1994

So, the  thing that's so special about this year is it the first,  and possibly only year that is all American.  I am proud of that as I am all about jingoism.  It's a shame though, because two  really great British albums this came out this year and almost made it.  You probably already know I am referring to Pulp's His 'N' Hers and Blur's Parklife which are as English as it gets.  So fuck that, and let's welcome the dominance of rock's true homeland for (most of) the rest of time.  This was  the year of indie rock in the 90s sense, when it rocked.

10.  Superchunk - Foolish
I just read the A.V. Club blurb about Kim Gordon discussing her  break-up with Thurston (I wonder about these "younger men" she is seeing) but 19 years ago there was a much more interesting break-up and that is what this album is about.  Bandmates date and brea up all the time, but they seldom remain in the same band and record label head position AND make an album all about it.  That has a lot to do with what makes this one of the North Carolina band's best records.  It is also the second album with legendary drummer Jon Wurster and despite, or probably because of, unimaginable tension the classic lineup sounds better than ever.  Naturally, it is their angriest album and rage and frustration suits Mac McCaughin's vocals and both guitars very well.  Anchored by the amazing  second track "The First Part," this is Superchunk at their best and heaviest, doing a fine job compensating for the absence of their usual humor.  Not letting her ex hog all the rage Laura Ballance did the album art.

9.  Sebadoh - Bakesale
Like most of the similar groups Sebadoh moves away from being a bedroom lo-fi project and into sounding like a real band, even with the loss of drummer Eric Gaffney.  It is a more accessible, rock-based affair than III, but still is diverse and adventurous.  Barlow, Lowenstein, and even fill-in drummer Bob Fay ("Temptation Tide") contribute tight pop songs instead of weird experiments and collages that can evoke the successful live band worthy of the founding Dinosaur Jr. bassist.  Energy is up and focused with Lowenstein's "Dramamine" condensing all his apparent talents into one of his best songs of all.  For those not into tape his and creepy aesthetics  this is the ideal Sebadoh album.  Love that album cover with one year old Barlow...

8.  Jon Spencer Blues Explosion - Orange
One of the most appropriately-named bands and the hippest thing in New York City during the Giuliani  era made their best and closest thing to a breakthrough here.  Beginning with the orchestral build into Birthday Party-worthy energy of "Bellbottoms," the bass-less group busts out the swinginest, most groovy onslaught of twangy distortion and thudding drums inspiring generations of less successful groups.  The relentless album oozes with swaggering personality and good old fashion sexuality that had to take on a vintage aesthetic for how ahead of its time it was - check "Full Grown" for some real fucking music.  Not needing to rely on the vulgarity and shock tactics of his pervious band Pussy Galore Jon Spencer with Judah Bauer and Russell Simins create an album that at the correct volume could destroy any room in which it is played.

7.  Meat Puppets - Too High To Die
Following their very public endorsements from Nirvana even the Meat Puppets got a share of the alternative explosion pie with the wailing "Backwater," still a staple of rock radio (I presume) and the Pups live set.  Sometimes it is dismissed by the purists, but the trio sounds as great as ever and better than most of the time here.  While the country influence pops up in a few places, the band pulls out their hard rock and psychedelic talents on some of their most complex and extendable material.  The versions on the album are all pretty concise, although solos on the likes of "Flaming Heart" could definitely go on longer.  Cris even contributes more than usual with his composition "Evil Love" being one of  the best songs.  With  a band who has always been trying different sounds to great success it is not just unfair, but grossly inaccurate to say this is their most mainstream record, but it is one worthy of its success.  A new, inferior version of "Lake of Fire" is included at the  end for all the grunge kids  who just wanted old material.

6.  Archers  of Loaf - Icky Mettle
The other big Chapel Hill group made something even better on this debut.  Eric Bachmann and his band gets loud and emotional in a more tasteful and mature way than any other band going for those sounds.  Full of distortion and heavy riffs, it would not be wrong to call it "post-hardcore," but it is just too cool for that.  "Plumb Line" and "Wrong" are just too catchy and efficiently-constructed  to imply that kind  of attitude about this album.  There is plenty of anger, but it  is always presented in a fun and self-aware way and the lyrics and even Bachmann's raised voice wisely let the heavy rhythms and dynamic guitar interplay do most of the work.  People knew it at the time that this is the truth  of 90s indie rock.  Still is one  of the best examples.

5.  Drive Like Jehu - Yank Crime
Being "post-hardcore" is not always  a bad thing.  It usually is, but Drive Like Jehu made some really amazing music of that type and this  is their best work.  Songs have grown  even more and the  band  shows  little regard for anything  other  than  the music with the vinyl extending onto an  additional 7-inch.  The whole thing is great and I will mention some amazing titles like "Do You Compute?" and "Super Unison," but I really want to talk about "Luau."  That is one of the greatest songs I have ever heard and the band wields intensity like no other.  The rhythm section is so focused and calculated that the nearly ten-minute track never waivers in its chilling tension.  Then there are the guitars which capture  the band's tension so  well it sounds like each guitarist  is trying to kill the other with the awesome noise their reckless abandon creates.  It creates the kind of speechlessness that demands to be repeated over and over again.  Regardless of what you think of "this kind of thing," (and I don't think much, personally) this album is not to be missed.  Suit up,

4.  Built to Spill - There's Nothing Wring With Love
As far as their 9s work goes, this is the Boise group's most-pop oriented album.  The only  other album with Martsch's plan of using a different  band in effect if adds bassist Brett Nelson who continues  with the band, and Andy Capp on drums in a much more straight-forward sound than the preceding album.  All of these songs have a tight, live feel, with the exception of collage "Preview" keeping up the lo-fi eccentricity.  The sense of humor is still  there as heard on the aforementioned track and "Dystopian Dream Girl," but with "Car" and "Fling" there is enough raw emotion to keep the next decade's teenagers interested.  Though it is less pieced-together than  its predecessor, Martsch further explores his love of layers with the stacks and stacks of guitars and vocals dominating almost  every song on the album.  This all these catchy little songs with all their quirks like "Twin Falls" and "Big Dipper" this is the blueprint  for what is still called "indie-pop."

3.  Weezer - Weezer
More undeniable guitar pop.  Though in this case we are dealing with a true lunatic.  This year's most commercially successful album is also the most sweet, twisted, and insane.  River's Cuomo is not a functioning person, but with the help of his band (most importantly drummer and occasionally  co-song writer Patrick Wilson) and producer Ric Ocasek he manages to create a perfect pop album.  Inspired by Nirvana and Pavement he puts forth the best of the underground to the mainstream in a more intelligent and enjoyable way than the grunge wannabes that took years to die off.  Their name says it all, this is music by rejected nerds, but all that one could hope for from such a person is delivered with a sincere perfection that even left Robert Pollard envious.  You have all heard this, so no need to continue.

2.  Pavement - Crooked Rain, Crooked Rain
The new five-piece Pavement with Steve West makes their debut and it's a whole lot cleaner that expected.  Still it is a loose affair and only commercial if you're from New Zealand, as the band's debt  to the Flying Nun greats really comes out, enough for the label to put out this album in the country.  Still the push for mainstream acceptance was made and thanks in no small part to Mike Judge it was somewhat  successful with the band and songs like "Cut Your Hair" and "Range Life" knowledge to the more  observant and savvy across the United States.  Still the band could not care less with the latter calling out more successful artists and "Unfair" slamming the city/culture they wisely rejected.  Pavement has always been one of the most fun bands on the scene, even when tensions were tearing them apart and that is apparent in songs like "Gold Soundz" and the videos that accompanied them, but their dark, mysterious atmosphere is also developing on songs like "Newark Wilder" and the instrumental "5-4=Unity."  While this may be a definitive record, it is made that way by the group's free spirit and organic chemistry.  Amazing album.  "Elevate Me Later" just came on.  Forgot about it for a few years  there, what a masterpiece.

1.  Guided By Voices - Bee Thousand
No surprises here.  I have no hesitation in saying that this is the best album ever made.  Some others may come close, but I feel totally comfortable saying that this is the voice of God.  Other GbV albums may match it in song quality and quantity, but this ones has a certain transcendence that is seldom heard, apparent from the very beginning of "Hardcore UFO's",  an absolute favorite of true fans.  With the title and cover shrouded in magic and fantasy, and mystery, this is an album that covers the entire expanse of the imagination.  There are nightmares like "Buzzards and Dreadful Crows" and "Demons Are Real," and heartbreaking moments of staggering beauty  like "The Goldheart Mountaintop Queen Directory" and "Ester's Day."  Then there are dramatic relationships of "Tractor Rape Chain" and "Her Psychology Today," with "Peep-Hole," maybe the sweetest love song ever written.  Even still, there is the sext glam rock of "Hot Freaks" and of course the band's best-known and enduring anthem "I Am A Scientist."  The real beauty, though, is that everything is up for interpretation with the likes of "Yours To Keep" seen by some as a lament to the disappointment of life and others as a fantasy adventure or "Smothered In Hugs," which evokes fear of success, wavering support from loved ones, and the loss of a more predictable and simple life on  the textbook committee.  This album can give you the truth about human existence most hope for only on their descent into heaven.  That is what it sounds like, too.  This is the best work by the best band ever.  I have been tearing up writing this and I don't even think it even gets the point across at all.  You're not an airplane, but in the playground of your mind, you can be anything.