Based on a highly technical review that consists of us choosing what we like, here are our picks as part of the best new vinyl releases in 2020, or at least ones we would choose for ourselves. Please comment below how you think we did – be nice please. Sorry we missed a couple of months due to issues with the current crisis, but we are back online and would welcome feedback.
We also have some recommendations for classic recordings we think should be in any collection of someone who loves rock music on vinyl.
Each month we will choose our favorite new vinyl releases in 2020. Whether they are new, classic or re-issues, as long as they meet our strict criteria of being cool or important, we will recommend you immediately go out and buy it for your collection. Of course, you can choose to ignore this and buy what you like, your choice. But seriously, these are good records to have if you love rock music on vinyl.
The important thing is that we are here because we appreciate music. We have built a collection of this outdated (some would say) medium because we love it. Whether we buy online or actually travel to another outdated relic, the record store.
IMPORTANT NOTE: We are in the process of moving as many of our product links to sellers other than Amazon, where possible. In many cases they are the only ones with certain products, but as a business although they provide a good shopping experience and are easy to work with, there are ethical concerns in providing them all the referrals to buy the products we recommend. Essentially, they are becoming a monopoly and it is not in our best interests to promote them any further than we have.
Here is one good alternative for vinyl purchases (or Musicstack). They have most of the vinyl that Amazon has, although the costs may be slightly higher.
Based on a highly technical review that consists of us choosing what we like, here are our picks as part of the best new vinyl releases in 2020, or at least ones we would choose for ourselves. Please comment below how you think we did – be nice please.
We also have some recommendations for classic recordings we think should be in any collection of someone who loves rock music on vinyl.
Each month we will choose our favorite new vinyl releases in 2020. Whether they are new, classic or re-issues, as long as they meet our strict criteria of being cool or important, we will recommend you immediately go out and buy it for your collection. Of course, you can choose to ignore this and buy what you like, your choice. But seriously, these are good records to have if you love rock music on vinyl.
The important thing is that we are here because we appreciate music. We have built a collection of this outdated (some would say) medium because we love it. Whether we buy online or actually travel to another outdated relic, the record store.
IMPORTANT NOTE: We are in the process of moving as many of our product links to sellers other than Amazon, where possible. In many cases they are the only ones with certain products, but as a business although they provide a good shopping experience and are easy to work with, there are ethical concerns in providing them all the referrals to buy the products we recommend. Essentially, they are becoming a monopoly and it is not in our best interests to promote them any further than we have.
Here is one good alternative for vinyl purchases (or Musicstack). They have most of the vinyl that Amazon has, although the costs may be slightly higher.
Based on a highly technical review that consists of us choosing what we like, here are our picks as part of the best new vinyl releases in 2020, or at least ones we would choose for ourselves. Please comment below how you think we did – be nice please.
We also have some recommendations for classic recordings we think should be in any collection of someone who loves rock music on vinyl.
Each month we will choose our favorite new vinyl releases in 2020. Whether they are new, classic or re-issues, as long as they meet our strict criteria of being cool or important, we will recommend you immediately go out and buy it for your collection. Of course, you can choose to ignore this and buy what you like, your choice. But seriously, these are good records to have if you love rock music on vinyl.
The important thing is that we are here because we appreciate music. We have built a collection of this outdated (some would say) medium because we love it. Whether we buy online or actually travel to another outdated relic, the record store.
See you next month with our new list! To review our previous recommendations, check here.
PLEASE EVERYONE BE SAFE – IF YOU ARE AT HOME LISTEN TO SOME MUSIC AND EVERYONE WILL GET THROUGH THIS
Unlike the Part 2 of the 80s alternative, there was no way I could narrow down each year to only 3 albums – there was simply too many great releases, especially in the early part of the decade. Even expanding this to 5 choices per year was very difficult. Essentially if it came down to a decision between 2 albums I went with my personal bias, because it’s my list.
Before we get started, as before in my previous 80s list, I would like to make a couple disclaimers. Here are some of my less-then set in stone parameters:
Though I specifically stated “rock” albums in the original 20 list, I stretched this a little in a few cases, just as in my 80s list. But it’s my list, so I say it is allowed. For this list, I will just say “alternative” albums.
In the first list, I kept it to what I felt was each band’s best or most influential album. For this list, I have included some bands more than once – because they deserve it.
I have put this in table format with not a lot of commentary – I have added links on the album title for relevant reviews. Though I can add my opinion, others have said it better before me. The fact that the album is on the list means I really, really like it already.
I purposely left off some bands that I arbitrarily decided were no longer “alternative” because they had become pretty mainstream. At this point they belong more on a “classic rock” list, although at the time they may have still been considered alternative. Examples are U2’s Achtung Baby, Red Hot Chili Peppers Blood Sugar Sex Magik, some (but not all) Pearl Jam and R.E.M. etc. As I said, pretty arbitrary.
So let’s get started. For those who are interested in classic rock vinyl for their collection, we have a summary of what we would recommend, as well as new vinyl albums just released.
Swan song of a band that coulda, woulda, shoulda. Or maybe this was how it was supposed to be. This is mature, thoughtful pop rock from a band that really wasn't meant to grow older and lose that don't care attitude. This is a prelude to Paul Westerberg's solo career.
Overtly political and focused on social issues important to the band, nobody could doubt their good intentions or the power of the music. Peter Garrett's imposing physicality and unique vocal style meshed with the band's tight muscular beat to produce a strong musical and lyrical statement.
With a more produced and goth-y sound than their debut "Free", this was the band's commercial peak. Featuring Johnette Napolitano incomparable husky vocals, the songs are dark and often lyrically wrenching.
Although their sound was based in punk, they were a lot more. Slashing, distorted guitar riff, metal beats and a lot of funky bass made their sound hard but also catchy - an American version of the Clash with shouted anthemic vocals.
A more electronica version of the Cure, goth inspired synth pop with an edge. Dave Gahan's deep emo vocals drove singles like "Personal Jesus", "Enjoy the Silence", "Policy of Truth" and "World in My Eyes". Hugely successful and hugely influential.
A big step forward from their previous Sabbath-heavy efforts, both musically and lyrically. More focused with better song writing, this is when Soundgarden became a metal grunge contender. Chris Cornell's howling vocals drives tracks like "Jesus Christ Pose" and "Outshined".
Singles with stark lyrics like "Even Flow", "Alive" and "Jeremy" drove this album to rarefied sales heights, but at heart it was an earnest, dark, often angry critique of societal ills. While the music had elements of blues-rock with plenty of pop hooks, the guitar interplay gave a it classic rock feel.
Essentially a J Mascis solo album, it continue the Dino tradition of coming off as thrown off and sloppy, but also strangely proficient and often beautiful. Mascis' often pitch challenged laconic singing is a counterpoint to his bombastic howling guitar solos. This is heavy metal with an indie twist.
The British band with two bass guitars, NAD had a hooky energetic hard rock edge with a droning guitar sound - pop rock with a difference. Singles like "Kill Your Television" and "Grey Cells Green" were catchy, inescapable college radio fodder.
They may often come off as a novelty act with bassist Les Claypool's nasal cartoon vocals, but this band has serious chops mixed with their trippy and oblique lyrics. Too weird to be mainstream, but too musical and intense to be ignored.
A grunge band that actually made an impact prior to Nirvana, their roots were in heavy metal. Their second album was a dark descent into drug fueled nihilism, driven by Layne Staley's nasal howl. A classic of the era.
Rooted in a punk folk ethos, Cave's apocalyptic, theatrical vocals spoke of love and death over mostly acoustic arrangements. Not everyone's cup of tea, but possibly Cave's best in a long, varied career.
Although an enormous sales success, this is really a quietly heartfelt work of an articulate band at their artistic peak. This is pop folk-rock at it's best, dissecting pop culture and rock stardom's absurdities.
An overlooked classic American rock album, coming as it did during the grunge explosion - this is not a grunge band. This is heartfelt well-crafted power pop rock with chiming guitars that holds up over time. Contains one of my favorite ever songs "Taillights Fade".
One of the somewhat unsung progenitors of the "Minneapolis sound", with roots in punk not unlike their peers The Replacements. Ignore the inescapable one-off hit "Runaway Train" and focus on the power pop, hard rock diversity of the rest of the tracks.
Before Billy Corgan got a little (more) full of himself, he created a sonic masterpiece, a massive sound wall of bombastic drums and hyper-drive guitars. Veering from quietly beautiful to howling arena rock, this is an artistic studio creation with few equals in rock.
Before Wilco carried the alt-country banner, there was Uncle Tupelo. In their final album, the Jeff Tweedy and Jay Farrer partnership created a lasting piece of Americana. Lyrical pain, regret and sadness, dosed with alcohol, melded into guitar driven rock folk.
They sounded like no other band - based on a deep sax and bass groove, they were as much jazz and blues as a rock band. An oddball power trio, the tales of pain and loss fit the late night cocktail vibe.
With pure pop-rock blasts like "Cannonball" and "Divine Hammer", Kim Deal kept elements of the Pixies while creating her own cool indie vibe. With twin sister Kelley harmonizing and adding spiky simplistic guitar punctuation, the band produced a chaotic yet tight set of scrappy pop nuggets.
Nevermind was a tough act to follow and Kurt Cobain didn't really try for a part two. Instead, the band created an even darker, nihilistic vision true to their leader's principles, and unfortunately, state of mind. His often conflicted lyrics are made even more poignant by his tragic loss the following year.
There is no denying the voice. The title of his only studio album is descriptive - this is an eclectic and very often moving set of songs. His lyrics were yearning, sung with passion with an instrument that could move from falsetto to howl with fluidic ease. It was truly a great loss to music upon his death in 1997.
22 songs, 36 minutes. The definition of short but sweet. Lo-fi power pop masterpiece, the very epitome of scrappy sometimes sloppy indie rock - you didn't hear GBV on the radio and never will.
A cult indie band that had it's brushes with the mainstream, including the single "Cut Your Hair" from their second album. More focused than their debut, it still retained a noisy, jagged, messy edge that blended well with Stephen Malkmus' edgy lyrics. In the age of grunge, they were a contrast in style, or lack thereof.
While it retains the power chord guitar crunch and melodic sense that are Bob Mould's trademarks, there is little of the Husker Du punk - this is adult power pop with plenty of hooks.
Not well known in the US, this Welsh band's 3rd album traded some of their punk past for a heavy goth metal sound featuring sheets of power chord guitars. Overtly political righteousness on previous work morphs into more introspective battles with personal demons. A visceral gut punch, powerful and often bleak.
The debut album by this short-lived Britpop quartet was a jagged blast of short power pop songs, long on attitude and heavy on hooks. With swaggering lyrics of sex and empowerment, Justine Frischmann carved out a space in the crowded male-dominated British scene of the time.
Sometimes dubbed the Scottish Big Star, TFC were masters of melodic jangly guitar pop, culminating in what is considered a career peak on their fifth album. It may be a stretch to call them an alternative band, this is primarily simple but dynamic pop rock, melodic love songs with a whiff of indie edge.
Polly Jean Harvey has rarely disappointed even as she shifts styles as easily as changing clothes. For this album she howls and moans through blues-inflected songs of anger and angst.
Along with Wilco, Son Volt took up the mantle of alt-country alternative heroes after the demise of Uncle Tupelo. Although some may find this too country flavored and Jay Farrar's singing limited and too world weary, there is a deceptive lyrical power in the well-worn themes of alcohol, poverty and depression.
This is album when Radiohead became Radiohead. My personal favorite, it retains much of the guitar crunch of their debut, while greatly expanding their musical palette. They were still figuring out their path, but in the process they created some pretty damn fine songs. This is the Radiohead for rock and electronica fans alike.
It would difficult to choose between 1992's "Sweet Oblivion" and this record, but they are both excellent examples of why Screaming Trees had been a Seattle fixture since the 80's. Mark Lanegran was one of the best voices to come out of the grunge era - his growling whiskey vocals elevated almost any song to the next level.
The sophomore release after the breakup of Uncle Tupelo, Jeff Tweedy and crew created a classic double disc album with less country and more rock. This is a distinctly American recording, full of the variety and contradiction of "Being There".
This was added because it is one of my personal favorites - many preferred 1994's "Orange". This was a controversial band, but they paved the way for bands like The White Stripes and The Black Keys to incorporate blues into an experimental rock framework. Say what you will, they stirred the pot and rocked out doing it.
A much different album than the previous "Holy Bible", with less snarl and more melody. With a more symphonic sound and more muted guitars, it was created during a time of personal and musical turmoil for the band and it shows in the mature introspection. It defined them in a new light.
Is this prog rock? It certainly has all the elements of heavy metal, but with a more experimental feel. So whether it is or isn't, this is Tool at it's best, Maynard James Keenan's barely controlled anger howling over dark menacing guitar. Like most prog rock, there are some periods of pointless interludes, but when they hit the right groove, there are few better.
Although lumped in with the tail end of the Britpop era, this album differentiated itself with it's lush symphonic beauty. And while leader Richard Ashcroft is known for his prickliness, he is capable of lyrical and melodic genius. Even leaving out the enormous hit "Bittersweet Symphony", this is a soulful art rock masterpiece.
Relentlessly weird and jagged but often funky. Veers from punk shout outs to quiet lo-fi interludes to Cake-like bouncy beats. Try to define their genre, I dare you. Lyrical wordplay from leader Isaac Brock, speaking of the encroachment of suburbia in the west, meshes frantically with the spiky musical palette.
A bass free power trio, this band still manages a crunching yet melodic noise that hits as hard as any band of the era. Corin Tucker's vocals are revelatory, howling out cathartic lyrics of anger and empowerment with conviction. Messages aside, this is also simply just a great rawk album.
They were in it for the fun. It is clear they liked being a rock band. However, this album was a bit of a departure from their lighthearted debut "I Should Coco", with more serious themes and harder hitting musically. However it still retained some of the playful pop cheekiness - this is the fun younger brother to Britpoppers Blur, Pulp et al.
Moving from a more lo-fi approach to full blown indie prog, with it's cosmic themes and matching song length (long). Innovative and quirky yet built on a classic rock platform, an opus without most of the usual prog rock pretensions.
On their second album after rising from the ashes of the criminally overlooked Trip Shakespeare, Dan Wilson crafted a pristine power pop gem. Containing the world conquering single "Closing Time", the rest of the album had hardly a misstep.
Beautiful acoustic folk pop with just touches of organ and electric guitar, at times dreamy and light, then dark and ominous. Deeply and sometimes uncomfortably person lyrics delivered in a mostly whispery, atmospheric vocal style. Low-key but affecting tales of a troubled soul.
In a pretty hard pivot after the mish-mash success of "Odelay", this is (mostly) "serious" Beck. Some songs sound like lost tracks from a 60s Beatles imitator. Throw in some slow honkytonk, pseudo-blues, folk - well this is still a Beck album, it still gets weird sometimes. But most of it is just pretty, melodic, slightly surreal, landscapes over which Beck croons dreamily.
I have no idea what the band's name means, and some of the music is a little eclectic for most of us, but this is known as a bit of an indie album icon. Their second and last album, ostensibly based on the story of Anne Frank, it's unique instrumentation and plaintive vocals draw you in. It's a unique work of art that takes some time to appreciate.
Considered to be a major influencer of the indie emo genre, the bands third album displayed multiple musical influences. In the end it's the guitar textures and rhythms that speak to me, a Radiohead-like ethos to find beauty in dissonance.
The message hasn't changed - they are mad as hell and aren't going to take it anymore. Although the themes are the same as the first two albums, they are worthy subjects and are given the full Rage treatment, sincerity is not an issue here. Combined with Tom Morello's inventive guitar scream and thrash, another intense collection of rebellion music.
Moving beyond their dismissive "college band" label, their major label debut was a simple but sweet power pop collection. With pure vocal harmonies and shiny guitar hooks, the band is not breaking new ground, and that's ok because it does what it does quite well.
Before "Bleed American" broke this band into the mainstream consciousness, the band had already released 3 albums, including "Clarity", which more clearly (pun intended) established their sound. With elements of power chord rock, pop punk and emo, this is one of the bands that put a final cap to the grunge era.
At times it felt like appreciating Incubus was almost a guilty pleasure, akin to being a Third Eye Blind fan. The singer was boy band handsome, they had enormous hit songs, and there was a whiff of pretentiousness - whether real or imagined. But at the bottom line, both bands had good rock songs. Incubus sometimes got lumped with the nu metal posers, but they were above that. This was a tight hard rock band with something to say - and I confess to thinking it's fine to admit that.
After finding their groove on "Being There", Wilco produced an eclectic yet somehow familiar sounding 17 song cycle, varied in theme and style, but remaining coherent. Lyrically diverse, sometimes uncomfortable dark, sometimes pop catchy, it showcased Jeff Tweedy's songwriting chops.
What Have We Learned
The 90s had a plethora of great alternative bands emerge, as well as many of the pioneers of the 80s. Obviously the emergence of grunge had a huge impact on what was now becoming “popular” music – which led to somewhat of a backlash later, but a minor one – this wasn’t a faddish thing like disco. In retrospect, we didn’t realize how great we had it – real bands playing real rock music.
Once in a while we have to look back to see how rock became what it is currently. With the advent of digital music dominance in the last couple decades, we have lost much of the album-based musical culture. The 90s started the transition to a digital platform with the dominance of the compact disc, but there was still a lot of the analog mindset. In my opinion the music was better for it.
Please note that we have linked these albums to the vinyl version on Amazon. If you feel Jeff Bezos already has enough of your money, please consider the sites below if you are looking to purchase these LPs:
Every generation tends to think the music of their era is superior in some way. Every decade has seen innovation and new styles emerge, all adding to the melting pot of rock and roll music. Having grown up in the 80s and 90s, at least musically, I would argue that the rock music of the 90s, in terms of quality and quantity, would rank at the top of the scale.
Our focus on vinyl music is more than nostalgia, it’s part of an ethos. Just as I think alternative rock of the 90s was a more honest and substantive era of music, putting in the effort to listen to that music in an analog form also seems more true to the original form. Please take a look at our other articles on the vinyl hobby if you agree.
Hey Buddy – Need A Turntable?
By the way, if you are starting the vinyl collecting hobby and need a new record player, check these out. Also take a look at our other informational articles in our “Topics” section. Thanks for visiting us.
In the 90s, it seemed for a while that in the music world only grunge mattered. Bands out of the Seattle scene dominated the “alternative” landscape in the early part of the decade beyond the actual sales impact. Of course, this is not all that happened in rock for a entire decade. When you try to define the top 20 best alternative rock albums of the 90s, grunge plays an oversized role, but there was more to it.
As we asked in our previous summary of the best alt rock of the 80s, what is alternative rock? In the 90s many would have had some difficulty beyond the grunge genre (however that was defined). Did R.E.M. and U2 still qualify as alternative bands after the massive success of their work in the late 80s? It seemed that even most of the “alternative” acts were not really “indie” in the sense they were on major labels. Labels like Sub-Pop, SST, Twin Tone, etc – whose rosters spawned much of the impactful acts of the mid and late 80s, were becoming less relevant as the 90s progressed.
So back to the central question – what are the best alternative rock albums of the 90s? Since this is my list, I set a few clear rules, if clear is defined by complete subjectivity based mostly on my musical taste. However, I attempted to be a little objective, factoring in the influential and critical impact of records that I my not have personally felt strongly about.
Unlike my list for the 80s, I am more adamant that these be “rock” albums. For me this means: has to have a strong guitar sound, real drums, and light on electronica (mostly, except industrial).
Except I break rule #1 on several of my choices. Some recordings were too good not to list even if light on guitar. Flaming Lips The Soft Bulletin is one example because when you say “alternative” this is a band that comes immediately to my mind.
Ok there are no clear rules.
There are literally hundreds of records that could be considered important or influential that came out during this time. However, I included ones that had at least some commercial impact, had acknowledged artistic importance, and limited to one album per band (hey, that’s a clear rule). These are not listed in any particular order, as I do not try to define one as more important than another. So here we go.
So let’s get this one out of the way right now. This is the 900 lb. gorilla of the grunge era, although many would argue the stage was set well before this album came out in 1991. Seattle based bands like Mudhoney, Green River, TAD, and Screaming Trees were already delivering gobs of sludgy, heavy guitar riffs, pounding drum beats, and angst-filled, screaming vocals. But Nirvana, for better or worse, made it a world wide phenomenon due to the impact of this album.
Their major label debut on DGC was preceded by their Sub Pop release Bleach in 1989. Much punkier and jagged than Nevermind, that release established the basic quiet/loud dynamic that was the basis for their signature sound. Bleach didn’t make a big impact at the time except in the Seattle area and college radio, many later fans didn’t realize Nevermind wasn’t the first album for the band. Famously produced by Butch Vig, the album’s lead single “Smells Like Teen Spirit” completely blew up partly due to a dark MTV video. Music history followed and grunge went mainstream.
Eventually reaching No.1 on the Billboard charts and selling 7 million copies, it was a rock landmark release beyond even it’s sales success. Nirvana released a compilation album Incesticide in 1992, followed by their second studio album In Utero in 1993. In Utero was a slightly less polished recording, although it still retained it’s soft/loud dynamic and Kurt Cobain’s raw, sometimes ragged vocals. It was also a huge commercial success, debuting at No.1, though it didn’t have the same sledgehammer impact as Nevermind.
As well documented, Cobain’s suicide in 1994 sent a shockwave through the music world. Like Hendrix or Joplin, he left the world far too soon. Nirvana only really existed for half a decade, but their impact and influence will be felt for generations. Nevermind was a landmark album that represented an artist at his peak.
Is Bossanova the Pixies best album? No – I believe Surfer Rosa and Doolittle were significantly better recordings overall. But the third best Pixies album is still better than 99% of the music of the era. The grunge era would have existed without the Pixies but it might have sounded different. The quiet/loud dynamic that influenced bands like Nirvana wasn’t necessarily invented by this band, but they came close to perfecting it. Combined with indirect off-beat lyrics on subjects like aliens, they set one of the primary templates for 90s alternative.
After the tour for Doolittle, the band’s tensions almost had them breaking up, with both leader Black Francis and Kim Deal pursuing outside projects. They regrouped in 1990 and recorded Doolittle for 4AD records. There were two singles released, “Velouria” and “Dig For Fire”, which both did well on the Modern Rock Charts. The album had minimal commercial impact and somewhat mixed critical reviews, but in retrospect was still an important influence in the early 90s emergence of alternative.
The Pixies released on more album, Trompe Le Monde, in 1991 before breaking up. Kim Deal went on to form The Breeders and have more commercial success than the Pixies ever enjoyed. Black Francis has recorded and toured under the moniker Frank Black. The original members reformed in 2004 for concert tours, and in 2014 released new material. In my mind the Pixies were criminally underappreciated in their time and can only be fully appreciated for their influence on what came out after them.
Although My Bloody Valentine’s discography consists of only three studio albums, one per decade, their influence is unmistakable. They were an originator of the “shoegazer” genre – introspective, dreamy, feedback-drenched psychedelia with a detached live stage presence. With the debut release of Isn’t Anything in 1988, band leader and guitarist Kevin Shields established an effects driven sonic texture that would be an “alternative” to the grunge dominance to come.
Recorded over an almost two year period in multiple studios, Loveless was released in 1991 on Creation Records. Almost universally adored by critics, the album had somewhat modest sales and didn’t dent the charts. This was not really surprising, as the album is more about mood and ambiance than songs, and is not that accessible to the average listener. Vocals are often muddy and buried in the mix, so the lyrics become an afterthought to the guitar landscape. But what a landscape it is – cavernous, slithery, ethereal, grinding. It is easy to see how this album had such an over-sized influence despite it’s lack of mainstream success.
Although the band signed a contract with Island Records in 1992, they did not release another studio album in the decade. They reunited in 2007 and released a third album in 2013 m b v. Although they never achieved any degree of commercial success, you can hear them reflected in work by peers Sonic Youth, Dinosaur Jr, Smashing Pumpkins and others.
In full disclosure, I am not a huge Pavement fan. Leader Steven Malkmus’ vocals don’t do much for me, the slacker vibe seems a little disingenuous at times, or at least it feels that way. When this album came out in 1992 I was not that impressed and consider them another poser indie band with no real new ideas.
Despite that intro, I can not deny this album’s importance. Looking back now, I see what I missed. What I thought was a poor man’s Sonic Youth was something different. The music is overly spiky guitar noise at times, ragged beats and sonic mish-mash. But it works and grows on you with more listens. Which is kind of the point. They shift between chaos and pop melody with ease, the style moving seemingly randomly. Speak-sing vocals with lyrics that mean – something. The variation in music and theme is the only constant, which I appreciate much more than I did at the time – back then it was just a little confusing.
Critical review of Slanted and Enchanted was almost universally positive, the album appears on many “best of” lists and is considered by many as one of the best indie rock albums ever. Pavement released four more albums in the 90s, including the follow up Crooked Rain, Crooked Rain, considered by some as good or better than Slanted and Enchanted. The band broke up in 2000 and reunited briefly in 2010.
Although most would consider 1993’s Siamese Dream as the Smashing Pumpkins zenith, and an alternative rock iconic album, their debut recording Gish seems a more honest and less “professional” blast of heavy guitar psychedelia. With a grunge-like soft, loud dynamic with soaring guitar heroics, leader Billy Corgan was finding a sound that wore their influences on their sleeves but was still their own.
Recorded with producer Butch Vig (Nevermind) in 1991 on Caroline Records, the Chicago band’s early influences leaned towards goth. With the addition of powerhouse drummer Jimmy Chamberlin, the band moved towards heavy, deep psychedelic rock. With the release of the single “Rhinoceros” which received some college radio attention and MTV video rotation, the album made a modest impact on the indie scene. However, they were overshadowed by the explosion of grunge (Nirvana), until the release of Siamese Dream which found it’s own more mainstream commercial appeal.
The Pumpkins released two more recordings in the 90s – the double album Mellon Collie and the Infinite Sadness, another major hit, and Adore. Adore moved the band towards a more electronica sound which they maintained through various breakups and reunions up to this day. While I still enjoy the band’s work, for me they can never equal that first sonic blast of Gish.
The English band Radiohead can be considered to have two career eras – starting with a more conventional rock origin on their initial two releases Pablo Honey and The Bends. Then a turn into a more eclectic form of electronica typified by albums like Kid A and Hail to the Thief. Unlike most critics, I have never been a huge fan of their more recent work absent the up front guitars. Thom Yorke’s angsty, keening vocals haven’t changed but the lyrical themes have evolved. My personal favorite is The Bends for it’s more straightforward rock, but I am probably not with most of the cool kids on that.
OK Computer falls in the midst of that transition, and I think most agree is their high point because of it. The guitars still ring, the vocals soar, and the melodic feel is gorgeous. This is a band who have figured out what they want to do and are proficient enough to do it with confidence. There is complexity while still maintaining passion, atmospherics without overwhelming the beat. This is experimental art rock that stays true to it’s intentions. There were reviews at the time that accused it of being overly morose and somewhat soulless, but in retrospect I think those reviews missed the point.
After the awards and commercial success of this album, Radiohead continued to stay true to their experimental spirit, with acclaimed releases every few years. They were inducted into the Rock and Roll Hall of Fame in 2019.
There has always been a significant love-hate fan and critic relationship with Green Day. Formed in the San Francisco area by frontman Billie Joe Armstrong and bassist Mike Dirnt, they came out of the Cal-punk scene of the late 80s / early 90s. Along with peers like NOFX, The Offspring, Bad Religion and Rancid, they led the way for the mainstreaming of punk music in the US. Because of the commercial success of their career and the evolution into a more pop-rock aesthetic, they often were labelled as “sell-outs” or posers. I would argue that if they had just started their career with Dookie they would just be known as simply a great hard rock power trio, period.
After signing with Reprise Records in 1993, Dookie was released in 1994. Their previous indie label releases 39/Smooth and Kerplunk! were punk records that got some underground attention and major label interest. Armstrong made it known later that he didn’t want to be constrained as only a punk band, and it was clear from the poppier aesthetic of Dookie the direction they were headed. However, it retained it’s snotty, slashing punk roots and Armstrong’s lyrics about self-loathing, alienation, loneliness, and, yes, masturbation spoke to millions of disaffected kids. Tight, loud, and eminently catchy, it became a huge commercial success with three popular singles and 10 million copies sold. It was the Nevermind of the mid-90s with much less critical acclaim.
The band’s next three albums did not match the success of that initial grenade blast, and many started to consider the band irrelevant. Then in 2004 the band released American Idiot, a concept album that re-catapulted them back to fame – it reached No.1 on the Billboard charts and was eventually made into a stage show. It was a long way from their punk roots, and it demonstrated that they were more than just 3 chords and a sneer. They continue to record and tour, and to date have sold over 90 million records, and were inducted into the Rock and Roll Hall of Fame in 2015.
After the breakup of the hugely influential rock-punk band Hüsker Dü, singer-guitarist Bob Mould released two solo albums to little critical or fan acclaim. They were a radical departure from the Hüsker sound, with a much poppier and low-key dynamic. Mould was dropped from the Virgin Records label, and subsequently looked to put together a full new band. In 1992 this new band released it’s first album, Copper Blue, on Rykodisc.
With a more straightforward rock sound, the album was a critical success and with the singles “If I Can’t Change Your Mind” and “Helpless”, received moderate MTV and radio air time as well. Although not really part of the grunge scene, the album fit into the guitar heavy sound of the time. Mould had greatly evolved as a singer from his earlier pitch challenged beginnings and his strong songwriting and lyrical abilities transitioned him into a new era. This was an indie-sounding pop record that retained Mould’s signature power chord riffing.
With the decline of the original “Minneapolis sound” of the mid-80s due to breakups of Hüsker Dü and the Replacements, Mould led a revival of the scene with other bands like Soul Asylum and Semisonic. It was more pop-rock oriented, with little of the punk origins remaining. Sugar released two more well-received studio albums in the 90s, including my favorite, File Under Easy Listening, before the band broke up in 1996.
There is nothing happy or fun about the music of Tool. It is relentlessly deep and dark. It is not motivational or uplifting. What it is is engrossing and immersive. It is an artsy rock band that incorporates psychedelia and metal rock into a dark stew, with Maynard James Keenan’s distinctive keening vocals soaring over the top.
After their first EP release in 1992, Opiate, created some buzz around the band’s heavy sound, Undertow was released on Zoo Entertainment in 1993. The initial single “Sober” received significant radio air play, but it was the distinctive MTV video that really pushed the band into commercial success, with the album eventually reaching platinum status. Despite, or maybe because of, some clashes with censorship, including for the video of the second single, “Prison Sex”, the band grew in popularity. Their lyrical content often touched on taboo topics, constantly pushing against the boundaries.
Tool have won four Grammy’s for their work (for whatever that’s worth) and have continued recording and touring to this day. Although they have only released six studio albums in their 30 year career, they have staked out their spot in the heavy art rock pantheon. Despite their success, nobody will ever accuse them of selling out or compromising their ideals, they have always been true to their vision – even if it is often an ugly one.
Coming on the heels of their critically acclaimed 1988 release Daydream Nation, Goo continued the Youth’s trend towards (slightly) more accessible noise rock. They had already created a critically acclaimed underground reputation with five releases in the 80s, Goo forged a new path for the 90s that wasn’t just about the grunge movement.
Goo was still based primarily on the twin guitar interplay of Thurston Moore and Lee Renaldo, utilizing alternative tunings and effects to create the noisy machine rock sound that was their calling card. However, there was obvious influences from punk, metal, and avant garde as well. In addition, Kim Gordon had a bigger influence on the music, including the lead single “Kool Thing”. As a woman in a male-dominated band and industry, much like Kim Deal of the Pixies she helped re-define the perspective of her band and the alternative genre.
Although Daydream Nation may still be considered the band’s artistic peak, this prolific band continued to make artistically complex, sonically challenging music for 20 more years. The group remains one of the icons of the alternative music world, never compromising their indie roots after the success of Goo and the followup release Dirty. The band disbanded in 2011, all the members moving on to new projects.
The debut album by Liz Phair was a lo-fi masterpiece by an artist unafraid of saying the quiet part loud. In the age of grunge domination, it was a more low key but no less visceral musical statement of independence and personal angst. Is it a feminist album? Well it certainly spoke to the power of women, and she seemed to align with other prominent female artists of the time like PJ Harvey and Tori Amos. But it is also distinctly her own.
A true indie story, Phair recorded her initial demos on tapes while in Chicago, eventually signing with Matador Records and releasing her debut album Exile in Guyville in 1993. The album was almost universally critically acclaimed, the simple musical structures a platform for her audacious confessional, sometimes crude, lyrics. These brash lyrics were delivered in a deadpan vocal style, which somehow only seemed to add to the authenticity of the music. This was a tough girl who wasn’t afraid of you. Much like the punk movement of the 70s, she showed you don’t have to conform to a certain image and didn’t have to be a technically great singer or guitarist to make a personal, meaningful statement.
After the success of Guyville, the expectations were high for Phair. Her second release, Whip-Smart, eventually went gold but was not as universally acclaimed. It was clear there was some attempt to appeal to a wider audience, and some of the edge was lost. Subsequent albums turned more towards pop, and she never recaptured the magic of the debut album or even the follow-up. This should not detract from the impact and influence of that first album, as it helped pave the way for independent-minded female artists of the future.
Weezer certainly did not invent “geek rock“, but they were close to perfecting it in the 90s. While their look was the type of uncool that was cool, their sound was pure power pop. Like a harder edged Marshall Crenshaw or a less abrasive early Elvis Costello, they wrote songs that spoke to the lonely loser in all of us. But they often did it with crunching guitars, which was cool.
Originating in Los Angeles and led by uber nerd Rivers Cuomo, the band released their debut album Weezer or “The Blue Album“, in 1994. With heavy MTV rotation for the geek-tastic videos for the singles “Buddy Holly”, “Undone – the Sweater Song” and “Say It Ain’t So”, the album was an enormous hit, quickly going multi-platinum. The followup in 1996, Pinkerton, did not fare nearly as well commercially, with much less pop sheen and not as radio friendly. At the time, it was also not a critical favorite, appearing on a number of “worst of” lists. Only in retrospect has the album received acclaim similar to the Blue Album as an anthem of the 90s. My personal opinion is that while it had it’s awkward moments, it’s an honest awkwardness borne of frustration and introspection.
After Pinkerton, Weezer returned to more pop friendly songwriting. The Green Album featured more radio friendly fare and more closely matched the sales success of the debut. Weezer continues to make geek rock safe for the masses, somehow remaining an alternative vibe while being clearly mainstream capable. Rolling Stone and others may have disliked Pinkerton at the time, but I don’t think Weezer needs their approval.
Soundgarden had all the hallmarks of a “grunge” band – a massive sludgy bottom end and power chord heavy and often distorted guitar riffs. But their real musical weapon was the otherworldly howl of lead singer Chris Cornell. With a range from soft growl to full-throated screams, Cornell made Soundgarden a force in a crowded field of the early 90s. As one of the pioneers of the “Seattle sound”, they helped define a sound that influenced musicians for decades to come.
With elements of heavy metal reminiscent of Black Sabbath, Soundgarden’s earlier releases Ultramega OK and Louder Than Love had elements of punk, but moved inexorably to a deeper, melodic metal edge by the time the third release Badmotorfinger was released in 1991. The lyrical content was also evolving, with Cornell exploring personal issues as well as societal ills. With singles and MTV videos “Outshined” and “Rusty Cage”, Badmotorfinger was a relative commercial success, although being a little overshadowed by the release of Nevermind that same year.
Superunknown came out of the chute with a roar in 1994, debuting at No.1 on the Billboard charts and eventually selling 11 million copies worldwide. With lyrical themes ranging from depression and alienation, it’s depth matched the heaviness of the music – although they also demonstrated a softer touch on songs like “Black Hole Sun”. This was a powerhouse album, although personally I think my personal preference is Badmotorfinger – although Superunknown is probably overall the more consistent album.
After breaking up in 1998 after their fifth album Down on the Upside Cornell joined supergroup Audioslave and also did solo work. The other members worked with other groups until Soundgarden re-united in 2010, recording one more album in 2012. Cornell’s tragic death in 2017 meant the loss of one of rock’s more distinctive and powerful vocalists, and the permanent end of Soundgarden.
The artist Beck, born Beck Hansen in Los Angeles, is a musical mixologist. A dash of folk and country, add a little funk and blues, a major dose of pop, shake it up and serve with a big dose of off-kilter lyrics. If Weezer is the definition of geek rock, Beck is the slightly cooler, avent garde version. Through a 28 year career, Beck has changed genres like changing underwear, a musical prodigy, an indie soul with a mass appeal.
Beck burst onto the alternative scene with his third album, Mellow Gold, in 1993. With it’s mash up of dance funk, folk, pop and country, along with it’s indecipherable and eclectic lyrics, it became a hit primarily due to it’s ubiquitous hit “Loser”. Concerned about becoming a one hit wonder, the release of Odelay in 1996 was a critical juncture for Beck. He needn’t have worried. Odelay was an immediate critical and fan favorite, Grammy winner, and spawned three hit singles. With his mish-mash of influences, Beck could go almost anywhere from song to song, and this variety kept things fresh and immediate. Although lyrically slightly more accessible, it still had the arty free form poetic style of earlier work.
Although Odelay was clearly his 90s zenith, Beck has released nine studio albums up to 2019, never showing signs of running low on creativity or inspiration. From the peaceful dream pop of Morning Phase, the romantic despair of Sea Change, or the return to Odelay’s funk-inflected style with a Latin edge of Guero, Beck keeps the tasty cocktails flowing.
Nine Inch Nails, which was really just Trent Reznor and hired hands, released only two albums in the 90s, and only The Downward Spiral truly mattered. Originating in Cleveland, Nine Inch Nails released their first album in 1989, Pretty Hate Machine, they (or he) quickly became an industrial rock star. The album had two very popular singles on MTV, “Down In It” and “Head Like a Hole” – overall it was a very auspicious debut.
After releasing the EP Broken, NIN released the long awaited followup to Pretty Hate Machine in 1994. The Downward Spiral debuted at No.2 on the Billboard Charts and became the band’s biggest selling album. With it’s often disturbing lyrical content and dark, grinding and often dissonant musical textures, the album was a tour de force. With his command of studio technology, Reznor shaped the sonic layers to match the dark subject matter, using guitar, synth and drum machines to create a noise rock base, with his distinctive nasal whisper to a scream vocals.
Reznor continued to be a force into the 2000s, releasing six studio albums, while also working as a producer and composer. Although never again reaching the heights of his early releases, the influence of Reznor’s work can be seen in many later industrial rock artists.
Choosing the best PJ Harvey album of the 90s is like choosing your favorite child. They are all different, you love them all, and they all have their strengths and weaknesses. But for the rock chameleon that is Englishwoman Polly Jean Harvey, her sophomore effort Rid of Me is the kid with the most personality.
PJ Harvey (the band) released their debut album Dry in 1992 to almost universal critical acclaim. Some will argue it is still her best album, showcasing all her vocal and songwriting skills in her first recording. After signing to major label Island that year, they released Rid of Me in 1993. With elements of punk, rock, and blues, it was a rawer, edgier sound that fit Harvey’s passionate vocals. Explicit and dark, the lyrical content was overtly sexual, both angry and yearning. It’s intense and powerful.
It didn’t stop there. After going solo for the following albums, Harvey released three more albums up to 2000, and they were all great. Veering through different visual concepts and musical explorations, the music remained challenging, with the constant being Harvey’s exceptional vocal and lyrical range. Whispering seductively one second and screaming at your worthlessness the next, this is no shrinking violet. She continues to record strong albums, my personal favorite was 2000’s Stories from City, Stories from the Sea. Very few artists have been as consistently innovative and just plain good as PJ Harvey.
The band Faith No More originated in the Bay Area of California in the early 80s. After two albums with lead singer Chuck Mosley, they turned to vocalist Mike Patton for their 1989 release The Real Thing. The album became an alternative smash, with the single “Epic” becoming a huge MTV video hit. Fusing metal guitar with prog rock electronics, funk, and rap, they created a blueprint for nu-metal acts to follow.
After the success of The Real Thing, the band felt the freedom to be more experimental on the next album, Angel Dust. An eclectic mix of styles, four of the band members contributed songs, including Patton for the first time. Many of the lyrical topics are darkly humorous, sexual, or both. The end result is almost relentlessly non-commercial but still had it’s accessible moments, including the singles “Midlife Crisis” and “Everything’s Ruined”. But in general it was an artistic statement, taking risks because they could.
After the early 90s heyday, Faith No More next two releases didn’t match up in terms of impact, although King for A Day…Fool for a Lifetimeand Album of the Year still had the artistic imprint and respectable sales. In 1998 Patton moved on to other projects, as did other band members. They reunited in 2009 and released an album in 2015, Sol Invictus. Their legacy is intact, with a major influence on the alternative metal scene that was open to disparate elements such as funk and rap.
Sometimes it’s difficult to define a band as alternative when they a sell a ridiculous number of records. Formed from the ashes of the seminal grunge band Mother Love Bone, Pearl Jam emerged from the exploding Seattle scene in the early 90s. With vocalist Eddie Vedder’s signature growl and the band’s tight rhythms and dark introspective lyrics, they were a band aligned with the times. Sometimes denigrated for being a classic rock version of grunge, this seems a knee-jerk reaction to their success, versus an honest assessment of their artistic integrity and skill.
The band’s debut album Ten in 1991 was an immediate smash, despite it’s dark subject matter of depression, alienation and suicide. Hit singles “Alive”, “Even Flow”, and “Jeremy” drove the sales of the album to unexpected heights, competing with the likes of Nevermind the same year. The success created some inevitable envy and backlash, and the band decided from that point on to keep promotional efforts low key. For the followup album in 1993, the band stopped making videos and focused on a more raw, immediate sound for the album Vs. Despite the lack of promotional efforts by the band, the album was still a huge commercial success, with four hit singles and multi-platinum sales.
Pearl Jam continues to record and has a secure place as one of the best live bands around. As a politically and socially conscious group, they have been one of the more activist bands to come out of the era. Although they fought a well-publicized losing battle with Ticketmaster, they have always attempted to act in the best interests of their fans, and if for nothing else this makes them one of my personal favorites. And the music is pretty damn good also.
From the name of the band, to the titles of many of their songs – it doesn’t really take long to understand what this band is about. It’s about justice, or the lack of, and they are going to pummel you with this message with metal guitar, relentless pounding bass and drums, and raging vocals from Zack de la Rocha. The message isn’t subtle, it’s raw and real, and it’s delivered with conviction. It was rap-metal before it was really a common form, but it was really more of a militant poetry, delivered over the effects driven guitar wizardry of Tom Morello.
The debut album Rage Against the Machine, released in 1992 on Epic Records, was a blast of righteous anger and aggression that received critical acclaim. With singles like “Killing in the Name”, it was a somewhat surprising commercial success as well, eventually reaching triple platinum sales. With an iconic cover of the self-immolation of a Buddhist monk, the band delivered serious messages with a radical aesthetic. Fans got that message and the band had continued success on their subsequent three studio albums, Evil Empire, The Battle of Los Angeles, and Renegades.
In 2000, the band broke up, with members of the group, minus de la Rocha, formed Audioslave with Chris Cornell in 2000, while de la Rocha worked on solo projects. Rage had a reunion after the breakup of Audioslave in 2007, and have performed off and on since then. They continue to be politically revolutionaries in all their projects and the legacy of the band will always be one of social activism messaged through a rap metal delivery system.
Welcome to the weird wonderful world of Wayne Coyne and the Flaming Lips. Perhaps the most experimental and “alternative” of any of the bands on this list, while still maintaining a major label presence. The band formed in Oklahoma and had 16 years and 8 studio albums behind them before the release of The Soft Bulletin in 1999. Very much a cult band, they had gained a strong critical and fan following with their eclectic mix of symphonic rock, psychedelia and twisted lyrics.
Although much more conventional than their previous release Zaireeka, the album retains a deep mysteriousness and mystical feel. Many of the songs have a lush, 70s pop feel to them, atmospheric and sonically dense. Coyne’s lyrics are more personal and accessible, emotional and still raw. It needs to be taken as a whole to be fully appreciated, this is not an album where there are a bunch of standout singles. It is the Flaming Lips version of Sgt. Peppers or Pet Sounds, a big sounding but intimate piece of melodic arty pop rock. It has been critically acclaimed as one of the best albums of the era, a unique masterpiece.
The followup album, Yoshimi Battles the Pink Robots also received much critical fanfare, and incorporated more electronic sounds and less conventional rock instrumentation than previously. The Flaming Lips continue to record to this day, with six additional albums since Yoshimi was released in 2002. They have carved a unique space for themselves in the alternative music universe – there is really nobody that sounds quite like them or experiments so heavily with their sound. In this list only Radiohead really compares, both take non-commercial approaches to making their sounds but Radiohead resonates more with a wider audience. Flaming Lips is more an acquired taste.
In Conclusion
The 90s was a great time for rock music. Especially if you liked heavy, loud guitars and flannel. The beginning of the decade in particular was a fertile time for a new wave of socially conscious, intelligent rock music with less concern about image and more focus on the music. Many artists also felt the freedom to cross boundaries and experiment with sound and styles – it wasn’t all just grunge.
From a personal perspective, I don’t think there has ever been a better time for real rock music. Everywhere you turned, there was a new band that excited you and opened your mind. The really good stuff of the era has stood the test of time – it sounds as amazing and real today as it did 20-30 years ago. It was an embarrassment of riches, and with the changes that have occurred in music in the 21st century it is unlikely we will see a decade like this again. But we can hope.
Please note that we have linked these albums to the vinyl version on Amazon. If you feel Jeff Bezos already has enough of your money, please consider the sites below if you are looking to purchase these LPs:
If you are interested in adding other classic rock vinyl to your collection, take a look at our recommendations we believe any collector should have in their rock music collection.
Depending on your turntable and amplification setup, you may need pre-amplification of the signal from the record player to properly hear the sound from the record. If so, what are the best budget turntable preamps you can get for your hard-earned dollar, while still having a great sounding system?
The focus of this review is finding a good choice for your needs for under $300.
WHAT IS A PHONO PRE-AMP?
The signal from a turntable comes from the movement of the stylus in the groove of the record, both laterally and vertically. The stylus motion is translated into an electrical signal by the mechanical setup of the cartridge on the tonearm. There are different types of the cartridges, but the primary types used are moving magnet (MM) and moving coil (MC). A more detailed description can be found in our article on turntable basics.
The most typical type of cartridge is the moving magnet. Because the movements of a stylus are very small, it produces a very weak signal – typically a few millivolts. A moving coil cartridge output is even lower, at around 1 mV or less. For comparison, a typical CD player outputs around 2 volts – this is the expected “line level” for a receiver / amplifier input.
So unless the turntable has an internal amplifier built in or the receiver / amplifier you are connecting to has a “Phono” level input, the signal needs to be boosted to a level that produces a clean signal for the main amplification to the speakers. Otherwise, all that you will hear is an extremely low volume, thin sound.
In addition, records are intentionally produced with the low frequencies reduced and high frequencies enhanced to limit groove width (longer playing time) and long term damage. The methodology is known as the RIAA equalization standard and is present in all modern records. Because of this, the raw signal from a turntable must be corrected for this modification, or the music will not replay properly.
DO YOU NEED A PRE-AMP?
If your current or new phono does not have a built-in pre-amp to adjust the signal to “line in” level, you need to verify how your signal is sent to your speakers. If the receiver/amplifier does not have a “phono” input, or you are using powered speakers, you need to have something to raise the level of the signal as well as equalize the cartridge output as mentioned above.
How much you need to spend to achieve an acceptable sound depends on your ears. I personally have no issues with my receiver output with the phono input vs a system with an inexpensive pre-amp I set up recently – many other personal accounts validate this. It somewhat makes sense that an integrated pre-amp in a receiver/amplifier can sound as good or better – any time you add wires and components you can introduce noise or distortion.
I have heard systems with a much more expensive pre-amps that sound very noticeably better than my receiver only system, but they also had much better speakers.
The main issue is that you can’t hear anything “added” or “subtracted”. For example, there are some reviews of lower end (or even some higher cost) units that have a noticeable buzzing or humming due to component build or grounding issues. In the end, you want the unit to be “transparent” – but perfection is almost impossible when you are not only attenuating but also correcting the signal for low and high frequencies.
Since the output of any cartridge is actually very low, any issues with amplifying the signal can get magnified. It is important to match the specs of whatever unit you are trying to the output of the cartridge type you are using. However, in general, unless you have a very high sensitivity to sound imperfections, most of the units we are recommending will probably work just fine.
OPTIONS AND BUDGET CONSIDERATIONS
One possible option is to buy a receiver or amplifier that already has a “phono” input. This has less flexibility as you can’t do much to match the phono cartridge to optimize the signal and sound. But for most MM phono/cartridge setups, a good quality receiver will work quite well. This is what I have always done up to 10 years ago – first an inexpensive Sony receiver, then two Yamaha amplifiers. I ended up upgrading the cartridge on that early Sony system to improve the sound, but overall I did not have too many complaints.
However, if you already have a system without the phono input and your existing or new turntable does not have a built-in pre-amp, then buying a stand-alone unit is a good option to allow you to match your components. There are not as many options these days for built-in units, and then you are limited to whatever quality and specifications already exist.
There are essentially two types of pre-amplifiers – vacuum tube and solid state. This is somewhat an oversimplification as there are endless variations of design and circuitry, but in general, these are the choices.
In a vacuum tube phono preamp the circuitry needed to amplify and RIAA correct the signal is built around vacuum tubes. While this circuitry is built around transistors (or operational amplifiers) in a regular solid-state phono preamp.
Tube amplifiers respond differently from transistor amplifiers when signal levels approach and reach the point of clipping (overload). In a tube amplifier, the transition from linear amplification to limiting is less abrupt than in a solid state unit, resulting in a less grating form of distortion at the onset of clipping. The technical explanations are more thoroughly explained here.
And this is the main reason why so many studio musicians, guitarist and home stereo enthusiasts prefer tube amplification. The softer clipping that tubes provide results in a warmer and more pleasant sound character.
Sound characteristic – warmer sound, softer clipping and transients. Since this warmer sound is an argument for using analog vinyl in the first place, it stands to reason vinyl audiophiles could prefer this sound “color”. It can be argued that today’s solid state circuitry can very closely replicate these characteristics, but many still claim the smoother tone can’t be 100% copied.
Replaceable and upgradeable vaccum tubes – the tubes used in the circuits are removable and can be replaced with new and/or better tubes fairly easily.
Have a “cool” factor – especially when the vacuum tubes are exposed, this types of amps just look retro and classy. Paired with a fully analog system, there are some bragging rights involved here – although I think that should always take a back seat to sound quality and practicality.
However, there are some clear downsides:
Cost – finding a good (and real) vacuum tube pre-amp at a reasonable cost is much more difficult than a solid state version. Although there are a few “budget” versions using tubes, they tend to not get a lot of love, and in most cases aren’t true, tube only, amplifiers. Unless you are willing to spend more than $500, you will be hard pressed to find a really high quality version.
Reliability and maintenance – vacuum tubes wear out over time. They need to be replaced at certain intervals, and they are not very cheap. If you are trying to stay within a reasonable budget for your system, this can be a significant factor.
Warm up time – solid state circuits are ready as soon as you turn them on. Tube amps require a significant warm up time, often more than 30 minutes before use. Although this could be just considered the cost of the sound you desire, it is another factor in ease of use.
STOCK vs TUBE Preamps
Opting to go to a standard solid state pre-amp leaves you with many more options and typically at a much lower price point for similar performance. Much like vacuum tube versions, the sound still depends on the component and build quality. Premium performance generally means a deeper bite into the wallet, but there are many solid options for less than $300 that should satisfy anyone but the most critical audiophile.
In my opinion, unless you have already invested in building a 100% analog system, including the main amplification to your speakers or headphones, purchasing a good quality solid state pre-amp (or a receiver with a built in version) is the best path. For the purposes of this article, I am including some vacuum tube pre-amps in the list. But since these recommendations are more for the budget-minded vinyl enthusiast, I am focused more on the better rated solid state versions.
Full disclosure, I have only personally used Pyle and Pro-Ject Phono pre-amps. Pyle because they super cheap and can be used for any budget system, in my case an old setup. Pro-Ject because I used the older Phono Box S for my system, as it was a good bang for buck unit on my mid-range system using my older Teac turntable. I have used multiple produce reviews, manufacturer specs and vinyl forums to reach conclusions on many of these models.
I have also added a YouTube review where possible to give further insight, although it is not really a good listening medium to gauge the sonic performance. That can really only happen when you try it in your system. But you can get a pretty good idea from the reviews and tech specs if it will work with your turntable.
A final note, a USB connection is optional on some newer pre-amps – it has no effect on performance but you may want it if you plan to use it to create digital recordings of your records. Several of the choices listed have this ability, or has an upgrade version with USB.
PHONO PRE-AMP RECOMMENDATIONS
Vacuum Tube Pre-Amps
Nobsound Little Bear T7
Cartridge: MM Input Gain Range: 35-40dB Impedance Range: 47kΩ Cartridge Capacitance Range:220pF Key Features: Both Phono and Aux inputs, adjustable gain
This pre-amp comes with extremely mixed reviews overall. One thing to know right away is that this is not truly a full vacuum tube amplifier. The actual amplification is done through a solid state amplifier, the tubes are signal buffers and add some analog “warmth” to the sound.
Built in China, the appearance and build quality seem good, but at a price point below $100, don’t expect audiophile performance. Overall, it looks nice and the sound quality is reported to increase quite a bit if you buy a set of better tubes to replace the originals from the start.
The main reported problem (besides sound reproduction) is reports of loud humming due to grounding issues. This doesn’t seem to be an issue with everyone, but that would be a major concern if it can’t be resolved during the setup on your system. There have also been commentary on high end harshness in comparison to other higher priced products.
However, at this price point it would be hard to find a better choice, especially for a unit with vacuum tubes incorporated in the design. If you want some of that analog smoothness without the wallet crushing price, this might work for you.
LITTLE BEAR phono pre-amp T7 vs T8 sound comparison
Nobsound Little Bear T11
Cartridge: MM Input Gain Range: 48dB Impedance Range: 47KΩ Cartridge Capacitance Range: 100pF Key Features: Fully analog pre-amp at a low price point.
The Little Bear T10 tube pre-amp has been a popular choice for tube circuit enthusiasts, and the updated T11 is the newly improved version – dedicated to MM cartridges only. The T11 provides a good value to a fully vacuum tube pre-amp. The Little Bear T11 comes with one 6Z4 power tube and three 6N2 preamp tubes – the latter can be swapped for the classic 12AX7 variety. All of these can be used with or without the supplied (metal or acrylic) covers, which are included in the package. Those help quite substantially with hum and noise issues, which are quite common with tube designs.
Much like the T7 shown above, background hum due to grounding issues seems to be the main concern when setting up this pre-amp to your system. Although the dynamics are very acceptable if the grounding is good, the tubes can (and maybe should) be upgraded to improve the sound quality. The connection of the RCA inputs in the front of the unit does not lend to an attractive setup in a system.
Pro-Ject Tube Box S
Cartridge: MM & MC Input Gain Range: 40-60dB Impedance Range: 10-2kΩ (MC), 47kΩ (MM) Cartridge Capacitance Range: 50-370pF Key Features: Dual mono configuration, adjustable gain, impedance and capacitance ranges. High grade ECC83 12AX7vacuum tubes.
This pre-amp touches the top end of our price range, coming in just at $300. For a true tube pre-amp with MM/MC capability and configuration capabilities, this is still an excellent value. I have found very few negative reviews of this product. It appears to have good build quality, with a simple solid design. The vacuum tubes are removable, protected by ring cages, and are good quality units out of the box.
The Pro-Ject is a rare example of a reasonably priced tube pre-amp that is capable of handling both MM and MC cartridges. Dip switches on the bottom of the unit allow for gain, impedance and capacitance adjustments to match almost any cartridge you could throw at it. If you are looking for the tube pre-amp sound that is capable of multiple configurations, this could be for you.
Getting back my Vinyl Sound with a Pro-Ject Tube Box S Phono Preamplifier
Solid State Pre-Amps
Pyle Pro PP999
Cartridge: MM Input Gain Range: 40dB Impedance Range: 50KΩ Cartridge Capacitance Range: N/A Key Features: It’s really cheap
The price shown is not a misprint – you can buy this capable solid state pre-amp from Pyle for the cost of a couple of ballpark beers. This is the ultimate entry level unit for a system you want to build on a tight budget. It is not that attractive and the back and front input / output configuration is awkward, but it is dead simple and easy to use.
For the current version, Pyle added a grounding post as in the PP444 version to eliminate any issues with background noise. Overall the sound will not match a higher end unit but most reviewers have found it perfectly acceptable. One other note, there is no power button so it is always on – just plug in and leave it.
Introducing the Pyle PP999/ PP444/ PP555 Phono Preamps
Pro-Ject Phono Box (E, MM, DC MM/MC)
Cartridge: MM & MC (DC only) Input Gain Range: 40dB Impedance Range: 47kΩ (100Ω for MC) Cartridge Capacitance Range:120pF Key Features: Entry level costs but very acceptable audio quality for any system.
From Pro-Ject’s vast selection of pre-amp choices, here we will focus on the entry level options in their “E” and “C” lines. Pro-Ject is known for their high quality design and construction, so even at these price points, you can expect good results for your system. Your choices would mainly depend on what cartridge requirements you have and if you want any other options like USB.
The Phono Box E is Pro-Ject’s least expensive option with a compact form fit, but still has the quality you would expect from this manufacturer. Even at this end the specs are solid at 0.05% THD and 88dB signal to noise.
The Phono Box MM specs are virtually identical to the E version, slightly better THD. I don’t think there is much to distinguish these products, it may come down to appearance or slightly less cost.
The Phono Box DC MM/MC has an appearance much closer to the higher cost S2 line, a clean metal box. Since it supports MM and MC cartridges it is more flexible than the other versions, but the base specs are again very similar. It does have an improved THD spec (0.01%) but I think you would be hard pressed to hear a difference between these 3 versions.
If you don’t need a pre-amp that supports MC cartridges, the MM version would probably work very well for you and provide good performance for <$100. There are also Record Box E USB and Phono Box MM/MC USB versions for those who would like to digitize their records.
Cartridge: MM Input Gain Range: 36dB Impedance Range: 47kΩ Cartridge Capacitance Range:100pF Key Features: High quality stainless steel case for reduced interference, high quality components, simple elegant design
There is not a lot that needs to be said about this unit – it just works. It is not perfect, as some reviews have mentioned a somewhat muddy sound with a less than crisp high end. However, most users seem to find the performance relatively unobtrusive, which is what you are looking for in a decent pre-amp.
For this price point, if you are looking for a simple setup and mid-range performance, this could work well for you. As with the Pyle unit mentioned above, this does not have a power button, it is always on once plugged in.
Uturn Pluto phono preamp review
Pro-Ject Phono Box S2 (Ultra)
Cartridge: MM & MC Input Gain Range: 40-63dB Impedance Range: 10Ω-47kΩ Cartridge Capacitance Range:100-400pF Key Features: Compact, simple but flexible – highly adjustable to match cartridge type. High quality sound (dual mono), upgraded components. Opamp-less design for Ultra.
Pro-Ject has a wide selection of pre-amp choices, we will focus here on the Phono Box S2 (mid-range) options, we have already looked at the more budget minded choices (E, MM, DC) versions. Both the S2 and S2 Ultra are good options for high quality sound characteristics and cartridge flexibility.
The Pro-Ject Phono Box S2 is the next generation of the popular Phono Box. The Pro-Ject S2 Ultra is very closely related to the limited edition Phono Box Ultra 500. If you’ve felt slightly overwhelmed by the number of phono stage choices on their website you won’t be the only one. The S2 line bridges the gap between affordable and audiophile. Upgrading to the S2 Ultra give you an op-amp-less design. Operational Amplifiers, also known as op-amps, are circuit components widely used to boost the whisper-quiet cartridge signals. They also upgrade the capacitors to polystyrene capacitors for improve high-end sound quality (according to their claims). The THD and signal to noise specs for the Ultra are very good (0.00052% and 89dB).
I have seen very few negative reviews of the sound quality either of these pre-amps, although as with anything sound related it is difficult to judge without hearing yourself. Based on Pro-Ject’s history with both turntables and amplifiers I would say these are pretty safe bets.
Project Phono Box S2 Phono Preamp Review
Rolls VP29
Cartridge: MM Input Gain Range: 42dB Impedance Range: 47kΩ Cartridge Capacitance Range:120pF Key Features: Price and simplicity with reasonable sound quality.
Those looking for a simple plug-and-play phono pre-amp you might like the Rolls VP29, which has no buttons or knobs and is designed to perform one task and one task only — amplifying the sound of your favorite vinyl to standard playback level with RIAA equalization. The price is right on this product, although don’t expect audiophile level playback. Solid grounding helps prevent any noticeable issues with background hum, reported by some users. However, overall the reviews seem very positive for such a simple and inexpensive product.
Music Hall Mini – beware:
Many sites list the Music Hall Mini as a competent budget alternative for your pre-amp requirements. While this may be, in reality it is the Rolls VP29 guts just in a different case. It sells for $30 to $40 more than the VP29, which is quite a premium for a different name on the case. The only reason I could see for purchasing this instead of the Rolls version would be for the cleaner black case appearance.
This Preamp Reveals the Dark Side of the HiFi Industry
Schiit Mani MC/MM
Cartridge: MC & MM Input Gain Range: 30-59dB (4 switchable modes) Impedance Range: 47Ω (MC) or 47kΩ (MM) Cartridge Capacitance Range:NA Key Features: Great sound, flexible settings, reasonable price. If the name doesn’t bother you, this is a great mid-range choice.
Yes, they have an “interesting” name. But Schiit has a good reputation for solidly made products, and if you have concerns where products are made, the Schiit Mani is made in America. This is a small footprint pre-amp with a nice simple metal case, very clean looking.
Despite it’s modest look, this is a versatile unit, capable of accommodating almost any type of cartridge. If you pick up the Mani and flip it over, what you’ll notice is a handful of different switches that, ultimately, give you 4 changeable gain modes at your disposal (30, 42, 47, and 59 db). The input impedance that Mani can take is automatically adjusted from 47 Ohms (typical for MC) to 47 kOhms (MM). A high quality passive RIAA compensation network, with high quality components resulting in low noise. The sonic precision of this preamp belies its fairly modest price.
One issue seen was significant RF interference by some users. This could be a big problem with no simple solution. However, most users rate this very highly for overall sound quality, so if this doesn’t affect your setup, at <$150 this is an extremely good choice for close to audiophile results.
Schiit Mani review - mega-shootout
Rega Fono Mini A2D MM MK2
Cartridge: MM Input Gain Range: 35dB Impedance Range: 47kΩ Cartridge Capacitance Range:100pF Key Features: Level control for USB transfer of analog to digital.
If you’re looking for a phono preamp converts analog signals to USB, this may be a good option for you. The Fono Mini A2D comes with a built-in USB output that allows you to connect it to a computer or any other device that supports USB connection.
The appearance is not much to write about, it is a small form factor aluminum black box with the ground lug on the front. The sound quality has been mostly reported to be punching above it’s weight for this mid-price range. With minimal coloration and good dynamic range, it matches up well to higher end models.
You may want to use a DAC to play the digital format at its best quality and for some reason the USB cable is not included. I am not sure why they chose to but the USB input right in the middle of the front panel, looks “cyclops” ugly to me. But as in all these units, the sound is the key.
Rega Fono Mini A2D+ my view on budget kit
Cambridge Audio Alva Solo (Duo)
Cartridge: MM & MC (Duo) Input Gain Range: 39dB / 60dB (MC) Impedance Range: 50kΩ / 100Ω (MC) Cartridge Capacitance Range:100pF Key Features: Duo has additional headphone input
Cambridge Audio is a company that has been around a long time and has been well known for quality audio products. Although now manufactured in China, the sound quality still seems to be there. The Duo unit supports both MM and MC cartridges and lets you compensate for slight balance issues the cartridge might have with a balance control. It also has a headphone jack with a volume control for direct listening.
Sound quality has been classified by most users as “almost” audiophile – comparable to a Schiit Mani unit or other mid-range products. While there were a few reports of noticeable hum or hiss, most professional reviews I found seemed to classify these units as extremely quiet. The biggest gripe seemed to be for the headphone amplifier, so use caution here.
Overall this is another good mid-range choice with a nice appearance and the Cambridge reputation for sound quality.
Cambridge Solo & Duo Phono Preamp Review
ART Pro Audio DJPREII
Cartridge: MM Input Gain Range: 45dB Impedance Range: 47kΩ Cartridge Capacitance Range:100pF and 200pF (switchable) Key Features: Adjustable gain on front of unit, switchable rumble filter, low price
Applied Research and Technology (ART) is a high quality supplier of many types of audio gear, including an array of pre-amplifiers. At the entry level end is the DJPREII, an inexpensive, simple but well-built phono stage that performs well above it’s price point. If you can deal with the super bright blue power LED….
It takes a little time set this correctly and not overdrive with the front panel gain knob, but – but this compares favorably in sound quality with the Rolls V29 and the Pro-Ject Phono Box offerings. The internals are housed in a heavy-duty case, with a front signal/peak LED – the unit has no power switch. The capacitance level is switchable to match your MM cartridge and there is a rumble filter option. As the DJ in name implies, this can be used as a DJ unit where you might want to reduce any effects from heavy bass or speakers close to the speakers, thus the rumble filter switch. I have no idea if this actually works,
There has also been discussion on forums about the effects of using the AC adapter supplied vs a 12 volt DC power source – there are claims the 12v DC is quieter. Overall this unit is a low price alternative to the other units I have shown in that it has some features unique to this product.
Art DJpre ii vs Rolls VP29
Parasound Zphono MC/MM (USB)
Cartridge: MM & MC Input Gain Range: 46dB & 61dB (MC) Impedance Range: 47kΩ & 100Ω (MC) Cartridge Capacitance Range:150 pF Key Features: Flexible cartridge use, with or without USB capability, AC polarity switch to reduce hum.
If you are looking for one of, if not the, quietest phono stages on the market today, then this might be the right model for you. Even when you are not using your turntable, this preamp is extremely quiet. This is because this system has an AC polarity switch that helps to eliminate that annoying hum.
This model can be used with either MM or MC cartridges. It is very simple to switch between the two – all that you have to do is flip a switch on the back of the preamp. The USB model can be used to easily digitize your vinyl, and has a gain knob to adjust the output. This model also has a headphone jack input, although one negative is no volume control which many users say render this feature not so useful. The USB also has a RIAA switch for using external equalization for USB digital recordings.
This is another mid-range pre-amp option with a nice look and form factor which gives you the option of upgrading cartridges without a change.
Parasound Zphono USB MM/MC Phono Preamplifier – Audio Advisor
FINAL THOUGHTS
Making a decision on what phono pre-amplifier is needed for your system can be a little overwhelming – there are a number of decisions to be made. Like much of the vinyl hobby, it requires a little more effort than plugging your headphones into a digital source and hitting play. Carefully review the specification requirements for your system based on your turntable, cartridge, and output / speaker setup.
In the end, we think it’s worth it to get that sweet vinyl sound.
My personal choices would be the ART Pro Audio DJPREII for a tight budget, the Schiit Mani or Pro-Ject Phono Box DC for mid-range price sound quality and flexibility, and the Pro-Ject S2 Ultra for the high end of our range. But all of these brands have solid reputations and product / sound quality, so in the end it depends on your musical tastes, budget and specification requirements. It would be hard to go too far wrong with any of these choices.
If you are still looking for that first or new turntable, we have some cost-conscious recommendations and reviews for you – take a look and start your vinyl journey today!
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Pro-Ject Phono Box S2 (Ultra)
Cartridge: MM & MC