90's Music

https://en.wikipedia.org/wiki/KatieJane_Garside

Garside has been noted throughout her career for her raucous, "carnivalesque" live performances.[56] Describing her in 1999, the Evening Standard wrote: "With her eerie voice and piercing eyes, Garside is one of the scariest women in alternative music."[4] While in Daisy Chainsaw, she engaged in spectacles such as drilling doll heads onstage and drinking juice out of baby bottles.[62] The group's raucous concerts would sometimes result in Garside performing self-mutilation onstage.[63] Russell Senior, guitarist of Pulp, recalled that at one 1989 concert in London, Garside wrapped the microphone cord so tightly around her neck onstage that she lost consciousness, and the show had to be ended early.[64]

Commenting on live performances, she said in 2002: "I know what turns me on, and it's that fine line, that point where you're falling off the edge of a cliff, where your stomach turns, I'm always trying to find that point in music. You rarely hit it, and again, that's the joy of playing live, because there you can be just at that point where you've lost balance. I'm always walking between polarities, trying to find the opposing sides."[34] In her early career, Garside's stage presence was noted by critics for its disheveled appearance, marked by torn clothing and her body covered in dirt.[65] Caroline Sullivan of The Guardian writing in 1992: "In clinical terms, Garside is probably no loopier than Belinda Carlisle, but her fizzing nervousness imparts a sense of great fragility, and her candour is almost embarrassing."[65]

Despite her often animated and aggressive performances, Garside has admitted to having stage fright, particularly in her early career: "I feel things really intensely, and the absolute horror of walking onstage—you know, that sort of sense of exposure and being on a precipice...it just flicked a switch in me... if I got out of my own way and stopped trying to try, I just had access to a big 'let[ting] go.'"[66] In a 2003 interview, she elaborated:

I think taking the stage is one of the most unnatural things anyone can do. In a way, just walking on stage actually creates an altered state—it's not right, no one's meant to do that, unless you're a priest or a magician, or something like that. To put somebody who's very incapable in many ways in to that position creates a combustion reaction inside me. I know that, and I take the stage knowing that... The beauty of playing live is when my drummer goes in to 5th gear or in to 10th gear, and for some reason there's something that hits me in the base of the spine and I'm gone, and that's Hallelujah for me.[67]

I can’t recall if I posted this one already. One of my favorite too fighter songs that kind of flew under the radar for a lot of people.

A very, very underrated album that is easily listened to from front to back.

The original vocalist unfortunately died after this singular album release, and I don't think they had the same oomph after.

The idea for the song came about when the Fairbrass brothers were running a gym in London where, according to Richard, there was "lots of narcissism and posing". One day, he took his shirt off and started singing "I'm too sexy for my shirt" in front of a mirror as a joke. The band originally recorded it as an indie rock song.

It was rejected by multiple record companies before they played it to radio plugger Guy Holmes. He was initially unimpressed after playing it on his car stereo, but his passengers latched onto the song's "I'm a model, you know what I mean" hook and Holmes asked the band if they could rework it as a dance track.

DJ TommyD, an acquaintance of Richard Fairbrass, programmed electronics around the original vocal, whilst guitarist Rob Manzoli added a riff borrowed from the Jimi Hendrix song "Third Stone from the Sun".[5]

... "I'm Too Sexy" was successful on the singles charts worldwide, becoming a hit on several continents.

https://en.wikipedia.org/wiki/I%27m_Too_Sexy

Attrell "Prince Be" Cordes told in an interview about the song's conception, "I have to like a song before I can deal with it, the music comes first. I've always liked that Spandau Ballet song, it's so dreamy and trance-like, so when I came to deal with it, I knew I'd be daydreaming along to that one. 'Set Adrift' was so obvious to do: have the Spandau Ballet loop in there and a few other things, and dress it up a bit. That was all that was necessary." ...

Alan Jones of Music Week named it Single of the Week, commenting, "A brilliant soundscape starts with some nice vocal work, followed by the drum track from Dennis Edwards' "Don't Look Any Further" before Spandau Ballet's "True" leads into a mellow rap. A serene summer smash."[10] A reviewer from Newcastle Evening Chronicle described it as a "dreamy rap song".[11] Johnny Dee from Smash Hits named it Single of the Fortnight, calling it the "dreamiest, most laid-back record ever invented." He added, "Quite what lyrics like "rubber bands expand in a frustrating sigh" mean is a total mystery, but if ever a record could be described as — aherm — like being massaged by a bag of marshmallows, then this is it. Melt city!"[12] While reviewing Of the Heart, of the Soul and of the Cross: The Utopian Experience, the magazine's Gary Kipper stated that the song "is, of course, one of the most summery records ever made".[13] Jonathan Bernstein from Spin wrote, "The hit track, the play track, the ultimate "Huh?" inducer, "Set Adrift on Memory Bliss" is a classic of languid lassitude. Deadpan as De La doing "West End Girls", "Memory" opens with a laconically drawled "The camera pans the cocktail glass behind a blind of plastic plants" and just gets better from there."

https://en.wikipedia.org/wiki/Set_Adrift_on_Memory_Bliss

Sung by Paul "Pee-wee Herman" Reubens, Catherine O'Hara (the mother in "Home Alone") and Danny Elfman

https://en.wikipedia.org/wiki/The_Nightmare_Before_Christmas_(soundtrack)

https://en.wikipedia.org/wiki/Regret_(New_Order_song)

I would like a place I could call my own
Have a conversation on the telephone
Wake up every day that would be a start
I would not complain about my wounded heart

Just wait till tomorrow
I guess that's what they all say
Just before they fall apart

"God Rest Ye Merry Gentlemen"/"We Three Kings" (originally recorded backstage at WPLT Planetfest, August 1996)

I recently got to see her live in concert 🤩 This is one of my favourites of hers from the 90s

"It's in your look there's no doubt I know exactly what it's all about It's not what you say I'm listening to like the air around us I can see straight through to your real intention what you really mean hidden in the silence in the space between you take advantage I'm not taking that I've made my move - it's a counter act

It's a cold limp hand in an open palm it's putting poison in the healing balm it's eyes that look all around the room when to whom you're talking's right in front of you the words you use never break the ice you take what's yours then another slice you take advantage I'm not taking that I've made my move - it's a counter act

Let's make it clear there's no time for placing curves on a smooth straight line the shades of grey only make a haze turn a simple path into a complex maze standing people up just to knock them down keeps the vicious circle turning round and round you take advantage I'm not taking that I've made my move - it's a counter act"