Here’s the part of the Decades series where I explore celebrated albums with which I am not familiar. What 1993 releases did I miss, and how well will I receive them now?
Nirvana’s third (and, due to Kurt Cobain’s death a year later, final) studio album, In Utero, had the unenviable task of following Nevermind, which became one of the best-selling and most-celebrated albums of all-time just two years earlier.
The streaming revolution has no doubt changed music listening for the better.
For a small monthly price, I now have practically every song or album I’ll ever want to hear at my fingertips. I can listen to new releases by artists I might have otherwise never heard, and I can dive deep into the catalogs of great artists, unburdened by the costs that used to come with being a completist.
I’m interrupting Random Weekends for a day in order to mark a special occasion… the 18th birthday of my daughter, Sophia!
Sophia has been mentioned on the blog quite a few times over the years. Her first appearance during the Song of the Day era came all the way back at Song of the Day #6, when she was just six years old.
My easy pick for the best album of 1993 is August and Everything After, the debut release by Counting Crows. I’ve talked about doing a theme week (or two) on great debut albums, and this one would surely be near the top of that list as well.
The California-based band had formed just a couple of years before this album’s release, and sparked a bidding war among major labels who heard their demo tapes. They landed T Bone Burnett as producer and knocked out this collection of literate folk rock tunes. The album sold more than 7 million copies in the U.S. and placed three singles on the Hot 100 (including ‘Mr. Jones,’ which reached #5).
My #2 album of 1993 is Aimee Mann’s solo debut, Whatever. This record followed a five year absence from recording for Mann as she battled legal issues with the label of her former band Til Tuesday.
Mann recorded three albums with Til Tuesday in the mid to late 80s, the best of which is 1988’s Everything’s Different Now. The band broke up after that release, largely because Mann wanted to take her music in a more acoustic, less New Wave, direction.
Meet Me In Montauk 