/4 throb.
Critically, "This Is Hardcore" has gotten more praise with age. Initially, there was quite a bit of backlash against the record, mostly due to the album cover depicting a woman in a sexually submissive position. Graffiti claiming "This Is Offensive" became common on English billboards advertising the album. Furthermore, some didn't like Pulp's shift from their disco-pop leanings to a more grim, mature sound. As I see it though, "This Is Hardcore" is the song in which Pulp shifted into high gear, the song in which they fully demonstrated their potential. It's a great song from one of the greatest Britpop bands.
52. "Torn" - Natalie Imbruglia
I often have asked my elders about those music stars who should have had bigger careers than they actually did. Often, they respond with artists who died before their time - figures like Jim Croce and Harry Chapin. Others point to Tracy Chapman and Roberta Flack, artists known for some spectacular singles but lackluster albums. However, there's one songwriter whose lack of continued success still manages to baffle me: Natalie Imbruglia. Here's an artist who had everything: a unique trip-hop inspired sound, a major record label behind her, a competent voice, not to mention the fact that she's drop dead gorgeous. And then there's "Torn," one of the best pop singles of the 90s.
Most people don't realize that "Torn" is a cover of a song by a band named Edna Swap. The original is a fairly generic 90s alt rock song; however, it has significant melodic deficiencies. It's extremely heavy-handed, being overly slow and tedious. The Natalie Imbruglia version takes a different approach, increasing the tempo and brightening the tone. It's also far more produced, incorporating synthesizers and drum machines as opposed to the bare bones accompaniment of the original. While such production would normally come to a song's detriment, it is more than effective the case of "Torn." If anything, the original "Torn" takes itself too seriously, carrying itself as if it were the most important break-up song in music history. That's clearly not the case: lyrically, "Torn" is no "I'm So Lonesome I Could Cry" or "Don't Think Twice - It's All Right."
Much like the classic Shangri-La's hit, "Past, Present, and Future," "Torn" concerns itself not with a break-up itself, but rather the residue of that break-up. The narrator, emotionally drained from a previous break-up, is unwilling to start up a relationship with someone new: "you're a little late/I'm already torn." The song's main lyrical strength, though, is its imagery: "there's nothing where he used to lie/my inspiration has run dry" being my personal favorite. Just the thought of the empty bed is enough to tell a tremendous story. "Torn" also manages to make a relatively verbose chorus catchy: what other pop song could sell the line "I'm cold and I am shamed/lying naked on the floor" as a sing-along?
The musical elements of Imbruglia's "Torn" are even better than the lyrics. I love the guitar tone throughout the track; the blend of acoustic strums and electric arpeggios produces a unified sound. I'm also quite fond of the dominant 7th added to the IV chord of the main progression - the seventh creates a hesitancy within the song structure, highlighting the vocalist's agony when considering a new romance. Natalie Imbruglia herself gives a very emotional performance. Some might dislike her somewhat twee voice, but she's practically crying through the song. When she futilely declares, "that's what's going on" towards the outro of the song, it's a punch to the gut. That's not to mention the beautiful guitar solo at the end, with its achingly beautiful glissandos and crystal pure tone.
With songs as subtle and poignant as "Torn," it's a wonder that Natalie Imbruglia hasn't had a bigger career than she actually has had. While she's never fallen far from popular and critical grace, she's never had a song of the same scale as "Torn" on the pop charts. If anything, I guess Natalie Imbruglia is a bit too experimental for mainstream pop fans and is a bit too mainstream for indie fans. Her debut, Left of the Middle, is very much a trip-hop album, but not of the same production scale as Massive Attack's Blue Lines, Protection, or Mezzanine. Thus, it was hard for her to find a niche. As I see it though, she's one of the most unfairly overlooked pop musicians of the 90s. Indeed, if the chorus of "Torn" didn't use a standard I - V - vi - IV chord progression, it would be even higher on the list. It's a standard-bearer for great 90s pop.
Much like the classic Shangri-La's hit, "Past, Present, and Future," "Torn" concerns itself not with a break-up itself, but rather the residue of that break-up. The narrator, emotionally drained from a previous break-up, is unwilling to start up a relationship with someone new: "you're a little late/I'm already torn." The song's main lyrical strength, though, is its imagery: "there's nothing where he used to lie/my inspiration has run dry" being my personal favorite. Just the thought of the empty bed is enough to tell a tremendous story. "Torn" also manages to make a relatively verbose chorus catchy: what other pop song could sell the line "I'm cold and I am shamed/lying naked on the floor" as a sing-along?
The musical elements of Imbruglia's "Torn" are even better than the lyrics. I love the guitar tone throughout the track; the blend of acoustic strums and electric arpeggios produces a unified sound. I'm also quite fond of the dominant 7th added to the IV chord of the main progression - the seventh creates a hesitancy within the song structure, highlighting the vocalist's agony when considering a new romance. Natalie Imbruglia herself gives a very emotional performance. Some might dislike her somewhat twee voice, but she's practically crying through the song. When she futilely declares, "that's what's going on" towards the outro of the song, it's a punch to the gut. That's not to mention the beautiful guitar solo at the end, with its achingly beautiful glissandos and crystal pure tone.
With songs as subtle and poignant as "Torn," it's a wonder that Natalie Imbruglia hasn't had a bigger career than she actually has had. While she's never fallen far from popular and critical grace, she's never had a song of the same scale as "Torn" on the pop charts. If anything, I guess Natalie Imbruglia is a bit too experimental for mainstream pop fans and is a bit too mainstream for indie fans. Her debut, Left of the Middle, is very much a trip-hop album, but not of the same production scale as Massive Attack's Blue Lines, Protection, or Mezzanine. Thus, it was hard for her to find a niche. As I see it though, she's one of the most unfairly overlooked pop musicians of the 90s. Indeed, if the chorus of "Torn" didn't use a standard I - V - vi - IV chord progression, it would be even higher on the list. It's a standard-bearer for great 90s pop.
51. "Bullet with Butterfly Wings" - The Smashing Pumpkins
The Smashing Pumpkins: perhaps the most quintessential alternative rock band of the 1990s. While not as popular as Nirvana or as indie-beloved as Pavement, the Smashing Pumpkins were the most versatile alternative rock band of the entire decade. Able to transition from classically-inspired pieces like "Tonight, Tonight" to the grunge of "Today" to the techno-pop inspired "1979," the Smashing Pumpkins easily became every alternative rock fan's favorite band. That being said, I've always found the Pumpkins' songs somewhat difficult to enjoy. The problem: the voice of Billy Corgan, the Smashing Pumpkins' lead singer. Most of the Smashing Pumpkins' most respected songs are those on which he tries to sound beautiful, but his voice, to my ears, is only ever so slightly more pleasant than that of a bleating goat. Thus, I find any "beautiful" song with his voice behind it inherently unconvincing. There's only one context in which I can wholly endorse Billy Corgan's singing: hard rock. As if to answer my prayers, "Bullet with Butterfly Wings" exists. And it is amazing.
There are plenty of "hard" Smashing Pumpkins' songs, with "Cherub Rock" being the most renowned and beloved. However, "Bullet with Butterfly Wings" hits louder and harder. Granted, the lyrics are almost embarrassingly bad (seriously, "despite all my rage, I am still just a rat in a cage?" Who wrote this: a freshman boy who got rejected for homecoming?), but the music rises above the subject matter. "Bullet with Butterfly Wings" is the purest expression of musical anger in the entire 1990s. Considering this is the decade that gave us Kelis's "Caught Out There," Nirvana's "Smells Like Teen Spirit," and the Rollins Band's "Liar," that's making quite a statement. Yet Corgan's fury isn't Achillean, bursting out at the slightest provocation; rather, it foments before bubbling into a head-bang inducing chorus.
The key to "Bullet with Butterfly Wings"'s success is the rhythm section. The bass line provides a steady and threatening undertone, while the bass drum provides a steady heartbeat. The off-beat timpani strikes, however, indicate Corgan's emotional imbalance. The snares flash in the pre-chorus, as if taunting memories of emotional abusing popping into focus. All the while, the guitar provides a quaint ambience, letting the rhythm section pop. Come the chorus, and all the instruments spring to life: there's even one of the most memorable drum breaks of the entire decade.
"Bullet with Butterfly Wings" is taunting, snide, and straightforward. On paper, it's very much a standard rock song. But, in execution, it's quite possibly the most cathartic release of the 1990s. Few words can put to justice exactly what effect the song has. In my mind, it's the only song in the Smashing Pumpkins' catalogue that plays to all of the members' strengths. Although it's a relatively simple piece, its sheer effectiveness warrants its relatively high position. Indeed, if the lyrics were stronger, it would have taken an even higher spot. As it is though, it's one of the best alternative hard rock songs ever written.
There are plenty of "hard" Smashing Pumpkins' songs, with "Cherub Rock" being the most renowned and beloved. However, "Bullet with Butterfly Wings" hits louder and harder. Granted, the lyrics are almost embarrassingly bad (seriously, "despite all my rage, I am still just a rat in a cage?" Who wrote this: a freshman boy who got rejected for homecoming?), but the music rises above the subject matter. "Bullet with Butterfly Wings" is the purest expression of musical anger in the entire 1990s. Considering this is the decade that gave us Kelis's "Caught Out There," Nirvana's "Smells Like Teen Spirit," and the Rollins Band's "Liar," that's making quite a statement. Yet Corgan's fury isn't Achillean, bursting out at the slightest provocation; rather, it foments before bubbling into a head-bang inducing chorus.
The key to "Bullet with Butterfly Wings"'s success is the rhythm section. The bass line provides a steady and threatening undertone, while the bass drum provides a steady heartbeat. The off-beat timpani strikes, however, indicate Corgan's emotional imbalance. The snares flash in the pre-chorus, as if taunting memories of emotional abusing popping into focus. All the while, the guitar provides a quaint ambience, letting the rhythm section pop. Come the chorus, and all the instruments spring to life: there's even one of the most memorable drum breaks of the entire decade.
"Bullet with Butterfly Wings" is taunting, snide, and straightforward. On paper, it's very much a standard rock song. But, in execution, it's quite possibly the most cathartic release of the 1990s. Few words can put to justice exactly what effect the song has. In my mind, it's the only song in the Smashing Pumpkins' catalogue that plays to all of the members' strengths. Although it's a relatively simple piece, its sheer effectiveness warrants its relatively high position. Indeed, if the lyrics were stronger, it would have taken an even higher spot. As it is though, it's one of the best alternative hard rock songs ever written.
