Today is Moby’s birthday. A buncha Moby tracks are included on today’s playlist.
Tunes Du Jour Presents 1999
As we look back on the musical landscape of 1999, it’s hard not to be struck by the sheer diversity and quality of singles that dominated the charts and airwaves. Straddling the end of one millennium and the dawn of another, this year produced an extraordinary array of hits that continue to resonate with listeners today.
Pop music was in full force, with young stars like Britney Spears and the Backstreet Boys delivering earworms that would define the era. Spears’ debut “…Baby One More Time” and the Boys’ “I Want It That Way” became instant classics, their catchy hooks and polished productions setting a new standard for pop perfection. Meanwhile, Latin pop exploded onto the mainstream scene with Ricky Martin’s irresistible “Livin’ la Vida Loca,” a song that seemed to capture the exuberant spirit of the times.
But 1999 wasn’t just about glossy pop. Hip-hop continued its ascent, with Jay-Z’s “Hard Knock Life (Ghetto Anthem)” showcasing the genre’s growing crossover appeal. Eminem burst onto the scene with “My Name Is,” his irreverent wordplay and controversial persona signaling a new direction for rap. R&B, too, had a strong showing, with TLC’s “No Scrubs” becoming an anthem of female empowerment and Lauryn Hill’s “Ex-Factor” demonstrating the genre’s capacity for emotional depth.
Rock music, far from being overshadowed, produced some of the year’s most enduring tracks. The Red Hot Chili Peppers’ “Scar Tissue” showcased their evolving sound, while The Offspring’s “Pretty Fly (For a White Guy)” brought punk-pop humor to the masses. Alternative and indie acts like The Flaming Lips and Mercury Rev pushed boundaries with “Race for the Prize” and “Goddess on a Highway” respectively, proving that innovative songwriting could still find a place in the mainstream.
Electronic music also made significant inroads in 1999. Fatboy Slim’s “Praise You” and The Chemical Brothers’ “Hey Boy Hey Girl” brought big beat to the forefront, while Moby’s “Why Does My Heart Feel So Bad?” hinted at electronic music’s potential for emotional resonance. From the dancefloor-filling “Sing It Back” by Moloko to the avant-garde “Windowlicker” by Aphex Twin, electronic artists were expanding the sonic possibilities of popular music in exciting ways.
The singles of 1999 paint a picture of a music industry in flux, embracing new sounds and technologies while still celebrating the timeless art of the perfectly crafted pop song. It was a year that laid the groundwork for the musical landscape of the 21st century, producing hits that continue to inspire and entertain listeners a quarter-century later.
Tunes Du Jour Presents 1998
The year 1998 was a watershed moment for popular music. Emerging from the stylistic chaos and radical experimentation of the early/mid ’90s, the music of 1998 represented a culmination of daring artistic visions cohering into some of the most innovative, insightful, and flat-out infectious songs of the decade. Across genres, it was a year that shattered boundaries and solidified legends – a prolific melting pot of game-changing sounds destined to endure.
One of the standout tracks of the year was The Verve’s “Bitter Sweet Symphony,” a song that fused rock with sweeping orchestral arrangements, creating an anthemic yet melancholic sound that resonated with a wide audience. Its poignant lyrics and grandiose strings captured a sense of wistful longing and existential reflection that felt emblematic of the complicated late ’90s zeitgeist. Similarly, Radiohead’s “Karma Police” continued to explore the darker, more unsettling side of human experience with its haunting melody and cryptic lyrics, solidifying the band’s status as one of alt-rock’s most vital and cerebral forces.
The late ’90s also saw electronic music rapidly integrating into the mainstream pop landscape in visionary ways. Fatboy Slim’s “The Rockafeller Skank” was an explosively funky example of this trend, with its gritty, sample-heavy production and addictive dancefloor-ready beats. Stardust’s “Music Sounds Better With You” took a more soulful tack, combining classic house rhythms with a simple yet instantly catchy vocal hook to create an enduring dancefloor classic still beloved today. And the Norman Cook remix of Cornershop’s “Brimful of Asha” ingeniously blended Indian folk sounds with UK club vibes for a globe-spanning hit. For seekers of more atmospheric, boundary-pushing electronica, Massive Attack’s “Teardrop” provided a hypnotic, cinematic soundscape. This fertile era helped lay the groundwork for electronic music’s dominance in pop in the coming decades.
Hip-hop and R&B asserted their cultural force in 1998 as well, with few tracks as powerful as Lauryn Hill’s “Doo Wop (That Thing)” – an undeniable feminist anthem of self-respect powered by Hill’s dexterous rapping and soulful crooning. Her ability to fuse hip-hop bravado with uplifting, socially-conscious lyricism over neo-soul grooves earned her massive critical acclaim. Similarly future-leaning was Aaliyah’s “Are You That Somebody?” which saw the singer’s sultry vocals gliding over Timbaland’s percussive, synthetic production for an alluringly sleek sound that felt years ahead of its time.
While maintaining their commercial clout, pop’s biggest icons weren’t afraid to musically reinvent themselves in 1998. Madonna’s “Ray of Light” saw the Queen of Pop shedding her known persona for a more spiritually inquisitive stance matched by the song’s trance-inflected electronica textures. And Janet Jackson’s “Together Again” honored loved ones lost to AIDS with its uplifting, gospel-tinged dance-pop sound tempering heavier subject matter.
In retrospect, the diverse brilliance of 1998’s musical landscape feels almost overwhelming. From fist-pumping dancefloor anthems to raw outpourings of soul, from guitar-driven songs of profundity to mindblowing productions that rewrote pop’s boundaries – the year’s music seamlessly bridged the underground and the mainstream in a way that felt thrillingly new. It was the sound of artists across genres at their hungriest and most inspired, creating the shared musical memories that still bond generations of fans together in nostalgic reverie decades later. For many, 1998 was simply the rarest of cultural moments – when everything intersected with perfection.
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Your (Almost) Daily Playlist: 3-10-24
My Buffalo Stance is this:
- Buffaloes should have the right to choice. Their choice has no direct effect on you.
- Buffaloes can use the bathroom that corresponds with their identity. The bathroom they choose has no direct effect on you.
- Buffaloes should be free to marry who they choose, provided that other party consents. Who they marry has no direct effect on you.
- Buffaloes should be able to go to the mall or the multiplex to see Barbie-Q without fearing gun violence.
- Buffaloes should be free to move about where they choose and not be confined to one geographical location.
- There should be no restrictions placed on the book a buffalo may choose to read or eat. A buffalo learning about something has no direct effect on you.
- Buffaloes can dress and wear their hair as they choose, even at school. How a buffalo styles their hair has no direct effect on you.
Celebrating Neneh Cherry’s birthday today on the playlist.
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Your (Almost) Daily Playlist: 7-31-23
You’ve Come A Long Way, Baby by Fatboy Slim holds the Guinness World Record for the most significant number of samples used on a single album, with more than 60.
FatBoy Slim was born Quentin Cook on this date in 1963. A few of the classics from his You’ve Come A Long Way, Baby album are among the tunes in today’s playlist.
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Your (Almost) Daily Playlist: 10-26-22
Today’s playlist celebrates the October 26 birthdays of Mahalia Jackson, Milton Nascimento, ScHoolboy Q, The Roches’ Maggie Roche, Girl Talk, 10000 Maniacs’ Natalie Merchant, Was (Not Was)’s David Was, Bootsy Collins, and Anthony Rapp; the October 27 birthdays of Duran Duran’s Simon LeBon; and the October 28 birthdays of Frank Ocean, The Jesus and Mary Chain’s William Reid, the xx’s Jamie xx, Ben Harper, Bob & Marcia’s Bob Andy, Charlie Daniels, Curtis Lee, Brad Paisley, Wayne Fontana, and Friend & Lover’s Jim Post.
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Throwback Thursday: 1999
The music of 1999 shows the century coming to a close in grand style, as if to say the next year the party will be over, oops, out of time, so this year we better party. Latinx artists were crossing over to the mainstream pop chart. Cher and Santana, who first charted in the 1960s, scored the biggest hits of their careers. Artists who made their chart debuts include Eminem and Britney Spears. Pure pop exploded, though the charts made room for country, hip hop, electronica, and big beat. As one who values diversity, I loved hearing all these different genres and styles bump up against each other on the radio. Here are 30 prime examples of the music that hit in 1999.
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