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April 12, 2007
OKC-NVMD: Who can compete?
Starting in March, MerrySwankster and its readers held a tournament to determine the best album of the 90s. Styled after March Madness, it included 65 teams. Nirvana's Nevermind and Radiohead's OK Computer are the finalists. To vote on which album you think should win, click here or vote in the comments below.
"One baby to another says
I'm lucky to have met you
I don't care what you think
Unless it is about me
It is now my duty to completely drain you
I travel through a tube
And end up in your infection
- "Drain You""When I go forwards you go backwards and somewhere we will meet
- "Electioneering"
For an era of nonpareil stability and security, at least by current standards, the music sure was depressing.
OK Computer: Noted as a perfect album by The Source (not The Source).
Nevermind: Noted as the album of a generation by everyone (no link for that one, nerds).
Both incredible works and historical masterpieces that stand up to history as The Best there ever were... beyond the 90s... up there with the rest of them. Representing a moment in time when long-play brilliance unleashed a wave of crippling inferiority inside the hearts of hearts of lesser bands.
"We're in over our heads dudes," says my metaphorical drummer in a hastily arranged band meeting that ends with suggestions on new career choices for the group. "The dream is over, we can't compete."
Nevermind and OK Computer wipe the floor of shoddy competitors and delegate them to Division III JV squads, wishing them no ill will, but putting them into their proper place during a time of bar raising.
I can unflinchingly toss the two finalists of 90s Album Insanity together with the Best of all time. Because they both wear the yardstick that I consider essential to belonging in such a category so well. That list is: 1- An album that changes the rules. 2- An album with a deep notch in history's musical timeline - clearly distinguishing eras as either pre- and post- it's existence. 3- Albums that can never be replicated, making them Standard bearers.
I will focus on #3 as 1 and 2 are self explanatory. Influence has been a much deliberated topic in the healthy commenting instigated by this final round of competition. Full disclosure: My own words took up an unrepresentatively high percentage of that discussion space. I have a lot to say. No apologies (no pun intended).
The third number from the criteria listed above is probably the one that would draw the most heated response in those with strong convictions against the validity of its' inclusion; or, possible confusion requiring explanation for understanding the meaning behind what seems like an obvious point. I define and defend it by deflecting future imitators from cheapening the original artifacts. Excitement over once innovative sounds all erode with time and distance away from that first virginal listen, but this reality should hardly be a reason to detract from what always will be an innovative musical flashpoint. Nobody can make another Sgt. Pepper or Ziggy Stardust or Dark Side or Led Zeppelin IV or Funeral. Many will try, most will fail and only the best will come out unscathed with something that shines as bright as their influential guides without falling into a one-way bottomless pit of homage taken too far. And with each occurrence of this rare feat, a new classic that cannot be replicated.
Every part of me says that OK Computer should win this thing. Musicianship, originality, composition, vision, and arguably context are all "technically" better than Nevermind. OK Computer is what the snobby, smug, pompous and pontificating music blogger is supposed to choose. Right on page 1 of the articles of bloggery it says so: "ORDAIN OK COMPUTER AS BEST ALBUM OR RISK REVOCATION OF LICENSE." Ultimately however, it comes down to a personal choice. Both albums have been playing nonstop at Swankster HQ, an exclusive residence on my iPod/car/computer/stereo for over a week now. My choice solidified in the first 30 minutes of that listening window, and truthfully probably solidified in my subconcious way before this tournament forced MS writers to vote and go on record with a choice.
OK Computer tickled greatness with the epicness of the music and the dystopian bleakness of Thom Yorke. Nevermind was and continues to serve as explosive catalyst to synapses exploding with uncomfortable feelings of doubt, fear, insecurity, pride, anger and excitement. It worked when I was fourteen and it still works today. Radiohead too, but the level of personality isn't there. An encouraging comfort can be found in Nevermind that still to this day weighs heavy in a private, and alternately from OK Computer, much more personal level.
Nevermind resonated so strongly through the (likely) unintended ways it allowed a generation to connect with Kurt Cobain. Self loathing may have reached critical mass in the 90s (re: Singles, Reality Bites, Seinfeld, Bill Clinton...), but it was Cobain who connected with the youth in saying everything is fucked up, we are all fucked up. For a dude that exuded so much negativity in his cryptic, yet simple poetry, they were words that encouraged many people to feel better. A paradox perhaps, but I believe a valid one. Ultimately we know that fate had an altogether different plan for Mr. Cobain. More irony from a decade drowning in too much of it already.
ESPN recap:
Nevermind takes the title from Radiohead in a classic. Thom Yorke fouled out with the game tied with only 0:05 seconds left in triple overtime. The loss of RH's star point guard, and surprisingly proficient shot-blocking ability, opened the door for an amazing four point play in which Cobain drains a clutch trey while getting fouled. The foul shot drops and seals the deal.
Exhausted, Radiohead is unable to recover and can't even get a shot up while Nirvana walks away triumphant. And by triumphant, I mean Cobain gives a vitriolic speech against the forces that pit artists against each other and storms off to write In Utero.
That is how it went down on my bracket anyway.
Posted by Merry Swankster at April 12, 2007 02:08 PM
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