1993: The Best Albums Through a 30-Year Lense

Let’s keep the decade anniversaries going by harking back 30 years. Here are some music headlines from 1993:

• Michael Jackson was the Super Bowl halftime performer;
• Depeche Mode was one of the first bands to go online to connect with fans. The chat was marred by technical difficulties, as many, including the band, could not log on;
• Nirvana played its famous unplugged concert on MTV in NYC;
• Cream reunited at the Rock and Roll Hall of Fame Induction Ceremony – The Doors, Credence Clearwater Revival, Van Morrison, and Sly and the Family Stone were also inducted;
• On his 35th birthday, Prince changed his name to an unpronounceable symbol – he would be referred to as The Artist Formally Known as Prince for the rest of the decade.

There were some good albums in 1993, but were there some great ones? I’m not sure. Several of my favorite bands put out excellent songs in ’93, but the albums as a whole fell short of their best works. I didn’t have a standout favorite(s) and if I did this list again tomorrow the order would probably change. Likewise, I might swap in one of the honorable mentions below if given another chance.

10. Paul Westerberg, 14 Songs: In his first official solo album, the former Replacement puts together a nice collection of songs. Some are reminiscent of the old band (“World Class Fad),” others offer an easy-going melody signaling a new direction for his solo career (“First Glimmer).” A few songs have a Stones-y or Faces vibe, with “Silver Naked Ladies” even featuring Ian McLagen on piano. My favorite, “Things,” shows how masterful he is at the melancholy love songs.

9. James, Laid/Hothouse Flowers, Songs from the Rain: Not to equate the British and Irish, but these two bands have a similar upbeat acoustic sound and give me the chance to highlight a couple lesser-known groups. (I can also cheat and add one to list.) “Laid” strums along warm and inspiring and could be James’ best song. Hothouse Flowers’ message of hope and spirituality was on full display with songs like “Isn’t It Amazing” and “Beauty” when they opened for Midnight Oil in ’93 at the Santa Barbara Bowl.

8. David Bowie, Black Tie White Noise: After his garage rock detour with Tin Machine, David Bowie was searching for his next calling. He couldn’t decide which path to choose. Black Tie White Noise continues his boundless need for experimentation at the expense of cohesion. There are musical styles from his past (disco, funk, soul) and from his future (electronic, hip-hop, jazz). “Jump They Say” is the standout as Bowie recalls his mentally ill brother in a chorus of sax, trumpet, and synths. “Nite Flights” is a seductive, rumbling cover of the Scott Walker song.

7. Smashing Pumpkins, Siamese Dream: “Cherub Rock,” the first song on Siamese Dream, launches an attack on the music industry with Billy Corgan screeching “freak out and give in” along with his unique guitar layers. “Today,” a song of survival, became their first big hit. “Disarm” is an angry storm with its loud and soft dynamic. “Hummer” is signature shoegaze and “Mayonaise” is agonizing and gorgeous. It’s one of the defining albums of the decade.

6. The Breeders, Last Splash: The Deal sisters struck gold with these twisted, savory songs. Fourteen short songs stylistically all over the place – a touch of country, a little surf, grunge, shoegaze, and instrumentals. The bass line and distortion on “Cannonball” and the delicious sex and sax on “Divine Hammer” top off an alt-rock classic.

5. Nirvana, In Utero: Nirvana’s third and final album is abrasive, visceral, and introspective. It’s more like their debut Bleach as opposed to the blockbuster Nevermind. “Serve the Servants” opens the album with humorous flippancy – “Teenage angst has paid off/Now I’m bored and old.” There are noise sessions (“Dumb,” “Tourettes),” and more melodic tunes (“Heart-Shaped Box,” Pennyroyal Tea).” “All Apologies,” with its cello and guitar interplay and Cobain’s see-saw of hoarse and tender singing became the band’s epitaph.

4. Aimee Mann, Whatever: ‘Til Tuesday could never build momentum off its 1985 smash hit, “Voices Carry.” After three albums, Mann left the band and began her solo career with this gem. She is a born storyteller with emotional, personal, and acerbic lyrics in conjunction with catchy melodies and lovely ballads. Ex-Byrd, Roger McGuinn, joins her on the jangly folk of “Fifty Years After the Fair.” If you like one song on Whatever, you’ll like every song. There’s not a bad one on the album. I can’t say that about any others on this list.

3. Midnight Oil, Earth and Sun and Moon: As touched on above, my memories of this tour are strong. At 6’4″ frontman Peter Garrett is unforgettable on stage with his frenetic, commanding performances. Earth and Sun and Moon continues to explore the band’s passion for protecting the environment and Australia’s indigenous peoples, as epitomized by the lead single, “Truganini.” This is a very consistent album full of infectious harmonies, chiming guitars, piano/acoustic spotlights, and resonating bass from Bones Hillman, who died from cancer in 2020.

2. Suede, Suede: Suede was one of the fastest-selling debuts in British history, starting off at the top of the UK Albums Chart and winning the Mercury Music Prize (the British version of Best Album Grammy). (The group had to change its name for the American market to The London Suede based on a lawsuit by an American singer with the same name.) Led by Brett Anderson (vocals) and Bernard Butler (guitar), the band is a glam tour de force embracing a defiant snarl and androgynous presence. The lyrics are forceful and the music sways from raw and crisp to delicate and blissful. All the while being unabashedly decadent.

1. Vs., Pearl Jam: So much for the sophomore slump. After the monstrous success of their debut, Ten, Pearl Jam came out a little more aggressive on Vs. Songs about child abuse, gun culture, and police brutality entail conflict as implied in the album’s title. The punk explosions on “Go,” and “Blood” are countered by the moving “Elderly Woman Behind the Counter in a Small Town” and the driving acoustics of “Daughter.” The rippling tension of “Rearview Mirror” is classic Pearl Jam. That works for me.

Honorable Mention: The Verve (A Storm in Heaven), Radiohead (Pablo Honey), Depeche Mode (Songs of Faith & Devotion), New Order (Republic), and Sting (Ten Summoner’s Tales)

Trivia: What artist had the #1 album and #1 song on the British charts in 1993? (Hint: He performed under a stage name and passed away in 2022.)

Answer: Meat Loaf (born as Marvin Lee Aday) with “I’d Do Anything for Love (But Not That”) off of the Bat Out of Hell II: Back into Hell album