The Black Crowes, "The Southern Harmony and Musical Companion," American. Part of the reason why the Black Crowes appeal to such a diverse group of music fans is because they can rock and at the same time write damn catchy songs with pop hooks. The band perfected that style on their second album, a collection of Zeppelin-esque rockers with southern-tinged lyrics and memorable melodies. The album opens three songs segued together that set the tone of the album: "Sting Me" is a tuneful rock and roll number, followed by the bluesy "Remedy" and the intense mid-tempo gem "Thorn In My Pride." Other highlights include the slide and harmonica work on "Hotel Illness," the intensity of "Sometimes Salvation" and one of the band's greatest tracks "My Morning Song." This is still my favorite album from the Black Crowes, and one that they may never surpass.
Lindsey Buckingham, "Out Of The Cradle," Reprise. I'm not really a blues-rock fan, so when people refer to Peter Green's tenure in Fleetwood Mac as the "golden age," I taunt them and proclaim that the real "golden age" was while Buckingham was at the helm. Without a doubt, Lindsey is an amazing songwriter, producer and guitarist. He is also the antithesis of blues-rock: brainy, lush and produced pop music based on the melodies of the Beatles and "Pet Sounds"-era Beach Boys. On his only solo album of the 90s, Buckingham pulls out all of the stops, creating one of his most satisfying albums. Granted at times he does go over the top a bit. The album's production is unique and at times cheesy. He also has a tendency to re-use old ideas (one song on the album sounds a little too similar to "Big Love" from the "Tango in the Night" album.) However, Lindsey's hooks, voice and guitar licks never fail to satisfy. There are some amazing pop songs here like "Don't Look Down," Soul Drifter," "Countdown" and "You Either Do Or You Don't."
The Charlatans UK, "Between 10th and 11th," Beggars Banquet. A solid follow-up to the band's debut, featuring a fantastic opener "I Don't Want To See The Sights" and a neat single "Weirdo." Quite similar to the droning mid-tempo feel of their first album, without recycling the same ideas. Well worth the listen, especially for those with a penchant for Brit-pop.
The Lemonheads, "It's A Shame About Ray," Atlantic. After making a name for themselves mainly as a pop-punk band, the Lemonheads firmly committed to the power-pop genre with "It's a Shame About Ray." Evan Dando is a master of the simple pop hook and some of his best are found on this CD ("Confetti," "Rudderless," "The Turnpike Down" and "Alison's Starting To Happen.") What makes this album even more appealing is the simple production that lends a somewhat "indie" feel to the songs. The playing is not sloppy, yet blissfully loose. While Dando has changed sidemen and released a couple of solid albums since this one, "It's A Shame About Ray" will probably always be his best. Highly recommended.
Sugar, "Copper Blue," Ryko. After the demise of Husker Du, Bob Mould eventually formed another band called Sugar. After the release of "Copper Blue," it looked like Mould might continue the intensity of Husker Du into the 90s with this fantastic band. Unfortunately, it never got this good again. "Copper Blue" is a whirlwind of heavy guitars, Bob's monotone vocals, wonderful melodies and spine tingling hooks. The album jump starts with four amazing songs, "The Act We Act," "Changes," "A Good Idea" and "Helpless." Other highlights include "Hoover Dam," "The Slim" and the great single that actually got some MTV airplay, "If I Can't Change Your Mind." I enjoy this album more than any of Mould's other work, simply due to the sheer intensity of the performances and the best songwriting of his career. If more punk were as tuneful and complex as the music of "Copper Blue," it might be a listenable genre.
XTC, "Nonsuch," Geffen. The last album the public would hear from XTC for nearly 8 years was at least a great one. Andy Partridge continues to churn out intelligent, witty and charming pop music with excellent hooks and beautiful production. "The Ballad of Peter Pumpkinhead," "Dear Madam Barnum," "Holly Up On Poppy" and "Then She Appeared" rank right up there with Andy's best. "Humble Daisy," "Crocodile" and "That Wave" examine Partridge's more complex style of writing with great results. One unfortunate trend that the band would have to deal with in the 90s began here: Colin Moulding completely lost touch with the band's fanbase. All of the album's weakest moments are Moulding songs and some of them are Colin's absolute worst ("War Dance" and "The Smartest Monkeys.") On a more positive note, Moulding redeems himself with the pretty "My Bird Performs." Overall, a rather solid album from the band with so many tracks, that skipping the crappy ones still provides the listener with plenty of great music.