Shortly after British rock band Suede released their debut album in the US in 1993, they encountered a trademark issue. An American lounge singer named Suzanne deBronkart had been performing under the name “Suede” since the 1980s and had already trademarked the name for musical performances in the US. She sued for trademark violation.
Two years later, the British band reluctantly agreed to use the name “The London Suede” for all their US releases and performances. This compromise allowed them to maintain their original name in other parts of the world while respecting the existing trademark in the United States.
This name change applied to all their album releases, merchandise, and concert promotions in the US throughout their career.
(The London) Suede’s Brett Anderson was born on this date in 1967. A handful of the band’s tracks are included on today’s playlist.
The music of 1993 was a vibrant mix of genres and styles that reflected the diverse cultural landscape of the early ’90s. This year saw the continued dominance of hip-hop, the rise of alternative rock, and the evolution of pop music, all while established artists pushed their creative boundaries.
Hip-hop was undeniably a driving force in 1993’s musical landscape. Dr. Dre featuring Snoop Dogg’s “Nuthin’ but a G Thang,” with its laid-back groove, epitomized the G-funk sound that defined West Coast rap. Ice Cube’s “It Was a Good Day” painted a vivid picture of a perfect day in the hood, showcasing the humor and storytelling skills that made him a beloved figure in the rap world. Meanwhile, East Coast artists like Wu-Tang Clan made their mark with the gritty “Protect Ya Neck.” The genre’s influence extended beyond coastal rivalry, with Naughty By Nature’s “Hip Hop Hooray” and Tag Team’s “Whoomp! (There It Is)” becoming nationwide party anthems.
Alternative rock continued its ascent into the mainstream. Radiohead’s “Creep” showcased the band’s angsty beginnings, its melancholic melody and introspective lyrics striking a chord with those struggling with feelings of inadequacy, while Rage Against the Machine’s “Killing in the Name,” a powerful anthem of rebellion, its aggressive sound and socially conscious lyrics that captured the angst and disillusionment of a generation, sparking protests and inspiring a generation of activists, brought politically charged rap-rock to the forefront. R.E.M., already established icons, delivered an anthem for those seeking comfort through emotional vulnerability with the poignant “Everybody Hurts.” Blind Melon’s “No Rain” became an iconic track with its unforgettable music video, featuring the “bee girl” that resonated with audiences worldwide. The year also saw the emergence of Britpop with Blur’s “For Tomorrow” and Suede’s “Animal Nitrate” hinting at the UK’s impending musical revolution.
Pop music in 1993 was anything but one-note. Janet Jackson’s “That’s the Way Love Goes” exemplified smooth R&B-infused pop, while Madonna continued to push boundaries with “Deeper and Deeper,” blending house music with her signature pop style. Whitney Houston’s cover of “I’m Every Woman” breathed new life into a classic, and Prince continued to defy categorization with “7.”
Nineteen ninety-three also saw female artists making bold statements across genres. PJ Harvey’s raw “Rid of Me,” Björk’s ethereal “Venus as a Boy,” and Liz Phair’s unapologetic “Fuck and Run” challenged conventions and expanded the scope of women’s voices in rock. In the realm of hip-hop, Salt-N-Pepa’s “Shoop” showcased women owning their sexuality, while Bikini Kill’s “Rebel Girl” became an anthem for the riot grrrl movement.
The year also highlighted the genre-blending creativity that would come to define the decade. Digable Planets’ “Rebirth Of Slick (Cool Like Dat)” brought jazz-rap into the mainstream, showcasing hip-hop’s versatility and its ability to incorporate sophisticated musical elements. This fusion of styles demonstrated how artists were increasingly willing to experiment and push the boundaries of their respective genres, setting the stage for the eclectic musical landscape that would unfold throughout the rest of the 1990s.
From the gritty sounds of West Coast hip-hop to the introspective lyrics of alternative rock, from the bold statements of female artists across genres to the genre-bending experiments that defied classification, the music scene of 1993 was bursting with creativity. This rich variety not only reflected the cultural zeitgeist of the early ’90s but also laid the groundwork for the musical evolution that would define the rest of the decade and beyond.
Music in 1997 was a true reflection of the decade’s diversity and boundary-pushing spirit. From the era’s biggest mainstream pop acts to the underground scenes bubbling up, the hits of ’97 showcased an exciting range of styles and genres commingling.
On the one hand, you had the unstoppable rise of wildly popular all-female groups like the Spice Girls with their debut smash “Wannabe” and the soaring vocals of Whitney Houston on “Step by Step.” At the same time, 1997 was also the year that brought the world jarring yet brilliant alt-rock statements like Radiohead’s sci-fi epic “Paranoid Android” and the dark, literary narratives of acts like Nick Cave.
Hip-hop continued evolving in dozens of directions, from the stunning lyricism of Notorious B.I.G.’s “Hypnotize” to the early flashes of what would become the dominant sound of the 2000s with Missy Elliott’s groundbreaking “The Rain (Supa Dupa Fly).” The year’s electronic/dance highlights came in all tempos and styles, whether the gritty yet blissful big beat of The Prodigy’s “Firestarter” or the sleek Daft Punk groover “Around the World.”
While teenager pop captured the mainstream with acts like Hanson’s “MMMBop,” the alternative/indie realm gifted 1997 with timeless gems spanning rockist earnestness (Ben Folds Five), fuzz-pop dreaminess (The Cardigans’ “Lovefool”), and idiosyncratic lo-fi (Elliot Smith, Yo La Tengo). It was an era of strange but beautiful hybrids, like the trip-hop soul of Erykah Badu’s “On & On.”
Looking back at 1997’s musical landscape, you’re struck by not just the sheer quality of the output, but the vibrant plurality of styles. It was a moment when the underground and the overground were engaged in an intriguing conversation, shaping what came next.
Damon Albarn stands as a towering figure in the world of music, his influence echoing through the halls of British pop and beyond. Born on March 23, 1968, in Whitechapel, London, Albarn’s journey into music began early, influenced by his creative surroundings and a passion for the arts instilled by his family. As the frontman of Blur, he captured the zeitgeist of the ’90s with hits like “Girls & Boys” and “Country House,” while his visionary project Gorillaz, featuring tracks such as “Feel Good Inc.” and “Clint Eastwood,” blended genres and media to create something entirely new.
Albarn’s contributions to music are not limited to his chart-topping hits; his work with The Good, the Bad & the Queen and his solo albums like “Everyday Robots” showcase a restless creativity and a desire to explore new musical landscapes. His eclectic output spans across various genres, reflecting his ability to adapt and innovate. Songs like “Heavy Seas of Love” and “Herculean” are testaments to his versatility and willingness to push boundaries.
Albarn’s influence is not just in the notes and rhythms of his music but also in the way he has used his platform to bridge cultural divides. His work with Africa Express is particularly notable, bringing together Western and African musicians to collaborate, perform, and break down the barriers of musical genre and geography. This initiative not only showcases Albarn’s commitment to cultural exchange but also highlights the power of music as a unifying force.
From the infectious energy of “Dare” to the introspective melody of “Everyday Robots,” each song on today’s playlist serves as a testament to Albarn’s enduring legacy and his unwavering dedication to both his craft and his convictions.
The Ting Tings’ Stacey? Jane? Mary? Jo? Lisa? Hell? Her? Katie White! was born on this date in 1983. A couple of the duo’s songs are included on today’s playlist.
Five years after then president of The Recording Academy proclaimed that women need to step up, the ladies have responded with “How’s this, jerkface?” Women dominate this year’s Grammy nominations. More importantly, all but two of the top 20 songs on my year-end list are led by female artists (with one guy showing up to provide guest vocals). That’s a record, I think, but don’t quote me on that. I’m too lazy to check. I don’t have a deep analysis for this phenomenon, but I do have a deep appreciation for the talent and diversity of these women (not that women have ever been underrepresented in my annual tallies). The highest placing male acts on my 2023 list are none other than The Rolling Stones and The Beatles. Yes, you read that right. The legends are back, and they still can show the young-uns how it’s done. With their song “Angry,” The Rolling Stones have achieved a remarkable feat: the longest span from first appearance to most recent appearance in my year-end surveys. In 1981, my first year of making such lists, the group placed with “Start Me Up.” The 80s are also well represented by Kylie Minogue and Madonna, each of whom made a triumphant return to my list after long absences. Welcome back, ladies! And last but not least, let’s give a round of applause to Megan Thee Stallion, who has been in my top five for five years in a row. That’s a record, I think, but don’t quote me on that. I’m too lazy to check. Now, without further ado, here is my list of the best songs of 2023. Enjoy!
Ice Cream Man. – RAYE
vampire – Olivia Rodrigo
Kill Bill – SZA
Bongos – Cardi B feat. Megan Thee Stallion
Not Strong Enough – boygenius
Flowers – Miley Cyrus
Escapism. – RAYE & 070 Shake
Paint the Town Red – Doja Cat
Lipstick Lover – Janelle Monáe
Nobody Gets Me – SZA
Dance the Night – Dua Lipa
Shirt – SZA
AMERICA HAS A PROBLEM – Beyoncé feat. Kendrick Lamar
What Was I Made For? – Billie Eilish
Padam Padam – Kylie Minogue
Cobra – Megan Thee Stallion
Brenda Put Your Bra On – Ashley McBryde, Caylee Hammack & Pillbox Patti
Angry – The Rolling Stones
Now and Then – The Beatles
Cool About It – boygenius
RATATA – Skrillex, Missy Elliott & Mr. Oizo
Did you know that there’s a tunnel under Ocean Blvd – Lana Del Rey
