Top 82 Music Albums of the 1990s by 
DriftingOrpheus 
- Chart updated: 04/04/2024 18:45
- (Created: 04/03/2020 23:46).
- Chart size: 82 albums.
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Where is the appropriate point of origin? How does one begin eloquently without bellowing out praise like a music-snobbed elitist hell-bent on hard-headedness of musical appreciation. OK Computer's coronation may send shivers down the spines of readers who watch it litter charts all across the platform, a sentiment felt by frontman Thom Yorke, who tries to downplay the record's place in music history in an effort of self-conscious humility. Never one to be put in a creative box, Yorke refuses to be defined by one album and he's surely not. This list is not one of objective knighting, but rather a reflection of the records that reside the deepest in my heart, regardless if many minds consider this to be the greatest album ever constructed. To this point, this listener wouldn't argue, but still, in the context of this chart, such clearly-defined praise would only cheapen the work. In most instances, I derive satisfaction from dissecting each of my favorite albums down to the bone marrow and the negative space between each line of prose. However, OK Computer escapes classification and remains without a need for any sort of justification. The record declares more than any aficionado could hope to. In many ways, OK Computer warns against the monotony of modern times and times to come, but still the album comes home every night, reliable as ever.
Plastered upon its face, an illustration of intersecting pavement in Hartford, Connecticut, far from the homes of the boys who formed in Abingdon, Oxfordshire. For many, OK Computer is a road map, a canal en route to lovely musical landmarks that both influenced and took inspiration from the seminal album. For me, it's not OK Computer's futuristic motifs, slick guitar lines or harmonic prowess that take the cake. It's the intangible wonder of an album so meticulously crafted to the note and the product of a quintet so acutely dialed in to the very limit of human feasibility. The emotional response that wells up from within during each and every listening experience is paramount and the philosophical resonances never cease to astonish. In an age where resistance to a popular opinion is so prevalent, I'd have every reason in the world to dismiss OK Computer, to liken its listeners to a brand of entry-level beginners to the world of critically acclaimed music, and yet, the album dazzles each and every time. It's adorned in a luster than cannot be eroded by the years or a position on a slapdash, 'Buzzfeed' hot-take list. Despite its warnings that ring truer by the day, the album no longer "stands" for anything and concurrently "represents" nothing. Some like to erroneously place it within a gift-wrapped package labeled "1990's time capsule". They fail to realize that the album belongs to no period of history as its resonance would be seismic during any era. It isn't the champion of any aristocratic sub-culture, as masses of people from all walks of life can be heard singing Karma Police's chorus in physical and spiritual unison. OK Computer is native only to the air it occupies and to the millions it continually enchants. It sounds just as alien today as it did in 1997 while simultaneously swelling, softening and transmitting from some distant, undiscovered galaxy.
"This is my final fit, my final bellyache. With no alarms and no surprises..."
- No Surprises
Standout Tracks:
1. No Surprises
2. Let Down
3. Paranoid Android
102.7 [First added to this chart: 04/25/2020]
Plastered upon its face, an illustration of intersecting pavement in Hartford, Connecticut, far from the homes of the boys who formed in Abingdon, Oxfordshire. For many, OK Computer is a road map, a canal en route to lovely musical landmarks that both influenced and took inspiration from the seminal album. For me, it's not OK Computer's futuristic motifs, slick guitar lines or harmonic prowess that take the cake. It's the intangible wonder of an album so meticulously crafted to the note and the product of a quintet so acutely dialed in to the very limit of human feasibility. The emotional response that wells up from within during each and every listening experience is paramount and the philosophical resonances never cease to astonish. In an age where resistance to a popular opinion is so prevalent, I'd have every reason in the world to dismiss OK Computer, to liken its listeners to a brand of entry-level beginners to the world of critically acclaimed music, and yet, the album dazzles each and every time. It's adorned in a luster than cannot be eroded by the years or a position on a slapdash, 'Buzzfeed' hot-take list. Despite its warnings that ring truer by the day, the album no longer "stands" for anything and concurrently "represents" nothing. Some like to erroneously place it within a gift-wrapped package labeled "1990's time capsule". They fail to realize that the album belongs to no period of history as its resonance would be seismic during any era. It isn't the champion of any aristocratic sub-culture, as masses of people from all walks of life can be heard singing Karma Police's chorus in physical and spiritual unison. OK Computer is native only to the air it occupies and to the millions it continually enchants. It sounds just as alien today as it did in 1997 while simultaneously swelling, softening and transmitting from some distant, undiscovered galaxy.
"This is my final fit, my final bellyache. With no alarms and no surprises..."
- No Surprises
Standout Tracks:
1. No Surprises
2. Let Down
3. Paranoid Android
102.7 [First added to this chart: 04/25/2020]
Year of Release:
1997
Appears in:
Rank Score:
76,837
Rank in 1997:
Rank in 1990s:
Overall Rank:
Average Rating:
Comments:
841
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Radiohead were an entirely different beast in 1995. Long before they were gray-bearded and critically adored, they were fresh off the heels of an introductory effort that was met with a lukewarm reception, noted only for its lead single to which the last fleeting grunge aficionados clung to with vigor. Pablo Honey has now gone on to gather a cult following in the wake of more complimentary retrospective reviews, but what they would produce next would shape the trajectory of their careers for years to come. The Bends is an easily discernible maturation for the group as the songwriting becomes more poignant and the musicianship undergoes a colossal leap forward. It was in the finest details of The Bends where the band had carved out their sound and, more importantly, their confidence.
While examining the title track, The Bends, the two-headed monster of guitar fury is let loose as Jonny Greenwood and Ed O'Brien flourish their talents all throughout a track named after a sensation caused by gas-infused bubbles in the blood. However, the concepts communicated in the song deal with fair-weather friends riding the band's coattails into stardom and knowing who the true confidants are. The conclusion is drawn by Thom Yorke himself who snarls, "We don't have any real friends". Fourth track Fake Plastic Trees goes down as an early era anthem of rejection for the band, serving as a wiser, more contemplative Creep evolution. Working both as a blistering assessment of consumerism in modern society and as Yorke's own disillusion towards the porcelain nature of his experiences of human interaction, particularly those with the opposite sex. The song delicately unfolds before crashing thunderously with guitar hits subbing for lightning. The track softly recoils as Yorke sorrowfully ponders, "If I could be who you wanted, all the time". This was, for lack of a better term, a "grown up" piece for the band and it was also the moment of discovery for Yorke's own lyrical voice. Closing cut Street Spirit (Fade Out) sculpts out a place alongside other Radiohead classics with an emotional weight not yet produced by the group. Commencing with a guitar hook that could inspire ominous dread within Satan himself, the track explores nihilistic motifs and the chilling-certainty of life's short duration. Yorke has even claimed that "it hurts like hell to play" and likened it to "staring the Devil in the eyes". The backing vocal harmony during the second half beseeches images of wandering souls lost in transit as the frontman begs those who listen to "immerse your soul in love". Street Spirit (Fade Out) serves as a proper creative zenith for the band, acting almost as a baptism into a higher consciousness of musical inspiration for the English quintet.
In May of 1997, Radiohead would go on to release the seminal OK Computer and the rest, as they say, is history. For all of OK Computer's ingenuity and attention to detail, the seeds for the album were really sown two years earlier on The Bends. The 1995 effort often draws the short straw when most recall Radiohead's most polished discography entries. It's easy to overlook the stratospheric ascent in dynamism between the band's first and second LPs. The Bends enjoyed a mostly cordial reception by critics but few could be astute enough to cite the album as the birthing of a modern music legend. The pyramid of what we now know as Radiohead was still being built, and the blocks of stone at the foundation are just as important as the ones that sit atop them.
"Faith, you're driving me away,
You do it every day,
You don't mean it, but it hurts like hell,
My brain says I'm receiving pain,
A lack of oxygen,
From my life support, my iron lung."
-My Iron Lung
Standout Tracks:
1. Street Spirit (Fade Out)
2. Fake Plastic Trees
3. (Nice Dream)
94.8 [First added to this chart: 04/25/2020]
While examining the title track, The Bends, the two-headed monster of guitar fury is let loose as Jonny Greenwood and Ed O'Brien flourish their talents all throughout a track named after a sensation caused by gas-infused bubbles in the blood. However, the concepts communicated in the song deal with fair-weather friends riding the band's coattails into stardom and knowing who the true confidants are. The conclusion is drawn by Thom Yorke himself who snarls, "We don't have any real friends". Fourth track Fake Plastic Trees goes down as an early era anthem of rejection for the band, serving as a wiser, more contemplative Creep evolution. Working both as a blistering assessment of consumerism in modern society and as Yorke's own disillusion towards the porcelain nature of his experiences of human interaction, particularly those with the opposite sex. The song delicately unfolds before crashing thunderously with guitar hits subbing for lightning. The track softly recoils as Yorke sorrowfully ponders, "If I could be who you wanted, all the time". This was, for lack of a better term, a "grown up" piece for the band and it was also the moment of discovery for Yorke's own lyrical voice. Closing cut Street Spirit (Fade Out) sculpts out a place alongside other Radiohead classics with an emotional weight not yet produced by the group. Commencing with a guitar hook that could inspire ominous dread within Satan himself, the track explores nihilistic motifs and the chilling-certainty of life's short duration. Yorke has even claimed that "it hurts like hell to play" and likened it to "staring the Devil in the eyes". The backing vocal harmony during the second half beseeches images of wandering souls lost in transit as the frontman begs those who listen to "immerse your soul in love". Street Spirit (Fade Out) serves as a proper creative zenith for the band, acting almost as a baptism into a higher consciousness of musical inspiration for the English quintet.
In May of 1997, Radiohead would go on to release the seminal OK Computer and the rest, as they say, is history. For all of OK Computer's ingenuity and attention to detail, the seeds for the album were really sown two years earlier on The Bends. The 1995 effort often draws the short straw when most recall Radiohead's most polished discography entries. It's easy to overlook the stratospheric ascent in dynamism between the band's first and second LPs. The Bends enjoyed a mostly cordial reception by critics but few could be astute enough to cite the album as the birthing of a modern music legend. The pyramid of what we now know as Radiohead was still being built, and the blocks of stone at the foundation are just as important as the ones that sit atop them.
"Faith, you're driving me away,
You do it every day,
You don't mean it, but it hurts like hell,
My brain says I'm receiving pain,
A lack of oxygen,
From my life support, my iron lung."
-My Iron Lung
Standout Tracks:
1. Street Spirit (Fade Out)
2. Fake Plastic Trees
3. (Nice Dream)
94.8 [First added to this chart: 04/25/2020]
Year of Release:
1995
Appears in:
Rank Score:
33,182
Rank in 1995:
Rank in 1990s:
Overall Rank:
Average Rating:
Comments:
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89.8
[First added to this chart: 04/25/2020]
Year of Release:
1996
Appears in:
Rank Score:
2,570
Rank in 1996:
Rank in 1990s:
Overall Rank:
Average Rating:
Comments:
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87.2
[First added to this chart: 06/10/2020]
Year of Release:
1998
Appears in:
Rank Score:
5,607
Rank in 1998:
Rank in 1990s:
Overall Rank:
Average Rating:
Comments:
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87
[First added to this chart: 07/18/2022]
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86.5
[First added to this chart: 01/05/2022]
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85.4
[First added to this chart: 06/17/2020]
Year of Release:
1993
Appears in:
Rank Score:
12,300
Rank in 1993:
Rank in 1990s:
Overall Rank:
Average Rating:
Comments:
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85.3
[First added to this chart: 01/11/2022]
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84.4
[First added to this chart: 04/27/2020]
Year of Release:
1992
Appears in:
Rank Score:
7,293
Rank in 1992:
Rank in 1990s:
Overall Rank:
Average Rating:
Comments:
Buy album
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83.9
[First added to this chart: 09/01/2021]
Year of Release:
1994
Appears in:
Rank Score:
3,909
Rank in 1994:
Rank in 1990s:
Overall Rank:
Average Rating:
Comments:
Total albums: 20. Page 1 of 2
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Top 82 Music Albums of the 1990s composition
| Year | Albums | % | |
|---|---|---|---|
 |
 |
|
|
| 1990 | 0 | 0% | |
| 1991 | 6 | 7% | |
| 1992 | 5 | 6% | |
| 1993 | 6 | 7% | |
| 1994 | 12 | 15% | |
| 1995 | 9 | 11% | |
| 1996 | 12 | 15% | |
| 1997 | 13 | 16% | |
| 1998 | 9 | 11% | |
| 1999 | 10 | 12% |
| Artist | Albums | % | |
|---|---|---|---|
|
|
 |
|
|
| フィッシュマンズ [Fishmans] | 10 | 12% | |
| Swans | 5 | 6% | |
| Aphex Twin | 4 | 5% | |
| Radiohead | 3 | 4% | |
| Autechre | 3 | 4% | |
| Björk | 3 | 4% | |
| Tom Waits | 3 | 4% | |
| Show all | |||
| Country | Albums | % | |
|---|---|---|---|
|
|
|
|
|
| |
33 | 40% | |
 |
20 | 24% | |
 |
11 | 13% | |
 |
6 | 7% | |
 |
4 | 5% | |
 |
2 | 2% | |
 |
2 | 2% | |
| Show all | |||
Top 82 Music Albums of the 1990s chart changes
| Biggest climbers |
|---|
| Up 7 from 71st to 64th New Mother by Angels Of Light |
| Biggest fallers |
|---|
| Down 1 from 64th to 65th Punk In Drublic by NOFX |
| Down 1 from 65th to 66th Debut by Björk |
| Down 1 from 66th to 67th Zauberberg by Gas |
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DriftingOrpheus (2024)Top 82 Music Albums of the 1990s ratings
89/100 (from 5 votes)
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N.B. The average rating for this chart will not be reliable as it has been rated very few times.
Showing all 5 ratings for this chart.
| Rating | Date updated | Member | Chart ratings | Avg. chart rating |
|---|---|---|---|---|
 90/100  | 07/20/2021 15:03 |  Larcx13 | | 86/100 |
| 100/100 | 04/28/2021 19:07 |  Rhyner | | 99/100 |
| 95/100 | 11/10/2020 04:28 | leniad | | 85/100 |
| 100/100 | 11/08/2020 23:17 | DJENNY | | 100/100 |
| 90/100 | 04/28/2020 06:45 |  desh79 | | 93/100 |
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95/100
From leniad 11/10/2020 04:28
rexcellent selectios
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