90s music styles

90s music styles DEFAULT

1990s in music

"90s music" redirects here. For the song by Kimbra, see 90s Music (song).

For music from a year in the 1990s, go to 90 | 91 | 92 | 93 | 94 | 95 | 96 | 97 | 98 | 99

Music-related events during the 1990s

Popular music in the 1990s saw the continuation of teen pop and dance-pop trends which had emerged in the 1970s and 1980s. Furthermore, hip hop grew and continued to be highly successful in the decade, with the continuation of the genre's golden age. Aside from rap, reggae, contemporary R&B, and urban music in general remained extremely popular throughout the decade; urban music in the late-1980s and 1990s often blended with styles such as soul, funk, and jazz, resulting in fusion genres such as new jack swing, neo-soul, hip hop soul, and g-funk which were popular.

Similarly to the 1980s, rock music was also very popular in the 1990s, yet, unlike the new wave and glam metal-dominated scene of the time, grunge,[1]Britpop, industrial rock, and other alternative rock music emerged and took over as the most popular of the decade, as well as punk rock, ska punk, and nu metal, amongst others, which attained a high level of success at different points throughout the years.

Electronic music, which had risen in popularity in the 1980s, grew highly popular in the 1990s; house and techno from the 1980s rose to international success in this decade, as well as new electronic dance music genres such as rave, happy hardcore, drum and bass, intelligent dance, and trip hop. In Europe, techno, rave, and reggae music were highly successful,[2] while also finding some international success. The decade also featured the rise of contemporary country music as a major genre, which had started in the 1980s.[3]

The 1990s also saw a resurgence of older styles in new contexts, including third wave ska and swing revival, both of which featured a fusion of horn-based music with rock music elements.

Reflecting on the decade's musical developments in Christgau's Consumer Guide: Albums of the '90s (2000), music critic Robert Christgau said the 1990s were "richly chaotic, unknowable", and "highly subject to vagaries of individual preference", yet "conducive to some manageable degree of general comprehension and enjoyment by any rock and roller."[4]

In December 1999, Billboard magazine named Mariah Carey as the Artist of the Decade in the United States.[5] In 1999, Selena was named the "top Latin artist of the '90s" and "best-selling Latin artist of the decade" by Billboard, for her fourteen top-ten singles in the Top Latin Songs chart, including seven number-one hits.[6] The singer also had the most successful singles of 1994 and 1995, "Amor Prohibido" and "No Me Queda Más".[7]

North America[edit]

Rock and Roll[edit]

Alternative rock[edit]

With the breakthrough of bands such as Nirvana and the popularity of the grunge and Britpop movements in the 1990s, alternative rock entered the musical mainstream and many alternative bands became commercially successful during the 1990s.

By the start of the 1990s, the music industry was enticed by alternative rock's commercial possibilities and major labels actively courted bands including Alice in Chains, Pearl Jam, Jane's Addiction, Dinosaur Jr, and Nirvana.[8] In particular, R.E.M.'s success had become a blueprint for many alternative bands in the late 1980s and 1990s to follow; the group had outlasted many of its contemporaries and by the 1990s had become one of the most popular bands in the world.[9]Mazzy Star had a top 40 hit with "Fade into You" (1993) and Smash Mouth recorded hits "Walkin' on the Sun" (1997) and "All Star" (1999).[10]

The Red Hot Chili Peppers became an important band in the rise of alternative rock with their album Blood Sugar Sex Magik. Combining funk rock with more conventional rock music, the Red Hot Chili Peppers were able to achieve mainstream success, culminating with the release of their 1999 album Californication.

Some of the top mainstream American alternative rock bands of the 1990s included Hootie and The Blowfish, Collective Soul, Creed, Nirvana, Alice in Chains, Dinosaur Jr, The Mighty Mighty Bosstones, Green Day, Weezer, Live, The Wallflowers, Toad the Wet Sprocket, R.E.M., The Offspring, Matchbox Twenty, Red Hot Chili Peppers, Soul Asylum, Liz Phair, The Lemonheads, Soundgarden, Counting Crows, Spin Doctors, dc Talk, Goo Goo Dolls, Third Eye Blind, Smash Mouth, The Smashing Pumpkins, 4 Non Blondes, Beck, The Breeders, Gin Blossoms, Foo Fighters, Sublime, Marcy Playground, No Doubt, Hole, Cake, Blind Melon, Eels, Stone Temple Pilots, Garbage, and Pearl Jam. These bands were variously influenced by ska, punk, pop, metal, and many other musical genres.

Alternative metal[edit]

During the early 1990s a new style of alternative music emerged, which combined elements of alternative rock with heavy metal. This new genre, dubbed "alternative metal", is considered a precursor to the nu metal movement of the late 1990s. This style was typified by bands such as Tool, Helmet and Jane's Addiction. Other bands including Faith No More, Primus, Red Hot Chili Peppers and Rage Against the Machine also blended funk and hip hop elements, creating subgenres of this style such as funk metal and rap metal.


A subgenre of alternative rock, grunge bands were massively popular during the early 1990s. Grunge music, and its associated subculture, was born out of the Pacific Northwest American states of Washington and Oregon in the 1980s.[11] Artists such as Nirvana, Soundgarden, Alice in Chains and Pearl Jam brought alternative rock to popularity in 1991. However, many bands were uncomfortable with their success, and were equally suspicious of the grunge label.

Nirvana and their grunge contemporaries, such as Pearl Jam, delivered a more direct, less polished rock sound. Pearl Jam released its debut album, Ten, a month before Nevermind in 1991, but sales only picked up a year later. By the second half of 1992, Ten became a breakthrough success, being certified gold and reaching number two on the Billboard 200 album chart.[12] Pearl Jam were famous for their fusion of riff-heavy stadium rock with the grit and anger of post-punk and grunge.

During the mid-1990s, many grunge bands broke up or became less visible. The death of Kurt Cobain in early 1994, as well as the touring problems for Pearl Jam (due to the band's much-publicized boycott of Ticketmaster), marked the decline of the genre.[13]

Pearl Jamis an American rock band formed in 1990 in Seattle, Washington.

At the same time as the original grunge bands went into decline, major record labels began signing and promoting bands that were emulating the genre.[14] The term post-grunge was coined to describe these bands, who emulated the attitudes and music of grunge, particularly thick, distorted guitars, but with a more radio-friendly commercially oriented sound.[15]

In 1995, former Nirvana drummer Dave Grohl's new band, the Foo Fighters, helped popularize the genre and define its parameters, becoming one of the most commercially successful rock bands in the US, aided by considerable airplay on MTV.[16] Some of the most successful post-grunge acts of the 90s were Candlebox, Bush, Collective Soul, Creed, Matchbox Twenty, Our Lady Peace, Foo Fighters, Live and others. The genre would have another wave of successful acts throughout much of the early part of the next decade which includes bands like Nickelback, Creed, Lifehouse, 3 Doors Down, and more. Although, some of those bands were formed during the late 1990s, many would not see a commercial breakthrough until the early years of the following decade.

Indie rock[edit]

Following the immense success of alternative rock in the 1990s, the term "indie rock" became associated with the bands and genres that remained underground. Bands like Sonic Youth and Pixies set the stage for the rise of indie rock in the underground scene, with bands such as Pavement, Archers of Loaf, Sleater-Kinney, Built to Spill, Yo La Tengo, The Breeders, Superchunk, Dinosaur Jr., Cat Power, Guided by Voices, Sebadoh, The Jesus Lizard, Liz Phair, and The Flaming Lips gaining popularity throughout the decade.

Ska punk[edit]

By the late 1990s, mainstream interest in third wave ska bands such as Reel Big Fish, The Mighty Mighty Bosstones, Sublime, and No Doubt waned as other music genres gained momentum.[17]

Skate punk and pop punk[edit]

Punk rock in the United States underwent a resurgence in the early to mid-1990s. Punk rock at that time was not commercially viable, and no major record label signed a punk rock band until Green Day's breakthrough in 1994. Both these factors contributed to the emergence of a number of independent record labels, often run by people in bands in order to release their own music and that of their friends. The independent labels Lookout! Records, Fat Wreck Chords and Epitaph Records achieved commercial success.

Skate punk broke into the mainstream in the mid-1990s, initially with the Northern California-based skate punk band Green Day and in the late 1990s with the Southern California-based pop punk band Blink-182 as well who all achieved massive worldwide commercial success. Green Day's album Dookie (1994) sold 10 million copies in the United States and another 10 million copies worldwide. Soon after the release of Dookie, The Offspring released the album Smash. The album sold over 14 million copies worldwide, setting a record for most albums sold on an independent label. [18]Rancid's Let's Go and NOFX's Punk in Drublic were also released during this period and both of them went gold as well. By the end of the year, Dookie and Smash had sold millions of copies.[19] The commercial success of these two albums attracted major label interest in skate/pop punk, with bands such as Bad Religion being offered lucrative contracts to leave their independent record labels. In 1999, Blink-182 made a breakthrough with the release of Enema of the State, which sold over 15 million copies worldwide receiving multi-platinum status in the United States, Canada, Australia, Italy, New Zealand and platinum status in Europe and the United Kingdom. Green Day are seen as the biggest act in punk rock whilst Blink-182 are seen to have the most influence on later bands like Fall Out Boy and All Time Low.

Heavy metal[edit]

Korn performing live at the MetaltownFestival in June 2011

Many subgenres of metal developed outside of the commercial mainstream during the 1980s.[20] In the early 1990s the thrash metal genre achieved break-out success, mainly due to the massive success of Metallica's eponymous 5th album which was released in 1991 and brought thrash metal to the mainstream for the first time. Metallica's success was followed by Megadeth's Countdown to Extinction (1992) which hit number 2,[21]Anthrax, Pantera, and Slayer cracked the top 10,[22] and albums by regional bands such as Testament and Sepultura entered the top 100.[23]

In the later half of the decade industrial metal became popular. The top mainstream American industrial metal bands of the 1990s included Nine Inch Nails, Marilyn Manson, White Zombie, KMFDM, Ministry, and Fear Factory.

Death Metal gained momentum in the early 1990s as well, with acts such as Death, Deicide, Morbid Angel, Cannibal Corpse and Obituary among others.

The Second wave of Black Metal gained popularity with leading force in Norway in Mayhem, Burzum and Darkthrone.

Pop rock and singer-songwriter[edit]

In the 1990s, there was a revival of the singer-songwriter movement of the 1970s. This movement lasted up to about 2004 with artists like Norah Jones, Dido and Sarah McLachlan. Important artists of this movement include Mariah Carey, Alanis Morissette, Tori Amos, Fiona Apple, Liz Phair, Juliana Hatfield, Edwin McCain, Duncan Sheik, Jewel, Natalie Merchant, Tal Bachman, Shawn Mullins, Sheryl Crow and Lisa Loeb. A famous album of the movement was the multi-platinum 1995 album Jagged Little Pill by Alanis Morissette as well as Sheryl Crow's 1993 album Tuesday Night Music Club and her 1996 eponymous album.[24] Tom Cochrane(Canada) got hit "Life is a Highway",[25] Marc Cohn had "Walking in Memphis", and 4 None Blondes released hit "What's Up".

The trend ended in the late 1990s with Lynda Thomas, who became the first idol of the "teen pop-rock" movement,[26] which later in the 2000s reached its highest level of popularity with later singers such as Avril Lavigne, Kelly Clarkson, P!nk, Hilary Duff, Miley Cyrus, Aly & AJ, and Ashlee Simpson.[citation needed]

Also in the 1990s, artists such as Jeff Buckley, Dave Matthews, Shania Twain, Bryan Adams, Elliott Smith, Melissa Etheridge, as well as Sheryl Crow borrowed from the singer-songwriter tradition to create new acoustic-based rock styles.

Hard rock[edit]

Third wave glam metal artists such as Firehouse, Warrant, Extreme, Slaughter, and Skid Row experienced their greatest success at the start of the decade, but these bands' popularity waned after 1992 or so. Mötley Crüe and Poison, who were hugely popular in the 1980s, released successful albums in 1989 and 1990, respectively, and continued to benefit from that success in the early part of the decade. The Black Crowes ushered in a more classic rock 'n' roll sound with their successful debut in 1990. More well-established hard rock artists such as Guns N' Roses, Van Halen, Def Leppard, Ozzy Osbourne, and Tom Petty released successful albums and remained very popular in the first half of the decade, while Aerosmith, Bon Jovi, and Metallica maintained their popularity throughout the entire decade, largely by re-inventing themselves with each new album and exploring different sounds.


Britney Spearsbecame one of the most successful pop singers of the 1990s.
Celine Dionbecame one of the best-selling singers of the 1990s.

British girl group The Spice Girls managed to break the American market, becoming the most commercially successful British group in North America since The Beatles. Their impact brings about a widespread invasion of teen pop acts to the US charts which had been predominantly dominated by grunge and hip hop prior to the success of the group. Between 1997 and 2000 American teen pop singers and groups including Backstreet Boys, *NSYNC, 98 Degrees, Hanson, Christina Aguilera, Britney Spears, Jessica Simpson, Mandy Moore, Jennifer Lopez and Destiny's Child became popular, following the lead of The Spice Girls by targeting early members of Generation Y. At the end of the decade, Britney Spears and Christina Aguilera had huge successes with their hit singles, "...Baby One More Time" and "Genie in a Bottle" and respective debut albums which remain among the best selling of all time. Britney Spears's single/ album went onto the top of the US charts in early 1999.[27] "Womanizer" (Jive) was the second No. 1 hit for Spears after her debut single, " ... Baby One More Time." Spears has the longest gap between No. 1 hits since Cher's "Believe" claimed pole position in March 1999, just 10 days shy of 25 years after "Dark Lady" landed in first place.

Madonna's Erotica, was released in 1992 and became one of her most controversial releases. In February 1998, Madonna released the critically acclaimed Ray of Light, which has sold over 16 million copies worldwide. Cyndi Lauper released her first mature album Hat Full of Stars (1993), which leaves complete the image of her first two albums, but was highly praised by critics even though it did not achieve commercial success. Larry Flick of Billboard called Janet Jackson's The Velvet Rope "[t]he best American album of the year and the most empowering of her last five."[28] Released in October 1997, The Velvet Rope debuted at number one on the Billboard 200.[29] In August 1997, the album's lead single, "Got 'til It's Gone", was released to radio, peaking at number 12 on the BillboardRhythmic Airplay Chart.[30] The single sampled the Joni Mitchell song "Big Yellow Taxi", and featured a cameo appearance by rapper Q-Tip. "Got 'til It's Gone" won the 1997 Grammy Award for Best Short Form Music Video.[31] The album's second single "Together Again", became her eighth number one hit on the Billboard Hot 100 singles chart, and placing her on par with Elton John, and The Rolling Stones.[32] The single spent a record 46 weeks on the Hot 100, as well as spending 19 weeks on the UK singles chart.[32] "I Get Lonely" peaked at number three on the Hot 100.[33]The Velvet Rope sold over ten million albums worldwide and was certified three times platinum by the RIAA.[34][35]Celine Dion achieved worldwide success during the decade after releasing several best-selling English-language albums, such as Falling into You (1996) and Let's Talk About Love (1997), which were both certified diamond by the RIAA. Dion also scored a series of international number-one hits, including "Beauty and the Beast" (1991), "If You Asked Me To" (1992), "The Power of Love" (1993), "Think Twice" (1994), "Because You Loved Me" (1996), "It's All Coming Back to Me Now" (1996), "All by Myself" (1996), "I'm Your Angel" (1998) and "That's the Way It Is" (1999). In December 1997, Dion released the single "My Heart Will Go On" from the Titanicsoundtrack. With worldwide sales estimated at 18 million copies, it is one of the best-selling singles of all time and became the second-best-selling single by a female artist in history.

Adult contemporary[edit]

In the early 1990s, Mariah Carey's hit singles such as "Vision of Love" (1990) and "Love Takes Time" (1990), and Whitney Houston's "All the Man That I Need" (1990) and "I Will Always Love You" (1992) topped the radio charts for the adult contemporary format.[36]

Contemporary R&B[edit]

Whitney Houston's quiet storm hits included "All the Man That I Need" (1990) and "I Will Always Love You" (1992), later became the best-selling physical single by a female act of all time, with sales of over 20 million copies worldwide. Her 1992 hit soundtrack The Bodyguard, spent 20 weeks on top of the Billboard Hot 200, sold over 45 million copies worldwide and remains the best-selling soundtrack album of all time. According to the RIAA, Houston is the best-selling female R&B artist of the 20th century.[37] In the 1990s, Mariah Carey's career originated in quiet storm, with hit singles such as "Vision of Love" (1990) and "Love Takes Time" (1990). Her albums Music Box (1993) and Daydream (1995) are some of the best-selling albums of all time, and had R&B/HipHop influences. Richard J. Ripani wrote that Carey and Houston, "both of whom rely heavily on the gospel music vocal tradition, display an emphasis on melisma that increased in R&B generally over the 1980s and 1990s."[36]Beyoncé quoted Carey's "Vision of Love" to make her want to sing, as did many other popular artist.[36] Also during the early 1990s, Boyz II Men re-popularized classic soul-inspired vocal harmonies. Michael Jackson incorporated new jack swing into his 1991 album Dangerous, with sales over 35 million, and was one of the best selling albums of the decade.[38][39] The popularity of ballads and R&B led to the development of a radio format called Urban adult contemporary. Popular American contemporary R&B artists included Mariah Carey, Mark Morrison, Faith Evans, 112, D'Angelo, Lauryn Hill, Whitney Houston, En Vogue, Toni Braxton, Boyz II Men, Mary J. Blige, Dru Hill, Vanessa Williams, Groove Theory, Bell Biv Devoe, Jodeci, Jon B., Diana King, Tony! Toni! Tone!, Tara Kemp, Brownstone, Shanice, Usher, SWV, Silk, 702, Aaliyah, Keith Sweat, TLC, Xscape, Brandy, Monica, Mýa, Total, Tevin Campbell & R.Kelly. In contrast to the works of Boyz II Men, Babyface and similar artists, other R&B artists from this same period began adding even more of a hip hop sound to their work. The synthesizer-heavy rhythm tracks of new jack swing was replaced by grittier East Coast hip hop-inspired backing tracks, resulting in a genre labelled hip hop soul by producer Sean Combs. The style became less popular by the end of the 1990s, but later experienced a resurgence.

During the mid-1990s, Mary J. Blige, Mariah Carey, Faith Evans, TLC, Xscape, Whitney Houston and Boyz II Men brought contemporary R&B to the masses.

Jackson's self-titled fifth studio album janet. (1993), which came after her historic multimillion-dollar contract with Virgin Records, sold over twenty million copies worldwide. Houston, Boyz II Men and Carey recorded several Billboard Hot 100 No. 1 hits, including "Exhale (Shoop Shoop)", "One Sweet Day", a collaboration between Boyz II Men and Carey, which became the longest-running No. 1 hit in Hot 100 history. Carey, Boyz II Men and TLC released albums in 1994 and 1995—Daydream, II, and CrazySexyCool respectively – that sold over ten million copies, earning them diamond status in the U.S. Beginning in 1995, the Grammy Awards enacted the Grammy Award for Best R&B Album with II, and Boyz II Men became the first recipient. The award was later received by TLC for CrazySexyCool in 1996.

Mariah Carey's duet with Boyz II Men "One Sweet Day" was pronounced song of the decade, charting at number one on the decade-end chart. Carey became Billboard's most successful female artist of the decade, and one of the most successful R&B acts of the 90s.

R&B artists such as Janet Jackson, Michael Jackson, Whitney Houston and Mariah Carey are some of the best selling music artists of all time, and especially in the 1990s brought Contemporary R&B to a worldwide platform.


D'Angelois considered a key pioneer of the neo-soul movement.

In the mid-1990s, neo soul, which added 1970s soul influences to the hip hop soul blend, arose, led by artists such as D'Angelo, Erykah Badu, Lauryn Hill, and Maxwell. Lauryn Hill and Missy Elliott further blurred the line between R&B and hip hop by recording both styles. D'Angelo's Brown Sugar was released in June 1995. Although sales were sluggish at first, the album was eventually a hit, due in large part to "Lady," a top-ten hit on the Billboard Hot 100 charts, peaking at #10. The album earned platinum certification from the Recording Industry Association of America, for shipments of one million copies in the U.S.,[40][41] while its total sales have been estimated within the range of 1.5 million to over two million copies.[42][43][44] While the album was certified platinum in the United States, indicating shipments of one million units, its total sales were adversely reported by several publications with estimations ranging from 1.5 to 2 million units. The album helped give commercial visibility to the burgeoning Neo soul movement of the 1990s, along with debut albums by Maxwell, Erykah Badu, and Lauryn Hill. The album was a critical success as well and appeared on many critics' best-of lists that year.

Hill's The Miseducation of Lauryn Hill (1998) remains her only studio album; it received critical acclaim, some suggesting it was the greatest neo-soul album of all time. It debuted at number one on the Billboard 200 and sold 19 million copies worldwide, spawning the singles "Doo Wop (That Thing)", "Ex-Factor", and "Everything Is Everything". At the 41st Grammy Awards, the album earned her five Grammy Awards, including the Album of the Year. Soon after, Hill dropped out of the public-eye, mainly because of her dissatisfaction with the music industry.

Hip hop[edit]

Lauryn Hillwas one of the most successful hip hop female artists of the 1990s.

The decade is notable for the extension of the rap music scene from New York City, the center of hip hop culture throughout the 1980s, to other cities like Los Angeles, Atlanta, Houston, the Bay Area, Miami, Chicago, and Memphis.

Dr. Dre's 1992 album The Chronic provided a template for modern gangsta rap.[45] In addition to The Chronic, Dre introduced a new artist known as Snoop Dogg which allowed for their to be the success of Snoop's album, Doggystyle, in 1993. Due to the success of Death Row Records, West Coast hip hop dominated hip hop during the early 1990s, along with The Notorious B.I.G. on the East Coast.[46] Hip hop became the best selling music genre by the mid-1990s.[47][48]

Rap albums released in the 1990s include The Chronic by Dr. Dre, Illmatic by Nas, All Eyez on Me by 2Pac, Enter the Wu-Tang (36 Chambers) by Wu-Tang Clan, Ready To Die by Notorious B.I.G., Ridin' Dirty by UGK, 19 naughty III by Naughty by Nature, and Doggystyle by Snoop Doggy Dogg, .

In 1998, Lauryn Hill released her debut album The Miseducation of Lauryn Hill, which debuted at number one on the Billboard 200. In 1999, The Miseducation was nominated for 10 Grammy's, winning five (which at the time was unheard of for a hip-hop artist) and eventually went on to sell over 19 million copies worldwide.

The early 1990s was dominated by female rappers, such as Queen Latifah and hip hop trio Salt-N-Pepa. The late 1990s saw the rise of successful female rappers and a turn in East Coast hip hop, with the debuts of Lil' Kim (with Hard Core) and Foxy Brown (with Ill Na Na), due to their use of excessive raunchy and provocative lyrics.

By the end of the 1990s, attention turned towards dirty south and crunk, with artists such as Outkast, Trick Daddy, Trina, Three 6 Mafia, Master P, Juvenile, Missy Elliott and Lil Wayne.[50]

The mid 1990s were marked by the deaths of the West Coast-based rapper 2Pac and the East Coast-based rapper The Notorious B.I.G., which conspiracy theorists claim were killed as a result of the East Coast–West Coast hip hop rivalry.

Samples and interpolations of old songs in hip hop songs were common in the 1990s because it was meant to celebrate the end of the 2nd millennium and the 20th century by going retro. Many of these songs are as follows: "U Can't Touch This" by MC Hammer; "Jump Around" by House of Pain; "Mo Money Mo Problems" and "Big Poppa" by Notorious B.I.G.; "It Was a Good Day" by Ice Cube; "Regulate" by Warren G and Nate Dogg; "I'll Be Missing You" by Puff Daddy featuring Faith Evans and 112; "Ain't No Nigga" by Jay-Z featuring Foxy Brown; "Killing Me Softly" by The Fugees; "Feel So Good" by Mase; "Hey Lover" by Boyz II Men featuring LL Cool J; "C.R.E.A.M." by Wu-Tang Clan; "Nuthin' but a 'G' Thang" by Dr. Dre featuring Snoop Dogg; "No Diggity" by BLACKstreet; "Gangsta's Paradise" by Coolio featuring L.V.; "The Rain (Supa Dupa Fly)" by Missy Elliott; "I Wish" by Skee-Lo; "People Everyday" and "Tennessee" by Arrested Development; "The Humpty Dance" by Digital Underground; 2pac's "Do for Love", "I Get Around", and "California Love"; and Will Smith's "Men in Black", and "Wild Wild West".

Some of the most prominent rap artists of the 1990s include 2Pac, Notorious B.I.G., Nas, Ice Cube, Dr. Dre, LL Cool J, Eazy-E, Wu-Tang Clan, Snoop Doggy Dogg, Busta Rhymes, Cypress Hill, MC Hammer, Coolio, OutKast, Three 6 Mafia, Mobb Deep, A Tribe Called Quest, Puff Daddy, Will Smith, DMX, Master P, Jay-Z and Eminem.

Electronic music[edit]

With the explosive growth of computers, music technology and consequent reduction in the cost of equipment in the early 1990s, it became possible for a wider number of musicians to produce electronic music. Even though initially most of the electronic music was dance music, the genre developed in the 1990s as musicians started producing music which was not necessarily designed for the dance-floor but rather for home listening (later on referred to as "Electronica") and slower paced music which was played throughout chillout rooms—the relaxation sections of the clubs (later on referred to as "downtempo", "chill-out music" and "ambient music").

Since we don't really know what was the first electronic music computer generated track ever made, in the USA we can find in the intro of Pink Floyd's "Dark Side of the Moon" released in 1973, a fully completed music track using only computers and machines. At the same time, in Germany, Kraftwerk is recognised as the very first band creating music only with machines and computers. Kraftwerk were the pioneers of what is electronic music nowadays.

Then, the electronic music scene exploded in the world, with at the front line, Chicago for House Music, and Detroit the Techno.

In the late 1990s, Madonna had success with her album Ray of Light which experimented with electronica sounds. Moby achieved international success in the ambient electronica scene after releasing his critically acclaimed album Play in 1999 which produced an impressive eight hit singles (including his most popular songs "Porcelain", "Natural Blues" and "Why Does My Heart Feel So Bad?").

Electronic dance music was highly successful throughout the decade in Europe, particularly in Britain, Germany and Italy. Outdoor raves were popular at the start of the decade in the UK, before the government introduced its Criminal Justice and Public Order Act 1994, leading to a higher number of superclubs opening. Among the most successful were Ministry of Sound and Cream. Before the ban, popular genres at these raves included breakbeat hardcore and techno, though in the mid-1990s these genres splintered into separate scenes, such as happy hardcore, jungle and drum and bass, the latter of which received mainstream recognition through artists such as Goldie and Roni Size.

Other notable British genres that emerged during the decade include progressive house, big beat, vocal house, trip hop and UK garage (or speed garage). The latter genre developed in London in the late 1990s and continued to be successful through to the early 2000s. DJ Culture also gained momentum during the 1990s. DJs such as Sasha, John Digweed, Paul Oakenfold, Ferry Corsten and Pete Tong became big names in the business, which was made desirable by magazines such as Mixmag and Muzik.

Italy ended the 1980s with Italo house, before becoming one of many countries to release Eurodance and Hi-NRG. Both genres were commercially successful across the world, with artists such as 2 Unlimited, La Bouche and Captain Hollywood promoting the genre. Countries such as Germany and Belgium, however, developed harder, darker styles of music, namely gabber, hard trance and techno. Trance emerged in the early 1990s and by the end of the decade had penetrated most of Europe, with artists such as ATB, Ferry Corsten, WestBam and Paul Van Dyk gaining huge commercial and underground success. European trance remained popular until the early 2000s. Goa became famed for its goa trance parties and Ibiza became the Number 1 clubbers' holiday destination.

Country music[edit]

The popularity of country music exploded in the early 1990s. The stage had been set in 1989 with the debuts of several performers who proved to be profoundly influential on the genre during the 1990s and beyond. Most notable of that group was Garth Brooks, who shattered records for album sales and concert attendance throughout the decade. The RIAA has certified his recordings at a combined (128× platinum), denoting roughly 113 million U.S. shipments.[51] Brooks recorded primarily in a honky-tonk style, although he frequently combined elements of soft rock and arena rock in his songs. His songs sometimes explored social themes, such as domestic violence (in "The Thunder Rolls") and racial harmony ("We Shall Be Free)", while others – such as "Friends in Low Places" — were just good-time songs with traditional country themes of heartbreak, loneliness and dealing with those emotions.

Other performers who rose in popularity during the early 1990s were neo-traditionalists Clint Black and Alan Jackson and southern rock influenced Travis Tritt. Mary Chapin Carpenter had a folk-style about her, while Lorrie Morgan (the latter the daughter of the late George Morgan, (himself a country legend) blended elements of country and pop, and occasionally operatic sounds in songs such as "Something in Red." Trisha Yearwood was one of the top new singers of 1991, while Diamond Rio blended traditional and bluegrass styles and Brooks & Dunn provided a driving honky-tonk sound.

During the early-to-middle part of the decade, several recordings were influenced by the popularity of line dancing, including "Boot-Scootin' Boogie" by Brooks & Dunn and "Achy Breaky Heart" by Billy Ray Cyrus. This influence was so great that Chet Atkins was quoted as saying "The music has gotten pretty bad, I think. It's all that damn line dancing."[52]

A steady stream of new artists began their careers during the mid- and late-1990s. Many of these careers were short-lived, but several went on to long-lived, profitable careers. The most successful of the new artists were Yearwood, Shania Twain, LeAnn Rimes, Lee Ann Womack, Martina McBride, Kenny Chesney, Collin Raye, Faith Hill, and Tim McGraw, while Lonestar and Dixie Chicks were the most successful new groups. Twain's Come on Over album became the best-selling album released by a female of any genre. Yearwood became the first woman in more than 25 years to have her debut single top the Billboard Country Singles chart in 1991 with her single "She's in Love with the Boy". Yearwood's debut album also became the first by a female country act to sell over 1 million copies, eventually going double platinum.

Among artists whose success continued from the 1980s, Reba McEntire was the most successful of the female artists, selling more than 30 million albums during the decade, gaining eight number-one hit singles on the U.S. Hot Country Singles & Tracks chart and six number one albums internationally, including her best-selling album, Greatest Hits Vol. 2, which was released in September 1993 and has sold over an international amount of 10 million copies to date. George Strait, a neo-traditionalist whose national success began in the early 1980s, enjoyed success as both a radio artist (17 No. 1 songs) and as a movie star (1992's Pure Country). Alabama, the most successful country band of the 1980s, continued their run of popularity with sell-out concerts and best-selling albums, while topping the country chart five times. Among older artists having big hits, Conway Twitty was one of the most successful, scoring two Top 3 hits with "Crazy in Love" and "I Couldn't See You Leaving", while Eddie Rabbitt had a No. 1 hit with "On Second Thought." Dolly Parton had a No. 1 hit (with relative newcomer Ricky Van Shelton) on "Rockin' Years" in 1991 and had several top 15 hits. Although his 1990s singles never reached the top 20 (excepting for a duet single with Randy Travis), George Jones (who had been around since the 1950s) regularly recorded and released critically acclaimed material, including the semi-autobiographical "Choices." The Oak Ridge Boys continued their run of success with a No. 1 hit ("No Matter How High") and several other top 40 hits; in 1995, upon the departure of William Lee Golden's replacement Steve Sanders, Golden reunited with longtime band members Duane Allen, Joe Bonsall and Richard Sterban, and the group has remained intact since then. While the Oak Ridge Boys' contemporaries The Statler Brothers were no longer reaching the top 40, the veteran group remained highly popular with fans and their new albums continued to sell well. Other artists reaching the top 10 of the Hot Country Singles & Tracks chart were Waylon Jennings, Anne Murray, and Kenny Rogers.

Pop-influenced country music began growing in popularity, particularly after Twain and Hill rose in popularity in the latter half of the 1990s. In 1998, Hill's "This Kiss" and Twain's "You're Still the One" both reached the top 10 of the Billboard Hot 100, in addition to peaking at No. 1 on the Hot Country Singles & Tracks chart. Rimes had a multi-million selling hit with "How Do I Live" (a song successfully covered by Yearwood), while Lonestar also had a huge crossover hit with "Amazed." Although the occurrence of country crossing over to the pop charts goes back as far as the start of the Billboardcharts in 1940, some critics began to be troubled by a trend toward what they perceived as pop music marketed as country; they contended that radio was concentrating more on newer music while ignoring the more traditional styles of older artists such as Merle Haggard, George Jones, and others who continued to record and release new material. Johnny Cash and producer Rick Rubin once purchased a full-page advertisement in Billboard magazine – after Cash's album Unchained won a Grammy for Best Country Album, despite a lack of support from radio – showing a young Cash displaying his middle finger and sarcastically "thanking" radio for supporting the album. The criticism of pop-influenced and non-traditional styles in country music, however, dated back to the 1970s although it had quieted down comparably during the 1980s.

In the 1990s, alternative country came to refer to a diverse group of musicians and singers operating outside the traditions and industry of mainstream country music. In general, they eschewed the high production values and pop outlook of the Nashville-dominated industry, to produce music with a lo-fi sound, frequently infused with a strong punk and rock & roll aesthetic, bending the traditional rules of country music. Lyrics were often bleak, gothic or socially aware. Other initiators include Old 97's, Steve Earle, Uncle Tupelo, Son Volt, Ryan Adams, My Morning Jacket, Blitzen Trapper, and Drive-By Truckers.

A number of notable artists in country music died during the decade, including Twitty, Webb Pierce, Dottie West, Tennessee Ernie Ford, Roger Miller, Roy Acuff, Charlie Rich, Minnie Pearl, Faron Young, John Denver, Carl Perkins, Grandpa Jones, Tammy Wynette, Eddie Rabbitt, Gene Autry, Roy Rogers, Rex Allen and Hank Snow.


Swing revival[edit]

Main article: Swing revival

During the 1990s, concurrent with third wave ska, swing music made a resurgence in the form of swing revival, which brought the jazz form into the pop charts. Reaching its commercial zenith around the time of the movie Swingers, whose soundtrack featured numerous 1990s swing bands, the movement was exemplified by bands such as Big Bad Voodoo Daddy, Cherry Poppin' Daddies, Squirrel Nut Zippers, and the Brian Setzer Orchestra. The highest-charting song of the genre would have been "Jump, Jive an' Wail" by the Brian Setzer Orchestra, which peaked at #23 on the Billboard Hot 100 in the U.S. in 1998, and won the Grammy Award for Best Pop Performance by a Duo or Group with Vocals in 1999.


See also: Music of the United Kingdom (1990s)



In the late 1980s/early 1990s, a counter-culture movement rose from the Manchester club scene that came to be known as Madchester. Happy Mondays, and The Stone Roses were the pre-eminent bands.


Oasiswere the biggest band of the 1990s Britpopscene and the only band to make a significant impact in the US market.

In the early 1990s, a counter-culture movement rose in Britain, called Britpop by the music press, rejecting the themes of disenfranchised youth coming out of America in favour of songs written specifically about the experiences of the British youth. Although the movement was heavily influenced by 1960s, 1970s, and 1980s British rock there was very little that musically defined the Britpop bands beyond the intensely British lyrical themes. Britpop bands such as Blur, Suede, Pulp, Ash, Elastica, Supergrass, The Verve and Oasis regularly topped the singles and album charts throughout the decade.

Oasis were the biggest band of the Britpop era at the forefront of alternative rock, as their second album (What's the Story) Morning Glory? became the second highest selling studio album of all time in the U.K.[53] "Wonderwall" peaked at number 2 in the UK Singles charts, and number 8 in the US Billboard 100. Their era defining concerts at Knebworth Park, playing to 250,000 people over two nights,[54] broke records for attendance and ticket applications.[54] In addition to this, they made a significant impact on the US market, achieving three top 5 albums in that country. The Britpop phenomena ran out of steam by the end of the 1990s with most of its most successful bands splitting up or fading away, although bands that rose from the rubble of predecessors Oasis were Travis, Coldplay and Keane.


From about 1997, Britpop as a movement began to dissolve, emerging bands began to avoid the Britpop label while still producing music derived from it.[55][56] Many of these bands tended to mix elements of British traditional rock (or British trad rock),[57] particularly the Beatles, Rolling Stones and Small Faces,[58] with American influences, including post-grunge.[59][60]Post-Britpop bands like Coldplay, Travis, Stereophonics and Feeder achieved much wider international success than most of the Britpop groups that had preceded them, and were some of the most commercially successful acts of the late 1990s.[60][61][62][63]

Other trends[edit]


This section needs expansion. You can help by adding to it. (March 2011)

The Irish Celtic folk rock band The Corrs achieved international success during the late 1990s with a series of hit recordings which established them as international stars and helped a successful career that continued into the 2000s.


Spice Girlsbecame one of the biggest global pop acts of the decade

Pop music and dance music became popular throughout the 1990s. Popular European pop artists of the 1990s included Seal, M People, 2 Unlimited, and Ace of Base.

During the 1990s, some European managers created their own boy band acts, beginning with Nigel Martin-Smith's Take That and East 17, which competed with Louis Walsh's Irish bands Westlife and Boyzone.[64] In 1996, the male saturated market was turned on its head by one of the most successful and influential pop acts of the decade, the Spice Girls. The group achieve nine number 1 singles in the UK and US, including "Wannabe", "2 Become 1" and "Spice Up Your Life".[65] The group, unlike their British boy band predecessors, manage to break America and achieve the best-selling album of 1997 in the USA. More Girl Groups begin to emerge such as All Saints, who had five number 1 hits in the UK and two multi-platinum albums.[66] By the end of the century the grip of boy bands on the charts was faltering, but proved the basis for solo careers like that of Robbie Williams, formerly of Take That, who achieved six number one singles in the UK between 1998 and 2004.[66] Additional popular European teen pop acts of the 1990s included Ace of Base, Aqua and A*Teens.

Ballad songs were popular during this decade, and popular European artists included George Michael, Robert Palmer, Sade, Sinéad O'Connor, The Cranberries, Lisa Stansfield and Roxette. Danish pop/soft rock band Michael Learns to Rock, fronted by singer/songwriter/keyboardist Jascha Richter, were well known for their ballads, particularly in Asia with songs such as "The Actor", "Sleeping Child", "That's Why (You Go Away)", and "Paint My Love".

In the summer of 1996, the Spanish music duo Los del Río popularized the dance craze "Macarena" with their summer hit "Macarena". The song was featured prominently in many other countries during the mid-1990s.

Electronic music[edit]

The Dutch Eurodance act 2 Unlimitedwas one of the most successful Electronic music artists of the 1990s.

With the explosive growth of computers music technology and consequent reduction in the cost of equipment in the early 1990s, it became possible for a wider number of musicians to produce electronic music.

The English electronic dance music group The Prodigywas one of the most successful electronic music groups of the 1990s.

The popularity of house, techno and rave in the early part of the decade lead to the boom of the more commercial Eurodance genre. Popular European Eurodance acts of the decade included Toy-Box, Daze, Jonny Jakobsen, Alexia, Alice Deejay, Haddaway, Captain Jack, Captain Hollywood Project, Basic Element, Solid Base, Daze, Gigi D'Agostino, Vengaboys, 2 Unlimited, Cappella, Corona, Culture Beat, DJ Bobo, Dr. Alban, Ice MC, La Bouche, 2 Brothers on the 4th Floor, Twenty 4 Seven, Leila K, Fun Factory, Masterboy, Mr. President, Pandora, Magic Affair, Maxx, Loft, Sash!, BKS, Snap!, Playahitty, Love Inc., Real McCoy, Urban Cookie Collective, Scatman John, Paradisio and Whigfield. Eventually the popularity of the Eurodance genre lead to the huge popularity of the trance genre in the late 1990s and early 2000s.

The 1990s also saw the development and refinement of IDM (intelligent dance music), which borrowed from forms such as techno, drum and bass and acid house music and introduced more abstract elements, including heavy use of digital signal processing.[67]

United Kingdom[edit]

In the United Kingdom, popular electronic genres of the 1990s included breakbeat hardcore, drum and bass/jungle, big beat and UK garage. Among the most commercially successful electronic acts in the 1990s of these scenes were artists such as the Prodigy, the Chemical Brothers, Fatboy Slim, Aphex Twin, Autechre, Boards of Canada, Squarepusher, Leftfield, LFO, Massive Attack, Portishead, Underworld and Faithless. Notable 1990s UK garage acts included the Dreem Teem, Tuff Jam, Grant Nelson, 187 Lockdown, R.I.P. Productions/Double 99, Dem 2 and Sunship.

The arrival of Massive Attack in the early 1990s lead to a new style of slow electronic music dubbed trip hop and influenced groups such as Portishead, Björk, Tricky, Morcheeba and Thievery Corporation.

Latin America[edit]


This section needs expansion. You can help by adding to it. (April 2010)


Puerto Rico became a merengue stronghold in the early 1990s, with acts such as Elvis Crespo, Olga Tañon and Grupo Mania topping the charts throughout Latin America.

Latin boys band and vocal pop groups were storming up the charts in Mexico and Central America. Mexican boy band Magneto spawned hits in the early 1990s but split in 1996. In 1995, their successors, Mercurio continued making top hits like Bye Bye Baby and Explota Corazón. MDO, a Puerto Rican boy band also hoarded the charts with songs like No Puedo Olvidarme de Ti. Mexican pop groups Onda Vaselina and Kabah spanned several hits in the Latin American charts and made history in the Mexican charts. Jeans, Mexican pop girl group rose to fame in late 1996 and 1997 and continued until the 2000s.

Then-21-year-old singer Luis Miguel rediscovered the bolero circa 1991, echoing back to the trios of the 1940s with his album Romance, making him the biggest international Latin star until the late 1990s.

From early to mid-1990s successful acts such as Selena Quintanilla-Pérez, Thalía, Lynda Thomas, Chayanne, Paulina Rubio and arguably the most successful and influential, Gloria Trevi, became the first 1990s music idols in Latin America, subsequently appeared other successful singers and pop groups, including No Mercy, Shakira, Fey and Enrique Iglesias, they also achieved international success.

Colombian rock singer Shakira, Puerto Rican-American actress Jennifer Lopez, and Spanish singer Enrique Iglesias began to rise into the top of the pop charts by the end of the decade, following Selena's assassination.

Ricky Martin eclipsed Luis Miguel as the top Latin star when he performed "The Cup of Life" during the 1999 Grammy Awards, earning him the award for Best Latin Pop Performance. He released his English-language debut album less than half a year later, which featured the international hit, opening track "Livin' La Vida Loca".


Surge of newfound interest in Spanish-language rock, led by bands like Soda Stereo, Héroes del Silencio, Los Fabulosos Cadillacs, Maná, La Ley, Café Tacuba or Los Tres which gained large international following during this period. Others would follow their footsteps.

Along with the rise of Spanish rock came "rock alternativo", a Spanish equivalent to alternative rock headed by bands like Los Piojos, Babasónicos and Attaque 77. The "rolinga" or "stone rock" genre also emerged from "rock alternativo", popularized and headed throughout the entire decade by Viejas Locas. The stone-rock genre would remain popular in the 2000s with the Viejas Locas' vocalist, Pity Álvarez's other band Intoxicados.


During the 1990s, salsa spread from the Caribbean region all over Latin America sharing the dance music niche with cumbia. During this period salsa became also increasingly popular as dance music in the US and Europe. Beginning in 1990, the salsa romantica that began in the 1980s becomes a standard in tropical music thanks to chart-topping stars mainly from Puerto Rico such as Marc Anthony, Jerry Rivera, Tito Rojas, Víctor Manuelle and Gilberto Santa Rosa.


In the 1990s, the popularity of cumbia waned in favour of other styles such as salsa but remained relatively strong. In Argentina, Mexico, El salvador, Colombia and other countries as well synthesizers and elements of electronic music were incorporated into cumbia music, giving birth to cumbia sonidera, cumbia andina mexicana and cumbia villera. The blending of chicha music and cumbia in Peru also gained large popularity.

Australia and New Zealand[edit]


This section needs expansion. You can help by adding to it. (April 2010)

Pop Rock[edit]

Bands INXS and Crowded House, who had risen to international fame in the 1980s, continued their success into the nineties. However, INXS saw a decline in popularity after the release of 1993's Full Moon, Dirty Hearts, which did not even reach the US Top 50 and on 22 November 1997, a few months after the release of the band's tenth studio album Elegantly Wasted, lead singer Michael Hutchence was found dead in a Sydney hotel room. Crowded House released two further albums, 1991's Woodface and 1994's Together Alone, which were both successful internationally, but disbanded in 1996 after playing their 'Farewell to the World' concert at the steps of the Sydney Opera House. Their greatest hits compilation album Recurring Dream, released in 1996, debuted at number one in Australia, New Zealand and the United Kingdom and reached the Top 20 in several European territories. Notable nineties Australian rock bands include Silverchair, Savage Garden, Bachelor Girl, Powderfinger, and The Living End.

In New Zealand, hip hop group OMC's single "How Bizarre" became the most successful New Zealand song in history, reaching number one in several music charts around the world, including Australia, Canada, Ireland, South Africa and Austria.[68] The nineties saw a surge in popularity of alternative rock music in New Zealand, especially the popularity of alternative rock bands from the independent music label Flying Nun Records. Successful alternative rock bands of this era include Straitjacket Fits, Headless Chickens and The Chills. Headless Chickens provided Flying Nun with their first number one New Zealand single in 1994 with their song "George".

Australian singer Kylie Minogue, who quickly rose to fame in the late eighties, continued to be popular throughout the decade, most notably with songs "Confide in Me" and "Where the Wild Roses Grow", which she recorded with Nick Cave. The nineties also saw the emergence of pop/rock singer Natalie Imbruglia who gained a worldwide popularity with a cover of Ednaswap's song Torn, pop singer Peter Andre, pop band Human Nature, Tina Arena and R&B Hip Hop artists CDB and Deni Hines.



This section needs expansion. You can help by adding to it. (April 2010)

Japanese Rock[edit]

In 1998, Supercar released its influential debut album Three Out Change.[69] Characterized as having "almost foundational importance to 21st century Japanese indie rock",[70] Supercar remained active through 2005 with their later albums containing more electronic rock.[69]

Around the same time, bands such as Quruli and Number Girl had begun heavily influencing Japanese alternative rock. Music critic Ian Martin wrote that, along with Supercar, these groups had demonstrated that "Japanese rock bands could take on the British and American alternative bands of the 90s at their own game ... and in doing so, they had laid new ground for Japanese rock to develop in its own way from this point on."[71]

J Pop[edit]

Tokyo-based noise rock band Melt-Banana became an international touring cult act as well as the Boredoms.

J-Pop was a major trend in the late 1990s. The Japanese record label Avex Trax produced a string of top-charting J-pop artists, including Namie Amuro, Ayumi Hamasaki, and the band Every Little Thing. Hikaru Utada, only 16 at the time, scored her signature hit in 1999 with "Automatic", which was later covered by Hong Kong singer Kelly Chen. Also in 1999, DA PUMP, a four-member boyband, had a hit with "Crazy Beat Goes On!",[72] featured in the soundtrack of the year's film blockbuster, Star Wars Episode 1: The Phantom Menace. "Give me a shake", by girl-band MAX, was also a chart-topper in 1999.

J-pop in the 1990s was significant because of its irresistible inclusion of English lyrics in the songs. Titles of most songs were also often in English. Notable examples include "Feeling good – it's paradise" by DA PUMP and "Give me a shake" by MAX. Other J-pop artists, such as Hokkaido two-girl band Kiroro, rarely included English lyrics in their songs.

Some non-Japanese-speaking artists, such as Taiwan's Vivian Hsu, also crossed over successfully into J-pop; Hsu's band Black Biscuits had a hit single in 1999 in both Japanese[73] and Taiwanese Mandarin[74] with "Bye bye". Taiwanese singer A-mei recorded a Japanese song on her 1999 album May I hold you, lover?.

Asian Pop[edit]

The 1990s saw a revival of interest in local music in Hong Kong, Taiwan, Malaysia, and Singapore. In these four regions alone, local artists outsold foreign artists, especially during the late 1990s.

Three big Taiwanese rockers were household names throughout the 1990s. In 1997, it was Wu Bai; in 1998, the two-piece outfit Power Station; and in 1999, the veteran pub guitarist/singer Dick Cowboy.

Wu was known for his versatile ability to sing and write songs in Hokkien ("Number one in the world",[75] "Back to hometown",[76] "Lonely tree, lonely bird"[77]) as well as Taiwanese Mandarin ("Wanderer's love song",[78] "Crying woman"[79]), and also his poetic lyrics. His compositions were also recorded by other artists such as Hong Kong's Jacky Cheung ("If this is not love"[80]), Wakin Chau ("Crying woman"[81]), and Andy Lau ("Number one in the world",[82] "Lone star tear"[83]), and Taiwan's Tarcy Su ("Lazy Man's Diary",[84] "Passive",[85] "Yellow Moon"[86]).

Power Station, a Taiwanese aboriginal duo from the Paiwan tribe, were well known for their long hair, pitch-perfect two-part vocal harmonies, branded guitars/basses, and electrifying rock anthems. Members Yu Chiu-Hsin and Yen Chih-Lin also enjoyed success as singers of numerous television opening (and occasionally ending) themes throughout 1998 and 1999; they won the Best Theme Song award at the 1999 Star Awards for their song "I can endure the hardship", opening theme song to the award-winning drama series Stepping Out.[87]

Dick Cowboy had been a singer in various pubs in his youth, and was especially known for his covers of songs by A-mei,[88][89][90] Phil Chang,[91] and Jeff Chang.[92] In 1999, at the age of 40, his original composition "Forget me or forget him"[93] propelled him to superstardom.

High-voiced male singers were fashionable in Taiwanese pop music in the 1990s. Jeff Chang was the foremost of these. His album Intuition (1998) contained the title track,[94] which is his biggest single to date.

Singer-songwriter Panda Hsiung, whose voice was very similar to Chang's, had his biggest hit with his original composition "Incomprehensible memories"[95] in 1998, which was featured on the soundtrack of the drama, Legend of the Eight Immortals. Panda also had a string of hits throughout 1998 and 1999, including "I Wander Alone",[96] "River of the Blues",[97] "Snowbird",[98] and "The Match Girl".[99]

Other popular Taiwanese male singers with exceptionally high voices during the 1990s included Chang Yu Sheng, Terry Lin, and Chyi Chin.

The Eurodance craze found its way into the Asian pop market with such singers as Yuki Hsu. Her first big hit, recorded in 1999 when she was only 20, was "Who is bad?",[100] a cover of Jonny Jakobsen's "Calcutta (Taxi taxi taxi)".[101] Similarly, J-pop became popular in Taiwan and Hong Kong after their songs were translated into Chinese, for instance Kelly Chen's "Automatic[102] ", a cover of the Hikaru Utada original;[103] and Rene Liu's "Later",[104] a remake of the Kiroro original.[105]

Hong Kong's Four Heavenly Kings – Aaron Kwok, Andy Lau, Jacky Cheung, and Leon Lai – were the undisputed solo artists from Hong Kong in the 1990s. Cheung was also nicknamed the "God of Songs" during this period.

Young Hong Kong singers Daniel Chan, Ronald Cheng, and Gigi Leung had their big breaks in the 1990s. Chan's "Only you in my heart",[106] on the album of the same name, was released in 1997 when Chan was only 22; the song was later selected as the opening theme song of Singaporean TV series, From the Medical Files. Chan would also continue to sing a few television opening/ending themes in 1998, including "Lonely nights I'm not lonely"[107] (from Stand by me), "When dreams are discovered"[108] and "Does your heart hurt"[109] (both from A Piece of Sky).

Cheng's album I Really Can was released in 1999 and was his biggest seller to date; his other successful albums included You Are Not My Dearest Lover (1997) and Don't Love Me (1996).

Leung's album Fresh (1999), along with its title track,[110] was a bestseller upon its release, and the title track remains her signature song.

Julie Su Rui of Taiwan and Anita Mui of Hong Kong, both of them established veteran singers, also had comeback albums in this period. Su's album Love Comes This Way was released in 1998, and Mui's Intimate Lover, in 1992.

In late 1999, two Hong Kong veteran singers had chart-topping albums. Jordan Chan's album A Bigger Star contained the song "I Don't Have Such Fate";[111] while William So's album Loving Someone Is So Hard contained "You + Me + Heartbroken",[112] a re-recording of his signature song "Sadder as We Kiss" with new lyrics.

Other Asian singers who had chart-toppers in the 1990s included, among others:

  • From Hong Kong: Wakin Chau, Sally Yip, Andy Hui, Samuel Tai, David Lui and Sammi Cheng;
  • From Taiwan: Tarcy Su, CoCo Lee, A-mei, Chao Chuan, Richie Ren and Phil Chang;
  • From Malaysia: Eric Moo, Ah Gu and Auguste Kwan;
  • From Singapore: Kit Chan, Mavis Hee and Fann Wong.

The 1990s also saw the death of Taiwanese countertenor singer Chang Yu Sheng, who died in a car accident late in 1997. His protege, aboriginal singer A-mei, recorded the song "Hearing You, Hearing Me" in his memory.[113]

See also[edit]


Sours: https://en.wikipedia.org/wiki/1990s_in_music

Depending on who you ask, popular music of the 90s either heralded the birth of new and influential genres and direction, or marked the beginning of the end for quality pop music. Whatever your stance, the 90s had a very definitive and specific music culture and marked the golden age for at least one music genre.

Popular Music of the 90s - Major Genres

Lines between genres of music were clearly drawn in the 90s like never before, and that distinct separation is evident in the music made today. Some of the genres that ruled the airwaves in the 1990s - or even actually first appeared in the 90s - were:

Related Articles


The 90s is considered by many to be the golden age of rap and hip hop. At the end of the 80s, a wave of politically-driven rap music appeared and moved the genre away from the somewhat more simplistic party song format that it had embodied before. From the politically-charged music grew another subgenre of rap that would go on to earn the name "gangsta rap." This subgenre told gritty stories of life in the inner cities and drew almost instant criticism for its language, violent imagery and sexual lyrics.

As the 80s became the 90s, a storm of negative press surrounded the rap genre, but an explosion in popularity of the music followed. Many of rap's biggest stars and most influential artists released their music in this decade, and it also became the decade of peak sales for the genre.


Along with rap, grunge was the genre that defined the decade. Pearl Jam is the group that took grunge mainstream (and to the cover of Time magazine), but it was really an explosion of the indie/underground/college radio scene in the late 80s that opened the door for grunge music. A few major labels had moderate success working with some indie scene stars, like Sonic Youth, which in turn set off a major label signing frenzy. Nirvana was scooped up during this time and their Smells Like Teen Spirit - which sounded like nothing else on the radio at the time - is the song that is credited as not only starting the grunge music phenomenon but as the first official "90s" song. The death of Kurt Cobain meant that Nirvana never quite reached the sales figures and mainstream success of Pearl Jam - but they probably were just fine with that anyway.


When the indie grunge kids went mainstream in the 90s, there were plenty of indie acts to take their place. The indie music industry really came into its own in the 90s, when bands like Pavement, The Magnetic Fields, Slint, Yo La Tengo and more became real sales competitors to many major label acts, even if they were never really involved in things that had major label trappings, like Billboard charts and Top 40 radio.

Country Pop

Country music went pop in the 90s like never before, with a long list of artists who had major crossover success. Garth Brooks not only ruled the charts in the 90s but became one of the best-selling artists of all time, and his fellow country musicians like Alan Jackson and Shania Twain followed in his wake. Country music traditionalists were less than pleased - and indeed new subgenres of country music like Americana were born to please those who like a more true country sound - but it is country-tinged pop that made cowboy boots cool in the 90s.


Grunge may have come along and knocked sugary 80s pop off the charts, but it didn't take long for pop music to have a rebirth. The Spice Girls were the first girl pop group to tackle the Billboard charts, but they soon inspired a long list of other pop acts - boys and girls. Towards the end of the decade, it was the boy groups that really succeeded, with the likes of The Backstreet Boys and *NSYNC ruling the airwaves.

Female pop artists tended to do better as solo artists in the 90s - just ask Britney Spears, Mariah Carey or Christina Aguilera.


R&B music had a rebirth in the 90s and started selling like it hadn't since the 1960s. Artists like Boyz II Men, Mary J. Blige, R. Kelly and Toni Braxton all helped breathe new life - and sales potential - into the genre.


There was another wave of the so-called British Invasion in the 90s. Oasis, The Verve, Blur, Pulp and others traveled across the pond and started impacting US music in a big way.

Most Popular Songs of the 90s

The 90s Billboard charts offer some clues to the popular music of the decade. According the Billboard charts, the top ten songs of the decade, based on radio play, were:

  • Iris - The Goo Goo Dolls
  • Don't Speak - No Doubt
  • One Sweet Day - Mariah Carey and Boyz II Men
  • Macarena - Los Del Rio
  • I Will Always Love You - Whitney Houston
  • I'll Make Love To You - Boyz II Men
  • Candle in the Wind 1997 - Elton John
  • End of the Road - Boyz II Men
  • The Boy is Mine - Brandy and Monica
  • Smooth - Santana featuring Rob Thomas

Your Favorite 90s Tracks

Of all the popular music of the 90s, which tracks are your favorite? Leave a comment and share your favorite 90s hits.

© 2021 LoveToKnow Media. All rights reserved.

Sours: https://music.lovetoknow.com/Popular_Music_of_the_90s
  1. Arrow appliance
  2. Steelseries arctis 7
  3. Minecraft replay mod
  4. Prescott craigslist

The 90s: The Decade That Doesn’t Fit?

In A Hard Day’s Night, the exceptional madcap 1964 film 1964 starring The Beatles, a reporter asks Ringo Starr, “Are you a mod or a rocker?” She’s referring to the long-warring British musical subcultures, also captured with anxious sincerity a decade later in The Who’s Quadrophenia. The Beatles’ drummer replies with the rather deft portmanteau, “Um, no, I’m a mocker.” The joke being: there’s no way you could be both.

But, 30 years later, in the broad-stroked soundscape that was the 90s music industry, such posturing would look preposterous. The beauty of that decade was that you could be mod, rocker, hip-hop explorer, R&B fan, and country fan – all at the same time. Because the notion of what popular music was had shifted so radically.

While you’re reading, listen to our 90s Music playlist here.

Along came grunge

The biggest curveball that 90s music threw us was, of course, grunge. In the lead up to its inflection point (Nirvana’sNevermind), guitar-based music roughly fell into three categories: alternative rock, classic-rock standbys, and an already-dimming hair metal scene. It was so lost that 1989 also marked the curious year that Jethro Tull won the best hard-rock/metal Grammy.

Still, at that time, the impact of MTV as the arbiter of youth culture could not be understated. The video for Nirvana’s “Smells Like Teen Spirit” quietly premiered on 120 Minutes, the network’s late-night stepchild, and was almost exotic in its betrayal of the channel’s visual conventions. It was dark, cynical, and so squarely “I don’t give a f__k” in a way that the industry’s self-aware harder rock acts fundamentally were not. But what makes Nirvana such a great microcosm of 90s music was that their sound was not singular in scope. It referenced everything from punk to garage rock to indie pop to country and blues.

Heavy metal didn’t disappear; it just reconfigured itself. The more formidable acts (Guns N’ Roses, Metallica, Aerosmith) transcended fads, becoming stadium bands. Still, for the most part, rock fans diverted their attentions to grunge, with Nevermind and its follow-up, In Utero, serving as a gateway to other bands related to the scene: former labelmates Mudhoney, the metal-inspired Soundgarden, classic-rockers-in-the-making Pearl Jam and the gloomier Alice In Chains. Not to mention non-Seattle groups Bush, Stone Temple Pilots, and a pre-art rock Radiohead – all essentially distillations of the above.

Grunge was resoundingly male-dominated. Regardless, Hole (fronted by Cobain’s wife, Courtney Love, a provocateur with a propensity for stage-diving) managed to benefit greatly from grunge’s popularity. The group’s breakthrough album, the presciently named release Live Through This, dropped in 1994, a mere week after Cobain’s death. Celebrity Skin, its 1998 follow-up, ended up being their best-selling album.

Girls to the front

Most female-fronted rock bands didn’t chart as well, but they did deal in a cultural currency that produced a vibrant feminist-rock scene. Hole drew attention to Love’s contemporaries, including Bikini Kill, Babes In Toyland, Bratmobile, and, later, Sleater-Kinney. Then there was L7. All flying-V riffs, head-banging hair, and “screw you” lyrics, L7 (along with Mudhoney) helped pioneer grunge before grunge broke. And after it did, the group’s 1992 album, Bricks Are Heavy, won acclaim for skillfully toeing the line between the grunge, alternative, and riot grrrl worlds.

Towards the decade’s end, a rise of feminism (and female spending power) in 90s music would trickle up the pop charts. This led to an explosion of multi-platinum singer-songwriters: Sarah McLachlan, Alanis Morissette, Sheryl Crow, Lisa Loeb, Paula Cole, Fiona Apple, Jewel, and the lone woman of color, Tracy Chapman. All of the above (less Morissette) also appeared on the inaugural Lilith Fair tour, McLachlan’s answer to Lollapalooza. It became the best-selling touring festival of 1997.

Counterculture goes mainstream

The larger impact of grunge on 90s music was that it normalized what was once deemed countercultural. Suddenly, middle-of-the-road music listeners were nudged towards exploring what was once considered the domain of indie-music fans, who initially viewed these newcomers as interlopers. Sonic Youth – idols to countless punk bands, including Nirvana, who had opened for them in Europe just before Nevermind exploded – were finally getting radio and MTV airplay. Pixies and R.E.M., already highly respected in the underground, also grew their fanbases, alongside like-minded newcomers such as Pavement, Elliott Smith, Weezer, and Beck.

Meanwhile, the louder alt.rock scene assumed the space left by heavy metal. Industrial music’s Nine Inch Nails and Marilyn Manson, rap-rock’s Rage Against the Machine and Faith No More, the funk-centric Red Hot Chili Peppers and Primus, as well as the transcendent rock of The Smashing Pumpkins and Jane’s Addiction – all capitalized on the new thirst for angst. In this new environment, even a reissue of “Mother,” by the dystopian goth-metal beast Glenn Danzig, became a hit. Perry Farrell, Jane’s Addiction’s eccentric frontman, became a nexus for this phenomenon in 90s music when he created the then-quixotic Lollapalooza festival (its name a Webster dictionary deep cut meaning “extraordinarily impressive”) in the auspicious year of 1991.

After a decade of jock-versus-nerd narratives, being weird became cool, with grunge’s influence permeating into the aesthetics of fashion. Movies such as Cameron Crowe’s Seattle-centric Singles, Ben Stiller’s Reality Bites, and Allan Moyle’s Empire Records jumped on board to celebrate the virtues of outsiders.

As the trajectory of 90 music continued to be reshaped by grunge, the genre itself began to peter out by the middle of the decade. Some influential bands struggled with catastrophic substance-abuse issues. Others felt a disenchantment with becoming part of the establishment they worked so hard to surmount. The progenitors that did survive – Soundgarden and Pearl Jam, for instance – switched up their sounds. The latter went a step further: they simply stopped the machine by refusing to make music videos. And in an even more gutsy move, Pearl Jam refused to work with the events behemoth Ticketmaster.

The rise of Britpop

In the UK, grunge’s chart-takeover of the early 90s created a backlash in the form of Britpop. It’s no coincidence that Blur’s second, sound-defining album was titled Modern Life Is Rubbish (or that its alternate title was Britain Versus America). The Cool Britannia movement hearkened back to the 60s and the fertile music scene it cultivated, referencing music legends such as The Jam, The Kinks, and The Who.

Blur led the way for 90s music in the UK, albeit in fierce competition with their genre-defining peers Suede, whose just-as-buzzy self-titled debut emerged in 1993. By 1994, Blur had released the seminal Parklife and a whole scene corralled around it, yielding some exceptional albums: Pulp’s quick-witted Different Class, Elastica’s indie-cool self-titled LP, Supergrass’ gleefully pop I Should Coco, and new rivals Oasis’ no-frills rock Definitely Maybe. Bad blood between Blur and Oasis infamously underscored 1995’s Battle Of Britpop, an unofficial singles competition in which both groups released a track on the same day. A modern take on mods versus rockers, the press surrounding it was nothing short of dizzying, framing it as a tug-of-war between middle-class and working-class bands.

In the end, Blur’s “Country House” outsold Oasis’ “Roll With It.” But within a year, Oasis went on to achieve staggering international fame and even broke America, which eluded Blur. This culminated in two sold-out shows at Knebworth Park, resulting in England’s largest ever outdoor concert. It was a mixed bag: the event also marked the rapid decline of Britpop, which, like grunge, had reached saturation point. Death knell theories include: Oasis’ overexposure and in-band fighting; Blur making a lo-fi album; and even the Spice Girls co-opting and diluting a Brit-centric image for global fame.

Assuming the rock’n’roll mantle

Back in the US, post-grunge acts assumed rock’s mantle by pushing the genre towards a less destructive style of brooding through longhairs such as Collective Soul, Candlebox, Goo Goo Dolls, Creed, Silverchair, and Incubus. In retort (and due to angst fatigue), an assortment of colorful ska and pop-punk acts – No Doubt, Blink-182, Green Day, and Rancid – jettisoned up the charts. Notably, the untimely death of singer Brad Nowell helped Sublime’s self-titled album move more than five million CDs by the end of the decade. There was longevity in that bright sound, which ensured success for many of those bands into the next decade.

A technological shift

Going back to 1991, there was also one pivotal music-industry development, above and beyond grunge, that indelibly shifted music tastes for decades. This was the year that Billboard updated charts to reflect actual SoundScan sales figures. Up until that point, chart rankings were determined by the projections of record-store clerks and managers. Those “guesstimations” were frequently biased in genre and did not always reflect public consumption. Doing away with that almost immediately made the charts more genre-diverse.

Teen-pop confections, a resilient market draw, never went away. Fans of Backstreet Boys and NSYNC – and, later, Britney Spears and Christina Aguilera – continued to make a significant dent in sales. And the stalwart adult-contemporary demographic made megastars out of Kenny G, Whitney Houston, Michael Bolton, and Céline Dion. Then things got interesting.

Earthier offerings such as Hootie & The Blowfish and Blues Traveler seemed to suddenly pop up out of nowhere. The runaway success of Tejano legend Selena, once relegated to the Latin world, began to pop up on mainstream charts. And Garth Brooks became an unlikely bellwether of things to come. His 1991 album, Ropin’ The Wind, released mere months after the implementation of SoundScan, marked the first time a country artist had hit No.1 on the Billboard 200 album chart.

Newcomers Billy Ray Cyrus and Tim McGraw soon followed, as did a palpable uptick in the interest of established artists (George Strait, Reba McEntire, Alan Jackson, Vince Gill, and Clint Black). And, in 1995, thanks to Shania Twain’s massive, multi-platinum The Woman In Me, country-pop became its own female-fronted genre dominated also by Dixie Chicks, Faith Hill, and LeAnn Rimes.

Hip-hop gets soulful

But Billboard’s new accounting actually had its greatest impact on R&B and hip-hop, revealing the two genres’ growing relationship with one another. The 90s kicked off with New Jack Swing in full effect, its most effective purveyors being Bell Biv DeVoe, Al B Sure, Keith Sweat, and Boys II Men. As New Jack Swing waned, R&B embraced a soul-and-groove sound typified by Janet Jackson, D’Angelo, Erykah Badu, Usher, Toni Braxton, and Mary J Blige.

But they had some competition. During the 90s, many rap acts were hitting not just the Hot 100 charts, but also Billboard’s R&B charts. This was helped by singers such as Lauryn Hill and TLC, who integrated hip-hop into their sounds. In particular, Mariah Carey’s 1995 collaboration with Ol’ Dirty Bastard on “Fantasy” became a defining moment in this crossover period in 90s music.

Hip-hop had become so pervasive because it was so dynamic; its growth spurt precipitated an intriguing assortment of subgenres. Public Enemy, Queen Latifah, Arrested Development, A Tribe Called Quest, Cypress Hill, and OutKast were waxing intellectually on social issues. And Public Enemy got alternative music’s seal of approval with Chuck D’s cameo on Sonic Youth’s “Kool Thing.” Some rappers, such as Salt-N-Pepa, MC Hammer, Coolio, Will Smith, and, later, Missy Elliot, focused on cutting anthemic jams primed for the pop charts. Others were grabbing the masses by the jugular.

When hip-hop took over

The decade started with gangsta-rap frenemies Ice Cube and Eazy-Eforging their own paths, with former NWA bandmate Dr. Dre innovating G-Funk through his monumental 1992 release, The Chronic. This evolved into an epic East Coast-West Coast feud (essentially, Bad Boy Records vs Death Row Records), during which time Warren G and Nate Dogg, Puff Daddy, Jay Z, Nas, Wu-Tang Clan, Busta Rhymes, Snoop Dogg, and Eminem all found fame. In fact, the latter’s Doggystyle became the first time an artist’s first album debuted at No.1. After the deaths of The Notorious B.I.G. and 2Pac, Nation Of Islam leader Louis Farrakhan held a peace summit in 1997, which ended in Cube and Common hugging it out.

Rap was little more peaceful and a lot more profitable after that. This watershed event in 90s music even primed the genre for the absolute dominance that we see today: a hip hop-led soundscape that’s a mash-up of rock, pop, and R&B. It isn’t one thing; it’s everything. And maybe that’s the true legacy of 90s music.

One-Hit Wonders

One last thing… As with any decade, there was also a treasure trove of one-hit wonders that arrived and slipped from the charts (at least) without a trace. Bookending the decade, you have Sinéad O’Connor’s “Nothing Compares 2 U” in 1990 and Lou Bega’s 1999 smash “Mambo No. 5.” The two seemingly have little in common except large sources of outside inspiration. O’Connor’s song is arguably one of the best ever Prince covers, while Bega’s tune sampled Latin music legend Perez Prado. And no survey of 90s music would be complete without a collection of 1997 gems: Natalie Imbruglia’s “Torn,” Chumbawumba’s “Tubthumping” (the “I get knocked down” song), and Hanson’s “MMMBop.” All of them may have been released in a single year, but they’ve endured far longer. – Sam Armstrong

The Beatles - Let It Be
The Beatles - Let It Be
Sours: https://www.udiscovermusic.com/stories/90s-music/
Late 90s Early 2000s Pop Hits Mix 🎵 Best Pop Songs of Late 90's Early 2000's

Highlights of Music of the ’90s

he 1990s were a golden age for all different genres of music. (Some may even consider it the last golden age of contemporary music!) We will explore the different styles that evolved during the decade, as well as some of the key musicians that made a significant impact.

The end of the 1980s was rife with hair metal bands, synth-heavy pop, rock and new wave groups and the newly emerging rap and hip-hop genres. While these styles may have spilled into the 1990s, many were replaced with genres that some people would say was a breath of fresh air when compared to their 1980s counterparts:

1. Grunge/Alternative Rock: It's hard to lump these two categories together, but they are nonetheless derivatives of rock music. Grunge music can be viewed as a slowed down and more melodic version of punk rock. It was very heavy sounding, with bands often tuning their guitars down a half or whole step. Alternative rock is a much broader term, often describing bands that didn't fit into the classic rock sound of the 60s and 70s. Famous grunge bands are Nirvana, Stone Temple Pilots, Soundgarden, and Alice in Chains. Pivotal alternative rock bands are Smashing Pumpkins, Nine Inch Nails, Pearl Jam, Bush, Green Day, No Doubt, Sublime, Alanis Morisette, Beck, REM and Red Hot Chili Peppers. (Note that some of these bands could fit into both categories!)

2. Pop: Pop music in the 90s took on many different sub-styles. There were the superstars from the 80s such as Madonna, Whitney Houston, and Michael Jackson. Those that rose to prominent fame in the 90s were Celine Dion, No Doubt (again, crossing genres), Sheryl Crow, Shania Twain, Duran Duran, Depeche Mode, Mariah Carey, Sinead O'Connor, Ace of Base, Jewel, and Paula Abdul. The 90s seemed to rely more on the traditional band setup, either favoring guitars over synthesized sounds, or incorporating the two in a more symbiotic way than the 80s. (Don't forget that some bands are the exception to this rule.)

3. Hip Hop/R&B: The 90s were truly the golden age of hip-hop. What was mainly an underground phenomenon in the 80s, blew up into a mainstream genre in the 90s. The rap superstars were Notorious B.I.G., Tupac, Public Enemy, Nas, Mos Def, LL Cool Jay, KRS-1, Ice Cube, Snoop Dogg, Dr. Dre, Jay-Z, A Tribe Called Quest. R&B champions were Toni Braxton, Mary J. Blige, Lauryn Hill, Aaliyah, R. Kelly, TLC, SWV, Bobby Brown, En Vogue, and Boyz II Men. The relatively more minimalist sample and synth-driven sounds of the 80s evolved into various types of styles in the 90s. Beats of the 90s used samples in very creative ways that weren't seen the decade before. Whereas lyrical content of the 80s was usually concerned with partying and having a good time, 90s lyrics could touch on deeper issues such as politics, race, and social problems of the day, while retaining the fun-loving aspect as well.

Sours: https://centerstagemusiccenter.com/highlights-of-music-of-the-90s/

Styles 90s music

Music Played in the 1990's Popular Music From the 90s

1990 - Vogue - Madonna, (-) Nothing Compares 2 U - Sinead O'Connor, (-) Ice Ice Baby - Vanilla Ice, (-) It Must Have Been Love - Roxette, (-) U Can't Touch This - MC Hammer

1991 - Losing My Religion - R.E.M., (-) Black or White - Michael Jackson, (-) Gonna Make You Sweat - C+C Music Factory, (-) Emotions - Mariah Carey, (-) Enter Sandman - Metallica

1992 - I Will Always Love You - Whitney Houston, (-) Smells Like Teen Spirit - Nirvana, (-) End of the Road - Boyz II Men, (-) Under the Bridge - Red Hot Chili Peppers, (-) Jump - Kris Kross

1993 - All That She Wants - Ace of Base, (-) Dreamlover - Mariah Carey, (-) That's The Way Love Goes - Janet Jackson, (-) What Is Love? - Haddaway, (-) Informer - Snow

1994 - All I Wanna Do - Sheryl Crow, (-) The Power of Love - Celine Dion, (-) I Swear - All-4-One, (-) Loser - Beck, (-) Zombie - The Cranberries

1995 - Gangsta's Paradise - Coolio, (-) Waterfalls - TLC, (-) Kiss from a Rose - Seal, (-) You Oughta Know - Alanis Morissette, (-) Take a Bow - Madonna

1996 - Wannabe - Spice Girls, (-) Macarena - Los Del Rio, (-) Killing Me Softly - The Fugees, (-) Wonderwall - Oasis, (-) Un-Break My Heart - Toni Braxton

1997 - Mmmmbop - Hanson, (-) Don't Speak - No Doubt, (-) Quit Playing Games - Backstreet Boys, (-) Men In Black - Will Smith, (-) Barbie Girl - Aqua

1998 - My Heart Will Go On - Celine Dion, (-) Believe - Cher, (-) The Boy Is Mine - Brandy & Monica, (-) Never Ever - All Saints, (-) Truly Madly Deeply - Savage Garden

1999 - Baby One More Time - Britney Spears, (-) Livin' La Vida Loca - Ricky Martin, (-) No Scrubs - TLC, (-) Genie in a Bottle - Christina Aguilera, (-) If You Had My Love - Jennifer Lopez

Sours: https://www.thepeoplehistory.com/90smusic.html
The Names of All The Music Genres

The 90’s was an era filled with all different genre’s of music. The early 90’s were dominated by Techno, and Hip-Hop. Night clubs, and bars blasted Techno, or house music through their speakers and listeners could get down and let go of their worries.

Hip-Hop was huge as well in the 90’s. Artists such as Ice Cube, Ice T, 2Pac, De La Soul, and Geto Boys ruled the sound waves with original hits throughout the 90’s. Ice T, from Newark, NJ was insanely successful in the 1990’s with albums such as “O.G. Original Gangster” and “Home Invasion” blasted off his career in the late 1980’s and continued to rule the Hip-Hop Scene. Ice T still makes a whopping $4,848,00.00 per year, leaving his net worth at $40 million dollars.

imgres-1imgres While Hip-Hop was still the most popular genre in the 90’s, a new type of alternative rock also made large impacts on listeners. Band’s like Nirvana reached out to teens across the world, and continued to keep rock music popular all the way through the 90’s into the 2000’s.

By the late 1990’s new forms of more Pop like songs began to get more and more popular. Bands like the Backstreet Boys and N’Sync began to rise. Teen girls across the world “fangirled” over boybands. Bands like these remained popular throughout the 90’s and the following 2000’s.

imgres-2The 90’s was a time for diversity, different music was listened to throughout the era and is still popular to this day.

This entry was posted in Uncategorized on by jrb6209. Sours: https://sites.psu.edu/jordynblompassion/2016/02/04/music-of-the-90s/

You will also be interested:

Music Styles, Bands And Artists over 90 years

2000's Music and top Hits

The music of the 2000's showcased a variety of genres and it reflected a great deal of the pop music that came from the nineties, with many of the same artists and bands remaining popular between the two decades. For a decade filled with much suffering in terms of the September 11th attacks, two wars in the Middle East, and an economic downturn, a lot of the music had to strike a fine balance between upbeat and optimistic while still reflecting the pain that many experienced. Some of the more popular genres of the decade included Dance-Pop, Indie Rock, and Emo.

Popular Genres: Dance-Pop, Indie Rock, Emo, Pop-Punk, Contemporary R&B, Hip-Hop, Reggaeton, Electronica, Hard Rock, Alternative Metal, New Wave Revival, Teen Pop, Boy Bands, Internet Stars, Disney Artists, Adult Contemporary, Country, Country-Pop, British Soul, Latin Pop

Popular Artists: Eminem, Sean Paul, Rihanna, Miley Cyrus, Jessica Simpson, Jennifer Lopez, Kanye West, Jay-Z, Beyonce, Taylor Swift, Blake Shelton, Miranda Lambert, Kelly Clarkson, Linkin Park, The Killers, Maroon 5, Alicia Keys, Outkast, Lady Gaga, Justin Timberlake, Britney Spears, Carrie Underwood, Christina Aguilera, Pink, Norah Jones, Coldplay, Shakira, Modest Mouse, The White Stripes, Death Cab for Cutie, Fall Out Boy, Paramore, Panic! At the Disco, Amy Winehouse, Joss Stone, Toby Keith, Kid Rock, Dixie Chicks, Destiny's Child, Leona Lewis, Flo Rida, The Jonas Brothers, Justin Bieber, Lady Gaga, Katy Perry, Avril Lavigne, Michelle Branch, The Shins, Blink-182, Staind, System of a Down, Korn

Popular Songs and Artists From The 2000's

2000: Stan - Eminem, () Music - Madonna, () Oops! I Did It Again - Britney Spears,

2001: Crawling - Linkin Park, () Drops of Jupiter - Train, () Fallin’ - Alicia Keys,

2002: A Moment Like This - Kelly Clarkson, () Youth of the Nation - P.O.D., () A Thousand Miles - Vanessa Carlton,

2003: Crazy In Love - Beyonce, () Cry Me A River - Justin Timberlake, () In Da Club - 50 Club,

2004: Yeah! - Usher () ft. Lil Jon, Hey Ya! - Outkast, () This Love - Maroon 5,

2005: We Belong Together - Mariah Carey, () Gold Digger - Kanye West, () Hollaback Girl - Gwen Stefani,

2006: Sexyback - Justin Timberlake, () Bad Day - Daniel Powter, () Hips Don’t Lie - Shakira,

2007: Beautiful Girls - Sean Kingston, () Umbrella - Rihanna, () Irreplaceable - Beyonce,

2008: Whatever You Like - T.I., () Low - Flo Rida, () I Kissed A Girl - Katy Perry,

2009: I Gotta Feeling - Black Eyed Peas, () Single Ladies - Beyonce, () Empire State of Mind - Jay-Z ft. Alicia Keys

2010: Bad Romance - Lady Gaga, () Love the Way You Lie - Eminem ft. Rihanna, () Tik Tok - Ke$ha,

2011: Born This Way - Lady Gaga, () Rolling in the Deep - Adele, () Firework - Katy Perry,

2012: Somebody That I Used to Know - Gotye, () Call Me Maybe - Carly Rae Jepsen, () We Are Young - fun ft. Janelle Monae,

2013: Locked Out of Heaven - Bruno Mars, () Royals - Lorde, () Wrecking Ball - Miley Cyrus,

2014: Happy - Pharrell Williams, () All About That Bass - Meghan Trainor, () Shake It Off - Taylor Swift,

2015: Love Me Like You Do - Ellie Goulding, () What Do You Mean? - Justin Bieber, () Can’t Feel My Face - The Weeknd,

2016: Hello - Adele, () One Dance - Drake, () Cheap Thrills - Sia,

2017: Bad and Boujee - Migos, () Shape of You - Ed Sheeran, () Bodak Yellow - Cardi B

Sours: https://www.thepeoplehistory.com/music.html

239 240 241 242 243