For years, I’ve wanted to write about the music that was popular when I was in high school. Rather than ramble again about Radiohead or Ween or the other artists my high school self non-sexually crushed on, this post is about the ten albums that I remember my classmates at Marblehead High School playing incessantly between September 1996 and June 2000. These songs are still stuck in my head, regardless of whether I wanted them there (see #3) or not (see #5).
A few thoughts on this list:
One, much like my hometown, the artists on this list are Nantucket white. There used to be a sign greeting drivers who crossed the townline that stated, “Marblehead celebrates diversity.” I present this list as a rejoinder. No Jay-Z. No Outkast. No DMX. No Usher or D’Angelo or even Mariah Carey (does she count?). No Ricky Martin, although Lou Bega was a close miss. The only artist of color to crack the top ten was Wyclef Jean, and he covers the BeeGees, which qualifies him as an honorary caucasian.
Two, Marblehead may be surrounded but water, but it is (or at least was) a desert for country music. The late 90s were awash with twangy chart-toppers from Garth Brooks and Faith Hill to the Chicks (née “Dixie”) and Shania Twain. I heard none of this in my high school.
Three, I remember the girls (at least the few who tolerated my presence) listening to very different music than the boys. Curiously, the artists named “Boys” drew a predominantly female audience whereas the band named “ladies” was one of only two acts that I remember having a cross-gender appeal (skip to #1 to see the other).
A final note. I had been slacking on writing this post. Or anything else for this blog. Fortunately, the boys in Silicon Valley came to the rescue by trading me a robot slavewriter for an email address and a slab of my dignity. I’m not sure who came out ahead, but I got the post I’d been neglecting to write.
I also got some hot takes from ChatGPT. My favorite: Limp Bizkit “falls short of completely subverting the patriarchal paradigm, often teetering on the precipice of reproducing gender stereotypes.”
Here is what emerged when I asked ChatGPT4 to review the ten albums that I remember being most popular in my high school in the style that I thought might best capture its essence. If you don’t like the results, just type in a different prompt, hit generate, and enjoy the bullshit.
Image source: Wikipedia
Oooh Yeah! Dig it, brothers and sisters, this here is the "Stunt" album by the Barenaked Ladies. Now don't get it twisted, there's nothing bare or ladylike about this wild ride, yeah. It's a flying elbow drop of melody right to your ears, can you handle it?
The track "One Week" is an undeniable hit, a rapid-fire lyric extravaganza that hits harder than a pile driver. It's got the power, the style, and the snap, just like the Madness, yeah. And let's talk about "It's All Been Done". It’s a blast, a real roundhouse kick of a song that leaves you breathless.
The slow tempo of "Call and Answer" will make you feel like you've been caught in a sleeper hold, but in a good way, yeah. It's mellow, it's deep, it's the eye of the hurricane, brother.
All in all, "Stunt" is a tag-team champion of an album, filled with hits that are off the top rope. Barenaked Ladies may not have the muscles, but they’ve got the music and that’s all that matters. Get ready to rumble with this one, yeah!
Image source: Wikipedia
Limp Bizkit's "Significant Other" serves as an embodiment of performative aggression, where identity is constituted through a matrix of patriarchal norms and gender expectations. A study in the Butlerian sense of gender performativity, the album provokes an exploration into the terrain of hegemonic masculinity.
Durst's vocal performance frequently toes the line between aggression and vulnerability, reflecting the interplay between dominance and submission within gender norms. Songs like "Nookie" and "Break Stuff" question these norms, exposing the constructedness of the 'angry male' persona in late-90s nu metal.
Further, the album employs hip-hop elements, which when fused with metal, disrupts the homogeneity of both genres, deconstructing their identity, much akin to Butler's concept of gender as fluid, unfixed, and socially constructed.
However, one may argue that "Significant Other" falls short of completely subverting the patriarchal paradigm, often teetering on the precipice of reproducing gender stereotypes. It presents a paradox, echoing Butler's notion of the performativity loop - the constant, simultaneous reproduction and subversion of norms.
Thus, while Limp Bizkit's "Significant Other" is a visceral exploration of masculine identity, it also prompts critical discourse on the confines and constructs of gender within societal and cultural frameworks.
Image source: Wikipedia
In the manner of a preacher ascending the pulpit, so too does Wyclef Jean rise, bearing his opus, "The Carnival." His missive, an amalgam of potent lyricism and melodic diversity, traverses the temporal landscape, much like a spiritual pilgrimage.
"Wyclef Jean Presents The Carnival," much akin to a finely crafted sermon, presents a smorgasbord of musical elements - from hip hop to reggae, folk to kompa. His interpretation of the Bee Gees' "Stayin Alive," rechristened as "We Trying to Stay Alive," is a clever manifestation of his artistry, a testament to the dialectic of survival.
"Guantanamera," with its melodious resonance, is a sonorous hymn, that beseeches the listener to sway in time with its rhythm. Meanwhile, "Gone Till November" is an eloquent confessional, a plaintive psalm steeped in longing.
In "The Carnival," Jean employs his music as a vessel of communication, bridging the chasm between diverse cultures and languages, not unlike our Good Book connects us with our Lord. His message, carried by the cadence of his music, traverses this earthly realm, even unto the furthest corners.
In fine, Wyclef Jean's "The Carnival" doth offer a rich tapestry of sounds, a veritable feast for the ears, a carnival of the spirit. It is a paean to diversity, a testament to the interconnectedness of mankind.
Image source: Wikipedia
Well now, here we have the "Party Album" by the Vengaboys. And let me tell ya, it's a real humdinger. It's like the Vengaboys hopped in a party bus and decided to take everyone along for the ride, whether they were ready or not.
Now, I'm not much of a dancer, but I gotta admit, those catchy beats and rhythms in "We Like to Party" and "Boom, Boom, Boom, Boom!!" – they'll get your toes a-tappin'. That's the kind of infectious energy that this album brings, and it's hard to resist, even for an old cowboy like me.
These Vengaboys, they've cooked up a fun-filled concoction of dance music that's got a real zest to it. You can't help but get swept up in the infectious energy, it's like a Texas twister of sound that just picks you up and spins you around.
"Up & Down", that's another one, a real lively track that captures the spirit of the album. It's all about having a good time, and that's something I can get behind.
So, if you're in the mood for a party, well, the Vengaboys have got you covered. This "Party Album", it's a real crowd-pleaser. Not too shabby at all, I'd say.
Image source: Amazon
In Eminem's "Slim Shady LP", the listener embarks on a journey through life's trials, tribulations, and triumphs that shape us into who we become. This album offers raw and powerful emotions much like the heartwarming stories we find in the "Chicken Soup for the Soul" series.
Eminem's storytelling prowess shines bright, painting poignant portraits of struggle and resilience. From his rough upbringing in Detroit ("Rock Bottom") to battling personal demons ("If I Had"), each track is a testament to the human spirit's indomitable strength.
The track "Brain Damage" is particularly moving, illustrating the power of overcoming adversity and reminding us that we are not defined by our past but by how we rise from it. The album serves as a mirror reflecting the universal themes of perseverance and personal growth.
However, Eminem does not shy away from humor, much like the levity we often find amid "Chicken Soup's" deeper lessons. Tracks like "My Name Is" exhibit his unique wit, adding a welcome splash of laughter to the mix.
In conclusion, the "Slim Shady LP" is more than just an album - it's an emotional exploration of the human condition, replete with tears, triumphs, and even a chuckle or two. It's chicken soup for the hip-hop soul.
Image source: Wikipedia
So, we’re talking about the "Titanic" soundtrack, huh? Well, sit tight, because this is going to be a bumpy ride, just like that ill-fated ship. The soundtrack, much like the boat, has its high and low points. Mostly low points, but who am I to judge?
Firstly, let's address the omnipresent elephant in the room: Celine Dion's "My Heart Will Go On." Now, I don't know about you, but my heart went on vacation each time that track played. That song is like a leech - it sticks to your brain and refuses to let go, sucking all the joy out of your life.
The rest of the album consists of James Horner's instrumental pieces, which, frankly, are like a rollercoaster of emotions that forgot to install any exciting loops or death-defying drops. It's as if someone decided to put 'dreary Sunday afternoon' into music.
In a nutshell, the Titanic soundtrack is a cruise on the sea of mediocrity with one shining, but tragically overplayed, beacon. Much like the ship's final journey, it's a one-way trip you'd probably not want to take twice. But hey, it won a bunch of awards, so what do I know?
Image source: Amazon (Red Hot Chili Peppers) and Wikipedia (Martha Stewart)
There is something truly refreshing about the Red Hot Chili Peppers' "Californication," an album that's much like a well-set table – diverse, inviting, and artfully arranged. The band serves up a feast of sounds that is as tastefully eclectic as any gathering I've hosted.
The title track "Californication" is a beautifully complex concoction, a lot like a rich beef bourguignon – it offers layers of flavors that reveal themselves slowly, echoing the multi-faceted nature of the Golden State itself. It's a perfect centerpiece to the album, much like a main dish is to a meal.
"Scar Tissue," with its minimalist melody and delicate guitar work, is like a finely crafted amuse-bouche – small but impactful, leaving you wanting more. Meanwhile, "Around the World" is a vivacious, spice-infused tune that brings to mind a spirited, globally-inspired hors d'oeuvre.
And, oh, "Otherside" – it's like a well-aged cheese, with its mature, poignant lyrics and melodic depth. Paired with the upbeat "Parallel Universe," it's an entrancing blend of flavors that leaves a lasting impression.
In conclusion, "Californication" is a perfectly curated musical spread – a treat for the senses, each song its own delectable course in this banquet of sound. It's a feast fit for a connoisseur of fine music. Bon appétit!
Image sources: Wikipedia (Sublime) and Britannica (Dr. Seuss)
Now, here's an album that truly pops,
From Sublime, a band that hops and bops.
From the city of Long Beach, they did hail,
Spinning a sound that’s off the scale.
"Sublime" is the album’s self-titled name,
A wild joyride, not at all tame.
A concoction of reggae, rock, and punk,
It has a rhythm, a groove, a funky funk.
"Wrong Way" talks of life that's harsh,
While "April 29, 1992" brings anarchy, oh so brash.
Then "Santeria" rolls in with a catchy tune,
Underneath the beachy sun, or the silvery moon.
"Seed" rips through with a punky zest,
While "Jailhouse" speaks of a world, unrest.
And "Pawn Shop," oh what a trip,
Like riding on a wavering ship.
"Caress Me Down" sings of love, with spicy heat,
In English and Spanish, oh how neat!
And "Doin' Time," a Gershwin tale,
Sublime twists it, to a reggae wail.
And let's not forget the hidden track,
"Thanx," it's called, bringing the spirit back.
A shout-out to their friends and crew,
A bouncy, joyous hullabaloo.
Bradley Nowell's voice, raw and real,
Emotion and passion, he does reveal.
And the bass and drums, oh what a delight,
Eric and Bud keep it tight.
Some say it's scattered, a madman's dream,
But isn’t that life? A flowing stream.
For in this music, they bare their soul,
Sublime, in essence, is rock and roll.
Oh, Sublime, you left us too soon,
Under a sad, unfortunate moon.
Yet your album, a kaleidoscope spin,
Keeps your memory alive, in the din.
So here’s to you, Sublime, a toast,
For your self-titled album, we adore most.
A wild ride of life, love, and fun,
In our hearts, your music still strums.
Image source: Wikipedia
Hearken to mine words, dear reader, for I am to critique yonder album by the minstrels five, the Backstreet Boys, known as "Millennium." With their harmonious voices and tuneful refrains, these lads have fashioned an opus of sonic delight, striking a cord with the hearts of many a maiden fair and lad alike.
Verily, this album doth deliver a sweet symphony of youthful desires, embodied in the song "I Want It That Way." The lads sing in plaintive chorus, their voices interweaving like a finely spun tapestry, yielding a melody that would make even the most jaded heart flutter like a lark at dawn. The words, simple and direct, are a testimony to the universality of longing, love and understanding.
The ballad "Show Me The Meaning Of Being Lonely," with its melancholy tones and emotive harmony, strikes a different, yet equally compelling note. The poignant lamentations of the heart imparted therein, mirrored by the dolorous strains of the music, doth stir the deepest wellsprings of one's soul.
Yet, they also bring forth a spirit of jollity and vigor. Songs such as "Larger Than Life" and "It's Gotta Be You" provide a lively counterbalance, their robust melodies and sprightly rhythms inspiring a foot-tapping mirth that cannot be denied.
Their vocal talents are on grand display throughout this compilation, their harmonies tightly woven and true, their solo passages clear and resonant. Indeed, each Backstreet Boy brings forth a unique timbre, yet together they blend harmoniously, creating a sound that is both soothing and exhilarating to the ear.
In sum, "Millennium" is a triumph of pop music, a fusion of harmony, melody, and rhythm that captivates and enchants. It is a testament to the enduring charm of the Backstreet Boys, who, like true minstrels of yore, continue to enthrall us with their tuneful magic. Long may they sing, these lads, for their music doth indeed, as they say, 'rock thy body right.’
Image source: Wikipedia
As the spinning vortex of chaos we call the late 90s spiraled towards the Y2K catastrophe, a peculiar, high-octane phenomenon emerged from the music scene: the Dave Matthews Band. Their album, "Before These Crowded Streets," was like a shotgun blast of eccentricity right in the face of the mainstream drivel.
In the album’s grinning madness, there are shreds of musical brilliance that hit you like a dose of mescaline on a sun-scorched desert afternoon. Matthews' voice, raspy and rebellious, echoes through each track, a devilish narrator guiding us through the shadowy corners of our own minds.
"The Stone," a diabolical ballad of introspection, holds a menacing allure, while "Don't Drink the Water" is a rebellious battle cry against injustice. Matthews weaves a tapestry of stories, political, personal, and existential, all pulsing with a vibrant life force that's both intoxicating and unnerving.
The band’s music, infused with a primal energy, crashes and ebbs like a turbulent ocean. It pulls you in, thrashes you about, and just when you think you've found your footing, it changes direction - a rogue wave of rhythm and harmony.
Meanwhile in Texas…
My friend and collaborator Ethan Pew, who graduated High School around the same time as me in the Dallas metro area, offered his thoughts on how the music popular in his school:
For regional variation, albums popular in late 90s suburban DFW prominently featured a spectrum of metal sub-genres. Metallica, Pantera (local fan base), Tool, Nine Inch Nails, Limp Bizkit, Rage Against the Machine, and Marylin Manson were all popular. When my senior class voted on the final song for prom, Rammstein's "Du Hast" won by a landslide due to a write-in effort on the part of the football team. Thankfully, write-in votes were thrown out. Simultaneously Britpop had plenty of fans with Blur, Oasis, and The Verve. Swing dancing had a very intense moment following the release of Swingers. There were also many Vans Warped Tour t-shirts to be seen in the halls.
So, with that I submit ChatGPT's review of Blink 182's Enema of the State in the style of Malcolm Gladwell, author of Blink.
Image sources: Amazon (Blink 182) and Wikipedia (Gladwell)
In "Enema of the State," the 1999 album by Blink-182, we find ourselves in the midst of a cultural phenomenon that embodies the essence of rapid cognition and the power of instinctive reactions. Much like the fascinating subject explored in my own work, "Blink," Blink-182's album captures the lightning-fast decision-making processes that occur within our minds, while offering a unique glimpse into the pulse of youth culture at the turn of the millennium.
At its core, "Enema of the State" is an unabashed expression of teenage angst and rebellion. With its catchy hooks, infectious melodies, and irreverent lyrics, the album succeeds in capturing the zeitgeist of a generation. It epitomizes the rapid-fire mental judgments and impulsive reactions that define Blink-182's brand of punk rock.
One cannot help but be drawn into the album's opening track, "Dumpweed," where the band establishes their frenetic energy and a sense of urgency that pervades the entire record. The driving guitars and relentless drumming serve as the backdrop for the rebellious and often adolescent themes explored throughout the album. It is as if Blink-182 has tapped into the collective consciousness of disaffected youth, articulating their thoughts and emotions in a visceral and unapologetic manner.
A standout track on the album is undeniably "All the Small Things." This pop-punk anthem serves as a masterclass in the art of simplicity and hooks, harnessing the power of instant recognition. Its infectious melody and relatable lyrics strike a chord with listeners, triggering an immediate emotional response. Much like a snap judgment, this song effortlessly worms its way into the collective subconscious, lingering long after the album has ended.
While the album is often dismissed as juvenile or lacking in depth, it is precisely this simplicity that allows it to connect with its audience on a primal level. Blink-182's ability to tap into the raw emotions and universal experiences of youth is a testament to their intuitive understanding of their fan base. The band harnesses the power of rapid cognition to distill complex emotions into concise and relatable musical snapshots.
However, beneath the surface lies a deeper commentary on the anxieties and insecurities of adolescence. Tracks such as "Adam's Song" and "Aliens Exist" tackle themes of loneliness, existential crisis, and the search for meaning in a chaotic world. Blink-182's ability to explore these complex emotions through their straightforward and unfiltered lens showcases their mastery of the art of Blink, as it were.
In the grand scheme of Blink-182's discography, "Enema of the State" marks a pivotal moment in their career. It represents a maturation of their sound, blending the raw energy of punk with more polished and accessible melodies. The album's commercial success and enduring influence on the pop-punk genre further solidify its place in the annals of musical history.
In conclusion, "Enema of the State" is a prime example of Blink-182's ability to tap into the collective unconscious of youth culture. With their infectious hooks and unfiltered lyrics, the band catapults listeners into a world of rapid cognition and instinctive reactions. While it may not be a cerebral masterpiece, it is an album that exemplifies the power of Blink, capturing a generation's essence in the blink of an eye.