Anthems 90s

Product Information

Released on Detroit's Underground Resistance in 1999, 'Jaguar' off the debut 12" from The Aztec Mystic, better known today as DJ Rolando, is hypnotic to its core. The distinguished tune features the sampled voice of Timothy Leary over a throbbing and druggy manner that was lightyears ahead of its time. This is their coming out party to the bigger musical world, and all anybody could do in response was throw their hands in the air and wait for the duo to take over the world. The video featuring La Spears in school uniform is iconic, obviously, but let’s not overlook the fact that the song itself remains pure pop perfection. Somehow, Trent Reznor screaming about his most animalistic urges was as much a fixture of MTV as Ace of Base and Celine Dion, announcing the arrival of the mall-goth era in the mainstream.

Bought this for my gym iPod - works a treat because the songs roll into one another with no silent breaks.

Snap, Baby D,Corona, Culture Beat, Real MCCoy, and Urban Cookie Collective are among some of the fun artists featured in this compilation.

Britney’s debut single was a game-changer that helped to usher in a new generation of bombastic teen-pop, often crafted by Swedish songwriting genius Max Martin.Please read our access document in advance of booking to ensure the tickets you book are the most suitable. It may not be your preferred tune while coming up on an acid trip, but none the less, it's a intensely minimal and well paced burn that builds from the bassline up with a sinister perfection. Fun fact: The famous line "These sounds fall into my mind" actually reads "Street sounds swirling through my mind". Perhaps best known from its role in the bathroom club scene in the movie Basic Instinct, 'Blue' by Chicago artist William LaTour is a track that played a pivotal role in bringing dance-pop and new wave elements into early house sounds. M.’ is like a thesis statement for Wu’s entire philosophy, steeped in kung-fu geekery, RZA's game-changing beats, and the whiplash between Method Man’s smooth flow and ODB’s feral slurring.

I was expecting a torrent of terrifying electro, but then this came out of the speakers and entranced me. And that’s to say nothing of the totally random ska and swing revivals…although that’s all you’ll hear about it here. If you would like to book accessible seating, your account with the Cambridge Corn Exchange must have a tag applied to it. Beating off stiff competition from half a dozen superb Björk tracks, ‘Big Time Sensuality’ makes this list for its groundbreaking sonics (which did for house music what Donna Summer’s ‘I Feel Love’ had done for disco), the iconic video (which instantly made Björk the world’s most interesting pop star) and its sheer effervescent joy in the face of life’s chaos: ’I don’t know my future after this weekend, and I don’t want to. Some may have been forgotten but this is very good value for money in terms of the amount of songs for your money.

Like the second coming of ABBA, Sweden’s Ace of Base exploded onto the global scene with the weirdly specific ‘All That She Wants’, but it’s the ultra-catchy, enduring ‘The Sign’ that opened up the world’s eyes to the country’s pop prowess and dominated the US charts for 1994. What with Damon’s heroin-chic drawling and Graham’s slumping riff and killer solo, this is Britpop’s best band at their world-beating peak.

Inspired by a crop of bands who allegedly preferred staring at their guitar effects pedals to interacting with the audience, "shoegaze" was never a great term for the hazy, noisy, deafeningly loud sound pegged out in the late ’80s by My Bloody Valentine. At the 1995 Source Awards, in the midst of rap’s East-West war, Andre 3000 of Outkast stood onstage and declared, ‘The south got something to say’. On the cover of this 1995 remix 12" of Sarah McLachlan's 'Possession' by the diverse Tampa-based electronic outfit Rabbit in the Moon, the group used a quote from Mixmag Update which reads "Truly inspired.Not our words, but those of springy-haired, eternally angry singer Zach De La Rocha, whose repeated rebellious chant in this anti-establishment rock-rap anthem started a million moshpits in the early ’90s. This was like nothing we’d ever heard before: the sound of Seattle’s grunge scene coming out of the garage like a ravenous monster. And wouldn’t it be brilliant if – in some small, tangential way – the economic fate of the Eurozone had been influenced two decades later by some lanky singer from Yorkshire? At the heart of it all were Portishead, whose gloomy, brooding and often oppressive sound was a conspiracy of contradictions that defined ‘trip-hop’. It’s all there in the title track, a primal howl of electrified blues-rock that’s equal parts lovesick wail and feminist stomp.