THURSDAY, JANUARY 7, 2021 • THE BULLETIN
GO! MAGAZINE • PAGE 3
ALL THINGS MUSIC
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GO! Magazine’s picks for ’90s mixtape
BY BRIAN MCELHINEY • For The Bulletin
I
t’s ’90s week at GO! Magazine, and as resident music person, I have been tapped to create the ultimate ’90s mixtape. No, this was not my idea (that would be
resident movie, history and calendar person, Makenzie Whittle, who contributed a bunch of these songs, as did resident visual art and theater person David
Jasper). I tend to shy away from “best of” lists like this, because why should anyone listen to me? Besides, I’d just stuff it full of Nirvana songs (as would resident
features editor Jody Lawrence-Turner).
But we tried to be egalitarian. If your fa-
vorite ’90s song isn’t on this mixtape, go put
it on there. I tried to hit most of the major
musical movements and trends with at least
one representative song, but I probably still
ended up leaning on alternative rock.
Again, just be glad I didn’t give
you a list of 20 Nirvana
songs.
<ANEURYSM,= NIRVANA
Well, I’m allowed
one, aren’t I? “An-
eurysm,” a b-side to
the “Smells Like Teen
Spirit” single that also
showed up on the band’s
1992 odds-and-ends collec-
tion, “Incesticide,” may be Nirva-
na’s finest hour: a perfect mix of loud-quiet
dynamics, punk-rock fury, metallic riffs and
pop hooks (i.e. everything that made Nir-
vana, Nirvana).
<TORN,= EDNASWAP
The song that launched Natalie Imbrug-
lia’s career was a cover. Written by Ednas-
wap vocalist Anne Preven and guitarist
Scott Cutler with English musician Phil
Thornalley in 1993, “Torn” was first re-
corded by Danish musician Lis Sørensen.
Ednaswap’s raw, grunge-tinged version ap-
peared on its 1995 self-titled album
(and then again on 1997’s “Wacko
Magneto,” the version you can
find on Spotify), and two years
after that, Imbruglia turned the
song into a pop sensation.
<ALBUQUERQUE,= <WEIRD AL=
YANKOVIC
You can’t put together a ’90s
mixtape (or any mixtape, I’d argue)
without Weird Al. “Albuquerque,”
from Yankovic’s 1999 album “Running
with Scissors,” is an original song and the
longest he has ever recorded. Over a grind-
ing guitar riff, Yankovic delivers an appro-
priately weird story about being forced to
eat sauerkraut, winning a one-way ticket to
the titular city, trying to buy doughnuts and
much more.
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<CANNONBALL,= THE BREEDERS
Pixies bassist Kim Deal stepped out
from under Black Francis’ shadow with
The Breeders. “Cannonball” was the band’s
breakout hit from the group’s 1993 sopho-
more album “Last Splash,” and introduced
the mainstream music world to Deal’s
quirky, hook-filled songwriting.
<FIGHT THE POWER,= PUBLIC ENEMY
While this powerful protest single was
released in 1989, a different version
appeared on 1990’s “Fear of a Black
Planet.” Public Enemy is one of
hip-hop’s most thought-provok-
ing entities, and Chuck D is in
fine form on this track, which
remains painfully relevant today
(especially in the wake of ongo-
ing Black Lives Matter protests
against police brutality nation-
wide).
<EVERLONG,= FOO FIGHTERS
Dave Grohl’s second entry on this mix-
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tape is one of his best songs. Employing the
loud-quiet-loud dynamics Nirvana became
famous for, “Everlong” soars with emotion
and sonic intensity. It’s an earnest love song
from a perhaps unexpected source.
<EVERYBODY (BACKSTREET9S BACK),=
BACKSTREET BOYS
A ’90s playlist must acknowledge the de-
cade’s boy-band craze. The Backstreet Boys
may not have been the first, and they ul-
timately may not have been the
most popular. But for a time
in the late ’90s, the highly
danceable “Everybody
(Backstreet’s Back)” was
inescapable.
<CRIMINAL,=
FIONA APPLE
Fiona Apple was one
of the best, smartest and
weirdest artists to come out
of the ’90s crop of women sing-
er-songwriters.
Continued on next page
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