Alt-Rock?

One of my jobs involves researching rock & roll music with a former professor. Genre catagorization is a tremendously difficult task, but one that scholars of popular culture must unfortunately take part in. The following is my attempt at providing an idea of the Alternative/College-Rock of the 1990s. Grunge, post-Grunge and Agro-Rock have been purposefully left out.

“Been Caught Stealing” – Jane’s Addiction (1990)
Jane’s Addition got their start in the wild ‘80s LA rock scene. With a blend of hard rock and funk, their sound quickly gained them attention from several major labels. Their second studio recording, Ritual de lo Habitual made the Top 20 in 1990 and was certified gold. In 1991 front-man Perry Farrell organized the touring festival Lollapalooza as a ‘90s alternative version of the rock festivals of the 1960s. “Been Caught Stealing” is equal parts Led Zeppelin and James Brown, with a bouncing bass line and piercing vocals. Sounds of door chimes and motorcycles fill out the sound of the city in this boisterous single.

"Run-Around" – Blues Traveler (1994)
The New York based blues rock outfit Blues Traveler was formed by John Popper in 1988. Along with groups like Phish, Blues Traveler represented the ‘90s return to the American rock tradition of extended jamming and soloing. There is hardly a moment on a Blues Traveler record where the center of attention is not Popper, with good reason. A gifted blues singer and lyricist, Popper plays harmonica like Jimi Page plays guitar. This virtuosity is on fine display on “Run-Around” the hit single from their 1994 release Four. Reminiscent in instrumentation to Bob Dylan’s electric phase, the song bounces along with strong acoustic strumming and organ parts.

“Under the Bridge” – Red Hot Chili Peppers (1991)
The Red Hot Chili Peppers first got people’s attention with their blend of punk rock and hard funk and a flamboyant high-energy stage show. Although the band began as a very party-music outfit, complete with addictions and overdoses, their most affecting songs were ballads such as “Under the Bridge” off of their 1991 release Blood Sugar Sex Magik. Reaching #2 on the charts in 1992, “Under the Bridge” is a down tempo lighter-raiser about the place where singer Anthony Kiedes used to buy heroin. Guitarist John Frusciante’s gentle playing carries the song to an epic rock out ending where super-bassist Flea underplays to tasteful effect.

“Losing My Religion” – R.E.M. (1991)
Bringing guitar rock back from the Arena sound of the ‘80s, Athens, Georgia’s R.E.M. combined vulnerable lyricism with multi-instrumental arrangements and mature, complex melodies. Their breakthrough commercial album, 1991’s Out of Time marks the point where the post-punk of The Smiths and The Pixies turned into alt-rock. Singer Michael Stipe brings a crushing confessional tone to “Losing My Religion”, a song where the mood is far more obvious than the meaning. Ambitious and soaring, the song became the band’s first Top 5 hit and its accompanying music video swept the MTV awards for that year.

“Sabatoge” – Beastie Boys
The first white hip-hop group to matter, the New York based Beastie Boys were brought up under the wing of Run-DMC and received critical acclaim for their sonic collage Paul’s Boutique in 1989, still considered by many critics to be one of the finest hip-hop albums of the period. By the early ‘90s however, the group wanted to return to their punk-rock roots and got the chance on 1994’s Ill Communication. The hit single “Sabatoge” incorporates hip-hop turntable scratching seamlessly into a furious alt-rocker. The soft/hard dynamic of the verse-breakdown-verse structure and bassist MCA’s grinding riff combine to make a classic.

“Mr. Jones” – Counting Crows (1993)
Every radio you turned on in 1993 was playing this jangling guitar rocker. Vocalist Adam Duritz' morose, somber lyrics create a pleasant dissonance against the bright and cheery pop-rock of the single “Mr. Jones” off the 1993 release August and Everything After. Taking a page from John Lennon’s songwriting book, the Counting Crows use their best hooks at the beginning of the verse, rather than in the chorus.

“Loser” – Beck (1994)
Somewhat an eccentric among the ‘90s alt-rockers, Beck created this garage-hop stoner anthem out of a junkyard mash up of musical elements. Programmed drums meet a slide-guitar hook with a sing-a-long chorus. The verses feature Beck’s recognizable whiteboy no-flow over a sitar and bass. Although his rapping is insipid, Beck’s lyrics have undeniable poignancy. Known for combining sonic aesthetics which wouldn’t normally fit, Beck’s debut album Mellow Gold is still a classic.

“Hold My Hand” – Hootie and the Blowfish (1994)
One of the most commercially successful bands of the pop-alt-rock movement, Hootie and the Blowfish formed at the University of South Carolina in the early ‘90s. Their debut album Cracked Rear View sold over 12 million copies and contained numerous radio hits. “Hold My Hand” perfects the rock formula with soaring harmonies and a genuine feel-good vibe.

“Buddy Holly” – Weezer (1994)
Weezer came out of nowhere with a Cheap Trick style arena rock and the post-punk introspection of The Pixies. Along with Green Day, Weezer made punk-rock into mainstream pop music. On their 1994 self-titled debut, Weezer introduced the world to their sweetly sung and infectious melodic hooks over garage-rock guitar tone. Catchy leads and a sensitive story of nerdy love made “Buddy Holly” into a huge hit, thanks in part to the Spike Jonze directed video which placed the band in an episode of Happy Days. This album is still as thematically relevant as it was upon its release and stands as one of the most popular alt-rock records of the period.

“Bouncing Around the Room” (live) – Phish (1995)
Inheritors of the Grateful Dead’s live touring phenomenon, Phish incorporated jazz, blues, country, bluegrass, and inspired improvisation into their rock & roll sound. “Bouncing Around the Room” showcases the band’s good times feeling with surrealistic lyrics and an upbeat hippy groove. During the breakdown, the band shows off their jamming over a three-part harmony which ends on a triumphant, glorious note.


“Crash Into Me” – The Dave Matthews Band (1996)
Dave Matthews, the South African singer/songwriter/guitarist, formed his band in Virginia in the early ‘90s. Incorporating world music and sonic exploration, the group produced a number of complex rock songs which the members jammed out beautifully live. Featuring the detailed percussion of god-like drummer Carter Beauford, “Crash Into Me” was the biggest hit off their 1996 album Crash. Enigmatic lyrics and a jazzy arrangement fit surprisingly well into this somber love song.