Here is part two of our inessential 90's discography list. This is a list of the 1990's albums that we grew up with. But, apart from a few entries, these are not the blockbuster albums that everyone kows. You won't find Dangerous or Automatic for the People in our list. Still, there are plenty of hit albums on our list, as well as some more obscure stuff and a few curveballs...
Again, these records are presented in completely random order. Where possible, we have included Apple Music links. Click HERE to subscribe to what we think is the best music straming service out there. We've also tried to include an Apple Music player for each album, and even if you don't have a subscription you can preview all of the songs included.
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Killer first album by a band that mixes classic 70's -style Hard Rock with a Jam Band ethos. Excellent songs, badass vocals and musicianship. If you like The Black Crowes, Gov't Mule or Brother Cane, this should be right up your alley.
Coco Robicheaux's debut album Spiritland is a rich musical tapestry that captures the soul of New Orleans. Blending Cajun Blues, swampy Funk, and Voodoo-infused Soul, the record creates a mystical, roots-driven atmosphere. Smokey Greenwell’s stellar harmonica work adds grit and authenticity, perfectly complementing Robicheaux's raw vocals and evocative storytelling. The album is a must-listen for fans of deep Southern roots music—and the liner notes alone are worth the purchase.
In 1970, Larry Coryell's Spaces, featuring John McLaughlin, Miroslav Vitous, and Billy Cobham, became a cornerstone of Jazz Fusion. Nearly three decades later, Coryell revisited that groundbreaking concept with Spaces Revisited, retaining Cobham while adding gypsy jazz guitar virtuoso Bireli Lagrene and rising bass phenom Richard Bona. The result is a dazzling display of compositional brilliance and virtuosic interplay—a must-have for fans of Jazz Fusion, guitar mastery, or simply exceptional music.
Following his tenure as musical director of The Tonight Show and his genre-blending work with Buckshot LeFonque, Branford Marsalis returned to his jazz roots with The Dark Keys, offering a bold, modernist interpretation of the genre. His fluid phrasing, rich timbre, and dynamic improvisational style shine throughout the album. Supported by bassist Reginald Veal and drummer Jeff "Tain" Watts, the trio delivers intricate compositions and electrifying performances, blending post-bop intensity with contemporary edge. A masterclass in modern jazz expression.
Led by Chris Goss and featuring the legendary Ginger Baker on drums, Sunrise on the Sufferbus showcases a surprising depth beyond the band’s heavy rock roots. While known for their riff-heavy sound, this album explores a wide musical landscape, blending delicate Folk, gritty Garage Blues, trippy Psychedelia, and melodic Pop. Baker’s dynamic drumming adds a unique swing and texture, elevating the record into a genre-defying masterpiece that remains the band’s most distinctive works.
Another Hand showcases a more organic and jazz-focused side of David Sanborn, moving beyond the smoother, easy-listening style of some of his previous releases. Blending Jazz Fusion with radio-friendly Soul, the album strikes a perfect balance between complexity and accessibility. Its thoughtful arrangements, intricate musicianship, and Sanborn’s unmistakably expressive saxophone create a sound that’s both soothing and swinging—jazzier and more adventurous than his commercial “pop” records, while remaining inviting to a broad audience.
John Lurie reimagines the Dixieland concept—multiple instruments weaving intertwined melodic lines—through the lens of avant-garde jazz on Queen of All Ears. The result is both intellectually stimulating and immediately enjoyable. Experimental textures are balanced by infectious swing and catchy melodies, while the band’s punk-rock ethos dismantles traditional jazz structures. Bold, imaginative, and refreshingly unconventional, this album is a genre-defying triumph.
Monster Magnet built their reputation on a blend of garage rock and psychedelia, drawing comparisons to Hawkwind. Dopes to Infinity takes that sound to the next level, mixing Sabbath-inspired heavy rock riffs, Pink Fairies-like punk aggression, and Floyd-esque space rock. The result is an album with solid songwriting, trippy production, and gnarly riffs that draw you in. It’s heavy, psychedelic, and full of the kind of lysergic vibes that make you feel like you're lost in space. If you're into riff-heavy, mind-bending rock, this is as good as it gets.
After growing tired of the rock 'n' roll circus that Guns N' Roses became, Izzy Stradlin put together a band of misfits and returned to his musical roots—channeling the sounds of The Rolling Stones, The Faces, and early punk rock, with a touch of reggae. This self-titled album is a throwback to '70s rock vibes, released at a time when bands like The Black Crowes were making waves with their retro sound. Listening to this album, it’s clear how crucial Izzy was to Guns N' Roses' sound—his rootsy rock ‘n’ roll songwriting balanced out Duff’s hardcore punk, Slash’s hard rock riffs, and Axl’s more grandiose ambitions.
Burning Tree was a classic power trio that burned bright but brief, releasing one killer album before fading as grunge and thrash metal took over the rock scene. Guitarist Marc Ford, who later joined The Black Crowes, shines throughout the record with scorching solos and soulful riffs. The songs are tight, energetic, and packed with bluesy, hard-rock swagger. It’s a hidden gem from the late '80s/early '90s rock era that still holds up for fans of guitar-driven rock.
Omnio, the second album by In The Woods..., marks the band's evolution beyond their Black Metal origins into a more progressive and experimental sound. The record offers a richly layered sonic journey, featuring dense production and compositions that develop gradually, inviting deep immersion. Its innovative approach has significantly influenced the Post-Metal and Blackgaze genres, paving the way for bands like Deafheaven.
On Colma, Buckethead shifts away from his usual shred-heavy, experimental style, opting for a more introspective and melodic approach. Produced by Bill Laswell, the album blends ambient dub textures, trip-hop rhythms, and hauntingly beautiful guitar melodies. Written as a tribute to Buckethead's mother during her battle with cancer, the songs radiate emotion, balancing soulful introspection and amazing fretwork.
Trashmen Shoes blends elements of New Orleans Americana, Celtic Punk, and punk rock. The band’s sound falls somewhere between The Pogues, Tom Waits, and Social Distortion, with raw, gritty vocals and a mix of folk and punk influences. The album has an anthemic, raucous energy that’s hard to ignore. It’s fast, aggressive, and full of swagger, combining traditional sounds with a punk attitude that makes it stand out. If you're into punk with rootsy, folk elements, this album is definitely worth checking out
I know, I said I wouldn’t include any live albums. So, sue me. Here’s one. Bill Frisell, Kermit Driscoll, Joey Baron - Live captures the essence of Frisell’s textured guitar work, complemented by the quasi-reggae rhythm section of bassist Kermit Driscoll and drummer Joey Barron. The album seamlessly blends Country and Pop influences into its jazz foundation, creating a unique soundscape. A standout moment is a beautiful rendition of John Hiatt’s “Have a Little Faith in Me,” showcasing Frisell’s ability to transform and personalize any genre.
Compulsion was a UK alt-rock band that dropped Comforter just as the grunge wave was starting to fade. Sure, they wore their influences on their sleeves—think Pixies and Nirvana—but they backed it up with solid songs and an intense vocal performance from frontman Josephmary (yes, that’s his name). While their sound had bite and energy, the public ended up embracing their more radio-friendly countrymen Bush, leaving Compulsion to drift into rock obscurity. Still, Comforter remains a gritty, underrated gem from the ‘90s alt-rock era.
Mutiny - Aftershock 2005
Mutiny, founded by former Parliament-Funkadelic drummer Jerome Brailey, was known for tightening P-Funk’s sprawling jams with a touch of disco flair in the '80s. But Aftershock 2005 takes things to another level. Produced by Bill Laswell, the album fuses classic funk grooves with modern production, blending hip-hop influences and relentless rhythms. It’s gritty, organic, and futuristic all at once—arguably the best P-Funk-inspired record made outside George Clinton’s camp in the ‘90s. This is funk reimagined, heavy on groove and attitude. Unfortunately, this record remains unavailable in digital format.
The Hellacopters - Payin' The Dues
Payin' The Dues is the Hellacopters' second album, packed with heavy rock and garage-punk energy. Nicke, known for drumming in Entombed, takes over vocals and guitar, while Dregen from Backyard Babies adds his guitar to the mix. The album has a Nuggets! vibe, updated for the nineties—raw, unpolished, and full of fast riffs and attitude. Blending garage rock with punk aggression, it’s loud and gritty, with no interest in being neat or shiny. It’s a no-bullshit, in-your-face ride that stays true to its roots. Unfotunately, it seems that this album, like the ones immediately above and below it, is no longer available on Apple Music.
Surgery - Shimmer
It’s hard to know what exactly convinced Atlantic to sign Surgery, but Shimmer makes it clear the band didn’t exactly fit the major label mold. Their sound is a dirgy, bass-heavy post-hardcore blend, drawing from urban punk and slacker culture, with a laid-back, almost detached attitude. The album mixes noisy, chaotic guitars with driving rhythms, creating a dense atmosphere that’s both abrasive and infectious. While the band's vibe fits in with the ‘90s alt-rock scene, it stands out with its more abrasive approach, somewhere between early Jesus Lizard and the raw, stripped-down energy of bands like Unsane or Helmet. The record has a gritty, underground feel that never quite clicks with the mainstream, but it's undeniably compelling in its own right.
No Digital
Tony Levin had already built an impressive resume by the time he released his first solo album. While he was widely known for his collaborations with Peter Gabriel and King Crimson, Levin had also contributed to albums by artists such as John Lennon, Alice Cooper, Yes, Pink Floyd, Carly Simon, Herbie Mann, and Paul Simon. A master of Prog Rock, Pop, Folk, and Jazz, it was anyone's guess what direction his own music would take. What he didn't produce was a typical album of virtuosic Prog and bombastic bass playing. Instead, his bass work is subtle and essential, blending seamlessly into the overall texture of the album. With its influences from "world music" rather than rock or pop, World Diary stands as an exquisite, genre-defying masterpiece.
It never ceases to amaze me that at an age when musicians usually like to make a lot of racket, emulating Sabbath or Zeppelin, trying to play hard and fast, or showing off their musical proficiency, the Jayhawks were channeling a less ostentatious type of music on their third recrod Hollywood Town Hall, focusing on delicate harmonies, subtle arpeggios and concise songwriting. Produced by George Drakoulias, who around the same time also produced the first two Black Crowes records, this album sounds like a cross between Matthew Sweet's Girlfriend and Wilco's first album. Gorgeous songs, excellent production, tight musicianship and crisp vocals... Timeless stuff.
Pendragon - The Masquerade Overture
The Masquerade Overture is classic prog rock with lush production, symphonic layers, and epic, bombastic compositions. Pendragon balances complex arrangements with surprisingly catchy hooks, while Nick Barrett’s Gilmour-esque guitar solos soar throughout. It’s a grand, theatrical journey through imaginative soundscapes—the kind of album that would make punk rockers roll their eyes but thrill prog fans. Unfortuantely, it remains unavailable on digital platforms, making physical copies a prized possession for collectors.
TM Stevens, who recently passed away after a prolonged battle with dementia, was a formidable bassist, producer, and composer whose work can be heard on numerous recordings with artists such as James Brown, Steve Vai, Joe Cocker, and Tina Turner. His Out Of Control project masterfully blends Heavy Metal and Funk—a style that gained significant popularity in the 1990s with bands like Faith No More and Red Hot Chili Peppers. The songs are strong, the riffs are heavy and the grooves is relentless. Listen to BOOM with the bass turned up loud.
When Uncle Tupelo split, most of the band followed Jeff Tweedy into Wilco, but Jay Farrar proved he was no slouch with Trace, Son Volt's debut. This album left a lasting mark on rock music, blending Americana with a gritty garage edge. It’s equal parts Gun Club’s dark roots and the Flying Burrito Brothers’ twang, laying down a blueprint that would influence bands like The White Stripes. Trace is raw, emotional, and timeless—Son Volt’s undeniable statement and a must-hear for fans of the alt-country movement.
Painkiller is metal turned up to 11—embracing every cliché, every ounce of power, and every shred of metallic glory. After nearly two decades in the game, Judas Priest unleashed this beast, redefining themselves for a new generation. It’s a perfect fusion of thrash brutality and classic heavy metal precision. Rob Halford’s piercing vocals, Glenn Tipton and K.K. Downing’s blazing guitar duels, and Scott Travis’s thunderous drumming create an unstoppable force. No filler, no mercy—just a wall-to-wall metal masterpiece.
Vulgar Display of Power is one of the most influential metal albums ever, redefining heaviness for the mainstream. Groove-driven thrash meets elements of extreme metal and Southern rock, creating a brutal yet precise sound. Dimebag Darrell’s guitar work is legendary—shredding, grooving, and riffing with unmatched intensity. Vinnie Paul’s thunderous drums and Phil Anselmo’s visceral vocals hit like a freight train. The production is razor-sharp, amplifying every punishing riff and pounding beat. A true metal milestone with killer tracks that still hit hard today.
Before Wilco and Son Volt, there was Uncle Tupelo. No Depression is the blueprint for alt-country, blending raw, garage-rock energy with traditional Americana roots. The songs are gritty but heartfelt, with ragged harmonies that hit just right. It’s a landmark record that helped shape a whole movement, setting the stage for its members' future success.
Baduizm is a cornerstone of the new soul movement, where Erykah Badu seamlessly blends elements of hip hop, spiritual jazz, and classic '60s and '70s soul. Badu’s unique voice—sultry, powerful, and full of depth—takes center stage, delivering songs that feel both timeless and ahead of their time. The album features contributions from some incredible musicians, including bassist and producer Raphael Saadiq, guitarist and producer James Poyser, and drummer Ahmir "Questlove" Thompson of The Roots. Their rich instrumentation and organic, groove-driven production create a soulful backdrop to Badu's thought-provoking lyrics, further elevating her groundbreaking debut. A landmark album in modern soul that’s as much about music as it is about spiritual expression.
Whiskeytown’s Strangers Almanac marked the band’s final chapter, with Ryan Adams firmly at the helm. The album hints at the solo career breakthroughs Adams would soon achieve. It’s a blend of slacker country and punk-tinged Americana, with heartfelt songwriting and beautiful harmonies throughout. A defining record in the alt-country canon.
That What Is Not sees P.I.L. dialing back their experimental tendencies in favor of a tighter, more straightforward rock sound. The result is one of their most consistent records, with sharp, focused songwriting. John McGeoch’s guitar work is a standout, blending post-punk angularity with unexpected melodic flourishes. Elements of world music surface here and there—no surprise given John Lydon’s long-standing love of reggae and dub, hallmarks of P.I.L.'s early sound with bassist Jah Wobble. Jimmy Wood's harp and the Tower of Power horn section add a fresh dimension to a few tracks, expanding the band's sonic palette without losing its edge. It’s a reinvention that respects their roots while pushing forward.
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Into The Great Wide Open became a commercial blockbuster, driven by singles like the title track (boosted by its Johnny Depp-starring video), "Learning to Fly," and "Too Good to Be True," all enhanced by Jeff Lynne’s signature production. Yet beneath the polished surface lies the unmistakable heart of Tom Petty—a blend of Garage Rock, Jangle Pop, and Americana. It's a rare achievement: a commercially successful record that resonates with rock fans across the musical spectrum.
Ever-evolving musical chameleons, Sparks reinvented themselves once again with Gratuitous Sax & Senseless Violins, drawing heavily from Euro Dance while retaining their signature pop songcraft. The result is a clever, hook-filled album that balances catchy melodies with biting wit. The standout single "When Do I Get to Sing 'My Way'" became a cult hit, bolstered by a memorable music video. Witty, melodic, and endlessly inventive, this record is a masterclass in genre-blurring pop innovation.
Happier Blue is a standout Americana album filled with beautiful, well-crafted songs and excellent production. Chris Smither’s voice is definitely an acquired taste—think Bob Dylan—but it fits perfectly with his laid-back, rootsy style. The guitar work is top-notch, with Smither’s fingerpicking and tone standing out throughout. The title track alone makes the album worth picking up, while a strong cover of John Hiatt's "Memphis in the Meantime" is another highlight. “No More Can On The Brazos/Mail Order Mystics,” which John Mayall reworked into a hard-rocking track the following year, also stands out as a killer tune.
With Blasters of the Universe, Bootsy's New Rubber Band revisits the classic 1970s Funk sound, setting aside some of the bassist's more contemporary influences. The live performances from this era rival the wild energy of the original Rubber Band's legendary gigs (check out Bootsy Collins & the New Rubber Band: North Sea Jazz Festival 1998 for proof of that statement!) The album covers the full spectrum of Funk—psychedelic grooves, hard-driving jams, and soulful ballads—all delivered with infectious energy. A heartfelt tribute to guitarist Eddie Hazel further elevates the record, making it one of the standout Funk releases of the decade.
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