Dig Me Out: 90s & 00s Rock

He's an outlier, an enigma, an iconoclast, an original. We're talking about Tom Waits, whose career is more closely tied to the 70s and 80s, but who released his Grammy Award-winning album Bone Machine in 1992 just as the first wave of grunge was talking off in 90s rock. Trying to compare Waits, and this album in particular, to any of his contemporaries, is a fool's errand. Sure, there's a bit of Nick Cave here, some Mark Lanegan there, even some Morphine and Beck, but Waits is often on another planet entirely. Using a collection of non-traditional percussion instruments (some homemade) combined with buzzing guitars and ramshackle pianos, to create a junkyard orchestra. It often sounds like it's falling apart before it even starts, but Waits can bring it together with his vocals, even if they are the most divisive aspect of a Tom Waits album. Songs In This Episode: Intro - I Don't Wanna Grow Up 17:26 - Black Wings 24:49 - That Feel 29:54 - Whistle Down The Wind 34:26 - Goin' Out West Outro - The Earth Died Screaming Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

In popular culture, whether it's music, films, books, or television, the idea of a Guilty Pleasure has existed as long as people have formed opinions on entertainment. High versus low art, serious versus inconsequential, intimate versus manufactured - everyone has their own criteria. We discuss the power of shame, such as when a once-popular genre falls out of favor, or when the personal behavior of an artist can affect an audience, the phrase can take on an even more serious interpretation. Songs In This Episode: Intro - Barbie Girl by Aqua Outro - I'm Too Sexy by Right Said Fred Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Members of Seattle's biggest bands of the 90s rock scene were often dabbling in side projects, like Temple of the Dog, Mad Season, and Brad. Matt Cameron and John McBain had previously played together in Hater, and along with Soundgarden bassist Ben Sheppard started Wellwater Conspiracy By the time they got around to album number two, Sheppard left, leaving Cameron and McBain to make the 1999's Brotherhood of Electric: Operational Directives, along with some friends. One of those friends is Josh Homme, not long after the end of Kyuss and just as Queens of the Stone Age is starting up, who hops on board for vocals on three tracks. Cameron tackles most of the rest and does a nice job with some 60s-influenced garage rock tunes that wouldn't sound out of place on a Hives record. Unfortunately, the side-project nature of the band leaves room for lots of noodling and experimentation. Some good, most not, which turns what would have been a tight, rockin' record into a much more bloated affair in need of a editor. Songs in this Episode: Intro - Good Pushin' 13:09 - Compellor 20:55 - Right Of Left Field 23:38 - B.O.U. 28:07 - Van Vanishing Outro - Red Light Green Light Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Toward the middle of the 1990s, the shift away from loud grunge, post-hardcore, and punk resulted in a wide variety of more introspective sounds. Some bands were tagged with emo, some with slowcore, others with simply indie rock. From Death Cab for Cutie and John Vanderslice to Elliott Smith and Iron & Wine, the late 90s and early aughts were full bands turning down both the volume and tempo. San Diego's Pinback, comprised of veteran scene musicians Rob Crow and Armistead Burwell Smith IV, utilize a wide variety of instruments and approaches on their self-titled debut from 1999. A simple drum preset can carry an entire song, mixing a variety of analog keyboard and guitar sounds, while occasionally introducing samples, guitar-mimicking vinyl scratching, or vocal loops. It's a melancholy but charming debut that presents many interesting ideas that sometimes lack a second or third gear to make them truly inspired. Songs in this Episode: Intro - Hurley 17:34 - Tripoli 20:20 - Rousseau 25:33 - Crutch Outro - Lyon Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

While 90s rock is known for the volume-pushing bands from Seattle, Boston, Chicago, and other parts around the world, a loose movement of quiet and introspective artists rallied (quietly) around sparse arrangements, hushed vocals, and an appreciation for traditional to 60s folk. Ida covers most of that ground and more on their fourth album, 2000's Will You Find Me. Thanks to a wide range of guest musicians and a major label budget, the band incorporates electric piano, moog, wurlitzer, viola, and a host of other instruments to fill out the nooks and crannies of their deliberate sound. When at their best, the foursome use the three vocals to perfection, crafting haunting and beautiful sound scapes. But on the flip-side, some of the less fussed-over tracks sound bare in comparison, or tracks meander when they should be more concise. Songs in this Episode: Intro - Shrug 21:24 - Down on Your Back 26:19 - Turn Me On 32:29 - Encantada 40:18 - Shotgun 48:09 - Man in Mind Outro - The Radiator Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

By the early 90s metal music faced a crossroads - fixtures of the 70s and 80s influenced by Black Sabbath and Led Zeppelin were less connecting less with a younger generation of fans whose exposure to the thrash of Metallica, the hardcore of Bad Brains, and a new wave of guitar gods like Vernon Reid of Living Colour and Tom Morello of Rage Against The Machine. From their early years in high school through years of demoing and playing gigs in Southern California, the Deftones tapped into this wide variety of sounds, as well as new wave and post-punk, to craft a uniquely 90s take on metal. Thought dubbed nu-metal at the time on their 1995 debut album Adrenaline and 1997 follow-up Around The Fur, both with producer Terry Date, their sound continued to expand in the 2000s, incorporating shoegaze, space rock, and more. We revisit their 1990s output to trace the beginnings of one of the most interesting and influential alternative metal bands of the past twenty years. Songs In This Episode: Intro - My Own Summer (Shove It) from Around The Fur 20:11 - 7 Words from Adrenaline 35:23 - Be Quiet And Drive (Far Away) from Around The fur 42:28 - The Chauffeur (Duran Duran cover) Outro - Bored from Adrenalin Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Few names evoke the 90s like Ned's Atomic Dustbin. It doesn't hurt that the band also sported an unusual line-up of two bass players that made full use of the sonic range - one carrying the low end and the other mid-range riffs ala Peter Hook of New Order. It gave The Neds something extra to play with, and on 1992's Are You Normal? the band shed their punkier, less polished debut sound for a rhythmic, bouncy follow-up effort. While the rhythm section carries a large amount of songs, if gives the guitar room to roam, from metalish funk riffs to blissed out delays. On the stronger material, it gels nicely, but the album takes time to find its footing, with a back-half that shows more range and depth that keeps us from loving the whole. Songs In This Episode: Intro - Suave And Suffocated 29:42 - Walking Through Syrup 40:30 - Not Sleeping Around 57:03 - Intact Outro - Swallowing Air Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Chicago had a reputation for producing some of the notable heavier bands of the 1990s, including Ministry, Smashing Pumpkins, The Jesus Lizard, Shellac, and My Life with the Thrill Kill Kult. You can now add Wicker Man to that list. Not familiar with the band Wicker Man, you say? We're here to help, thanks to one of our knowledgeable Patreon patrons. The band managed just one full-length, their 1995 self-titled debut for Hollywood Records, and it's both hard and easy to understand why the band is all but forgotten. The quality and craftsmanship is clear, heavy riffs that touch on power metal, stoner rock, post-hardcore, and more that could satisfy a wide variety of metal fans. But looking back on 1995, it's also easy to see how the band was out of step with the emerging nu metal and industrial scenes, which makes rediscovering the band all the sweeter. Songs In This Episode: Intro - You Annoy Me 19:26 - Party Grrrl 26:56 - Don't Believe A Word 29:58 - Hey Hey Hey 39:47 - Brainfreeze Outro - Sugarfoot Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Rusty's 1995 debut album Fluke pulls off a neat trick, sound both of the times and yet somehow ticking the boxes of previous generations. There is the swampy garage blues of "Warning" that Royal Trux or Beck would appreciate as much as ZZ Top of Rory Gallagher. There is a blast of hardcore-ish punk on the aptly titled "Punk" and nods from everyone to the Stooges, Nirvana, Dinosaur Jr. and The Replacements across the record. Separated, the guitars might sound too gnarly or the drums to lo-fi, but the overall combination mostly finds the sweet spot. Song In This Episode: Intro - Groovy Dead 13:22 - Misogyny 18:07 - K.D. Lang 19:52 - Warning 23:50 - Punk Outro - California Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Best known for their string of mid-90s hit singles that smoothed off the harder edges of what we once called alternative rock, Collective Soul returned in 1997 under difficult circumstances with Disciplined Breakdown. A legal battle with their ex-manager lead to a canceled tour and recording the record on their own. Thanks to Ed Roland's tenured history as a musician and songwriter, the band barely misses a step combining pop-friendly melodies with rock arrangements and sounds, even taking some unexpected detours that work ("Link") and don't work ("Full Circle"). Songs in this Episode: Intro - Precious Declaration 25:02 - Disciplined Breakdown 34:51 - Link 40:18 - Crowded Head Outro - Listen Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

While the double album (two vinyl LPs) has long been the medium for big-thinking artists from Bob Dylan to Pink Floyd, introducing cassettes and compact discs in the 1980s changed the format length and what actually qualified as a double album. In the 1990s, artists again began pushing the limits of the dominant medium, as evidenced by double album releases over two compact discs not only by 90s rock bands like The Smashing Pumpkins or Wilco, but with hip-hop, electronic and others expanding their releases like from The Notorious B.I.G., Nine Inch Nails, The Orb, Tupac Shakur, and others. Songs in this Episode: Intro - We're In This Together by Nine Inch Nails (from The Fragile) 21:26 - Bodies by The Smashing Pumpkins (from Mellon Collie and the Infinite Sadness) 30:06 - Outta Mind (Outta Sight) by Wilco (from Being There) 46:40 - Brown Paper Bag (Single Remix) by Roni Size - Reprazent (from New Forms) 56:20 - The Sound by Swans (from Soundtracks For The Blind) Outro - Little Fluffy Clouds by The Orb (from The Orb's Adventures Beyond The Ultraworld) Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

The moniker "jam bands" had been around for decades before their 90s counterparts in Phish, Rusted Root, and String Cheese Incident brought their own takes out on the road. Athens, Georgia based Widespread Panic draw on the southern sounds of The Allman Brothers Band as well as other guitar heroes like Eric Clapton and J. J. Cale to craft their guitar and keyboard driven sounds. The trick with jam bands, regardless of decade, has always been converting the energy and improvisation of the live performance into a crafted studio product. On 1997's Bombs and Butterflies, Widespread Panic smartly avoids overly long passages for trimmed down and concise songwriting. Songs in this Episode: Intro - Radio Child 17:18 - Aunt Avis 19:06 - You Got Yours 41:18 - Glory 52:32 - Hope In A Hopeless World Outro - Gradle Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Plenty of bands messed around with a lo-fi sound in the 90s, sometimes to euphoric effects, sometimes not so much. Swell dabbles: a white noise fractured guitar lead here, a flat acoustic guitar riff there. But on Too Many Days Without Thinking, they are merely small pieces of a more layered puzzle. Had it been played on Les Paul's through big amps, the album would have sounded very familiar, so dialing back the noise and putting it to sparing use helps elevate the band above their 90s rock peers. Songs in this Episode: Intro - Make Mine You 14:27 - When You Come Over 19:08 - Throw the Wine 22:36 - What I Always Wanted 29:01 - (I Know) The Trip Outro - F*ck Even Flow Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Well-regarded music historians often explain the 90s explosion of alternative music into the mainstream boiled down as the rise of Seattle grunge, the So-Cal pop-punk sound going national, and the movements that followed like the swing revival, electronica, nu-metal, and more. But lost in that simplicity is the more difficult and (quite frankly) weirder starting point of the decade, where bands were mixing and moshing across a spectrum of hard rock, funk, and more. A prime example is the one-and-done band Hash, who released their self-titled album on Elektra in 1993. The band sounds comfortable mixing Red Hot Chili Peppers-style funk with Living Colour-esque swagger and shredding with touches of 60s sitar-spiked psychedelia, all topped with big melodies and harmonies. It's a talented if at times overcooked stew, but finding bands that can play in this many sandboxes and maintain a level of quality is few and far between, even if some of the big swings are misses. Songs In This Episode: Intro - Twilight Ball 17:09 - In The Grass 22:08 - Ghetto 27:58 - Mr. Hello 29:36 - Traveling Outro - American Chorus Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Lots of bands have brothers, but how about two pairs of brothers? Perhaps growing up with a musical sibling is the reason the Kerns and Dahle brothers are able to crafty such a hooky and satisfying album of power-pop tinged rock on their third and final released as The Age of Electric - 1996's Make A Pest A Pet. Along with fellow Canadian 90s rock bands like Sloan, Odds, and Zumpano, TAOE bring their own take to the nebulous power-pop genre, bashing through three-minute guitar lead bursts without sacrificing dynamics or melody. Songs In This Episode: Intro - Remote Control 18:56 - Mad at the World 21:34 - Nothing Happens 29:35 - Don't Wreck It Outro - Unity or Grenadine Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Launched in 1991 by Perry Farrell as a farewell tour for Jane's Addiction, Lollapalooza immediately became the defining musical tour of the decade. Inspired by the UK festivals like Reading, Farrell concocted an underground music celebration based on the bands he wanted to see and tour with - Siouxsie and the Banshees, Living Colour, Nine Inch Nails, Ice-T & Body Count, Butthole Surfers, Rollins Band, Violent Femmes, and Fishbone. After it proved a success, the tour exploded in size until, but seemed to lose steam at point through the decade, as the once groundbreaking festival became another opportunity to chase trends and showcase already hugely popular bands. We look back at each tour in the 90s, as well as compare it to the current incarnation as a corporate-driven destination festival in Chicago. Songs in this Episode: Intro - Smells Like Teen Spirit by Soundgarden (Nirvana cover, 7/22/92) Outro - Sabotage by Beastie Boys (8/6/94) Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Of all the bands to release big albums in 1994, there may be none bigger than Live's sophomore album Throwing Copper. In the studio heavyweights like Jerry Harrison (production), Lou Giordano (engineering), and Tom Lord-Alge (mixing) helmed the album that prepared the band for multiple radio singles, MTV hits, album sales around the globe. It also helped that they leaned into their successful influences, channeling U2, R.E.M., and Pearl Jam without coming across as imitators. Revisiting an album that was everywhere for over a year (it took fifty-two weeks to reach number one, the third-longest ever), digging into the lesser-known album tracks reveals a band that could embrace simplistic fun as easily as dour universalism. Songs in this Episode Intro - All Over You 17:19 - Selling The Drama 22:11 - Stage 33:13 - Lightning Crashes 44:19 - Waitress Outro - I Alone Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

With vocals equal part sneer and sweet, supported by a thick and fuzzy bass, Moler is a little pop, a little punk, slightly grunge, and very interesting on their lone album from 1997, Golden Duck. The three-piece is at no loss for volume, cranking out over a dozen two and a half to four-minute gems that have plenty of attitude and energy. Lead singer and bassist Helen Cattanach, along with Julien Poulson on guitar and Steven Boyle on the drums, are a tight unit that only falters when the melodies don't shine, which happens a few times on the back half of an otherwise engaging album. Songs on this Episode: Intro - Mustang Base 11:35 - Pseudoephedrine 23:06 - I Do, I Do 31:39 - Warning Sign Outro - Red Light Disco Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

We've revisited many 90s rock bands from Australia of various types, but Big Heavy Stuff is the first to nail the post-hardcore sound made (underground) famous by bands in D.C., Kansas City, and Chicago. On 1997's Maximum Sincere, the band takes full advantage of the spacious room recording to showcase the drumming via slowed tempos and minimal arrangements that spark and blaze sonically at just the right times. There is enough melody and interesting guitar work to keep the album interesting, always a tricky proposition when slowing down, but that leads to some less than stellar material on the back half the overall strong album. Songs in this Episode: Intro - The Train Stops Here 14:07 - Maximum Sincere 25:31 - Cheating on a Dead Wife 29:43 - May Outro - Big Mouth Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Few bands are more rightly associated with the rise of alternative music from the underground to the mainstream than Soundgarden. Starting out in the mid 80s as a prototypical Seattle band backed by Sub Pop, produced by Jack Endino, and indebted to the heavy thud of 70s Black Sabbath combined with punk aggression, the original line-up quickly coalesced, releasing a slew of material in just three years. With Sub Pop in financial dire straits, the band recorded the debut album for SST, and showcased Chris Cornell's unique falsetto paired with the band's growing technical proficiency. A year later, they would end the decade on A&M records and release Louder Than Love, which further evolved the band into the metal sound that drove original bassist Hiro Yamamoto to quit, unhappy with the musical direction of the band. Within these recordings are the DNA that would lead to the breakthrough Badmotorfinger, and set the band up as the pre-eminent hard rock band of the 90s. Songs In This Episode: Intro - Hands All Over (from Louder Than Love) 14:48 - Nothing To Say (from Screaming Life EP) 32:07 - Flower (from Ultramega OK) 42:26 - Head Injury (from Ultramega OK) 50:46 - Ugly Truth (from Louder Than Love) Outro - I Awake (from Louder Than Love) Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

For such a short career, Jellyfish managed to pack decades worth of musical ambition and melodic knowhow into just two studio albums. The comparisons are nothing new - The Beatles, Queen, The Beach Boys, Badfinger, Wings - but while plenty of bands have been tagged with the "power-pop" label over the years, Jellyfish occupy a unique space of both defining and transcending the label. On 1993's Spilt Milk, for as much Raspberries and Cheap Trick influence a listener can spot, the band is clearly going for a bigger, more grandiose sound that draws inspiration from the stage and screen. Songs In This Episode: Intro - Joining A Fan Club 17:36 - All Is Forgiven 28:13 - Brighter Day 32:55 - Sebrina, Paste and Plato Outro - New Mistake Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

On their 1995 sophomore album Killjoy, New Zealand's Shihad might fool you with their opening Helmet-like salvo of "You Again" and "Gimme Gimme," two tracks of chugging down-tuned riffage with bass and kick locked-in. But this is not a Helmet clone, or a clone of any American post-punk band you might conjure, as the band shows off a variety of stylistic and rhythmic approaches that recall late 80s albums by The Cure. Somehow this band managed to slip under our radar in the mid-nineties, which is surprising considering the comparisons to bands such as Barkmarket and Jawbox. Songs In This Episode: Intro - You Again 19:22 - Deb's Night Out 26:55 - The Call 34:34 - Bitter 41:49 - Silvercup Outro - Gimme Gimme Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Eclectic bands can be a tricky proposition. Too much genre-switching and musical diversity can strip a band of an identity, with the disparate parts not adding up too much. But done right, and finding a unified sound in the song-to-song evolution, can make for an exciting listen. Luckily, with Boston's Tribe and their 1991 album Abort, it's the latter. While chronologically they're at the start of the emerging 90s rock scene, their sound harkens back to the 80s in a variety of ways, weaving in new wave, jangle pop, and underground college rock with layered harmonies, nods to shoegaze and dream pop, while keeping the arrangements tight. Songs In This Episode: Intro - Joyride (I Saw The Film) 19:19 - Abort 21:03 - Here At Home 29:42 - Jackpot 32:25 - Daddy's Home Outro - Tied Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Regionality isn't talked about much outside Seattle with regard to 90s rock, but just like how the Pacific Northwest was experimenting with punk and metal in unique ways, other parts of the United States had an impact on the bands from their locales. Like our recent Better Than Ezra episode, Cowboy Mouth is from Louisiana, a state which boasts a deep and rich musical history that can't help but imprint on the latest generation. In the case of Cowboy Mouth and their 1996 album Are You With Me?, and the members' previous 80s bands Dash Rip Rock and Red Rockers, the influence of roots rock, blues, Americana, and more can be heard throughout in subtle nods and swinging rhythms. Unfortunately, some of the personality gets sanded off for a sound that is ready for mainstream radio, but also lacking some needed edge. Song In This Episode Intro - Jenny Says 20:39 - Man On The Run 30:27 - God Makes The Rain 34:28 - Love Of My Life 38:02 - How Do You Tell Someone Outro - New Orleans Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Lo-fi isn't unique to the 1990s, but it is the first decade that the recording technique (meaning literally "lo-fidelity") merged with indie rock and take on a genre identity. Artists like Pavement, Sebadoh, Guided By Voices, Liz Phair, and more found their bedroom and basement recordings appealing to more than just a tape-trading crowd with the advent of cheap CD reproduction and small labels with better distribution. But it begs the question - is lo-fi simply a recording technique based on circumstance, or an aesthetic artists strive for to attain a particular emotional effect. Song In This Episode Intro - I Am A Scientist by Guided By Voices 12:57 - Splendid Isolation by The Bevis Frond 22:49 - Drive All Over Town by Elliott Smith 32:37 - Losercore by Sentridoh 45:56 - Parting Shot by The Grifter 1:06:38 - Anytime You Want by Eric's Trip Outro - Summer Babe (Winter Version) by Pavement Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

After the early 90s explosions of Seattle grunge and alternative rock, labels swept up bands from across the country (and globe) that had any sonic resemblance to the chart toppers. By 1994, the signing frenzy was in full swing, and bands new and old found their way to major labels. Some were teenagers from Australia, while others might have veterans of midwestern hard rock and metal bands, as was the case with Sponge. If there is a reason why their major label debut Rotting Piñata from 1994 sounds so confident, it's because these weren't first timers figuring it out. That confidence shows as the album balances tight, melodic singles with album tracks that incorporate a wide pallet of influences from 80s Psychedelic Furs and R.E.M. to 90s shoegaze and metal. Songs In This Episode: Intro - Molly 16:32 - Miles 18:00 - Neenah Menasha 28:00 - Giants 31:36 - Pennywheels Outro - Drowned Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Bands only get to make their debut album once, but for Jimmie's Chicken Shack, a few practice swings paid off. Taking tracks from several low-profile independent releases and combining them for the 1997 major label debut means the material on Pushing the Salmanilla Envelope sounds refined and well-thought-out without being stale and lifeless. Unlike some contemporaries who relied on thick, down-tuned guitars to push their angst, JCS work in layers of intricate guitar leads that recall 1970s progressive rock or 90s math rock but with a funk metal twist. Songs In This Episode Intro - High 21:00 - Dropping Anchor 24:16 - When You Die You're Dead 33:14 - This Is Not Hell 36:02 - Milk Outro - Hole Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

We've listened to plenty of Australian 90s rock that made little to no impact in the United States many times but rarely has a band sounded so US-based in its influences as Hoss. On their third album Bring On The Juice, swinging punk rhythms recall Detroit's 70s action rock scene, while more dissonant moments sound like pre-90s grunge from the likes of Mudhoney or early Dinosaur Jr. Attitude, confidence, and swagger abound on these eleven tracks, sometimes leading the band into overly long excursions that could use some trimming. But overall, Hoss finds a way to sound off the moment and timeless concurrently, not an easy feat to pull off. Songs In This Episode Intro - 11:11 Again 21:36 - Mighty Hand 28:04 - Lip From Lip 31:27 - Gentle Claws Outro - The Tiredest Man Awake Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

While 1996's Congratulations, I'm Sorry charted higher than 1992's New Miserable Experience for the Gin Blossoms, it failed to produce the same number of singles and managed only a quarter of the sales. The simplistic answer is to pin the decline on the loss of guitarist and songwriter Doug Hopkins, who penned their biggest and most enduring hit "Hey Jealousy." But as we have learned, the landscape changed fast for bands in 90s rock. NME singles made an impact in 1993 and 1994, and the band's contribution to the Empire Records soundtrack, "Til I Hear It From You," was also a hit. Is it possible listeners had Gin Blossoms fatigue in 1996? The album charted well upon release, and "Follow You Down" was a hit, but no other singles connected, and the band would break-up the following year for a four-year hiatus. So does Congratulations, I'm Sorry deserve its sophomore slump status, or is it worthy of redemption? Songs In This Episode Intro - Follow You Down 20:38 - Virginia 30:54 - Day Job 45:46 - Competition Smile Outro - As Long As It Matters Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

By 1995, it was difficult for American "alternative" bands to make a dent in the US, let alone a rookie Australian band on a new label with just a handful of releases to crack MTV and radio. Ammonia did that with the quirky single "Drugs," which found singer/guitarist Dave Johnstone melding the quiet/loud bombast of Nirvana with a delivery more reminiscent of Wayne Coyne. But "Drugs" is the classic case of a single not exactly representing the sound of the record, as the rest of Mint 400 shifts between big fuzzed-out riffing in the vein of Swervedriver's shoegaze and Superchunk's early noise pop. The band works best in short, loud bursts, only losing focus when the tempo drops and running time drags. Songs In This Episode: Intro - Drugs 22:17 - Suzi Q 30:40 - Ken Carter 43:41 - Mint 400 Outro - Sleepwalking Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Of the all bands that scored alternative hits in the 90s rock, few managed to recapture that sales magic on ensuing albums. But that doesn't mean their follow-ups records were lesser, and in some cases they made superior albums that got overlooked by fickle record buyers. Case in point: Better Than Ezra. After having their 1993 self-released sophomore album Deluxe repackaged and reissued by Elektra in 1995, and scoring a hit single with "Good," the band quickly reconvened and recorded the follow-up Friction, Baby. What the 1996 album lacks is the killer-hook single, but what it gains is confidence. While still boasting a pair of quality radio friend tracks in "King of New Orleans" and "Desperately Wanting," the album overall has the air of a band confident and secure in the sound while still stretching. That can lead to some magic, like on the blazing "Long Lost" and somber "Speeding Up To Slow Down," but also some hubris to go too far on the bad funk of "Normal Town" and "Still Live with Cooley." Songs In This Episode: Intro - King of New Orleans 19:36 - Long Lost 27:33 - Scared, Are You? 31:24 - Speeding Up To Slow Down 34:31 - Normal Town Outro - Desperately Wanting Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

The balance between the "pop" and the "punk" in "pop-punk" can be tricky, especially when a band comes from the latter scene. On the Shades Apart 1999 album Eyewitness, the punk of the 90s (i.e. Green Day, The Offspring, Blink-182, Rancid, etc.) is represented more in the songwriting than the speed, something a lot of those bands would incorporate as time wore one. But Eyewitness goes one step further by adding subtle yet effective ska and reggae flourishes more akin to The Police than Less Than Jake. With producer Lou Giordano behind the board, the band crafts a well-manicured sonic pallet but like many, falls victim to the late 90s/early 00s guitar tones that haven't aged as well as the songwriting. Songs In This Episode: Intro - Edge Of The Century 19:35 - Stranger By The Day 31:14 - One Starry Night 37:03 - Chasing Daydreams Outro - 100 Days Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Count to four. Do it seventy-five times, only interrupted by blistering feedback, screaming, and manic drums. And do it in about thirty-one minutes. That is Tokyo An*l Dynamite by The Gerogerigegege. In the world of experimental and avante-garde, noise has been tackled by artists as big as Neil Young and Lou Reed. Sonic Youth made a career out of crafting feedback into a symphony of melody. But if punk is about stripping rock 'n roll down to components and putting in the hands of the most rudimentary players, Tokyo Anal Dynamite might be the most punk rock album ever made. Songs In This Episode: Intro - Rock 'n Roll Outro - Atama Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Despite what the million-dollar deal with Virgin Records might have implied, Royal Trux we're never going to be hitmakers. The label bought their cool factor based largely on the 1993 album Cats and Dogs, their first to embrace the songwriting end of their lo-fi aesthetic that danced on the edges of 90s rock via critical praise and underground hype. Part droning Velvet Underground, part deconstructed Exile On Main Street-era Rolling Stones, with touches of Sonic Youth and Pavement, Royal Trux concocted a stew of brittle, off-kilter blues without a hint of irony. The result is occasionally blistering, but not without fragile moments that sound like collapse is imminent. Songs In This Episode: Intro - The Flag 15:48 - Let's Get Lost 18:38 - Up the Sleeve 25:42 - Turn of the Century 37:22 - Driving in That Car (with the Eagle on the Hood) Outro - The Spectre Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Neil Young has always been one to buck convention and follow his own muse, but the 80s saw him fall out of favor with mainstream audiences as he explored rockabilly, synthesizers, hard rock, traditional country, etc. with half-baked results. By the end of the decade, he was back on solid footing with Freedom, setting up Young's renaissance in the 90s. 1990's Ragged Glory paired him again with Crazy Horse, marking the start of a decade that found him touring with a variety of taste-making young acts, like Sonic Youth, Soundgarden, and Pearl Jam, who backed him on the generational crossover album Mirror Ball. Unlike many well-known acts from the 70s and 80s that continued in the 90s, Young might have been the most fully immersed in what was actually happening in 90s rock and pop culture. Song In This Episode: Intro - Downtown from Mirror Ball 17:47 - Love To Burn from Ragged Glory 22:25 - Harvest Moon from Harvest Moon 37:56 - Peace And Love from Mirror Ball 49:31 - Big Time from Broken Arrow Outro - Arc Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

While stoner and desert rock has been associated primarily with California bands like Kyuss, Fu Manchu, and Sleep, in reality artists across the country were putting their own spin on Black Sabbath's tracks like "Sweet Leaf" for decades. Bands like Monster Magnet in New Jersey, Corrosion of Conformity in North Carolina, and Clutch in Maryland have each contributed to 90s rock and beyond. On Clutch's sophomore self-titled album from 1995, the band tone down their freshman punk and louder tendencies, dialing back the distortion and locking into 70s psychedelic head-nodding grooves paired with the occasional frantic jammy freak out. The dividing line for listeners is vocalist Neil Fallon, who possesses one of the most otherworldly heavy voices that can bellow with the best, but is unafraid to explore funkier, sing-songy melodies that may not be for everyone. Songs In This Episode: Intro - Big News II 15:31 - Rock N Roll Outlaw 23:42 - Spacegrass 30:40 - Droid Outro - Seven Jam Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

With three decades of records to look back on, it's safe to say Polly Jean Harvey doesn't stand still for long. From the minimalist blues of To Bring You My Love to the eerie piano pieces of White Chalk, Harvey has become indie rock's David Bowie, evolving her style steadily and consistently, often at odds with expectations. On her second album as PJ Harvey, Rid Of Me stands the test of time thanks to her raw and intimate approach while unleashing Pixies-ish punk and Bo Diddley blues rhythms. Harvey plays in a big sandbox, and her handpicked producer Steve Albini is game, giving plenty of space for light and dark to crash and thrash. Songs In This Episode: Intro - 50ft Queenie 16:19 - Rid Of Me 27:03 - Dry 32:52 - Me-Jane 44:03 - Yuri-G Outro - Missed Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

While much is made of genres like punk breaking through and topping the mainstream of 90s rock, the late 80s success of the Red Hot Chili Peppers, Living Colour and Faith No More just as successfully pushed underground/alternative funk metal onto MTV. In 1990, Primus unleashed their twist on the sound with the progressive rock-influenced debut Frizzle Fry. Within a few years, thanks to catchier and catchier tunes paired with creative videos, the band would graduate from Headbanger's Ball to 120 Minutes to daytime rotation, solidifying them as a definitive band of the decade. But what to make of their first studio release, which finds Les Claypool's unendingly inventive approach to bass paired with equally stellar musicians in drummer Tim "Herb" Alexander and guitarist Larry LaLonde. If progressive rock, funk metal, or Claypool's distinct vocal and melodic approach aren't to your taste, is there still something worth checking out? Songs In This Episode: Intro - John the Fisherman 18:18 - Too Many Puppies 28:50 - The Toys Go Winding Down 47:45: Harold of the Rocks Outro - To Defy the Laws of Tradition Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Is there a more crucial turning point for 1990s music and 90s rock than 1991? Artists released important albums weekly that would shape the decade (and even entire careers) such as Pearl Jam, U2, Soundgarden, Gun 'n Roses, Smashing Pumpkins, R.E.M., Red Hot Chili Peppers, Primal Scream, Blur, Metallica, and more. Then there were the underground bands that lurked on college radio and outside the Billboard charts like Slint, My Bloody Valentine, Slowdive, Mr. Bungle, Fugazi, Ride, Uncle Tupelo, Mudhoney, and Throwing Muses. It's the debut of Lollapalooza, the year trip-hop and desert / stoner rock would begin their ascension, the year Freddie Mercury released one last album with Queen before his passing, and the year "grunge" became a word everyone knew. It's a super-sized episode with lots of guests and lots to cover. Songs In This Episode: 1991 Medley (Unbelievable by EMF, Rusty Cage by Soundgarden, There's No Other Way by Blur, Girlfriend by Matthew Sweet) Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Few bands can really be described as influential, most either affecting the latest pose or regurgitating a nostalgic vibe. On the other hand, some bands are so ahead of the curve, it can take time for the rest of the world to catch up. That's the case with Drive Like Jehu's sophomore 1995 album Yank Crime, which in the worlds of 90s rock, sounded like a runaway train of mixed up genres - post-hardcore, math rock, emo, post-punk, and more that weren't invented yet. It's not speculation to call this record and this band influential - members of At The Drive-in, Deftones, Modest Mouse, Jimmy Eat World, and more have weighed in over the years on DLJ's unique place in 90s rock canon. Songs in this Episode: Intro - Here Come The Rome Plows 22:22 - Luau 32:22 - New Intro Outro - Do You Compute Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Our look back at Season Ten of the podcast, during which we hit milestone episode five hundred, is a great recap to a not so great year. Our Patreon community continued to support us and lead way, picking interesting and unexpected albums to revisit via individual selections and our monthly polls. It allows us to check out noteworthy 90s bands we had previously missed like Mudhoney, that dog., Neutral Milk Hotel, Dig, Morphine, and PJ Harvey, as well as discover a bevy of lesser-known acts such as Ricaine, Odds, Cosmic Psychos, Giants Chair, and more. From the Hindustani jazz fusion of Indian Ocean to the 70s funk of Big Chief, our sonic pallet was once again expanded thanks to our patrons, who also helped us launch our Discord community, which lead to our new weekly Box newsletter. We looking forward to moving into 2021 and Season Eleven! Songs In This Episode: Intro/Outro - Dig Me Out by Sleater-Kinney Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Mudhoney may have written some of the most recognized pre-Nirvana breakthrough tracks associated with the Seattle sound of the 80s like "Touch Me, I'm Sick," "Suck You Dry," and "In 'n Out Of Grace," but the band has had as much in common musically with the sound of Detroit punk and garage bands like MC5, Iggy & The Stooges, The Gories, Sonic's Rendezvous Band, etc. On their second full-length album, Every Good Boy Deserves Fudge, released in 1991 just months before Nirvana's Nevermind changed the musical landscape, the band took their established template and added vintage organs, blazing harmonicas, and acoustic guitars to expand their sound. While it helps break up what can become a repetitive listen thanks to the eight-track lower-fidelity production, the band can't deliver on a killer melody or hook the way they had on their previous standout songs. Songs In This Episode: Intro - Let It Slide 14:05 - Generation Genocide 18:55 - Something So Clear 23:36 - Pokin' Around 28:03 - Fuzzgunn '91 Outro - Into The Drink Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

As we've discussed previously with episodes on Mötley Crüe and Skid Row, the 1990s were a weird evolutionary period for '80s hard rock and metal bands tagged with monikers "glam" or "hair" to describe their look even if it didn't describe their sound. So much so, there's always a caveat to their '90s releases as to whether the band tried to update their sound to fit in with the new alternative and grunge landscape, or if they kept chugging along with only minor tweaks. In the case of Boston funk-metal band Extreme, their fourth (and until 2008, final) album Waiting For The Punchline ditched the big rock production for a more immediate style that gives the rhythm section more punch but still allows virtuoso guitarist Nuno Bettencourt room to dazzle. Songs In This Episode: Intro - Hip Today 18:52 - Waiting For The Punchline 26:42 - There Is No God 30:30 - No Respect Outro - Evilangelist Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

While the calendar confirms that 2020 was a standard 365 days, March seemed to last seven months, and in total the year seemed like one endless anxiety attack. Luckily, music still provided a momentary reprise via albums in a variety of forms. Some were unexpected, like from Hum, Shiner, Sparta, and Criteria. Some were long in the making, like albums from Fiona Apple, Pearl Jam, Alanis Morissette, and the Psychedelic Furs. Others were from active favorites, like The Lees of Memory, Guided By Voices, Local H, and Jeff Tweedy. There was something for everyone, and we talked about many. Songs In This Episode: Intro - Far Beyond by The Lees of Memory (from Moon Shot) 6:36 - Shameka by Fiona Apple (from Fetch The Bolt Cutters) 27:16 - Ghosts by Bruce Springsteen and the E Street Band (from Letter To You) 34:32 - Step Into You by Hum (from Inlet) 48:33 - Lighthouse Spaceship by The Lickerish Quartet (from Threesome, Vol. 1 EP) 59:42 - Run Towards The Roar by Baby Chaos (from Apes Confronts Cosmos) Outro - The Solution is Laughable by Godzillionaire (from Negative Balance) Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Fictional bands and artists have been a staple of movies and television shows for decades, from the heavy metal send-up of This Is Spinal Tap to Dan Akroyd and John Belushi getting the band back together in The Blues Brothers. The 1990s were no different, as movies and television were filled with bands we wished had put out full albums and toured, to some that were best left to thirty-seconds of screen airtime. Whether it's capturing the sound of the decade in shows like My So-Called Life and Daria or films such as Singles and Empire Records, or revisiting past decades like the 70s glam rock of Velvet Goldmine and 60s garage rock of That Thing You Do!, there is plenty to rediscover or check out if you missed it the first time around. Songs In This Episode: Intro - Shrimp Shack by The Wonders (from That Thing You Do!) 5:05 - All Over The World by Strange Fruit (Still Crazy) 20:14 - Freakin' Friends by Mystik Spiral (Daria) 36:40 - More Bad Times by Ed's Redeeming Qualities (Ed's Next Move) 42:43 - The Bedrock Twitch by The BC-52's (The Flintstones) 53:36 - By My Side by The Suburbans (The Suburbans) Outro - How Do You Talk To An Angel by The Heights (The Heights) Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

The third album by that dog. album didn't happen. 1997's Retreat From The Sun was intended to be lead singer Anna Waronker's debut solo album, but after pressure from her record label, it turned into a full-band effort. The result might be the highlight of the that dog. catalog, and one of the best guitar pop albums of the decade. Three minute mid and uptempo radio-friendly tunes with enough grit and subtly layered instrumentation allow Retreat From The Sun to work on two levels - a catchy pop record for casual fans, and a headphone experience for those desiring a deeper listen. With the talented Hayden sisters on vocals and multiple instruments, the record finds the balance between crafted and fresh. Songs In This Episode: Intro - Retreat From The Sun 18:27 - Never Say Never 21:39 - Annie 25:05 - Gagged and Tied Outro - Long Island Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

On this episode, we invited Drew Zakmin of the Songs Gone Wrong podcast on to discuss his pick of the 1998 Jerry Cantrell solo debut, Boggy Depot. While his guitar prowess and backing vocals in Alice Chains were well regarded in the 1990s, it wasn't clear what a large part Cantrell played in the overall sound of the band until this album, which features plenty of riffs and melodies on part with tracks on Facelift or Dirt. The heavier and darker sounds associated with the band are significantly reduced, as Cantrell indulges his songwriter side on longer tracks like "Settling Down" and "Cold Piece," while adding horns, piano, and other non-AIC instrumentation to the mix. But producing his own record may have led to some choices that a seasoned producer might have questioned, such as the overlong run-time and (at times) oddly mixing choices that occasionally bury the guitar leads. Once you're done with this episode, make sure to head over to Songs Gone Wrong for the other half of our podcast swap to hear us discuss the 1997 single Tubthumping by Chumbawamba. Songs In The Episode: Intro - Cut You In 12:01 - Dickeye 17:21 - Settling Down 22:27 - Devil By His Side 26:01 - Hurt A Long Time Outro - My Song Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Way back in season number one of Dig Me Out we were joined by an old friend (Chip Midnight, who would become a frequent guest on the show) to discuss one of his favorite bands and albums, the 1996 album Broadcaster by Triplefastaction. During that episode we talked about eventually revisiting the second and final album by the band, 1997's Cattlemen Don't. While we predicted it would be five thousand episodes later, it only ending up being five hundred episodes later, as we are joined by Brian and Kevin from the band, along with producer John Agnello popping in for a bit, to revisit the record and discuss the just-announced double LP vinyl reissue on Chicago's Forge Again Records. From the label, Justin Wexler joins us to share the in's and out's of how a vinyl reissue happens, and of course, our old friend Chip is back to share stories and more with the group. Songs In This Episode: Intro - Pure 11:31 - Heroes 35:09 - Eurogirl 1:11:33 - If Outro - Duck And Run Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Instead of tackling an individual label for this roundtable, we decided to invite our Patreon patrons on the show to discuss some of their favorite record labels of the 1990s. While many started out with a narrow musical focus, some developed and expanded their roster of bands, while others stay true to their original mission. We talked about the pop-punk of Berkeley, CA's Lookout Records, the New York hardcore of Revelation, the garage punk of Bellingham, WA's Estrus Records, the post-punk of Chicago's Touch and Go Records, and many more. Songs In This Episode: Intro - B.L.U.R.E.M.I. by Blur 6:43 - Mouth Breather by The Jesus Lizard (Touch & Go) 19:24 - The Young Influentials by Juno (Desoto) 31:31 - Graveyard Girlfriend by The Groovie Ghoulies (Lookout) 48:28 - Killing A Camera - Braid (Polyvinyl) Outro - Mutate Me by Into Another (Revelation) Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

For every obvious major label signing in the mid-90s trying to capitalize on the success of a variety of Seattle-sounding guitar bands, there was an equal number of head-scratchers that seem to make little sense in retrospect. Take Southern Culture on the Skids, a North Carolina rockabilly outfit that had kicked around since the mid-80s, but found a home on Geffen Records alongside Weezer, Sonic Youth, Veruca Salt, and White Zombie for their 1995 release Dirt Track Date. What the three-piece had going for them is a tight unit of skilled players steeped in American music history, smoothly transitioning from steel-pedal Hawaiian influenced ballads to B-52s-esque kitschy minimalist pop. Dirt Track Date may have only made the slightest dent thanks to its quirky single "Camel Walk," but like the swing revival, the attempt at recapturing the sounds of the past comes across as earnest rather than nostalgic. Song In This Episode Intro - Camel Walk 17:50 - Firefly 22:50 - Nitty Gritty 26:08 - Make Mayan A Hawaiian Outro - 8 Piece Box Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.