This week In ’90s Throwback’ 02/52

1 . David Bowie & Robert Smith . The Last Thing You Should Do

David Bowie’s “The Last Thing You Should Do,” lifted from his 1997 album *Earthling*, is a jagged cocktail of drum ‘n’ bass rhythms and rock undercurrents—a sonic experiment where existential dread meets breakneck beats.

While it wasn’t carved out for the charts as a standalone single, it bypassed its original B-side fate, earning a full feature on the album, likely because Bowie leaned into his whims rather than conventional wisdom.

Thematically, it plays like a warning note to oneself, grappling with self-destructive tendencies amid flickering moments of introspection.

The production is quintessential late-’90s Bowie—chaotic yet meticulous—crafted alongside Reeves Gabrels and Mark Plati, with percussion loops that feel both contemporary to its era and eerily timeless.

What elevates the track in Bowie lore is the live duet with The Cure’s Robert Smith during Bowie’s 50th birthday bash at Madison Square Garden.

Smith’s ethereal presence paired surprisingly well with Bowie’s raw propulsion, creating a one-night-only rendition full of reverberating melancholy.

Despite the absence of an official video or widespread airplay, the song had its moment in his Earthling Tour, further cementing its purpose as album glue rather than a hitmaker.

Lifted from : Robert, Lou, Foo et al sit in with David Bowie for his 50th Birthday (1997)

2 . Metallica . Battery

Opening with a 36-second acoustic guitar intro, “Battery” wastes no time luring listeners into a false sense of calm before unleashing the blistering fury of thrash metal that defined Metallica’s 1986 masterpiece, *Master of Puppets.*

The song’s theme revolves around anger management, the unity of the metal community, and the chaotic energy of San Francisco’s thrash scene—the latter immortalized in its namesake nod to the Old Waldorf club on 444 Battery Street.

Composed in E minor, the track seamlessly shifts from classical-style nylon strings to ferocious down-picked riffs, a stylistic juxtaposition that became Metallica’s signature. Blunt and unrelenting, its lyrics mirror the music’s explosive nature, celebrating the raw power of resilience and aggression.

Performed live for the first time in March 1986, it became a concert staple, with unforgettable renditions like the one captured in San Diego for *Live Shit: Binge & Purge* in 1992. More recently, die-hard fans would recognize its enduring appeal in 2024 setlists across Mexico City and Edmonton.

Lifted from : Metallica serenade Sacramento (1992)

3 . Nirvana . School

Released in 1989 as part of Nirvana’s debut album *Bleach*, “School” channels frustration into a dense, grungy howl against the confines of institutional and social conformity.

Produced by Jack Endino under the scrappy Sub Pop label, its raw aesthetic perfectly embodies the grunge ethos—unpolished, abrasive, and unapologetically discontented.

With only ten unique words in its lyrics, the song speaks volumes by leaning on repetition and raw emotion, a minimalist manifesto that’s almost punk in its defiance.

The track isn’t just about literal schooling; it’s a cri de coeur against high school-like hierarchies that persist well into adult life, mirroring a systemic disdain for shallow societal expectations.

Live versions, like the memorable Paramount Theatre performance on Halloween 1991, stretched its length with improvisational grit, giving the audience a taste of catharsis wrapped in Cobain’s uncontainable fury.

No glossy music video was produced—how could there be? “School” wasn’t built for preening; it was built to seethe.

Lifted from : Nirvana occupy MTV studios (1992)

4 . Blur . Beetlebum

When Blur released “Beetlebum” in 1997, it was a calculated left turn, shedding the cockney cheer of *Parklife* for something murkier and curiously introspective.

The track, from their self-titled album, fuses lush Beatles-inspired melodies with a sharper pop-rock edge, as Damon Albarn mutters and soars through a layered ode teetering between love and the cascading haze of addiction.

The title is slippery—possibly a nod to “chasing the beetle,” a rumored euphemism for heroin use, though the band keeps things teasingly opaque, refusing to spoon-feed interpretation.

Stephen Street’s pristine production keeps the elements in sync: a slinking bassline, hypnotic guitar lines, and Albarn’s worn-thin drawl, which feels lethargic but also strangely magnetic.

Then there’s the chart performance—debuting at #1 in the UK despite skepticism that it was too subdued for the Britpop zeitgeist.

Sophie Muller’s video, with its band-in-a-tower isolation aesthetic and hypnotic zoom effects, contrasts performance with detachment, mirroring the song’s tension between intimacy and ennui.

Culturally, “Beetlebum” signaled a weariness with ’90s Britpop’s excess—a track that sounded like a hungover reflection rather than a loud anthem.

It’s an itch to abandon expectation, wrapped in hazy guitars and plaintive vocals, all while winking at its Beatles influence without kowtowing to it.

Lifted from : On TV today, Blur at ‘TOTP’ (1997)

5 . Foo Fighters . My Hero

Foo Fighters’ “My Hero,” released in 1997 as part of *The Colour and the Shape,* is less an anthem for rock stardom and more a love letter to unsung, ordinary heroes.

The song’s punchy alternative rock style is adorned with Dave Grohl’s signature raw vocals and dynamic drum beats—two intertwined rhythm patterns that bring both urgency and depth.

Often misinterpreted as a tribute to Kurt Cobain, Grohl has clarified that its focus lies on celebrating everyday acts of heroism that rarely take the spotlight.

Produced by Gil Norton, the polished yet emotionally resonant track cracked Billboard’s Alternative Songs chart at number six, providing a rare fusion of universality and blistering energy that caught ears far and wide.

A cultural mainstay, its music video, directed by Grohl himself, showcases a gripping visual narrative of a man running into a burning building to rescue others, underlining the profound heroism in selfless actions.

Even years later, the song earns a fresh emotional weight—most notably when Grohl performed it alongside Taylor Hawkins’ son, Shane, in 2022 at Wembley Stadium, a poignant tribute to the late drummer.

In live performances, it brings a communal release, a moment of collective resonance, and perhaps a reminder that not all heroes are destined for statues or headlines.

Lifted from : As we wish Dave Grohl . Happy Birthday, the day is perfect for . ‘Foo Fighters At Their Bests’ post

6 . Dave Matthews Band . Crash Into Me

Released in 1996 as part of the “Crash” album, *Crash Into Me* by Dave Matthews Band is both a fan-favorite and an oddity in the rock genre of its era.

Opening with its signature acoustic riff, the song weaves a hauntingly melodic tapestry that is equal parts sensual and unsettling.

The lyrics, written from the point of view of a voyeuristic narrator, toe the line between romantic yearning and borderline obsession, creating a tension that’s difficult to shake off.

Steve Lillywhite’s production amplifies these nuances, balancing lush instrumentation with an intimate vocal delivery from Dave Matthews himself.

The song quickly climbed to No. 7 on the U.S. Billboard Modern Rock Tracks chart in March 1997, solidifying its presence in ’90s rock playlists.

Its thematic undercurrent might raise an eyebrow—or both—but this hasn’t stopped it from becoming a wedding playlist staple, an irony that feels almost too cinematic to believe.

Crash Into Me has appeared in cultural moments like the film *Lady Bird,* where its nostalgic pull is practically weaponized to evoke teen angst and longing.

Despite, or perhaps because of, its unsettling premise, the track remains a defining piece of Dave Matthews Band’s catalog, often heralded for its live performances, including the celebrated “Live at Luther College” recording from 1996.

Lifted from : As we wish Dave Matthews, . Happy Birthday, let us have . ‘Dave Matthews Band At Their Bests’ post

7 . Rage Against The Machine . Fistfull Of Steel

In “Fistful of Steel,” Rage Against the Machine delivers a razor-sharp anthem steeped in their signature rap-metal fusion.

Released in 1992 on the band’s explosive self-titled debut album, the track slams listeners with unapologetic defiance, questioning oppressive power structures and unmasking societal hypocrisies.

Driven by Zack de la Rocha’s incisive vocals and Tom Morello’s inventive guitar techniques—complete with piercing feedback and otherworldly effects—the song carves its message into the ears and minds of its audience.

While the album climbed to a respectable number 45 on the US Billboard 200, this track never charted individually, solidifying its status as a hidden gem that encapsulates the band’s unfiltered ethos.

Thematically, “Fistful of Steel” champions the act of dissent, urging listeners to speak out against the status quo, even in a world riddled with duplicity and suppression.

Produced by Garth Richardson and released via Epic Records, the track lacks a stand-alone music video, but its visceral energy more than compensates.

Though often eclipsed by more commercially prominent tracks from the same album, “Fistful of Steel” remains a live-performance staple, inciting crowds with its raw call to action.

Particularly memorable was its incendiary outing at the 1994 Pinkpop Festival, where the ferocity of the band’s delivery echoed their message of resistance.

Lifted from : As we wish today Zach de la Rocha, . Happy Birthday, the time is perfect for . ‘Rage Against the Machine At Their Bests’ post

8 . Jimmy Page & Puff Daddy . Come With Me

Released in 1998 as part of the *Godzilla: The Album* soundtrack, “Come With Me” is Puff Daddy’s foray into rap rock, featuring the legendary Jimmy Page of Led Zeppelin fame.

A collaboration of this sort was always bound to raise eyebrows, especially as it heavily samples Led Zeppelin’s “Kashmir”—a sacred cow in rock’s pantheon.

The track fuses dramatic orchestral elements with Page’s live guitar and Puff Daddy’s signature 90s production style, courtesy of Sean “Puffy” Combs himself.

If that wasn’t enough, Rage Against the Machine’s Tom Morello discreetly lent additional guitar work to the mix, making this something of a multi-genre spectacle.

The thematic backdrop is destruction and power, mirroring the chaos of *Godzilla* while managing to feel oddly self-indulgent at times.

Visually, the Howard Greenhalgh-directed music video bombards the viewer with crumbling cityscapes and Puff Daddy shouting over apocalyptic visuals as Jimmy Page coolly shreds on a rooftop.

The song soared on international charts, going platinum in the US and serving as pump-up music at sports arenas and game shows alike—though its critical reception remains polarized.

Lifted from : Happy Birthday Jimmy Page. ‘Master Riffer’

9 . Queen & Annie Lennox & David Bowie . Under Pressure

It’s always amusing when a moment of spontaneous creativity spawns what can only be described as a cultural heavyweight. “Under Pressure,” born from a chance jam session at Mountain Studios, Montreux, finds Queen and David Bowie locking horns in a tug-of-war between melodic push and vocal pull. It’s less a collaboration and more a sonic battle, with enough tension to make the song’s title feel literal.

The track opens with John Deacon’s bassline—simple yet unforgettable. Legend has it, Deacon nearly forgot the riff until someone hummed it back to him. That alone is enough to cement the song in auditory history. Freddie Mercury’s soaring falsetto duels against Bowie’s cool baritone, a clash of emotive performances that elevates the track to visceral heights.

Lyrically, “Under Pressure” themes itself around modern life’s suffocating stress, but the message pivots into a glimmer of hope, urging love and compassion as antidotes to chaos. It’s overblown and understated all at once, dripping with drama but precariously honest, a contradiction typical of both artists.

The unexpected highlight came years later, in 1992, when the song became a centerpiece during The Freddie Mercury Tribute Concert. Enter Annie Lennox, draped in regalia befitting Bowie’s equal, channeling Mercury with chilling accuracy while Bowie’s performance seemed grounded yet electrified. This rendition, layered in grief and catharsis, gave the song an emotional depth even the original couldn’t reach—proof that classics evolve in tandem with cultural context.

Still, it’s a curious piece embedded in Queen’s *Hot Space* album, a record marred by its overt shift into funk-pop. The song feels like a masterpiece lost in the wrong gallery, a misfit flaunting its brilliance amidst uninspired surroundings. Yet, it endures—spliced and sampled, dissected and revered.

Lifted from : We remember David Bowie. ‘Just For One Day’

10 . Rod Stewart . Have I Told You Lately

“Have I Told You Lately” by Rod Stewart stakes its claim as a quintessential soft rock ballad, drenched in sentimentality and bolstered by Stewart’s raspy croon.

Originally crafted by Van Morrison in 1989, the song underwent a transformation in Stewart’s hands, first appearing on his 1991 album *Vagabond Heart* and later crystallizing into a staple of love-stricken live performances.

While Morrison’s version leaned towards a tender gravitas, Stewart amplifies the melody’s accessibility, rounding its edges with warm, mass-market appeal that’s tailor-made for wedding receptions and candlelit dinners.

The live rendition, recorded for MTV Unplugged in February 1993, brought a new level of intimacy to the track, trading glossy production for a more organic vibe that somehow made it feel even more rehearsed for emotional manipulation.

Its timeless resonance is undeniable; even the skeptics can acknowledge the Grammy accolades and the BMI Million-Air certification, signaling the song has been played approximately a trillion times on both terrestrial radio and at awkward family functions.

Still, there’s something dissonant about its popularity as a wedding anthem, given its undercurrent of spiritual gratitude. It oscillates between divine love and earthly romance, leaving its intent deliberately fuzzy, perhaps to widen its commercial reach.

Stewart’s rendition, like much of his career, straddles artistry and commerce, producing a track that soars in sentimentality yet flirts with the saccharine.

Lifted from : Happy Birthday Rod Stewart. ‘In Good Face’

11 . Mary J. Blige . You Make Me Feel Like A Natural Woman

Mary J. Blige’s take on “(You Make Me Feel Like) A Natural Woman” offers a uniquely ’90s spin on Aretha Franklin’s timeless anthem, blending R&B textures with a faint undercurrent of hip-hop.

Released in 1995 as part of the *New York Undercover* soundtrack, this rendition straddles two worlds: a nod to classic soul and a reflection of Blige’s personal, raw vocal style that defined her breakthrough era.

The track made modest chart waves, peaking at 23 in the UK and 95 stateside, which speaks less to its quality and more to the general reluctance of audiences to embrace ambitious covers of untouchable originals.

Produced by James Mtume, an architect of R&B grooves, the song doesn’t rewrite Franklin’s powerhouse blueprint but tweaks it just enough to add Blige’s unmistakable grit—her voice cracking with emotional weight just as the original dripped with regal confidence.

The accompanying video, directed by Brett Ratner before his Hollywood ascendance, mirrors the song itself: earnest yet still tethered to its mid-’90s aesthetic—a little glossy, a little sentimental.

And then we have Blige’s live performance at the Apollo Theater’s 70th-anniversary celebration that same year, where the song’s power took on an almost spiritual intensity.

Stripped of the studio sheen, her live delivery carried an earthy, unfiltered vibe that embodied the track’s narrative of empowerment and natural femininity.

This dual showcase—studio polish versus live grit—serves as a window into Blige’s versatility as an artist.

Yet, one can’t help but wonder if any rendition, regardless of talent or soul, could ever escape the massive shadow of Franklin’s original.

Lifted from : Happy Birthday Mary J. Blige. ‘Much Obliged’

12 . Donald Fagen . Snowbound

“Snowbound,” a jazzy slice of urban escapism from Donald Fagen’s *Kamakiriad*, delivers a frosty fantasia where middle-aged wistfulness meets city nightlife, all wrapped in a blizzard’s metaphorical embrace.

The track hails from 1993, rooted in Fagen’s long-standing partnership with Walter Becker, who produced the album and co-wrote its tracks—a Steely Dan reunion just shy of trumpets but heavy on style.

Unpacking the song’s essence, a lush blend of jazz-rock instrumentation unfurls over a smirking commentary on modern life’s isolations, where the glaring lights of city excess promise a fleeting sanctuary rather than a cure.

Even the music video, directed by Michel Gondry, leans into its surreal edge: stop-motion “auto people” traverse a neon-noir snow globe, their exaggerated gestures both comedic and melancholic, a fitting visual for an album steeped in quirky dystopia.

Lifted from : Happy Birthday Donald Fagen. ‘The Voice Fagen’