Important Acts

Phish technically formed in the early 80s but per their Wiki page didn’t start performing outside of New England until the end of that decade. I’m willing to bend the rules a bit to include them in the “important” list, because they’re arguably the biggest cult act of the last 30 years. Incidentally, they’re another act I’m not a huge fan of (though I did see them live back in 2004 and had a blast… I think).
Phish was also one of the first that came to mind. They may have grabbed the torch from the Dead, but that cult following is a phenomenon. Definitely the biggest band to have groups of fans that tour along with them across the country/world.

DMB could even be in this conversation. Such an infused fandom of hippies and frat boys that live for their love performances.
 
It's already been mentioned, but I think there's a lot of truth to the notion that many of the most influential artists at the time won't be the ones remembered.

I'm thinking of someone like Sarah McLaughlin, for instance. For the 90s her influence was massive and felt in so much of women led pop of the decade. But she's not maintained as prominent a place in the current zeitgeist.

And does important have to mean good? There were bands and trends in music that were massively influential, but they're not the ones we'd probably like to see remembered. Think of bands like Creed and Nickelback and how much they impacted the sound of mainstream rock radio for years. I'd say bands like Imagine Dragons and Awolnation wouldn't exist without them. But I don't personally care for maintaining any of their influence in the institutional history of music because I'm biased against them. Still maybe worth trying to discuss in an unbiased way.
Fair point on the influential doesn’t have to be good.
 
I think Rock & Roll’s decline will follow a similar tract as Jazz but on a much larger scale since Rock was way more popular at its peak.
Was it though? The consumption was different. Jazz was ubiquitous through the 50s really. It then became noodly elite music. I think rock just benefited from population, economy, and the proliferation of information. Soundscan didn’t exist… when does Billboard come into being?
 
Without VU we don't get Courtney Barnett today. Lou Reed's legacy remains.

I learned about George Clinton through We Want The Funk and I've never looked back.

But Prince made us look back and learn. A lot.

Nirvana taught us about the Meat Puppets. At some point we have to look at the bands that bring all this music knowledge forward.

The Amen break is quintessential to drum n' bass. The Funky Drummer break taken from James Brown is quintessential to hip hop. James Brown in his own right belongs to the list of important acts.

I keep up with NPR. All Songs Considered helps being fresh on new bands, new releases, new artists to be on the look out.

Popularity helps bring up the music that's buried deep. Would people know Son House without Jack White. Junior Kimbrough and R.L. Burnside without the Black Keys? We need entry point.

Alanis Morissete needs to be up there. Madonna too. Without Maverick Records (Madonna's label) we don't get Alanis. Without Madonna we don't get 90's pop. No Britney Spears or Christina Aguilera. We don't get anything without Michael Jackson either.

The book Meet Me In the Bathroom by Elizabeth Goodman touches on this. The Killers, Kings of Leon, the Yeah Yeah Yeah are all also part of that revival in the early 2000s.

Daft Punk should also be there as a band that pushes forward the art of sampling. The Prodigy too to some degree.

Korn, Linkin Park, Limp Bizkit, Slipknot pushed Nü Metal.

Again what keeps bringing me back to this forum. Who are GBV?! New rabbit hole to go in.
Sampling, we have to bring in DJ Shadow. His legacy overall is questionable but …entroducing is a touchstone. Now we get into the hyper influence influencing influencers. Without shadow we don’t get the invisible scratch picklz and no mix master mike reinvigorating the beasties
 
Was it though? The consumption was different. Jazz was ubiquitous through the 50s really. It then became noodly elite music. I think rock just benefited from population, economy, and the proliferation of information. Soundscan didn’t exist… when does Billboard come into being?

With singles billboard’s hit parade has been going since the mid 30s. But charts really took traction in the early to mid 50s when billboard expanded in prominence and the NME pioneered the UK singles chart.

Dunno with albums.
 
With singles billboard’s hit parade has been going since the mid 30s. But charts really took traction in the early to mid 50s when billboard expanded in prominence and the NME pioneered the UK singles chart.

Dunno with albums.
Not too different with albums. They started in the mid 40s, but took off in the mid 50s. But I don't think it was until the late 60s or early 70s that it turned into the format and tracking style we're probably most familiar with.

I used to really enjoy looking through old charts for music to check out, but after the 90s I thought it was mostly worthless for the kind of music I was interested in.
 
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Not too different with albums. They started in the mid 40s, but took off on the mid 50s. But I don't think it was until the late 60s or early 70s that it turned into the format and tracking style we're probably most familiar with.

I used to really enjoy looking through old charts for music to check out, but after the 90s I thought it was mostly worthless for the kind of music I was interested in.

Yeah the sales of singles also began to die around the millennium with downloading, first illegal and then legal, and then later streaming. The singles charts got pretty badly diluted by the addition of downloads, although without them they wouldn’t have existed I suppose, and then just lost all relevance once all streams were incorporated.
 
Guided By Voices are Dayton, OH’s preeminent Lo-Fi Rock band.

Their story is pretty interesting. Bob Pollard was a middle school teacher in his early 30’s who would record and get drunk with his friends in his basement for fun. They would record songs that are deeply indebted to 60s Brit Invasion Pop but most of their songs feel half finished (though the half that they finished was usually the best part) they developed a bit of a cult following and slowly grew more and more popular (largely driven by their epic live shows where Bob would play local bars like he was fronting The Rolling Stones. They would put out Bee Thousand where they kinda broke out in Alt/Indie circles Matador would rerelease it and they would spend the next decade releasing albums at a lightning quick speed. The original lineup would eventually all be replaced then rehired then replaced again. They even put out an album on a a major that was produced by Ric Ocasek.

They have released an intimidating amount of music at this point but I would say their run from Propeller Through Mag Earwig! Would be the best place to start exploring album wise.

I also have a decent GBV Spotify mix if you are interested…

One of these years I think "this is the year I get really into GBV outside of the popular albums" but then you check and see Robert Pollard has released 5 albums in one year and give up
 
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Was it though? The consumption was different. Jazz was ubiquitous through the 50s really. It then became noodly elite music. I think rock just benefited from population, economy, and the proliferation of information. Soundscan didn’t exist… when does Billboard come into being?
It probably depends on a few things but I would say Rock was more popular because of population, economy, and accessibility. If things were different and Jazz came later it’s possible that it could been just as or even more popular but as things sit in our current reality I would say It’s fairly likely that Rock music exceeded Jazz in popularity though it would be hard to quantify otherwise.
 
It's already been mentioned, but I think there's a lot of truth to the notion that many of the most influential artists at the time won't be the ones remembered.

I'm thinking of someone like Sarah McLaughlin, for instance. For the 90s her influence was massive and felt in so much of women led pop of the decade. But she's not maintained as prominent a place in the current zeitgeist.

And does important have to mean good? There were bands and trends in music that were massively influential, but they're not the ones we'd probably like to see remembered. Think of bands like Creed and Nickelback and how much they impacted the sound of mainstream rock radio for years. I'd say bands like Imagine Dragons and Awolnation wouldn't exist without them. But I don't personally care for maintaining any of their influence in the institutional history of music because I'm biased against them. Still maybe worth trying to discuss in an unbiased way.
Yeah, I think Sarah McLachlan really inspired a generation with the Lilith Fair tours.

I looked at AllMusic to see who they say was inspired by Oasis. Coldplay, One Direction AND Imagine Dragons are listed. Thank you, Oasis!
 
For me, the most important acts of the 90s who were widely influential is the Indigo Girls. They were inspired by Neil Young, Joni Mitchell and the Laurel Canyon scene but they were one of the first bands who were totally visible as queer artists unapologetically. I think their career was hurt by it but they paved the way for others.
 
I think these threads are fun when the takes are hot, so here's some hotter takes. Here's a few I think match the topic that I don't think were mentioned (if so, I apologize) - I would also second Kathleen Hanna/Bikini Kill, Eminem, Taylor Swift, and Beyonce - the latter three at least are absolute no doubters to me.

Usher

I think he’s the single biggest influence on the way pop music changed in the 2000s – at worst Top 3 in my view.

Leading into the 2000s, I think pop music was in a very weird spot. We were coming off the wave of very traditional young, sexy pop music combined with a splash of R&B and adult contemporary ballads. A peek at the #1 singles of 2000 is quite fun – there’s a run of pop princess Christina, sad boy pop Savage Garden, Mariah Carey, Lonestar, and Destiny’s Child. The shift begins a year later as R&B and hip-hop begin to show up way more often in more prominent radio spots, and Usher was at the helm of that with songs like U Remind Me, U Got It Bad, and U Don’t Have To Call – radio accessible R&B/hip hop infused music that could be played anywhere but broke out of the typical pop constructs a lot of musicians who wanted to be on mainstream radio got put into. You then began to see the shift – the biggest songs in the country weren’t bubblegum pop but rather radio-friendly rap and jams (except for the annual American Idol record). Then Yeah! Happened in 2004 when Usher was pretty much the only person on Radio – four number one singles in a year spanning 28 weeks with every song around him getting a little bit harder, a little big edgier, and even forcing some of the pop landscape to follow him (I don’t believe you get Hollaback Girl Gwen or Promiscuous Nelly Furtado without the Usher shift in market for instance). I think we're just recently starting to get out of the Usher realm in terms of pop music but the influences are all still there in some aspects - does The Weeknd have the pathway he has without Usher? I don't feel like he does.

Missy Elliott

There's a glass ceiling of sorts for women in a lot of genres. I think an entire segment of the hip-hop game is open due to the efforts Missy made behind the mic and at the soundboard. Queen Latifah preceded her of course but she had those undeniable, all-timer singles and actively worked with other talented women in the rap and R&B spheres to make their work better.

Outkast:

When I look at the popular music sphere today - you have substantial elements of artists who combine pop, R&B, hip-hop, and dance dominating the charts. They can take form in hugely different forms - I'd argue Harry Styles and Doja Cat do all of it and they are exceedingly different artists. Outkast was a pioneer in combining a slew of different elements (hip-hop, funk, jazz, pop) into music that was critically acclaimed and widely loved. They were essential, I think, in moving hip-hop beyond what it was in the mid-90s and even early 2000s and establishing that sweet spot for the genre in terms of the general music population

Rihanna:

Outside of being one of the five or so biggest pop stars of the past 30 years or so (imo), she's one of the most prominent in pioneering musicians utilizing different revenue streams. This obviously isn't new in itself - musicians have been used to promote and star in movies and side projects forever, but she owned it in a way that few have. Like many of the above she was a bridge artist that brought upon our current pop atmosphere, but you see a ton of prominent artists who own their merchandising and product production and media elements today in a way that wasn't done nearly as frequently before Rihanna took ownership on her end. Speaking of which...Kanye West. I can't stand the dude really...but any thread of important acts of the last 30 years has to include him from both a production and a promotional point of view.
 
Yeah, I think Sarah McLachlan really inspired a generation with the Lilith Fair tours.

I looked at AllMusic to see who they say was inspired by Oasis. Coldplay, One Direction AND Imagine Dragons are listed. Thank you, Oasis!
For me, the most important acts of the 90s who were widely influential is the Indigo Girls. They were inspired by Neil Young, Joni Mitchell and the Laurel Canyon scene but they were one of the first bands who were totally visible as queer artists unapologetically. I think their career was hurt by it but they paved the way for others.
Was 10,000 Maniacs before or after Indigo Girls? I think Indigo Girls did open the door for queer artists to come forward (Ani DiFranco, Meshell Ndgegeocello, k.d. lang (maybe she should be listed first??), Melissa Etheridge), but were the Maniacs influential as well?

 
For me, the most important acts of the 90s who were widely influential is the Indigo Girls. They were inspired by Neil Young, Joni Mitchell and the Laurel Canyon scene but they were one of the first bands who were totally visible as queer artists unapologetically. I think their career was hurt by it but they paved the way for others.
They were one of the first I thought of too, but I could be sure if my thinking of them and Mellissa Ethridge was just a result of living in Boulder for so many years. But I think they both were hugely influential in that decade and beyond.
 
I think these threads are fun when the takes are hot, so here's some hotter takes. Here's a few I think match the topic that I don't think were mentioned (if so, I apologize) - I would also second Kathleen Hanna/Bikini Kill, Eminem, Taylor Swift, and Beyonce - the latter three at least are absolute no doubters to me.

Usher

I think he’s the single biggest influence on the way pop music changed in the 2000s – at worst Top 3 in my view.

Leading into the 2000s, I think pop music was in a very weird spot. We were coming off the wave of very traditional young, sexy pop music combined with a splash of R&B and adult contemporary ballads. A peek at the #1 singles of 2000 is quite fun – there’s a run of pop princess Christina, sad boy pop Savage Garden, Mariah Carey, Lonestar, and Destiny’s Child. The shift begins a year later as R&B and hip-hop begin to show up way more often in more prominent radio spots, and Usher was at the helm of that with songs like U Remind Me, U Got It Bad, and U Don’t Have To Call – radio accessible R&B/hip hop infused music that could be played anywhere but broke out of the typical pop constructs a lot of musicians who wanted to be on mainstream radio got put into. You then began to see the shift – the biggest songs in the country weren’t bubblegum pop but rather radio-friendly rap and jams (except for the annual American Idol record). Then Yeah! Happened in 2004 when Usher was pretty much the only person on Radio – four number one singles in a year spanning 28 weeks with every song around him getting a little bit harder, a little big edgier, and even forcing some of the pop landscape to follow him (I don’t believe you get Hollaback Girl Gwen or Promiscuous Nelly Furtado without the Usher shift in market for instance). I think we're just recently starting to get out of the Usher realm in terms of pop music but the influences are all still there in some aspects - does The Weeknd have the pathway he has without Usher? I don't feel like he does.

Missy Elliott

There's a glass ceiling of sorts for women in a lot of genres. I think an entire segment of the hip-hop game is open due to the efforts Missy made behind the mic and at the soundboard. Queen Latifah preceded her of course but she had those undeniable, all-timer singles and actively worked with other talented women in the rap and R&B spheres to make their work better.

Outkast:

When I look at the popular music sphere today - you have substantial elements of artists who combine pop, R&B, hip-hop, and dance dominating the charts. They can take form in hugely different forms - I'd argue Harry Styles and Doja Cat do all of it and they are exceedingly different artists. Outkast was a pioneer in combining a slew of different elements (hip-hop, funk, jazz, pop) into music that was critically acclaimed and widely loved. They were essential, I think, in moving hip-hop beyond what it was in the mid-90s and even early 2000s and establishing that sweet spot for the genre in terms of the general music population

Rihanna:

Outside of being one of the five or so biggest pop stars of the past 30 years or so (imo), she's one of the most prominent in pioneering musicians utilizing different revenue streams. This obviously isn't new in itself - musicians have been used to promote and star in movies and side projects forever, but she owned it in a way that few have. Like many of the above she was a bridge artist that brought upon our current pop atmosphere, but you see a ton of prominent artists who own their merchandising and product production and media elements today in a way that wasn't done nearly as frequently before Rihanna took ownership on her end. Speaking of which...Kanye West. I can't stand the dude really...but any thread of important acts of the last 30 years has to include him from both a production and a promotional point of view.
Definitely agree with Missy Elliot, and Queen Latifah too (even though her influence was less in terms of the sound than for women in hiphop in general, whereas I think ME was the more influential for her sound too).
 
Was 10,000 Maniacs before or after Indigo Girls? I think Indigo Girls did open the door for queer artists to come forward (Ani DiFranco, Meshell Ndgegeocello, k.d. lang (maybe she should be listed first??), Melissa Etheridge), but were the Maniacs influential as well?

10,000 Maniacs started in 81 and Indigo Girls in 85, and while I think 10,000 Maniacs are absolutely an influential band, I think they were influential in an almost entirely different scene than Indigo Girls.
 
10,000 Maniacs started in 81 and Indigo Girls in 85, and while I think 10,000 Maniacs are absolutely an influential band, I think they were influential in an almost entirely different scene than Indigo Girls.
Yeah, I feel like they were both influential in different ways, just trying figure out how, musically speaking anyways.
 
10,000 Maniacs started in 81 and Indigo Girls in 85, and while I think 10,000 Maniacs are absolutely an influential band, I think they were influential in an almost entirely different scene than Indigo Girls.
k.d. lang was probably first since her first album was in 1984. She was a queer artist making country music in 1984! She eventually moved to different genres and I would guess that the reception she got on country radio was part of that.

The Indigo Girls were nominated for a best new artist Grammy for their first album.

It’s funny to now think that Melissa Etheridge “came out” on her forth album. I think it’s more of a non-event these days because of IG, kd, and Melissa and others like Andy Bell of Erasure.


This made me think of Sparks and Momus. I have to write them up now.
 
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