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@90sdecoded

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Exploring the music that shaped the 1990s. Album breakdowns. Cultural context. Sonic evolution. Brought to you by @thelegendsofmusic

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The Tonight Show with Jay Leno, May 21, 1998. Just a few months before I was working as an extra and Tony was working at a bagel shop.

🎞️ The Tonight Show with Jay Leno

#Fastball #TheWay #TheTonightShowWithJayLeno #LateNightTV #1998

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H.O.R.D.E FESTIVAL 1995

31 years on …

“But Anyway” at the Shoreline Amphitheatre in Mountain View, California on September 3, 1995

🎥 @bluestraveler on MV
✂️ @factusmediaworks

[Blues Traveler, Mountain View, California, John Popper, Chan Kinchla, Brendan Hill, and the Never Forgotten Bobby Sheehan, H.O.R.D.E Festival 1995]

#BluesTraveler #HORDE #California #1995

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🖤🎹 @aliceinchains

#aliceinchains #nutshell #laynestaley #grunge #90sgrunge

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#Repost @nearmissrecords Good news for anyone who hasn’t grabbed their copy yet! 🎶

We originally planned to close pre-orders for the Jimbo @therealjimbomathus release on September 30th, but we’ve decided to keep them open until all 500 copies are claimed!

With Disney allowing a limited pressing of just 500 records, we want to give as many people as possible the opportunity to own a piece of this incredible release.

Once all 500 are spoken for, that’s it! This is your chance to add something truly special to your collection.

🎵 Visit our website or send us a message to secure your pre-order before they’re gone!

#jimbomathus #vinyl #songsforrosetta #playsongsforrosetta

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The Hook Challenge Flashback ❤️

Emma Stone | @jimmyfallon | @fallontonight

#BluesTraveler #EmmaStone #HookChallenge #JimmyFallon #Hook

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Love the CD days!!🤘🏼💿🎶🔊

🎵 “The Way”

🎞️ @marcinstereo
💿 All the Pain Money Can Buy
📅 1998

Special shout out to Marc in Stereo for the amazing clip!! 🏆

#fastball #outofmyhead #cdcollection #cds #physicalmedia

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La icónica presentación de Republica interpretando "Drop Dead Gorgeous" en el legendario programa británico Top of the Pops ocurrió el 2 de mayo de 1997. Fue un momento clave para la banda, coincidiendo con el pico de popularidad de la canción, que se convirtió en su único tema en alcanzar el Top 10 del Reino Unido.

En esa actuación en vivo en los estudios de la BBC, destaca la magnética presencia de su vocalista Saffron, con sus característicos mechones rojos en el cabello y su distintiva actitud que fusionaba el punk con el pop electrónico de finales de los 90.

Top of the pops collection HDTV.

#topofthepops
#republica
#1997

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Isolated Vocal Track of Weezer’s “Undone – The Sweater Song”

“Undone – The Sweater Song” is built around three distinct vocal roles. Rivers Cuomo delivers the lead with a flat, self-conscious detachment, repeating the verses with very little theatricality even as the song itself begins to unravel around him. Matt Sharp occupies a different space entirely. Much of his contribution comes through spoken dialogue and background banter, giving the track the feeling of a conversation happening around Cuomo rather than directly with him. When the chorus arrives, Sharp and Brian Bell move into the arrangement with high backing vocals behind Cuomo. Their harmonies sit sharply against his lower, deadpan delivery, giving lines such as “Lying on the floor” a stranger, more uneasy character. That contrast between casual spoken voices, Cuomo’s detached lead and the high backing harmonies from Sharp and Bell gives “Undone” one of the most distinctive vocal arrangements on Weezer’s debut album.

#Music #Weezer

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This week 28 years on … Great memories of former side guitarist/keyboardist, Andy Blunda, Miles Zuniga, and Tony Scalzo - FASTBALL performing “The Way” at BBC’s - Top Of The Pops (TOTP) on October 2, 1998.

TOTP other guests taping that day were Culture Club, The Beautiful South, Republica, Shania Twain and Ash.

🎞️ BBC’s Top Of The Pops

#Fastball #TheWay #TopOfThePops #1998

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Isolated Vocal Track of Scott Weiland’s Vocal Parts on Stone Temple Pilots’s “Big Empty”

Scott Weiland moves through “Big Empty” in two distinct voices. The verses are low, bluesy and restrained, almost conversational in places, with his vocal sitting close to the acoustic guitar. When the chorus arrives, he pushes into a rougher, heavier delivery, raising the intensity without losing the melancholy underneath it.

That shift between the two sections is central to the performance. Weiland can sound subdued without disappearing into the arrangement, then open his voice into a full-throated rock vocal without flattening the song into aggression. The lyrics are abstract, filled with images of dizziness, distance and conversations breaking down, but Weiland sings them with complete conviction. The emotion comes through in the way he changes his phrasing, tone and intensity from one section to the next.

“Big Empty” captures the range in his voice particularly well: the bluesy croon of the verses, the grit of the chorus and the ease with which he moves between them.

#Music #ScottWeiland #StoneTemplePilots

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Isolated Drum Track of Sean Kinney’s drum parts on Alice In Chains’s “No Excuses”

Sean Kinney’s drum parts on “No Excuses” is built around one of the most distinctive grooves in Alice in Chains’ catalogue. The song sits in 4/4, but Kinney keeps disturbing the obvious pulse with syncopated accents, moving hits away from the places your ear expects them and giving the rhythm a slightly lopsided, rolling feel. The opening groove came out of Kinney experimenting with side-stick drumming during the Jar of Flies sessions. Co-producer Toby Wright later recalled that the idea developed further in the studio, with bongos and smaller drums positioned around the hi-hat and worked into the pattern. What makes the part so good is that Kinney never settles into a plain rock backbeat. The kick, snare and cymbal accents keep answering one another across the bar, with hits arriving between the main beats and small changes constantly pulling at the groove. There is plenty happening, but it never feels busy for the sake of it. The syncopation gives “No Excuses” its movement. It is also a reminder of what made Kinney such an important part of Alice in Chains. He could make a song feel heavy without simply hitting harder. On “No Excuses,” the weight comes from where he places the beat.

#Music #AliceInChains

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Isolated Vocal Track of Noel Gallagher’s Vocal parts on Oasis’s “Don’t Look Back in Anger”

This became the first Oasis single to put Noel Gallagher on lead vocals. During the Morning Glory sessions, Noel presented Liam with “Wonderwall” and “Don’t Look Back in Anger” and told him he could choose which one to sing. Liam eventually took “Wonderwall,” leaving Noel with the other. Noel’s voice gives the song a very different character from Liam’s. There is less bite in the attack and more emphasis on the shape of the melody. He stretches certain vowels, pushes harder as the chorus climbs and lets some of the roughness remain around the edges. The verses feel conversational; by the time he reaches “so Sally can wait,” the vocal has opened into something built for thousands of people to sing back. Noel once described the difference between their voices by comparing his to “half a Guinness on a Tuesday” and Liam’s to “ten shots of tequila on a Friday night.” It is a funny line, but it gets surprisingly close to the distinction. Liam could make an Oasis song sound confrontational simply by opening his mouth. Noel approached “Don’t Look Back in Anger” differently, carrying the song through melody and phrasing while still allowing his voice to crack and strain when the chorus demands it.

For a songwriter who had spent the band’s rise standing beside one of the most recognisable voices of the decade, “Don’t Look Back in Anger” was the moment Noel stepped up to the microphone himself and ended up singing one of Oasis’s defining songs.

#Music #Oasis

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