Despite taking their name from one of the 50 United States of America and adopting several American-sounding musical styles, the Scottish pop/rock band Texas found nearly all its success in Europe starting in the late '80s, including the multi-million selling albums Southside, White on Blonde, and The Hush, and a series of hit singles such as... [+] Read More

Despite taking their name from one of the 50 United States of America and adopting several American-sounding musical styles, the Scottish pop/rock band Texas found nearly all its success in Europe starting in the late '80s, including the multi-million selling albums Southside, White on Blonde, and The Hush, and a series of hit singles such as "Say What You Want," "In Our Lifetime," and "Summer Son."

Bass player Johnny McElhone (born April 21, 1963, Glasgow, Scotland) organized the band in Glasgow in 1986. McElhone, a veteran of the bands Altered Images and Hipsway, brought in singer and rhythm guitarist Sharleen Spiteri (born November 7, 1967, Glasgow, Scotland), lead guitarist Ally McErlaine (born October 31, 1968, Glasgow, Scotland), and drummer Stuart Kerr (born March 16, 1963, Glasgow, Scotland). The group took its name from the film Paris, Texas, which had boasted a score by Ry Cooder, whose slide guitar playing heavily influenced McErlaine, and Spiteri sang without any discernible Scottish accent, giving the band a distinctly American sound. Texas made its concert debut in March 1988 at Dundee University in Scotland. McElhone's previous connection with Mercury Records through Hipsway led to the label's signing the band, which initially tried to record with Bernard Edwards of Chic as producer before settling on Tim Palmer instead. The first result of this association was the single "I Don't Want a Lover," the initial effort of the writing team of Spiteri and McElhone, which Mercury released in the U.K. in January 1989. On March 4, it peaked at number eight. Southside (the title referring to a neighborhood of Glasgow), the debut album, was released in March and peaked at number three at the end of the month. As Texas toured the U.K. and Europe, three more singles were released from the album, but failed to reach the Top 40; nevertheless, Southside eventually sold more than two million copies worldwide. Meanwhile, Mercury released "I Don't Want a Lover" and Southside in the U.S. in July. The single broke into Billboard's Album Rock Tracks and Modern Rock Tracks radio charts before finally entering the Hot 100, where it peaked at number 77 on September 30; the album peaked at number 88 a week later.

Texas continued to tour Europe in 1990 before beginning work on their second album. Kerr left and was replaced on the drums by Richard Hynd (born June 17, 1965, Aberdeen, Scotland), and keyboard player Eddie Campbell (born July 6, 1965, Glasgow, Scotland), who had been playing with them live, became an official member of the band. Mothers Heaven was released in September 1991 and proved to be a commercial disappointment, peaking at number 32 in the U.K. on October 5. In the U.S., the track "In My Heart" reached the Modern Rock Tracks chart as Texas made its first visit to the country in November, but the album failed to chart. "Alone with You," the album's third single, returned them to the British Top 40, reaching number 32 on February 15, 1992, but their first substantial hit single since "I Don't Want a Lover" was a one-off cover of Al Green's "Tired of Being Alone," which peaked at number 19 on May 9.

Again, after touring primarily in Europe, Texas retired to write and record another album, this time turning to Paul Fox as producer and recording at Bearsville Studio in Woodstock, NY, which gave them their title, Ricks Road, the name of the dirt road leading to the studio. "So Called Friend," released in advance of the album in August 1993, peaked at number 30 in the U.K. on September 11. (It was later used as the theme song for the U.S. television series Ellen, starring Ellen DeGeneres [1994-1998], and in the 1996 feature film Last Dance, starring Sharon Stone.) A second single, "You Owe It All to Me," reached number 39 on October 30, before Ricks Road finally appeared in November, hitting number 18 on November 13. The album was not released initially in the U.S., but it eventually came out in 1994 as the band made several trips -- in March, May-June, and August-September -- to tour in North America. Despite this effort, like Mothers Heaven, Ricks Road failed to chart in the U.S., selling a meager 38,000 copies. The band wrote off the American market thereafter, concentrating primarily on Europe.

One more single from Ricks Road, "So in Love with You," made the British Top 40, peaking at number 28 on February 12, 1994. But by the time Texas closed its touring in support of the album in December, it was ready for an extended break, and little was heard from the band over the next two years, while they worked on their fourth album with producer Mike Hedges. They re-emerged with a hometown concert in Glasgow on December 5, 1996, and in January 1997 came the advance single "Say What You Want," which became their biggest hit yet, peaking at number three on January 25. That surprising comeback was followed by the album White on Blonde, which entered the British chart at number one on February 15, 1997. It remained in the charts nearly two years, selling 1.7 million copies in the U.K. alone and throwing off three more Top Ten hits: "Halo," "Black Eyed Boy," and "Put Your Arms Around Me." The band spent the year touring extensively in Europe and made its first trip to Australia in May. (They did not tour the U.S., where White on Blonde finally was released on August 5, 1997, as "Say What You Want" appeared in the film comedy Picture Perfect, starring Jennifer Aniston, although they did find time for a promotional trip in October. The album did not chart, but Hollywood continued to favor the group, with "Put Your Arms Around Me" appearing in the 1998 film Ever After, starring Drew Barrymore.) On February 9, 1998, Texas appeared at the BRIT Awards, performing "Say What You Want" in the company of rapper Method Man of Wu-Tang Clan. The seemingly unlikely pairing led to a new recording of the song, and the single "Say What You Want (All Day and Every Day)" by Texas featuring Wu-Tang Clan (actually, just Method Man and RZA) entered the U.K. charts at number four on March 21. The band played shows periodically during 1998 while working on its next album. That fifth album was prefaced by the lead-off single "In Our Lifetime," which entered the British charts at number four on May 1, 1999. The Hush, which followed within weeks, showed the band as consisting of Spiteri, McElhone, Campbell, and McErlaine; soon after, it was announced that Mikey Wilson was the new drummer. The album entered the charts at number one on May 22, 1999. Second single "Summer Son" reached number five in August, but "When We Are Together" stopped at number 12 in November, capping Texas' run of consecutive Top Ten British hits at seven. Touring continued throughout 1999.

Texas' next single was "In Demand," a Top Ten hit released in October 2000 that prefaced The Greatest Hits, which hit number one in Britain in November and spawned a second new track, "Inner Smile," that reached the Top Ten in January 2001, and the band launched an extensive European tour. (By this time, Mercury wasn't even bothering to release Texas' records in the U.S.) In July, they issued a remixed version of their first hit, "I Don't Want a Lover," which made the Top 20. Spiteri then took time off to have a baby, giving birth to a daughter on September 9, 2002. So, more than two more years passed before the October 2003 release of the sixth album, Careful What You Wish For, which was prefaced by the single "Carnival Girl," featuring Kardinal Offishall, a Top Ten hit. (The credits announced that Neil Payne was the new drummer, replacing Wilson, and that a new guitarist, Tony McGovern, had joined.) The album peaked at number five and also featured the Top 40 hit "I'll See It Through." By November 2005, when the seventh album, Red Book, was released, Texas' commercial fortunes had declined, but the disc was still able to debut in the Top Ten in France, the band's most reliable market. (The album marked the addition of keyboard player Michael Bannister.) "Sleep," a duet between Spiteri and Paul Buchanan of the Blue Nile, was excerpted as the album's third single in January 2006 and made the U.K. Top Ten. ~ William Ruhlmann, All Music Guide [-] Hide

So named in honor of a sketch by the Monty Python comedy troupe, Toad the Wet Sprocket's mellow, melodic folk-pop sound made them one of the most successful alternative rock bands of the early 1990s. Singer Glen Phillips, guitarist Todd Nichols, bassist Dean Dinning (the nephew of '50s hitmaker Mark "Teen Angel" Dinning) and drummer Randy Guss... [+] Read More

So named in honor of a sketch by the Monty Python comedy troupe, Toad the Wet Sprocket's mellow, melodic folk-pop sound made them one of the most successful alternative rock bands of the early 1990s. Singer Glen Phillips, guitarist Todd Nichols, bassist Dean Dinning (the nephew of '50s hitmaker Mark "Teen Angel" Dinning) and drummer Randy Guss formed the group in 1986 in their native Santa Barbara, California; after honing their skills in area bars, they entered a nearby studio in 1988 and recorded their debut LP, Bread and Circus, in just eight days at a cost of $650. Originally sold as a homemade cassette in Santa Barbara record stores, the album made its way to the Los Angeles offices of Columbia Records, which signed Toad only after agreeing to the band's request to reissue Bread and Circus in its original form, without any alterations or remixes. The somber Pale, produced by Marvin Etzioni, followed in 1990; after years of persistent touring, Toad the Wet Sprocket's commercial breakthrough followed with 1991's Fear, as the single "All I Want" -- quite nearly left off the album -- became a Top 20 hit. Another single from the LP, "Walk on the Ocean," was also a success. Three years later, Toad returned with Dulcinea, which generated another Top 40 hit with the single "Fall Down"; In Light Syrup, a collection of unreleased material, appeared in 1995. Coil, Toad the Wet Sprocket's fifth proper LP, followed in 1997. The group split in July 1998; their Greatest Hits collection was promised for later that year, but didn't appear. However, P.S.: A Toad Retrospective, did surface in 1999. ~ Jason Ankeny, All Music Guide [-] Hide

A contemporary folkie renowned for her expressive, crystalline voice, singer/songwriter Jewel was among the most successful of the many new female performers who dominated the pop charts throughout the 1990s. Born Jewel Kilcher on May 23, 1974, in Payson, UT, she was raised in remote Homer, AK, and began her music career at the age of six,... [+] Read More

A contemporary folkie renowned for her expressive, crystalline voice, singer/songwriter Jewel was among the most successful of the many new female performers who dominated the pop charts throughout the 1990s. Born Jewel Kilcher on May 23, 1974, in Payson, UT, she was raised in remote Homer, AK, and began her music career at the age of six, regularly performing alongside her singer/songwriter parents in local Eskimo villages and tourist attractions. After her parents' divorce, she remained with her father, touring with him for the next seven years.

While attending Michigan's Interlochen Fine Arts Academy, Jewel began writing her first songs; upon graduating, she joined her mother in San Diego, suffering through a series of short-lived day jobs before deciding to flee the nine-to-five world for good, at which time she moved into her van and began focusing on a career in music. Her first regular gig was at the Innerchange, a coffeehouse in Pacific Beach; word quickly spread, and by 1993 she was the subject of a rabid local cult following.

After signing to Atlantic, in early 1995 Jewel issued her debut LP, Pieces of You; the record was a slow starter, not even breaking into the Billboard pop charts until some 14 months after its release, but eventually the single "Who Will Save Your Soul" became a major hit, and soon the album was a best-seller as well. Two other hits, "You Were Meant for Me" and "Foolish Games," followed. In 1998 Jewel returned with Night Without Armor, a collection of her spoken word poetry; her hotly anticipated second album, Spirit, followed later that year, as did the seasonal collection Joy: A Holiday Collection. Chasing Down the Dawn -- a spoken word album featuring unabridged selections from the book of the same name -- was issued in fall 2000.

This Way appeared a year later as a more lighthearted follow-up to Spirit. Fans and critics were shocked in 2003 when the slick dance-pop album 0304 appeared and were just as shocked when the singer allowed the Schick company to use the album's hit single, "Intuition," for a advertising campaign introducing their new razor. Goodbye Alice in Wonderland, released in May 2006, was a return to the warm sound of her earlier work. Led by the single "Again and Again," it reached the Top Ten. ~ Jason Ankeny, All Music Guide [-] Hide

Toronto, Canada's quirky popsters Barenaked Ladies were never ones to follow a trend. They were more interested in making someone laugh than being astute and serious. Most of all, a friendship consumed this band and that bond cemented their place in alternative rock.

Teenage friends Ed Robertson and Steven Page found themselves... [+] Read More

Toronto, Canada's quirky popsters Barenaked Ladies were never ones to follow a trend. They were more interested in making someone laugh than being astute and serious. Most of all, a friendship consumed this band and that bond cemented their place in alternative rock.

Teenage friends Ed Robertson and Steven Page found themselves laughing at the innocent and child-like term "barenaked lady" while attending a Bob Dylan concert in 1988. Both Robertson and Page agreed that it would make a funny band name, and since the duo was already into rock music and playing guitar, the Barenaked Ladies were born. Joining them were bass man Jim Creeggan, his brother Andy on keyboards, and drummer Tyler Stewart, and the Barenaked Ladies began to blend their comic relief sensibilities inside an eclectic mix of jazz, folk, and rock.

The famous self-titled Yellow Tape (1991) captured BNL's first independently recorded material, however Canadians weren't too fond of the group's naïveté. They were branded a novelty act by some, but The Yellow Tape proved successful when it became the only indie release to achieve platinum status in Canada. Record labels entered an instant bidding war, and Sire won over the band. Their rock & roll dreams were beginning to unfurl. Their zany, wacky, and hip debut Gordon was released in 1992, and college kids across North America were keen on singles such as "Be My Yoko Ono," "Enid," and the charming favorite "If I Had a $1,000,000." Canadian contemporaries also warmed up to the silliness of "If I Had a $1,000,000" and BNL began their reign as Canada's pop kings alongside the Tragically Hip. Not everyone was amused, however.

Toronto mayor June Rowlands considered the band's name to be sexist and demeaning to women, and therefore forbid the Barenaked Ladies from playing a local gig in 1992. In typical style, BNL laughed it off and resumed their schedule.

At the height of grunge, Ben Mink came around to produce the acoustically mellow Maybe You Should Drive in 1994. Songs like the jaunty "Alternative Girlfriend" and the sweetly melodic "Jane" were college radio favorites, but changes were on the way. Before they could collect themselves for a third album, Andy Creeggan left the band in order to finish college and Look People guitarist/keyboardist Kevin Hearn hopped on board for BNL's joint tour with Billy Bragg...and never left. Hearn joined the band for 1996's obscuro-pop album Born on a Pirate Ship and again, BNL charted new celebrity territory by appearing on an episode of Beverly Hills 90210 to perform their Top 40 hit, "The Old Apartment." Success was fast, leaving BNL to sellout countless summer shows. This merry mayhem was captured on the band's first live album, Rock Spectacle (pronounced Rock-Spek-Tak). The uninhibited and playful effort introduced a new audience to the aspect of the band that had been winning them fans since they started -- their live shows. It even included one of their signatures -- improvised rapping and stage banter. Rock Spectacle was BNL's first album to be certified gold in the U.S. The Barenaked Ladies had finally arrived, positioning themselves to take over America -- and the pressure was on.

Stunt, the band's fifth album, was issued in July 1998, marking a pivotal time for BNL. "One Week" was their most popular hit to date, and Stunt debuted at number three on Billboard. The North American Stunt Tour moved them from theaters and clubs and made them stadium sweethearts. Sadness loomed over BNL's carefree effervescence, however. Hearn had been diagnosed with leukemia earlier that spring and spent almost six months recuperating. Geggy Tah's Greg Kurstin and fellow BNL comrade, multi-instrumentalist Chris Brown, filled in for Hearn on tour. After a bone marrow transplant in October, Hearn was free of all cancerous cells and BNL was at their finest.

The Don Was-produced Maroon followed two years later and did moderately well with "Pinch Me" and constant touring. Still their comical selves, and now glorified pop stars, Maroon introduced a more mature group and Page's lyrics had now become more abrasive. They grew into men, some of them marrying and having children by this time, so the progression was natural. That same year, BNL won two Juno Awards for Best Pop Album and Best Group, as well as being nominated for a Grammy Award for Best Pop Performance by a Duo or Group with Vocal for "Pinch Me."

They proved to be unstoppable...and still enjoying their rise to fame and having fun at the same time. Taking its title from their song "Box Set," a greatest- hits collection, Disc One: All Their Greatest Hits (1991-2001), was issued in fall 2001 and celebrated BNL's work and bond as a musical family. Two years later, the band returned with Everything to Everyone. Barenaked Ladies Are Me followed in 2006. ~ MacKenzie Wilson, All Music Guide [-] Hide

Tori Amos (born Myra Ellen Amos) was one of several female singer/songwriters who combined the stark lyrical attack of alternative rock with a distinctly '70s musical approach. Her music falls between the orchestrated meditations of Kate Bush and the stripped-down poetics of Joni Mitchell. In addition to reviving the singer/songwriter traditions... [+] Read More

Tori Amos (born Myra Ellen Amos) was one of several female singer/songwriters who combined the stark lyrical attack of alternative rock with a distinctly '70s musical approach. Her music falls between the orchestrated meditations of Kate Bush and the stripped-down poetics of Joni Mitchell. In addition to reviving the singer/songwriter traditions of the '70s, Amos revived the piano as a rock & roll instrument. With her 1992 album, Little Earthquakes, Amos built a dedicated following that continued to expand with her second album, Under the Pink.

Born in North Carolina but raised in Maryland, Amos was the daughter of a Methodist preacher. By the age of four, she was singing and playing piano in the church choir; she began writing her own songs shortly afterward. Amos won a scholarship to Baltimore's Peabody Conservatory based on her instrumental prowess. While she was studying at Peabody, she became infatuated with rock & roll, particularly the music of Led Zeppelin. She began writing pop ballads and performing in local bars. Amos moved to Los Angeles in her late teens to become a pop singer.

Atlantic Records signed her in 1987, recording an uninspired pop-metal album called Y Kant Tori Read the following year. The record was a complete failure, attracting no attention from radio or press and selling very few copies; nevertheless, she didn't lose her record contract. By 1990, Amos had adopted a new approach, singing spare, haunting, semiconfessional piano ballads that were arranged like Kate Bush but had the melodies and lyrical approach of Joni Mitchell. Atlantic sponsored a trip to England in 1991, where she played a series of concerts in support of an EP, Me and a Gun.

The harrowing "Me and a Gun" was an autobiographical song, telling the tale of Amos' own experience with rape. It gained positive reviews throughout the media, and both the EP and the concerts sold well. Little Earthquakes, Amos' first album as a singer/songwriter, was released in late 1991 and sold well in both the U.S. and the U.K. In 1992, she released the Crucify EP, which featured three covers, including Nirvana's "Smells Like Teen Spirit" and Led Zeppelin's "Thank You." Delivered in early 1994, Under the Pink, the full-length follow-up to Little Earthquakes, was a bigger hit, selling over a million copies and launching the minor hit singles "God" and "Cornflake Girl." Two years later, Amos delivered her third album, Boys for Pele, her most ambitious and difficult record to date. The album debuted at number two and quickly went platinum. Amos spent much of 1997 dealing with personal matters, including a miscarriage and a marriage, and working on her fourth album, From the Choirgirl Hotel, which was released in the spring of 1998. The two-disc To Venus and Back followed in 1999 to coincide with a tour with Alanis Morissette. In 2001, Amos returned with the covers album Strange Little Girls, which also marked her last release for Atlantic. The next year, she found a new label home with Epic and followed with Scarlet's Walk in October. Her eighth studio album, an autobiographical record titled The Beekeeper, was released in 2005. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Paula Cole's songwriting and musical skills sharpened considerably on her second album, This Fire. Occasionally, she flirts a little too closely with Sarah McLachlan territory, but Cole has developed her own, subtly mature style, equally informed by textured electronics, light worldbeat influences, and soul-baring lyrics. "Where Have All the... [+] Read More

Paula Cole's songwriting and musical skills sharpened considerably on her second album, This Fire. Occasionally, she flirts a little too closely with Sarah McLachlan territory, but Cole has developed her own, subtly mature style, equally informed by textured electronics, light worldbeat influences, and soul-baring lyrics. "Where Have All the Cowboys Gone" may epitomize the sound of the album, but it only scratches the surface of what This Fire has to offer. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Fiona Apple may have been grouped in with the other female singer/songwriters who dominated the pop charts in 1996 and 1997, but she stood out by virtue of her grand ambitions and considerable musical sophistication. Even though her 1996 debut Tidal occasionally was hampered by naiveté, it showcased a gifted young artist in the process of... [+] Read More

Fiona Apple may have been grouped in with the other female singer/songwriters who dominated the pop charts in 1996 and 1997, but she stood out by virtue of her grand ambitions and considerable musical sophistication. Even though her 1996 debut Tidal occasionally was hampered by naiveté, it showcased a gifted young artist in the process of finding her voice. Even so, the artistic leap between Tidal and its long-awaited 1999 sequel When the Pawn Hits... is startling. It's evident that not only have Apple's ambitions grown, so has her confidence -- few artists would open themselves up to the ridicule that comes with having a 90-word poem function as the full title, but that captures the fearless feeling of the record. Apple doesn't break from the jazzy pop of Tidal on Pawn, choosing instead to refine her sound and then expand its horizons. Although there are echoes of everything from Nina Simone to Aimee Mann on the record, it's not easy to spot specific influences, because this is truly an individual work. As a songwriter, she balances her words and melodies skillfully, no longer sounding self-conscious as she crafts highly personal, slightly cryptic songs that never sound precocious or insular. With producer Jon Brion, she created the ideal arrangements for these idiosyncratic songs, finding a multi-layered sound that's simultaneously elegant and carnival-esque. As a result, Pawn is immediately grabbing, and instead of fading upon further plays, it reveals more with each listen, whether it's a lyrical turn of phrase or an unexpected twist in the arrangement; what's more, Apple has made it as rich emotionally as it is musically. That's quite a feat for any album, but it's doubly impressive since it is only the second effort by a musician who is only 22 years old. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Expanding on the hook-laden songcraft of their eponymous debut, the Ben Folds Five turn in another glitzy array of Todd Rundgren-esque, piano-driven pop on their second album, Whatever and Ever Amen. Though it isn't as consistently tuneful and clever as their first record, Whatever and Ever Amen has a snazzy sense of popcraft -- the hooks of... [+] Read More

Expanding on the hook-laden songcraft of their eponymous debut, the Ben Folds Five turn in another glitzy array of Todd Rundgren-esque, piano-driven pop on their second album, Whatever and Ever Amen. Though it isn't as consistently tuneful and clever as their first record, Whatever and Ever Amen has a snazzy sense of popcraft -- the hooks of "The Battle of Who Could Care Less," "Brick," and "Fair" sink in nearly as effortlessly as Billy Joel, Elton John, or Joe Jackson -- which makes the record enjoyable ear candy. Occasionally, Folds' smug humor -- whether it's the alternative rock skewering of "The Battle" or the borderline misogynist humor of "Song for the Dumped" -- can undercut his melodic gifts, but Whatever and Ever Amen is confirmation that the showy pop pleasures of his first record were no fluke. ~ Thom Owens, All Music Guide [-] Hide

Fiona Apple demonstrates considerable talent on her debut album, Tidal, but it is unformed, unfocused talent. Her voice is surprisingly rich and supple for a teenager, and her jazzy, sophisticated piano playing also belies her age. Given the right material, such talents could have flourished, but she has concentrated on her own compositions,... [+] Read More

Fiona Apple demonstrates considerable talent on her debut album, Tidal, but it is unformed, unfocused talent. Her voice is surprisingly rich and supple for a teenager, and her jazzy, sophisticated piano playing also belies her age. Given the right material, such talents could have flourished, but she has concentrated on her own compositions, which are nowhere near as impressive as her musicianship. Most of Tidal is comprised of confessional singer/songwriter material, and while they strive to say something deep and important, much of the lyrics settle for clichés. Apple does have a handful of impressive songs on Tidal, like the haunting "Shadowboxer" and "Sullen Girl," but the gap between her performing talents and songwriting skills is too large to make the album anything more than a promising, and very intriguing, debut. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

A Few Small Repairs, the proper follow-up to Fat City, was recorded on the heels of Colvin's divorce. And while the album is certainly a response, she avoids the obvious clichés in dealing with the aftermath, revealing instead the complex thought processes and complete range of human emotion, from anger, sadness, confusion, yearning, and... [+] Read More

A Few Small Repairs, the proper follow-up to Fat City, was recorded on the heels of Colvin's divorce. And while the album is certainly a response, she avoids the obvious clichés in dealing with the aftermath, revealing instead the complex thought processes and complete range of human emotion, from anger, sadness, confusion, yearning, and disillusionment to resolve and recovery. Colvin has always been a songwriter of note, but with A Few Small Repairs, she reaches new heights, painting hauntingly vivid images that address not only relationships but also life in general with great insight. The subject matter predictably gives a generally dark mood to the album, but musically, the album is both diverse and irresistibly catchy. The album marks a reunion with former collaborator/producer John Leventhal, and the two have found a perfect blend between words, music, and tasteful, organic arrangements for Colvin's finest effort to date. ~ Chris Woodstra, All Music Guide [-] Hide