The 90 Essential Songs of the 90’s

Written By Conor Bezane and Corey Moss
November 11, 1999

compiled by Conor Bezane, Trevor Bleedorn,Jon Dahlager, Susie Dunn, Trevor Fisher, Kelsey Foutch, Dewayne Hankins, Ashley Hassebroek, Sam Johnson, Corey Moss, Kyle Moss, Pat Racette and Ryan Rogness

1 “Smells Like Teen Spirit” Nirvana

Rising from a whirlwind of high school gym pep rally anarchy, Nirvana loaded up on guns, brought its friends and launched ’90s alternative rock, giving direction to a decade that seemed like it was going nowhere.

Digging the music industry out of the depths of pop boredom, Nirvana made rock music cool again, ushering in a wave of alternative that would still be alive and kicking eight years later.

In pure punk rock form, Nirvana might have not set out to bring down the music industry, but they did it anyway, single-handedly jolting youth culture with 1991’s revolutionary “Nevermind” and its relentless anthem that propelled them into the spotlight.

Kurt Cobain broke down the barriers between performer and audience with his notorious stage diving, crowd surfing and “Here we are now, entertain us” attitude. “Teen Spirit” became the song the band despised and loathed playing live.

The lyrics were nearly indecipherable, inspiring the Weird Al parody “Smells Like Nirvana” and causing thousands of fans to buy the “Lithium” single to find out the words, which were missing from the liner notes of “Nevermind.”

In 1991, pop music was bull, and we weren’t gonna take it anymore. Instead, we latched on to Nirvana’s originality and genuineness. We saw its ingenuity and passion and savored it.

Nirvana was The Beatles and Jimi Hendrix of our generation. We knew it from the moment we first heard the opening riff of “Smells Like Teen Spirit.”

With a short career that found the band releasing only three studio albums, it didn’t take much for Nirvana to make its impact.

Cobain would go on to put a shotgun in his mouth, destroying the creative mind that defined ’90s music.

“Our little group has always been and always will until the end,” Cobain cryptically sang on “Teen Spirit.”

The end came and went, with Cobain and Nirvana leaving an indelible mark on rock music. (CB)

2 “Loser” Beck

All he ever wanted was to get crazy with the cheese whiz.

When clumsy poet Beck Hansen wrote “Loser,” he never intended for it to become the anthem for the slacker generation.

But whiz happens.

“Loser,” in all of its nonsense word pairings — “dog food skulls with the beefcake panty hose,” “shave your face with some mace in the dark” — somehow spoke to bitter youth and zealous teens alike.

The chorus — “I’m a loser baby/ So why don’t you kill me” — became the cynical ’90s answer to the archetypal Who lyric “People try to put us down/ Talkin’ ’bout my generation.”

Juxtaposing folk, hip-hop, experimental jazz, psychedelia and pop, Beck created post-modern rock with “Loser.” And whether he wanted it or not, his musical garbage disposal became so popular Beck later found his odd self nominated for an Album of the Year Grammy.

And while Beck was busy becoming the posterboy for Gen-X, grunge-wearied critics were taking a liking to his blend of satiric imagery and bemused sampling explorations.

Originally released independently on a California label in late 1993, “Loser” earned club hit status and quickly spread to underground and alternative radio stations.

Beck was soon the focus of one of the most vehement major label bidding wars of the decade. His contract (with David Geffen’s DGC) was so rewarding, Beck had the freedom to release records he considered uncommercial on indie labels.

“Stereopathetic Soul Manure,” “One Foot in the Grave,” the commercial and critical bombshell, “Odelay,” and the folk savvy “Mutations” all went on to show different sides of Beck’s rootless eclecticism.

But Beck will forever be remembered for his voices of evil in a bozo nightmare. His drive-by body pierce. His epic tune of loserdom. (CM)

3 “Nuthin’ But a G Thang” Dr. Dre with Snoop Doggy Dogg

“One, two, three and to the fo’/ Snoop Doggy Dog and Dr. Dre are at the do.”

And they came knockin’ with their own version of gangsta rap, which Dre dubbed G-funk.

“Nuthin’ But a G Thang” redefined rap as we knew it, abandoning thug life and old-school house parties for hydraulic-equipped convertibles and dolla bills.

Blossoming out of his N.W.A. roots, Dr. Dre entered 1992 as nigga with attitude to spare.

Long before Puffy threw his first fit, Dre had been convicted for assaulting a record producer, arrested for punching a cop, sued for alleged racketeering, accused of assaulting a women in a nightclub and arrested for doing 90 in his Ferrari and failing the sobriety test.

And who calls himself the Bad Boy?

“You never been on a ride like this befo’,” Dre rapped on “G Thang,” “With a producer who can rap and control the maestro.”

His rhymes were simple, slow and gawky, but his music was incredible. And where Dre ducked down, Snoop stepped up like the dirty Dogg he is.

Released on the Death Row label Dre co-founded, the Grammy winning “The Chronic” crowned him the Godfather of Gangsta Rap, meanwhile introducing one of the decade’s most prolific voices in Snoop.

The dynamic duo, like this and like that and like this, dominated hip-hop for four years before the Death Row dynasty crumbled.

Dr. Dre proved to be a revolutionary rap visionary, who’s far from finished.

“So jus’ chill, ’till the next episode.” And hope it comes soon. (CM)

4 “Here Comes Your Man” Pixies

The Pixies didn’t directly revolutionize the music industry like Nirvana, but their style of songwriting did.

Stop-and-start melodies, alternating periods of noise and quiet, unique bass lines that really held the songs together — this was the archetype of the typical alternative song. And the Pixies created it.

While “Here Comes Your Man” didn’t embody that formula, it made its mark as a beautifully written simplistic pop song on a masterpiece of an album called “Doolittle.”

It sent shivers down your spine. The combination male and female vocals worked splendidly and inspired other bands to do the same.

In a way, the Pixies were truly the first ’90s alternative band.

The only difference: They started making music in 1986 — five years ahead of their time.

Even Kurt Cobain admitted “Smells Like Teen Spirit” was a Pixies rip-off.

After their breakup in 1992, Pixies frontman Frank Black launched a solo career, and bassist Kim Deal went on to form the Breeders.

The Pixies probably influenced more musicians than Nirvana influenced fans.

Talk to musicians both famous and unknown, and they’ll tell you.

Anyone who was into the Pixies in the late ’80s and early ’90s picked up an instrument and started a band.

How’s that for revolutionizing the music industry? (CB)

5 “You Oughtta Know” Alanis Morissette

Even “You Can’t Do That on Television” girls get the blues. And when Alanis Morissette sang, “It was a slap in the face/ How quickly I was replaced/ Are you thinking of me when you fuck her,” it made admitting it acceptable.

Before Lilith Fair took over Lollapalooza, “You Oughtta Know” hit MTV and modern rock radio and forced the music industry to take women seriously.

A soothing verse, like that of a gentle balladeer, bombarded with the jolting chorus “I’m here to remind you …,” followed by another calming verse, was just too infectious to ignore.

Like the “Thelma and Louise” of music, women lived by it, while men scorned it in public but couldn’t help but be drawn to it.

Alanis put her heart and soul in a display window, even if it meant admitting to dirty movie theater antics.

But rather than confound her, “You Oughtta Know” made Alanis a star and follow-up singles “All I Really Want,” “Hand In My Pocket” and “Ironic” instant hits.

“Jagged Little Pill,” her breakthrough 1995 album, became one of the best-selling female albums of all time.

Alanis inspired Meredith Brooks to be a bitch and Natalie Imbruglia to be torn.

And when it came to Lilith, at least in the beginning, she taught women to rock.

“Did you forget about me?” Never. (CM)

6 “Closer” Nine Inch Nails

In the summer of 1994, Nine Inch Nails freaked out the world by exposing a blindfolded and black leather-tied Trent Reznor, suspended helplessly in thin air, intertwined in a montage of disturbing images, from lizards creeping from their shells to a pair of Japanese women bound together by their hair.

No one quite understood it. The last thing it did was bring us closer to God. But it didn’t matter. “Closer” was like nothing we had ever heard or seen before.

Trent Reznor’s “Downward Spiral” began here, and surprise — so did the upward spiral of dance floor metal — otherwise known as industrial rock.

Nine Inch Nails took the experimental Die Warzau/Ministry scene for a loop through the danger zone, and out popped “Closer,” with its pulsating beats and mesmerizing lyrics.

Even with a chorus of “I want to fuck you like an animal,” the tune managed to break into the mainstream.

“Closer” paved the way for “Hey Man, Nice Shot,” “Guilty,” “What Do I Have To Do?” and all those automatic outrage songs white kids blasted from their bass boxes.

“Closer” made Nine Inch Nails a legend. It made chicks dig angst music. It made “Let me violate you” a pick-up line. (CM)

7 “Freedom” Rage Against The Machine

Anger is a gift — a gift rapcore pioneers Rage Against The Machine used to detonate the lyrical blast in “Freedom.”

A song for the politically charged, “Freedom,” like the rest of the L.A. band’s debut album, made music matter again.

Rage is the Bob Dylan of the teen angst movement, and “Freedom” is their “Hurricane.”

If you weren’t dropping your tongue at the musical boundaries the song was ripping down, you were examining your own moral freedoms.

Composed of guitar supergenius Tom Morello wailing a fitting soundtrack for frontman Zack de la Rocha’s spoken word poetry — with stigmatizing lines like “Brother/ Did you forget your name/ Did you lose it on the wall playin’ Tic Tac Toe, yo” — “Freedom” hooked you after one listen. They had you at “come on.”

The video — a blatant call for the release of American-Indian activist Leonard Peltier — managed to explain the FBI counter-intelligence program to metal fans loathing for something new to bang their heads to.

Sparking the nu-metal forest fire that brought in Korn and company, “Freedom” marked the moment our ears opened up to our minds. (CM)

8 “Tennessee” Arrested Development

“It was all a dream about Tennessee,” dred-locked Arrested Development frontman Speech sang at the end of the group’s breakthrough single. And what a sweet dream it was.

The tune struck a nerve with bored hip-hop fans and suburban white kids alike, who were drawn in by the song’s storytelling feel and live instrument backdrop.

Inspired by the death of both his brother and grandmother, Speech conjured up childhood memories of summer trips to grandma’s house, climbing trees and playing horseshoes.

Through a socially conscious style they dubbed “life music,” Arrested Development addressed topics such as religion, homelessness, race relations and sexual harassment. Bringing live instruments to hip hop, they kept in touch with their African roots and put a positive spin on hip-hop.

They didn’t have to rap about bitches and ho’s or 40 ounces to get attention. In fact, Arrested Development’s optimistic outlook and political stances made them stand out even more among their gangsta rap counterparts.

The group played Lollapalooza ’92, crossing into alternative enemy lines and helping to bridge the gap between the two genres.

The dream died fast, but Arrested Development paved the way for later artists such as Fugees and Digable Planets, proving not all great rap comes from the ghetto. (CB)

9 “Today” Smashing Pumpkins

“Today” came during a period in which everything mainstream was still cutting edge and worthwhile.

Billy Corgan wrote the song while on the verge of suicide as he battled deep depression and a serious case of writer’s block. He would later say the song pulled him out of the hole that imprisoned him.

If “Siamese Dream” didn’t score big, Corgan said he’d quit music.

Lucky for his fans, it exploded, and “Today” thrust the band into alternative greatness.

The song’s signature quiet guitar intro interrupted by a wall of distortion only further set the song apart from others in the ’90s. It called to mind the Pixies’ song structure with its slow-to-fast pattern.

Switching between optimistic and pessimistic lyrics, the song epitomized another element of alternative rock — juxtaposition.

“Today is the greatest day I’ve ever known, can’t wait for tomorrow/ Tomorrow’s much too long/ I’ll burn my eyes out, before I get out/ I wanted more than life could ever grant me/ Bored by the chore of saving face,” Corgan sang.

“Today” came complete with an outlandish video, featuring the band riding around the countryside in an ice cream truck, picking up hitchhikers and stopping at a gas station to paint the truck in rainbow colors.

Typical early ’90s eccentricity. (CB)

10 “Range Life” Pavement

“I don’t understand what they mean, and I could really give a fuck.”

Pavement trashed Smashing Pumpkins and Stone Temple Pilots in one sentence. The lyric would shake the foundations of alternative rock, bringing on an old fashioned rock ‘n’ roll cat fight.

A lazy-going tune about the pitfalls of being a rock star, “Range Life” was the song that sparked heaps of controversy in 1995.

“Range Life” triggered intense debate in the pages of Rolling Stone, where members of the three bands exchanged words of hatred about each other, without ever speaking in person.

Pavement was the band alternative mainstays loved to hate because they kept their indie sensibilities, maintained a loyal underground fan base and still managed to peek their head into the mainstream.

With their college rock, Scrabble game quirky lyrics and fuzzy guitars, Pavement enjoyed the best of both worlds, creating a sound that exemplified ’90s indie rock.

Some went as far as to declare the band a one hit wonder after its brief stint in the MTV buzz bin, “Cut Your Hair,” dwindled into oblivion.

Later, the group would be hailed by critics as one of the ’90s most prolific and influential bands. Pavement represents a fringe band who won praise based solely on intelligent lyrics and ingenious songcraft.

Pavement’s 1992 debut, “Slanted and Enchanted,” gained cult status and is considered by many to be one of the greatest rock albums of all time.

“Range Life” didn’t see much radio play, but those who truly paid attention to ’90s music will surely remember it. (CB)

11 “Let’s Talk About Sex” Salt-N-Pepa

It was the turn of the decade, and rap was just beginning to define itself, a perfect time for the charismatic and sexy crossover duo Salt-N-Pepa to address an issue that would prove more consequential than ever before.

Sex. How it is, and how it could be. How it was. And, of course, how it should be.

On the vaguely feminist “Blacks’ Magic,” an album that rescued the “Push It” queens from a faltering career, Salt-N-Pepa used “Let’s Talk About Sex” to do exactly that.

Addressing an array of issues from sexual expression to STDs, the song was an ironic precursor to some of rap’s most memorable moments — Lil’ Kim bearing a breast at the Video Music Awards, Easy E dying of AIDS and all the good things and the bad things that may be. (CM)

12 “Enter Sandman” Metallica

As the only heavy metal band to appease headbangers, mainstream record buyers and critics alike, Metallica owes much of the credit to its 1991 locker room anthem “Enter Sandman.”

Marked by an opening lick that became a guitar player standard and James Hetfield’s putrid “Say your prayers little one/ Don’t forget, my son/ To include everyone,” the tune kicked fear in the ass and rediscovered why metal was so intriguing in the first place.

“Enter Sandman” brought out the rough-and-tumble side in all of us, no matter how long our hair was. (CM)

13 “Friends in Low Places” Garth Brooks

Like Billy Joel’s “Piano Man” 17 years prior, Garth Brook’s assiduously-crafted “Friends in Low Places” became the song you serenaded to a circle of friends on a crowded dance floor just before closing time.

The song, which amazingly melded authentic singer/songwriter sensibilities with arena rock dramatics, also helped “No Fences” become Brook’s best-selling album at 16 million.

With “Friends in Low Places,” Brooks broke country wide open to the masses, allowing for Shania Twain and the Dixie Chicks to become ’90s superstars.

Garth took whiskey and wine to the oasis and came back a different man. (CM)

14 “Sabotage” Beastie Boys

What you see, you might not get. Starring as ’70s TV detectives — a sort of male version of “Charlie’s Angles” — Cocheese, Bobby “The Rookie,” and “The Chief” ridiculed the laws of hip-hop by dropping a trio of punk rock instrumentation into the picture.

An extension of their career-redefining “Check Your Head” album, “Sabotage” and the accompanying tunes on 1994’s “Ill Communication” fused B-boy style with punk rock furor long before Limp Bizkit went chasing for the nookie.

The Beasties capitalized on their success by becoming one the most authoritative bands, musically and politically, of the decade. (CM)

15 “Bouncin’ Around the Room” Phish

Naming a Phish tune that best defines the ’90s jam band movement is like naming a DeNiro flick that best defines gangster movies.

But “Bouncin’ Around the Room” stands out for its feel-good grooves and eclectic fusion of folk, jazz, country and bluegrass.

Released as a single on 1995’s “A Live One,” “Bouncin’ Around The Room” was one of few Phish tunes to catch radio play, spurring the masses to lighten up or light up. (CM)

16 “Down By The Water” PJ Harvey

Polly Jean Harvey’s 1995 solo debut, “To Bring You My Love,” is often considered the female “Nevermind.”

Produced by Flood (U2, Smashing Pumpkins, Nine Inch Nails), the album was a treasure chest of alt-rock gems. But none were as lustrous as the throbbing single “Down By The Water.”

Armed with an unnerving honesty and sordid humor, the wonderfully provocative Harvey belted the tune with punkish abandon.

She rocked the ’90s without smelling like teen spirit. (CM)

17 “Jeremy” Pearl Jam

Before school shootings at Columbine and Jonesboro unveiled the ugly side of ’90s youth culture, Pearl Jam inscribed its own tale of teen angst turning to violence.

“Jeremy” documented a troubled, ostracized teenager who murdered an entire classroom with machine gun fire.

The song’s eerie video served as the perfect backdrop to the highly emotional song that remains imprinted in the minds of all who saw it.

The video was so powerful the band quit making music videos after “Jeremy” won Video of the Year at the MTV Video Music Awards.

Jeremy spoke in class today.

Sadly, Eddie Vedder couldn’t have written a more prophetic lyric for the ’90s. (CB)

18 “Jump Around” House of Pain

Call it an Irish jig for the hip-hop fan. “Jump Around” captured all of the excitement it meant to be drunk, rowdy and white in 1992.

The song packed it up, packed it in with an enticing chorus and memorable verses that dropped pop culture references like they were going out of style — “Or better yet a terminator/ Like Arnold Schwarzenegger/ Tryin’ to play me out like as if my name was Sega.”

Launching the careers of Everlast and DJ Lethal, “Jump Around” picked up where Kris Kross left off … in the air. (CM)

19 “Firestarter” Prodigy

Looking like a reject from the late ’70s British punk movement in his purple and green hair, leaping around in a dark alley screaming “I am the Firestarter,” Prodigy turned heads in 1997, causing MTV viewers to ask “Who the heck is this guy?”

Indeed, Prodigy became the match that ignited a blaze of late ’90s beat-savvy brilliance.

Chemical Brothers, Fatboy Slim and Moby soon followed his lead, sparking an electronica renaissance. (CB)

20 “Human Behaviour” Bjork

Flaunting her Icelandic accent more than ever on “Human Behaviour,” Bjork’s heavenly singing voice brought uniqueness that won her many devoted fans.

Immersing her rock roots in club culture, Bjork defined niche songwriting.

“Human Behavior’s” kick-ass video followed Bjork being chased by a stuffed bear in a “Where the Wild Things Are”-style jungle. It was one of the most aesthetically-pleasing videos of the decade. (CB)

21 “Longview” Green Day

The ’90s ode to boredom-induced masturbation came with a brilliant bass line, catapulting Berkeley, Calif., punks Green Day into the mainstream.

Glorifying the slacker mentality using controversial lyrics, “Longview” ironically angered veteran Green Day fans who saw the tune as a sellout.

“Bite my lip and close my eyes/ Take me away to paradise/ I’m so damn bored I’m goin’ blind and I smell like shit,” Billie Joe sang in the chorus. Later he’d declare “When masturbation’s lost it’s fun you’re fuckin’ lazy.”

“Longview” prompted masses of male teens to find no shame in locking themselves alone in their bedrooms to expel the boredom. (CB)

22 “Livin’ La Vida Loca” Ricky Martin

Latin music had long been commercially successful before Ricky mania. But it was “Livin’ La Vida Loca” that crossed racial boundaries and brought Latin love to boys and girls the world over.

The song reflects the rising influence of Latinos in America and is already opening the doors for more cutting edge Latin music. (CB)

23 “Supernova” Liz Phair

While Alanis Morrisette tried to be controversial to sell more records, Chicago princess Liz Phair did it genuinely — flashing raunchy lyrics that peered inside the dirty mind of a female songwriting genius.

“Your kisses are as wicked as an M-16/ And you fuck like a volcano and mean everything to me,” she sang on “Supernova.”

It was an insightful look into the sexual drives of a twentysomething ’90s woman. (CB)

24 “Runaway Train” Soul Asylum

What happens when a struggling post-punk band can’t find somebody to shove? They create a gorgeous down-home ballad and a public service announcement-style video for missing children to accompany it.

“Runaway Train,” with Winona Ryder beau Dave Pirner gently crooning lines like “Can you help me remember how to smile?” over twin acoustic guitars, confirmed rock ‘n’ roll had a soft side. (CM)

25 “Sadeness” Enigma

Club goers were unknowingly educated in new-age philosophies, ancient culture and Gregorian chants when the stilling sounds of “Sadeness” were introduced in 1991.

Embraced by the influential “MTV Party To Go” series, the song eventually inspired an entirely different compilation — “Pure Moods.”

A steamy date essential, “Sadeness” has propelled more make out sessions than “In Your Eyes.” (CM)

26 “What I Got” Sublime

“Love is … what I got,” the lowly chorus of Sublime’s 1996 hit, has a entirely different meaning when you consider the tragic death of frontman Bradley Nowell just two months before the song was released.

Sublime never intended the song to be a eulogy for the great reggae rock vocalist, and after riding MTV and radio waves for several months, it wasn’t.

Associated more with sunny days and cold brewskies, “What I Got” has more layers than we’ll probably ever know. (CM)

27 “Free Your Mind” En Vogue

R & B, distorted guitars and four funky divas with an attitude. Tack on a mind-expanding message, and a great song is complete.

“Free your mind and the rest will follow/ Be color blind, don’t be so shallow.” Couldn’t be said better. (CB)

28 “Losing My Religion” R.E.M.

R.E.M. resurfaced in the ’90s with “Losing My Religion,” a song that departed from its college rock roots, widened its audience by the thousands and pole-vaulted the group to megastar status.

“That’s me in the corner/ That’s me in the spotlight/ Losing my religion,” perpetually echoed over radio waves in 1991, becoming one of few songs in the ’90s to address the subject of religion, a topic that seemed almost taboo to the decade.

“Losing My Religion” shined through as the perfect marriage of mandolin, acoustic guitar and violin, spilling an otherworldly sound from the heavens. (CB)

29 “Creep” Radiohead

Thom Yorke had a self esteem complex.

“I wish I was special/ You’re so very special/ But I’m a creep … what the hell am I doing here/ I don’t belong here,” Yorke crooned on the song, one of the first to grace MTV’s Buzz Bin.

Radiohead’s twisted lyrics emphasized alienation, self-criticism and depression, setting a trend for modern rock.

With the success of “Creep,” Yorke’s ego surely got the boost it needed. (CB)

30 “Ants Marching” Dave Matthews Band

A staple in the genre-defining live show of the Dave Matthews Band, “Ants Marching” showcases the band: Carter Beauford’s infectious snare opening, Boyd Tinsley’s song-making violin riff, Leroi Moor’s moving sax solos and, of course, Matthews’ vocal prowess.

Dubbed by SPIN as the man who can save rock ‘n’ roll, Dave can’t say he didn’t try.

His band spent the entire decade touring, or making records that gave Toad the Wet Sprocket, Edwin McCain and Hootie something to believe in. (CM)

31 “Summertime” DJ Jazzy Jeff and the Fresh Prince

It was the Fresh Prince’s new definition of summer madness.

The smell of a grill sparking up nostalgia and Fresh Prince dealing out the summer’s natural aphrodisiac.

“Summertime” triggers memories of a time when rap music could exist for sheer enjoyment.

With his ingenious rhymes, Fresh Prince proved Eddie Cochran wrong by finding the perfect cure for the summertime blues. (CB)

32 “Particle Man” They Might Be Giants

Hitting us on the head with a frying pan, They Might Be Giants took their storybook silliness and let it all hang out on “Particle Man.”

Equal parts nonsense and lyrical genius, the song told of battles between characters like Triangle Man and Person Man, appealing to the child in all of us and stretching the limits of musical oddity. (CB)

33 “Rockafeller Skank” Fatboy Slim

Norman Cook, a.k.a. Fatboy Slim, sampled more hard-core than anyone in the business, and “Rockafeller Skank” saw him warping one line of dialogue and constructing an entire song around it.

Bursting with infectious funky beats, Fatboy Slim drilled his music into our heads, forcing us to hear it. But we loved it anyway.

After appearing in what seemed like as many as 1,000 commercials and movie soundtracks “Right about now/ The funk soul brotha/ Check it out now/ The funk soul brotha,” seem like words incapable of leaving our earshot. (CB)

34 “Been Caught Stealing” Jane’s Addiction

Stuffing pineapples and carrots up his dress, a pregnant-woman-disguised Perry Farrell dances through the aisles of a grocery store, doing everything he can to avoid getting in trouble.

Jane’s Addiction couldn’t have created a more vivid image to capture the storyline of “Been Caught Stealing.”

Immediately identifiable by the sound of dogs barking in the intro, Farrell’s whiny vocal style was one of the most unique of its time, and the song is truly an alternative classic. (CB)

35 “Any Man of Mine” Shania Twain

As the first country artist to connect with the MTV generation, Shania Twain used sexy videos and mass promotional campaigns to earn a country and pop audience big enough to make even Garth Brooks jealous.

“Any Man of Mine,” with its amusing lyrics and hoe-down breaks, is a declaration of womanly self-confidence in a genre usually defined in terms of pick-up trucks and chewing tobacco.

Who does she think she is, Brad Pitt? Nah. Much bigger. (CM)

36 “Doo Wop (That Thing)” Lauryn Hill

Integrating Motown-esque vocals into her groundbreaking blend of rap, soul, reggae and R&B, “Doo Wop (That Thing)” proved the perfect escort to Lauryn Hill’s critically hailed debut, “The Miseducation of Lauryn Hill.”

As a slap in the face to the same critics who blasted the Fugees’ penchant for covers, Hill wrote, arranged and produced almost every song on the record, which won five of the 11 Grammys it was nominated for.

“Doo Wop (That Thing)” lacked the political ranting of other Hill singles but focused on the one thing more important — her amazing voice. (CM)

37 “Laid” James

“Laid” is the song everyone knows, but can’t remember how.

Already considered an institution on the British alternative scene and commonly referred to as “the next Smiths,” James hooked up with producer Brian Eno (U2, Talking Heads) in 1993 to create their one and only record that would break into the States.

Its title track, with irresistibly naughty lines like “This bed is on fire with passion and love/ The neighbors complain from about the noises above/ But she only comes when she’s on top,” captured more glitzy rock animation in two and a half minutes than most bands do in a lifetime. (CM)

38 “Ice Ice Baby” Vanilla Ice

Vanilla was the flavor of the month in November 1990, when a whiteboy rapper with illegitimate street-cred fell under national spotlight with the dance ditty “Ice Ice Baby.”

Copying the bass line from David Bowie and Queen’s “Under Pressure,” the self-prophesying song incorporated all that was commercial about hip-hop.

Vanilla Ice had everything: the moves, the rhymes, the threads. And then came 1991. (CM)

39 “Nothing Compares 2 U” Sinead O’Connor

Irish shaved-headed songstress Sinead O’Connor stomped all over the Catholic Church when she ripped up a picture of the Pope on stage during a Saturday Night Live performance early in the ’90s.

The humble, radiant sound on the Prince-penned “Nothing Compares 2 U” didn’t quite match her angst-ridden antiestablishment attitudes, but it’s what made O’Connor one of the more intriguing solo artists of the decade. (CB)

40 “She Don’t Use Jelly” The Flaming Lips

The chipper sounds of The Flaming Lips hit the airwaves the same time anger-drenched anthems by Nine Inch Nails were making noise, providing enormous contrast.

“She Don’t Use Jelly” embodied pop nonsense with its pointless lyrics about dying your hair with tangerines, blowing your nose in magazines and spreading Vaseline on your toast.

It wasn’t their best song, it definitely wasn’t their strangest song, but “She Don’t Use Jelly” made people kind of go “Huh?”

You either loved it, or you hated it.

Most didn’t realize the brilliance lying beyond the single, writing the band off as one hit wonders, but the Lips’ repertoire spanned a decade and was among the most unique ever.

Only The Flaming Lips could be clever enough to include the sound of a record skipping on a compact disc.

That’s how the song went out, sending the Lips back to their place in the underground where they could better be understood and appreciated. (CB)

41 “Sugar Free Jazz” Soul Coughing

We had no idea jazz could be so fun until Soul Coughing latched onto it in 1994 and subsequently instituted one of the most eclectic bands of the decade.

“Sugar Free Jazz,” a slow-grooving number accentuating frontman M Doughty’s nasally vocals, epitomized what the band coined “slacker jazz.”

Bangin’ on freon hasn’t sounded as good since. (CM)

42 “Generation Spokesmodel” Mudhoney

Here’s what killed Kurt Cobain.

Mudhoney’s 1995 anthem “Generation Spokesmodel,” summed up everything Kurt hated about the music industry.

The song’s witty lyrics described the horrible tactics the industry wound up resorting to, draining the entire essence of the mentality Cobain created.

“I got a guitar/ Check it out I’m a star/ Hey kids how would I look on the cover of Spin … Listen to my songs I guarantee you’ll relate/ Look at me/ Recognize your fate … I’m the spokesmodel of your generation baby … thanks to the kids for makin’ me who I am/ 20 percent of the gross goes straight to the Man.”

Also on “My Brother The Cow,” “Into Yer Shtick” denounced the rockstar life when it said, “Why don’t you blow your brains out too?,” undoubtedly inspired by Cobain, who was a close friends with Mudhoney.

“My Brother The Cow” was the final installment of the grunge movement, a perfect ending to the defining period of ’90s music. (CB)

43 “I’ll Be Missing You” Puff Daddy

Sean “Puffy” Combs was the hottest producer in hip-hop land when in mid-1997, he stepped out from behind the boards to pay tribute to his long-time friend, rapper Notorious B.I.G.

Sampling The Police’s “Every Breath You Take,” Puff relied on friends Faith Evans (Biggie’s former wife) and 112 to help carry his heavy message.

“I’ll Be Missing You” was Combs’ way of calling for the rap war to cease — indeed a daunting task for a Bad Boy. (CM)

44 “Cannonball” The Breeders

Sounding the alarm for the alternative rock revolution, “Cannonball” opened with the distinctive cry of “Ahooh Ahooh, Ahooh Ahooh.”

The song’s unmistakable sliding electric guitar riff tagged it as typical MTV Buzz Bin material and established ex-Pixie Kim Deal as one of the greatest female songwriters of all time. It is truly a gem of early alternative. (CB)

45 “She Cries Your Name” Beth Orton

Before Beth Orton, women weren’t associated with electronica unless they were cranking out cheesy Ace Of Base-style singles.

Although she was coming off a duo project with famed “Ray of Light” producer William Orbit, Orton chose to ignore pop altogether.

“She Cries Your Name,” the chemical sister’s 1997 debut single, fused roots with rhythm, creating a wonderfully eccentric digitized folk. A far cry from “The Sign.” (CM)

46 “N.W.O.” Ministry

A sound bite of President George Bush calling for “A New World Order” juxtaposed light speed grinding guitarwork on Ministry’s 1992 tune “N.W.O.”

Laying the groundwork for a genre, the band’s raw industrial energy on “N.W.O” made a scary political statement, personifying George Bush as some kind of political dictator, trying to conquer and brainwash the world in all his Republican glory. Thank God that didn’t happen. (CB)

47 “Last Goodbye” Jeff Buckley

A coffeehouse balladeer who died way before his time — he drowned in April of 1997 — Jeff Buckley was as delicate as your sweetheart’s whispers on a cold winter morning.

“Last Goodbye,” the breaking single off 1994’s reviewer-approved “Grace,” could be one of the saddest songs ever written.

The kicker is hearing Buckley stretch his heart and vocal chords and nailing every note like an opera-house tenor. (CM)

48 “Seven Words” Deftones

Four Sacramento skate punks were sick of where metal was going in the summer of 1995, so they recreated it with elements of rap, pop and grunge.

“Seven Words,” the definitive single from “Adrenaline,” also happened to be one of the more violent songs of the decade.

Deftones mixed melody with angst and created the nu-metal/rapcore genre that gave birth to Limp Bizkit and Sevendust. (CM)

49 “All Apologies” Nirvana

From the moment the pick hits the guitar string in the opening of Nirvana’s heart-sinking “All Apologies,” we are taken back to March 18, 1994, the day Kurt Cobain’s somber photo flashed across MTV as Kurt Loder announced the tragic suicide of our generation’s unlikely role model.

Cobain’s poetic opening verse, “What else should I be/ All apologies/ What else could I say/ Everyone is gay,” finally made sense, as we washed our tears down with the song’s comforting beauty.

“All Apologies” is our “Imagine” — a eulogy to one of rock’s greatest. (CM)

50 “Unsung” Helmet

An alt-metal masterpiece, “Unsung” found Helmet using its signature distortion to the fullest potential, in a sporadic stop and go combination that livened up and typified post-metal. (CB)

51 “Rosa Parks” Outkast

Rosa Parks, the civil rights activist who refused to give up her bus seat on the historical day of Dec. 1, 1955, is forever immortalized on Outkast’s 1998 hit.

A bluegrass-influenced lyrical jam session, “Rosa Parks” also marks the high point of a band that has defined the soulful sound of rap’s Dirty South.

Released as the first single on the praised “Aquemini,” the song won over listeners with its unique use of harmonicas and clever chorus, “Ah ha, hush that fuss/ Everybody move to the back of the bus/ Do you wanna bump and slump with us/ We the type of people make the club get crunk.”

Intelligence and bass all at once. (CM)

52 “Live Forever” Oasis

Not since The Beatles had a British band exploded in the States with as many hits as Oasis.

“Live Forever,” featuring Noel Gallagher’s thick accent manifesting lines like “Lately/ Did you ever the pain/ Of the morning rain/ That soaks you to the bone,” had all the fixin’s of a “Come Together.”

Though the brothers Gallagher never quite had the impact of John and Paul, they broke down the wonder wall that allowed for bands like Blur and The Verve to cross overseas. (CM)

53 “Give It Away” Red Hot Chili Peppers

“Give It Away” unleashed Anthony Kiedis’ rapid-fire pseudo rap, coupling it with a spectacular Flea-funk bass line that typified the Chili Peppers’ sound, marking a high point on 1991’s “Blood Sugar Sex Magik.” (CB)

54 “Cornflake Girl” Tori Amos

Armed with uninhibited fury and teenage-like rebelliousness, Tori Amos played her piano like it was the one and only thing she wanted to do, creating beautiful songs like “Cornflake Girl” from 1994’s “Under the Pink.”

She resurrected the piano as a rock instrument, ditching guitar altogether on her intimate explorations in entrancing melodies. (CB)

55 “100%” Sonic Youth

Sonic Youth gained notoriety for reinventing the guitar, exploring the world of alternate tunings and creating order out of chaos.

The dirty distortion on “100%” stands out as a discrete sound many have tried but failed to replicate.

The song packed more feedback than any noise-hungry music fan could ever ask for with guitarists Thurston Moore and Lee Ranaldo finding melody in a sound most would write off as mere racket. (CB)

56 “My Heart Will Go On” Celine Dion

There was no life boat to escape from this tune in 1997. Trailing the massive wave of “Titanic,” “My Heart Will Go On” had millions of people buying the soundtrack just because of Celine Dion’s song.

While many ate the ballad up, others were too embarrassed to admit they actually liked this guilty pleasure of a song. (CB)

57 “Come Out and Play” The Offspring

“You gotta keep ’em separated.” These choice words marked the essential element to the Offspring’s breakthrough single, “Come Out and Play.”

Sung by a random friend of the band, the line was piped in between bursts of punk energy and an Indian snake charming melody. It was an unlikely pattern that worked once and then again on 1998’s “Pretty Fly For A White Guy.”

The song caused mammoth sales for “Smash,” an album released on Epitaph Records that became the highest selling independent album of all time. (CB)

58 “Motownphilly” Boyz II Men

Doin’ a little coast fling, Boyz II Men revolutionized R&B with their not-too-hard, not-too-soft rhymes molded into standard a cappella patterns.

“Motownphilly” took New Edition-style pop to the next level, causing MTV programmers to lick their lips.

Adult contemporary rap. Could it happen? Or do dreams fade away? (CM)

59 “Undone (The Sweater Song)” Weezer

Three chords, a simple idea and a fuzzbox. Combine it with meaningless background conversation and trivial lyrics, and that’s all Weezer needed to create “Undone (The Sweater Song).” It popped more punch into indie-pop genre than ever before.

“If you want to destroy my sweater/ Hold this thread as I walk away,” frontman Rivers Cuomo belted in “Undone.” “Watch me unravel I’ll soon be naked/ Lyin’ on the floor, lyin’ on the floor/ I’ll come undone.”

Powerful words when paralleled with other songs of the mid-’90s that tried too hard to achieve profundity. (CB)

60 “One” U2

In a world filled with strife, poverty, war and a never-ending list of problems, “One” made us stop and think about our true purpose in life.

With Bono’s voice resonating some of his most ravishing lyrics ever, the song is a true testimony to preserving peace and love. (CB)

61 “Jump Jive and Wail” Brian Setzer Orchestra

Two words: the Gap. Young couples swingin’ behind a white background dressed in Gap khakis, grooving to the sound of “Jump Jive and Wail.” It revitalized the swing movement.

Like a ghost rising from the ’80s graveyard, Brian Setzer somehow managed to make a name for himself in the ’90s for an entirely different reason.

In the ’80s it was the rockabilly of “Rock This Town” and “Stray Cat Strut” that made Brian Setzer a household name.

Thanks to corporate America, a Gap commercial did wonders for Setzer’s career in the ’90s. (CB)

62 “Mr. Jones” Counting Crows

Adam Duritz wanted to be Bob Dylan.

Stumbling through the barrio with a flamenco dancer named Maria and dreaming of Pablo Picasso, the vivid Spanish-themed imagery in “Mr. Jones” passed a bottle to us all in 1993, capping off the sheer beauty of “August and Everything After.”

All those beautiful colors were indeed very meaningful and Duritz came pretty close to reaching the emotionality of Dylan. (CB)

63 “911 Is A Joke” Public Enemy

Although belligerent rappers Public Enemy relied on racial and social issues in the ’80s like Robert Palmer relied scant women in black dresses, never were its statements as bold as on 1991’s “911 Is A Joke.”

Declaring, “They only come and they come when they wanna/ So get the morgue embalm the goner,” the “Fear Of A Black Planet” single humiliated L.A.’s then controversial dispatching system.

With Chuck D’s potent baritone voice backed up by the comically raw Flavor Flav, Public Enemy entered the decade as hardcore rap’s voice to be reckoned with. (CM)

64 “Rock ‘N’ Roll Lifestyle” Cake

A tongue-in-cheek mockery of alt-rock posers and music industry bureaucracy, “Rock ‘N’ Roll Lifestyle” poked fun at the entire essence of modern rock.

It seemed to make a statement about use of “alternative” as a marketing term and the legions of teenagers who bought into it. Sure enough, the trick worked again, and Cake went on to produce numerous ’90s hits like “Going the Distance” and a curiously strange cover of “I Will Survive.” (CB)

65 “Black Or White” Michael Jackson

When the King of Pop — or the King of Controversy, as he became better known — debuted “Black Or White” in 1991, he temporarily became the King of TV.

As a reflection of his influence on the world, Jackson had his eye-candy video debut on prime time network television.

A stance against racial prejudice, the song used a Stones riff and a Heavy D cameo to become a roller rink classic. (CM)

66 “All I Wanna Do” Sheryl Crow

The Bonnie Raitt of the ’90s, Sheryl Crow fused gritty blues with folk rock on her stunning debut, “Tuesday Night Music Club.”

A summer anthem of 1994, the laid-back “All I Want To Do” was an irresistible radio smash, helping lead the way for the women in rock movement of the decade. (CM)

67 “Just A Girl” No Doubt

When riot grrl feminism meets lost girl innocence, you get “Just A Girl,” the career-hatching No Doubt tune that owned airwaves in 1995.

Inspiring women of all ages to sparkle up their face and sport up their wardrobe, “Just A Girl” launched a new wave ska sound that made punk rock sexy. (CM)

68 “I Will Always Love You” Whitney Houston

A Dolly Parton remake, Whitney Houston’s “Bodyguard” ballad broke all previous sales and airplay records when it was released in late 1992, becoming the biggest single in pop history.

A confessional tune with hints of gospel and R&B, “I Will Always Love You” proved the power of soundtracks — a hot trend throughout the decade. (CM)

69 “I Got Drunk” Uncle Tupelo

Neutralizing country integrity and punk rebellion, Belleville, Illinois’ Uncle Tupelo defined the genre dumbly named as Americana.

“I Got Drunk,” the brilliant single release following 1990’s “No Depression,” paints a grisly, unyielding portrait of desultory Midwestern existence.

Uncle Tupelo disbanded a few years later and feuding frontmen Jay Farrar and Jeff Tweedy formed Son Volt and Wilco, respectively, keeping their alternative country sounds from perishing. (CM)

70 “Blind” Korn

An elongated high-hat and bass guitar intro proved the perfect setting for Jonathan Davis to yelp, “Are you reeaaddyy?” — rapcore’s version of the Ramones’ “One, two, three, four …”

As the band to bring nu-metal to MTV, Korn built its careers around “Blind,” which eventually became the song of Woodstock 1999.

Davis also did wonders for the kilt. (CM)

71 “Beautiful People” Marilyn Manson

Shock rocker Marilyn Manson, with the help of producer Trent Reznor, made his definitive statement on “Beautiful People,” a radio-embraced sonic collection of guitars, synthesizers and freakish vocals.

It didn’t matter if he was worshiped or detested, the self-proclaimed “Antichrist Superstar” was the biggest name in rock in 1996.

But it is underrated guitarist Twiggy Ramirez who deserves the credit on this heavy rocker. (CM)

72 “I Kissed A Girl” Jill Sobule

Kissing a girl won’t change the world unless you’re Jill Sobule and write a catchy acoustic pop song about it.

Homosexuality gained greater acceptance in the ’90s, and Sobule’s tale of same-sex experimentation helped fuel the fire. (CB)

73 “Waiting Room” Fugazi

An anthem for an underground culture, “Waiting Room” kick started Fugazi’s 1990 debut “13 Songs,” inaugurating the emo sound despite frontman Ian MacKaye’s insistence on not labeling his style.

No matter what it was tagged, Fugazi’s music inspired hundreds of musicians and triggered a wave of post-punk madness.

With his anti-music industry D.I.Y. ethos, Ian MacKaye was Kurt Cobain minus the fame. (CB)

74 “No Rain” Blind Melon

A plump, young girl dressed in a bumble bee costume made for all the rage in early ’90s music videos with “No Rain.”

The song’s carefree hippie sound made us feel a drug-like euphoria.

Too bad head Melon Shannon Hoon overdosed on heroin in 1995. (CB)

75 “Today Was A Good Day” Ice Cube

Shining a beam of hope over the dismal ghetto of south central L.A., Ice Cube’s “Today Was A Good Day” stands alone as gangsta rap without a negative, apocalyptic message. (CB)

76 “Brick” Ben Folds Five

Like Tori Amos before him, Ben Folds popularized piano in modern rock, attacking his piano 1,000 times more hardcore than Tori.

“Brick,” a melancholy ballad of unwanted pregnancy and abortion, dragged the masses down with it. It was one of only a few songs of the decade to take on a controversial topic. (CB)

77 “MMMBop” Hanson

An odd pairing of Partridge-style pop and post-New Kid sentiment found the cutesy Hanson brothers at the top of the world in 1997.

Produced by the Dust Brothers (Beck, Beastie Boys), the quirky “MMMBop” was the unlikely launching pad for the next generation of boy bands.

A song that would make The Jackson 5 proud, “MMMBop” is the guilty pleasure of generation Nirvana. (CM)

78 “If I Had $1,000,000” Barenaked Ladies

A bar band necessity, “If I Had $1,000,000” captures the Barenaked Ladies’ witty sense of humor more than any song in their six-record repertoire.

From the landmark 1992 album, “Gordon,” which also spawned “Brian Wilson” and “Be My Yoko Ono,” the tune proved the Canadian fivesome is so money they don’t even know it. (CM)

79 “Salvation” Rancid

In bright blue liberty spikes, gutter punk attire and body piercings galore, Tim Armstrong continued the Operation Ivy tradition with his new project, Rancid.

“Salvation” emerged on MTV out of nowhere, opening an opportunity for Rancid to score big in the feeding frenzy. Instead, they stayed loyal to their underground fans, raising the middle finger to corporate music industry scum.

Punk purity at its finest. (CB)

80 “Yellow Ledbetter” Pearl Jam

Released as a B-side to the “Jeremy” single, Eddie Vedder’s acoustic ballad instantly became a fan favorite.

Radio programmers caught on and “Yellow Ledbetter” struck gold on the airwaves.

No non-album track — by Pearl Jam or any other band — has ever had a similar impact. (CM)

81 “Dear Mama” 2Pac

Exposing the sensitive side of 2Pac, who was serving prison time when the single was released in 1995, “Dear Mama” was to the heralded rap poet what “All Apologies” was to Kurt Cobain.

Before his unsolved murder in September of 1996, Tupac Shakur had become the face of hardcore rap.

It was him against the world — and he lost. (CM)

82 “Do You Right” 311

A huge underground hit, “Do You Right” proved the grassroots approach wasn’t just for folk singers anymore.

One of the truly eclectic bands of the decade, 311 put all its rap, reggae and rock influences into one basket.

No college party is complete without “Do You Right.” (CM)

83 “Closing Time” Semisonic

High school mixers got a new midnight anthem when Semisonic released this simple yet provocative piano-driven single in the spring of 1998.

“Closing Time” marked the long-awaited breakthrough of the Minneapolis trio considered one of the finer pop rock groups of the decade. (CM)

84 “Remedy” Black Crowes

“Remedy’s” drawn-out gospel chorus, “If I had some remedy,” added a new twist to the Southern rock of the Black Crowes, ushering in a lethal dose of soulful music from a one-of-a-kind band. (CB)

85 “Kill Your Television” Ned’s Atomic Dustbin

College radio hit “Kill Your Television” boasted a high-energy distorted guitar riff and a killer stop-and-start chorus that set the standard for British indie rock. (CB)

86 “Cantaloop (Flip Fantasia)” US3

Blazing jazz trumpet sampled from Herbie Hancock’s “Cantaloupe Island” infused by a classic dance beat and the funky-fresh rap styling of Kobie Powell and Rahsaan Kelly made for a great single for a group that didn’t go much further than the one song. (CB)

87 “Sell Out” Reel Big Fish

“You’re gonna go to the record store/ You’re gonna give ’em all your money/ Radio plays what they want you to hear … Sell out with me oh yeah/ Sell out with me tonight/ The record company’s gonna give me lots of money and everything’s gonna be all right.”

The lyrics that cleverly signed the death notice for ’90s ska music. (CB)

88 “Brimful of Asha” Cornershop

Weird-ass lyrics blended with unique Indian melodies and fused with pop sensibility struck a chord with rock critics and music fans on “Brimful of Asha.”

“Everybody needs a bosom for a pillow/ Everybody needs a bosom,” frontman Tjinder Singh sang.

Even the most hardcore indie fans need a little catchiness to soften up every once in a while. (CB)

89 “Candle in the Wind” Elton John

“Good Bye England’s rose,” Elton John sang on Sept. 6, 1997, at the funeral for his dear friend Princess Diana.

Released weeks later as a single, an updated version of the 1973 classic “Candle In The Wind” became a way for the dispirited public to deal with one of the most tragic deaths of the decade.

Consequently, the song became the best selling single of all time. (CM)

90 “Unbelievable” EMF

In the year 2005, when Rhino Records releases a “Totally ’90s” compilation, “Unbelievable” will undoubtedly be the opening track.

Putting an alternative twist on ’80s synth-pop, the song is everything ’90s — British pop, electronic rock and hardcore rap — wrapped in a pretty box and labeled “one-hit wonder.” (CM)

9 Worst Songs of the Decade

“Achy, Breaky Heart,”

Billy Ray Cyrus

“Macarena,” Los Del Rio

“Cumbersome,” 7 Mary 3

“Barbie Girl,” Aqua

“Hold On,” Wilson Phillips

“I Would Do Anything For Love (But I Won’t Do That),”

Meatloaf

“Short Dick Man,” 20 Fingers

“Lullaby,” Shawn Mullins

“Time, Love and Tenderness,” Michael Bolton