During the early '90s, Phish emerged as heir to the Grateful Dead's throne. Although their music is somewhat similar to the Dead's -- it's an eclectic, free-form rock & roll encompassing folk, jazz, country, bluegrass, and pop -- the group adheres more to jazz-derived improvisation than folk tradition, and they have a looser, goofier attitude.... [+] Read More

During the early '90s, Phish emerged as heir to the Grateful Dead's throne. Although their music is somewhat similar to the Dead's -- it's an eclectic, free-form rock & roll encompassing folk, jazz, country, bluegrass, and pop -- the group adheres more to jazz-derived improvisation than folk tradition, and they have a looser, goofier attitude. After all, their drummer regularly plays a vacuum during their concerts. Phish's main claim as the inheritors to the Dead's legacy is their approach to their musical career. The band didn't concentrate on albums; they dedicated themselves to live improvisation. Within a few years of their 1988 debut, Phish had become an institution in certain sections of America, particularly college campuses. And their in-concert popularity didn't necessarily translate to huge record sales; their biggest-selling albums usually halted at gold status. Still, Phish were the de facto leaders of the neo-hippie jam band movement, until deciding to go on hiatus in 2000.

Guitarist/vocalist Trey Anastasio, drummer Jon Fishman, and guitarist Jeff Holdsworth formed the band in late 1983 while attending the University of Vermont. After meeting and jamming in their dormitory, the trio posted flyers across campus, recruiting a bassist. Mike Gordon answered the advertisement and he was soon added to the original lineup. The group began practicing regularly and soon assembled a demo tape. In the fall of 1984, Phish began performing off-campus concerts. At this stage in their career, the band was augmented by percussionist Marc Daubert and, occasionally, a vocalist called the Dude of Life. Soon, the group was playing concerts on nearby campuses, including Goddard College's Springfest in 1985. Page McConnell organized the Springfest at Goddard and he became a fan of the band. Later in the year, McConnell convinced the group to add him as a keyboardist. Shortly after McConnell joined Phish, Holdsworth left the group. In the fall of 1986, Anastasio and Fishman transferred to Goddard College.

Early in 1988, Phish recorded Junta, which they sold at their shows as a cassette-only release. In 1989, the group played their first tour outside of New England, traveling through the Southeast. Phish also recorded their second album, Lawn Boy, in 1989, although the album wasn't released until the fall of 1990; the record was released on the independent label Absolute A-Go-Go, a subsidiary of Rough Trade. Throughout early 1991, Phish toured America; during the summer, they recorded their third album, as well as a set of sessions with their old friend, the Dude of Life.

Late in August, Rough Trade collapsed, taking Absolute A-Go-Go with it. Phish was left without a record contract, but they were soon signed by Elektra, which released A Picture of Nectar in February of 1992. After the album's release, the group embarked on an extensive national tour. In the summer of 1992, Phish played a handful of shows on the first H.O.R.D.E. tour. Also that summer, Elektra reissued Lawn Boy and Junta. Rift, the band's fourth album and the first they recorded with a producer, appeared in February of 1993. During Phish's 1993 tour, the group sold tickets that were specifically designed for fans taping the concert, a major gesture of goodwill. Hoist, the band's fifth album, was released in 1994; one of its songs, "Down with Disease," became the band's first video and received some airplay on MTV. Hoist sold better than the group's previous albums, which was an indication of how large the group's fan base had gotten. In the fall of 1994, Crimes of the Mind, the album Phish recorded with the Dude of Life in 1991, was released on Elektra Records.

In the summer of 1995, the band released the double live album A Live One, which attempted to definitively capture the Phish concert experience. In early 1996, Trey Anastasio released a free-form jazz side project called Surrender to the Air. In the fall of 1996, Phish released their sixth album, Billy Breathes, which was produced by Steve Lillywhite and garnered the group's best reviews thus far. Slip, Stitch & Pass, their second live LP, followed in 1997, and the following year, the group resurfaced with the studio effort Story of the Ghost. The six-disc Hampton Comes Alive, capturing four full live sets over the course of two nights, appeared in late 1999 and went gold, a testament to their rabid following.

Phish's popularity only grew during the last half of the '90s, and their ceaseless touring had helped make them indisputably one of the top concert draws in the nation. In the spring of 2000, Phish delivered the pastoral studio effort Farmhouse, which was hailed as one of their finest and tightest to date; they also landed some mainstream exposure thanks to the single "Heavy Things." However, exhausted by touring and separation from their families, Phish decided to take an extended break, announcing a temporary breakup in October 2000. A month later, Elektra reissued The Siket Disc, which was previously available only through mail order; it featured improvisational tracks from the band's 1997 Story of the Ghost sessions.

Each member branched out into different direction with mostly successful results during this period. Anastasio released a series of demos before hooking up with Primus bassist Les Claypool and former Police drummer Stewart Copeland for their bizarre Oysterhead project. Despite all the touring he put into these projects, he also released an eponymous solo album during the spring of 2002. Jonathan Fishman worked with his side project Pork Tornado and the touring jazz combo Jazz Mandolin Project. Page McConnell released the first few recordings from his other band, Vida Blue, as well as contributed keyboards to Tenacious D's first record. Mike Gordon did some work with friend and former employer Col. Bruce Hampton and dabbled in film work both in front of and behind the camera. And both Gordon and McConnell worked on Gov't Mule's The Deep End, Vol. 1.

As for the band, Phish was more a part of American culture than ever when they made an appearance on The Simpsons before releasing a massive set of live albums and a DVD in the spring of 2002. By the end of the year, the group bowed to pressure and came back with the announcement that they would begin to play live again starting at the end of December. They played shows through the following year and a half, then decided to officially call it quits in the summer of 2004 after the release of Undermind and the following support tour. This didn't mean, however, that more albums couldn't be released, and the next year their 1995 New Year's Eve concert at Madison Square Gardens came out, followed in 2006 by Live in Brooklyn, which was recorded on June 17, 2004 on Coney Island. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

One of the many neo-hippie jam bands inheriting the road-warrior mantle left behind by the Grateful Dead, Widespread Panic established a devout grassroots following on the strength of constant touring and a loose, rootsy brand of Southern rock informed by jazz and blues textures. The group's origins dated to 1982, when vocalist John Bell and... [+] Read More

One of the many neo-hippie jam bands inheriting the road-warrior mantle left behind by the Grateful Dead, Widespread Panic established a devout grassroots following on the strength of constant touring and a loose, rootsy brand of Southern rock informed by jazz and blues textures. The group's origins dated to 1982, when vocalist John Bell and guitarist Mike Houser first began playing together while attending college in Athens, GA; when bassist Dave Schools left academia to join the duo the next year, Widespread Panic was officially born. The band recorded their debut single, "Coconut Image," in 1986; drummer Todd Nance joined soon after, followed by the addition of percussionist Domingo "Sunny" Ortiz and finally keyboardist John "JoJo" Hermann.

Widespread Panic released their energetic debut LP, Space Wrangler, in 1988 on the tiny Landslide label; after several years of relentless touring, they signed to major label Capricorn, which issued the group's eponymously titled sophomore effort in 1991. Appearances on the 1992 and 1993 H.O.R.D.E. tours greatly expanded their fan base prior to 1993's Everyday, while 1994's Ain't Life Grand spawned the AOR hits "Airplane" and "Can't Get High." After teaming with fellow Georgian Vic Chesnutt to record 1995's Nine High a Pallet under the name Brute, Widespread Panic reconvened for the album Bombs and Butterflies, released in 1997. In the spring of 1998, the band released Light Fuse, Get Away. Til the Medicine Takes followed a year later. Another Joyous Occasion (2000) and Don't Tell the Band (2001) marked the band's first albums of the new millennium. In June 2002, Widespread Panic returned to the road for their annual summer tour of the States, but within a month, founding member and lead guitarist Michael Houser had to bow out. Houser was battling cancer and returned home to Athens, GA, to rest while guitarist George McConnell stepped in to finish the tour. On August 10, 2002, Houser succumbed to complications from pancreatic cancer at the age of 40.

Houser's wish was that the band would carry on after his passing, and with McConnell becoming a permanent replacement, Widespread Panic did just that. Their next full-length album, Ball was released in April of 2003. Night of Joy and Über Cobra, both of which appeared in late March 2004, featured live selections from two of the band's shows at The House of Blues in Myrtle Beach, SC, while they toured in support of Ball. It marked Widespread Panic's second and third live efforts, follow-ups up to 2000's Another Joyous Occasion. They returned to the studio later that year for the Halloween-themed covers record Jackassolantern and again in 2006 for Earth to America. ~ Jason Ankeny, All Music Guide [-] Hide

Cracker may be considered a somewhat traditional rock band (almost comparable to roots rock at times), yet singer/guitarist David Lowery's roots are anything but traditional, since he fronted the '80s alternative outfit Camper Van Beethoven. Shortly after Camper Van Beethoven called it quits in 1990, Lowery began demoing material along with... [+] Read More

Cracker may be considered a somewhat traditional rock band (almost comparable to roots rock at times), yet singer/guitarist David Lowery's roots are anything but traditional, since he fronted the '80s alternative outfit Camper Van Beethoven. Shortly after Camper Van Beethoven called it quits in 1990, Lowery began demoing material along with guitarist Johnny Hickman and bassist Davey Faragher, eventually going by the name Cracker (several of these early demos would eventually surface under the title of David Lowery Demo Mixes). By 1991, the newly formed band had signed a recording contract with Virgin and enlisted the help of several drummers/percussionists (Jim Keltner, Rick Jaeger, and Phil Jones), issuing their self-titled debut in 1992. A year later, Cracker issued their best-known album, Kerosene Hat, which spawned the popular MTV/rock radio hit "Low." But by the time of their third release, 1996's The Golden Age, Faragher had been replaced with Bob Rupe, while the drum spot was occupied by a trio of players: Charlie Quintana, Eddie Bayers, and Johnny Hott.

After the album's supporting tour wrapped up, Lowery briefly concentrated on projects outside the band, producing such artists as Joan Osborne, Lauren Hoffman, Magnet, Fighting Gravity, and Sparklehorse (all at his Sound of Music recording studio in Richmond, VA), and co-producing the Counting Crows along with former Camper Van Beethoven producer Dennis Herring. Lowery also found the time to co-star in director Eric Drilling's independent film River Red (also composing the film's score) and appeared in another film, director Matt Leutwyler's This Space Between Us.

By the end of the decade, Cracker seemed to have settled on a somewhat permanent lineup as drummer Frank Funaro and keyboardist/accordion player Kenny Margolis joined up with Lowery, Hickman, and Rupe, issuing 1998's Gentleman's Blues. During the early 21st century, Cracker continued to tour and even enlisted the help of several of Lowery's former Camper Van Beethoven members on select dates (bassist Victor Krummenacher, guitarist/violinist Jonathan Segel, and guitarist Greg Lisher). They issued a live set in 2001, Traveling Apothecary Show & Revue, while a year later Cracker issued their fifth and sixth studio albums overall, Forever (2002) and a rowdy set of country covers called Countrysides in 2003. The group has also been the subject of a pair of compilations over the years: 1994's The Virgin Years (credited to Camper Van Beethoven/Cracker) and 2000's double-disc Garage d'Or. 2006 saw the release of Get on with It: The Best of Cracker on CD and DVD, the same year the group issued Greenland, with help from guest artists David Immerglück and Mark Linkous. ~ Greg Prato, All Music Guide [-] Hide

As part of the mid-'90s revival of roots-rock, the Wallflowers held a special connection to one of the original inspirations: vocalist/songwriter/guitarist Jakob Dylan. Though he is the son of a legend, Jakob's similarities to his father are occasional -- in fact, the Wallflowers are more influenced by Tom Petty & the Heartbreakers than original... [+] Read More

As part of the mid-'90s revival of roots-rock, the Wallflowers held a special connection to one of the original inspirations: vocalist/songwriter/guitarist Jakob Dylan. Though he is the son of a legend, Jakob's similarities to his father are occasional -- in fact, the Wallflowers are more influenced by Tom Petty & the Heartbreakers than original '60s folk-rock, though lyrically, Jakob remains a close companion to the original Dylan.

Born in 1970, Jakob Dylan was raised in Los Angeles by his mother, Sara Lowndes, after his parents' divorce in 1977. He studied at private schools in L.A. and New York, and decided to follow in his father's footsteps by the late '80s. He formed the Wallflowers with guitarist Tobi Miller, keyboard player Rami Jaffee, bassist Barrie Maguire, and drummer Peter Yanowitz and signed to Virgin. Released in August 1992, the Wallflowers' self-titled debut album sold poorly, and Virgin soon dropped the band. Undaunted, Dylan assembled a new Wallflowers -- guitarist Michael Ward, bassist Greg Richling, and drummer Mario Calire -- keeping only Jaffee. The group signed to Interscope and recorded its second album with producer T-Bone Burnett, a longtime friend of the Dylan family. Bringing Down the Horse was released in May 1996, producing the alternative radio hit "6th Avenue Heartache." Late in 1996, the single "One Headlight" was released, and by the spring of 1997, it had become a Top Ten hit, pushing Bringing Down the Horse into the upper reaches of the charts, as well.

Bringing Down the Horse was a big seller throughout 1997, thanks to "6th Avenue Heartache," "One Headlight," and "The Difference," the third single pulled from the record. Early in 1998, "One Headlight" won Grammys for Best Rock Song and Best Rock Performance by a Duo or Group With Vocal. Settling down from the rush of success, the Wallflowers rightfully took a long four-year break from recording. The new millennium sparked new creativity, and the Wallflowers returned in October 2000 to release the excellent Breach. The album went largely ignored, leading to the more mainstream Red Letter Days the following year. After a two-year hiatus the band returned with Rebel, Sweetheart. ~ John Bush, All Music Guide [-] Hide

There were many pseudo-hippie, jam-oriented blues rockers in New York during the early '90s, but only the Spin Doctors made it big. And they made it big because they not only could immerse themselves in a groove, but they also had concise pop skills. "Little Miss Can't Be Wrong" and "Two Princes" were cleverly written singles, full of clean,... [+] Read More

There were many pseudo-hippie, jam-oriented blues rockers in New York during the early '90s, but only the Spin Doctors made it big. And they made it big because they not only could immerse themselves in a groove, but they also had concise pop skills. "Little Miss Can't Be Wrong" and "Two Princes" were cleverly written singles, full of clean, blues-inflected licks and ingratiating pop melodies. Pocket Full of Kryptonite had been around for nearly a year when MTV and radio began playing "Little Miss Can't Be Wrong," but once they started playing it, they couldn't stop. The Spin Doctors became an overnight sensation, selling millions of albums around the world.

Their second album, 1994's Turn It Upside Down, didn't sell very well when it was released, largely because the first single, "Cleopatra's Cat," was a failed experiment in funk. But the second single, "You Let Your Heart Go Too Fast," was in the vein of "Two Princes," and the album began to sell after the song was released. In the summer of 1996, the Spin Doctors released You've Got to Believe in Something. After the album failed to make an impression on the charts, the Spin Doctors were dropped from Epic in the fall of 1996. After a couple of years, the group found a new label; their first record for Uptown/Universal, Here Comes the Bride, appeared in the summer of 1999. It was seemingly their swan song, however. By this point original members Eric Schenkman (guitar) and Mark White (bass) had left the band, and Barron's voice was failing him. The Spin Doctors broke up, and the greatest hits set Just Go Ahead Now appeared like a nail in their coffin. Their journey wasn't quite over, however. The band reunited for a series of shows in 2001 and 2002, and they used that momentum to head back into the studio, where they recorded Nice Talking to Me. The album was released by Ruff Nation/Universal in fall 2005. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

On their major-label debut, Under the Table and Dreaming, the Dave Matthews Band is helped by the lean production of Steve Lillywhite, who manages to rein in the group's tendency to meander. The result is a set of eclectic pop/rock that is accentuated by bursts of instrumental virtuosity instead of being ruled by it. That also means that the... [+] Read More

On their major-label debut, Under the Table and Dreaming, the Dave Matthews Band is helped by the lean production of Steve Lillywhite, who manages to rein in the group's tendency to meander. The result is a set of eclectic pop/rock that is accentuated by bursts of instrumental virtuosity instead of being ruled by it. That also means that the Dave Matthews Band is capable of turning out pop songs, and as the hit single "What Would You Say" and "Ants Marching" illustrate, they have a flair for catchy hooks. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

In many ways, Lenny Kravitz's Let Love Rule is a thoroughly impressive debut. Like Prince, he plays nearly every instrument on the record, yet makes it sound organic and alive. Musically, it's a startlingly accurate replication of late-'60s psychedelia, crossed with a Princely groove and a heavy John Lennon fixation. Kravitz has no desire to... [+] Read More

In many ways, Lenny Kravitz's Let Love Rule is a thoroughly impressive debut. Like Prince, he plays nearly every instrument on the record, yet makes it sound organic and alive. Musically, it's a startlingly accurate replication of late-'60s psychedelia, crossed with a Princely groove and a heavy John Lennon fixation. Kravitz has no desire to move forward, he only wants to recreate classic rock, and as a result, Let Love Rule is an enormous, guilty pleasure. His songcraft may be derivative, but it's catchy -- the title track has a lean groove and a colorful chorus, "Sittin' on Top of the World" and "Does Anybody out There Even Care" have strong hooks, and while the stately psychedelia of "I Build This Garden for Us" can sound like a parody, it is quite effective. Kravitz stumbles when he gets preachy (the awkward "Mr. Cab Driver") or flowery ("Flower Child"), but that doesn't diminish the pleasures of Let Love Rule. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Under the Table and Dreaming, the Dave Matthews Band's first major-label album, was their popular breakthrough, bringing their mildly eclectic sound to a mass audience. Although the group appeals to the same audience as Blues Traveler, Hootie & the Blowfish, and the Spin Doctors, the Dave Matthews Band has more influences than their peers.... [+] Read More

Under the Table and Dreaming, the Dave Matthews Band's first major-label album, was their popular breakthrough, bringing their mildly eclectic sound to a mass audience. Although the group appeals to the same audience as Blues Traveler, Hootie & the Blowfish, and the Spin Doctors, the Dave Matthews Band has more influences than their peers. Fusing together folk-rock, worldbeat, jazz, and pop, the band is arguably the most musically adept of all their contemporaries. However, they have trouble coming up with engaging hooks, as their third album, Crash, proves. Although the band continues to get better -- their musical cross-breeding is effortless and seamless -- they often don't have an attractive frame for their skills. Strangely, the lack of memorable melodies doesn't particularly hurt the album -- it actually emphasizes the band's instrumental talents. Nevertheless, since there's a lack of strong pop hooks, Crash is an album that will please fans, but not novices. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

No sophomore jinx here. Of course, there are only two Wallflowers left from their first release, so this could be called a whole new band. No matter, because the music here is assured and contemporary with just enough of the past showing through to catch one's eye. Jakob Dylan has been polishing his compositional chops and it really shows on... [+] Read More

No sophomore jinx here. Of course, there are only two Wallflowers left from their first release, so this could be called a whole new band. No matter, because the music here is assured and contemporary with just enough of the past showing through to catch one's eye. Jakob Dylan has been polishing his compositional chops and it really shows on such cuts as "Invisible City," the hit "6th Avenue Heartache" and especially "One Headlight." A fine effort indeed. ~ James Chrispell, All Music Guide [-] Hide

"Relish" can be a sharp, bittersweet condiment; it can also suggest a determined gusto to live to the fullest. Combined, these two images provide a good taste of Joan Osborne's major-label debut (the live Soul Show was self-released in 1992). Grounded in blues, soul and gospel, the Kentucky native wields her gritty voice with personality and... [+] Read More

"Relish" can be a sharp, bittersweet condiment; it can also suggest a determined gusto to live to the fullest. Combined, these two images provide a good taste of Joan Osborne's major-label debut (the live Soul Show was self-released in 1992). Grounded in blues, soul and gospel, the Kentucky native wields her gritty voice with personality and forceful presence, kind of Melissa Etheridge meets Sophie B. Hawkins with a splash of Jann Arden. Osborne's passion for life oozes from the grooves. There's an uplifting fervor to her material and delivery, as if every second, every note was being individually savored. Key track "One of Us" sets the disc's optimistic tone. It's a simple, direct statement of faith, honest and unadorned, one framed in a near-perfect chorus and delectable Neil Young-ish guitar riff. This isn't one of those sugary, superficial, goody-two-shoes Amy Grant kind of deals. "Right Hand Man" and "Let's Just Get Naked" confirm that Osborne's earthy, enlightened spirituality shares the same bed with sensuality and sexuality. Well-rounded both lyrically and musically, there's also no contradiction in this universe between "Lumina"'s thoughtful balladry and the wailing harp and acoustic slide bursting the seams of "Help Me." ~ Roch Parisien, All Music Guide [-] Hide