Major label bands like Metallica, Nirvana, and Pearl Jam ruled the ‘90s rock world with an iron fist, and even independent labels like Epitaph Records and Fat Wreck Chords had acts that sold quite well as, uh, well. However, this piece isn’t about platinum major label acts or indie ones with different colored certifications; it’s a piece wherein we discuss the top ten most underrated major label bands in alphabetical order that for some reason or another didn’t move THAT many units and are thus considered underrated. A few ground rules for you keyboard warriors: No subsidiary labels count, the band had to have released at least one major label from 1990-1999, we have to anger you with our lack of inclusion of your misinformed opinion, and we have to be able to sleep well at night based on our analysis rivaling Stephen Hawking’s “Theory of Relativity”.
All (Interscope Records)
Self righteous? Maybe! Uncle Critic is here to enlighten, uh, ALL. Anyway, while you most certainly know of All, the majority of Earth’s populous simply/sadly does not, and even casual Descendents fans likely did a whoopsie regarding all things, uh, you guessed it, All. “Pummel” is All’s lone major label release via Interscope Records and is the first LP recorded in The Blasting Room, which was the studio for such seminal punk rock bands like Rise Against, Me First and the Gimme Gimmes, A Wilhelm Scream, and Puddle of Mudd; you may think that the last band mentioned is false, which is quite “on brand” here, but alas, it isn’t a joke. However, POM is FAR from punk rock, SO that is a funny! What a mouthful; everything is blurry.
Handsome (Epic Records)
Sometimes ‘90s major label bands like Foo Fighters, Green Day, Weezer, and Rage Against the Machine deservedly get fair shakes and a bouquet of flowers from Erewhon. Sometimes ‘90s rockers like Drive Like Jehu, Jawbox, Jawbreaker, and, I don’t know, a band named Jawline or some shit, just don’t. However, those four bands are too influential to be considered underrated, and while Handsome was ahead of their time, you ugly cats and kittens likely missed the boat on the act, at the very least DURING the ‘90s, so it’s here; fight us in the comments. Produced by Terry Date, who later sat behind the boards for Limp Bizkit’s “Significant Other,” Funeral for a Friend’s “Hours,” Dredg’s “Catch Without Arms,” and Gderd’s “Drop With Feet,” Handsome’s lone LP and self-titled one at that, was captured quite well and still sounds great and fresh today. Helmet, Quicksand, and Cro-Mags. Electric Love Hogs? Ride down!
Marvelous 3 (Elektra Records)
Write it on your hand: Butch Walker is definitely NOT an underrated producer/songwriter, as his work Midtown, The Academy Is…, Bowling For Soup, and the Mahavishnu Orchestra speak for themselves, but his Atlanta power trio act Marvelous 3 sure is, despite them having a minor hit in “Freak of the Week.” This inclusion for yours truly and ours deeply contains quite a loophole in that the goofily titled “Hey! Album” was initially released via the incredibly/creatively named Marvelous Records, but juggernaut Elektra Records signed the act, and released the goofily titled “Hey! Album,” and the band re-recorded nearly half of it prior to its major label showcase. Despite being sticklers for bitterness, we can happily announce that the band reformed seventeen years after their 2001 split, and even put out a new LP in 2023!
The Muffs (Warner Bros. Records for their debut AND Reprise Records for its two follow ups)
Say goodbye/let’s start this section with something sad: Southern California’s The Muffs’ lead vocalist, chief songwriter, general badass, AND former Pixies band member Kim Shattuck sadly lost her battle with ALS in 2019, and she is sorely missed by those with musical taste. Sincerely. You likely heard the band’s “Kids in America” cover in “Not Another Teen Movie,” but the band is SO SO much more than that, and you latchkey kids should be ashamed of yourselves. Fun opinion that doubles as a fact: Kim’s screams were ahead of their time and laid the foundation for so many bands you discovered during the Myspace era. Fun rumor that can’t double as a fact unless it can: Green Day signed to Reprise Records because of The Muffs. In closing, hey Nina, from Pasadena, you’ve no ambition and only ever sit around; we DO know why.
Nerf Herder (Arista Records)
Even though this band never truly broke through the mainstream or the minorsteam, the single on Nerf Herder’s lone major label LP known simply as “Nerf Herder” managed to piss off Sammy Hagar; Google it if you don’t believe us even though you know that you do. We’re not the ones who were in a high school hardcore bands, but neither were you, and Nerf Herder’s self-described and perfectly stated style of “geek rock” is for all easy marks, nosering girls, apologetic golf shirts, and Capes of Joey in a Sea of Good Astronauts. Like the aforementioned Marvelous 3, Nerf Herder’s first (and last) major label LP was initially released by an indie label My Records, and Arista Records smartly picked it up, and stupidly failed miserably at breaking it. Sigh. You’re gonna be the one who’s sorry; sorry, Diana.
Puya (MCA)
Likely the most underrated ‘90s major label act here, or one of the most in general, Puya, Puerto Rico’s hybrid aggressive Rico’s/salsa band seemingly took influences from EVERYTHING/EVERYONE all at once. “Fundamental,” the band’s second full length LP, came out in 1999 (baby!) and was their first release on an international label. You fakers definitely missed the boat on this one and we aren’t taking any further questions on the matter; whatever. If you like your vocals in two different languages, this band is for you, and if you don’t, don’t tell anyone. If you had the chance to see the Sno-Core run which came out a year after “Fundamental,” then you saw or missed Puya as the first of four or five bands which also included Mr. Freaking Bungle, Incubus, and System of a Down pre-“Chop Suey!” Keep it simple, and eventually form a union.
The Rentals (Maverick Records)
You naive non-brilliant boys 110% have issue with this leased position, but compared to juggernaut of juggernaut band Weezer, Thr Rentals, bassist Matt Sharp’s eventual side project act that eventually morphed into a full-time act are definitely underrated. Even though it seems it’s all lies, we still believe you should be with us. Anyway, if you want a helping of Weezer’s Eiffel 65 inspired LP with a large helping of moogs, which are pronounced like “vogue,” but we digress, strings, female backup vocals, and rimmed glasses that are now described as “emo,” and listen the act’s debut record, “Return of the Rentals.” Now spin/stream the band’s 1998 sophomore follow-up, “Seven Minutes More,” which is a literal lie in the best manner that sounds like a combination of Blur and Maya Rudolph. FYI: Motion City Soundtrack owe The Rentals a sweaty and dorky hug.
Shades Apart (Universal Records)
Here’s a foolproof formula from us know-it-alls: “American Pie” + Bridgewater Township, New Jersey + Former Revelation Records who went on to sign with a conglomerate on the collared line statistic + Windows Separated By Several Miles = A Major Label misfire that should’ve hit a humongous bullseye… Anyway, “Eyewitness,” Shades Apart’s major label debut and first of two, is twelve tracks of perfection, but it was definitely polarizing amongst the band’s gruff punk rocking the clock fan base; pity as this end result gets stranger by the day. “Second Chances” got literal second chances on “Eyewitness” and if we can successfully travel via Time Machine a la Emmett Lathrup Brown, Ph.D, we would go back to the unproblematic Woodstock ‘99 and hand out SA, and not sexual assault, CD samplers to all of those watching DMX; RIP, Ruff Ryder. Save it, bear eyewitness, and yell into the eternal echo, “SHADES APART”!
Superdrag (Elektra Records)
Like The (aforementioned) Rentals, Knoxville, Tennessee’s rock group of rock groups known as Superdrag is a combination of popular and underrated, and had a similarly successful minor hit themselves, but it didn’t reference P.; it sucked out your feelings and wounds. The band released two perfect major label LPs in the ‘90s, and even released two flawless ones during the ‘00s; the band’s 2009 fifth and final record as of now, “Industry Giants,” is not 100% solid, but there are some good gems on it as well. How “Head Trip in Every Key” didn’t have a similar impact as much worse 1998 records is still behind us, and we blame “Slappy and the Stinkers” and you for such a global gaffe; wrong vs. right doesn’t matter. Bring your karma down and avoid Superdrag; elevator your vibes up, and you will no longer be too dim to explain that.
Zebrahead (Columbia Records)
Imagine if members of 311 formed a more lighthearted punk rock band, and was not raised in America’s breadbasket, and there you have La Habra, California’s Zebrahead. The band’s lone ‘90s major label release and second studio album, “Waste of Mind,” exposed many to retro seats, had a small hit in “Get Back,” did VERY well in Japan, and was successful enough domestically for one more 2000 Columbia Records follow-up, “Playmate of the Year.” Maybe the 1998 Donald Trump reference via “Get Back” in the year of our lord known as 2024 is now a party foul that inspires foul parties, but move on: Take a chance, kid, as others did and are mid. In closing, if you’re afraid to stand alone with literal high praise on this Zebrahead hill, well, now you’re tripping. Walk away.
The only album to feature Brian Robertson of Thin Lizzy and terrible fashion fame, “Another Perfect Day” couldn’t have been a more misleading title. Plagued by recording issues, lineup incompatibility and a shift towards a more accessible sound. This led to the inevitable sacking of Brian Roberston and the Recruitment of longtime axeman Phil Campbell (he served for 32 YEARS IN Motörhead). So while not perfect, maybe this day wasn’t so bad after all?
Motörhead’s debut album is by no means a bad album, but compared to everything that came afterward, this LP feels like Motörhead finding their (admittedly already pretty rad) sound, and it’s the only album to feature Larry Wallis on guitar and Lucas Fox on drums. It’s said that if you don’t succeed, try and try again, and when the first attempt is this good, you better believe what comes after is something to get stoked about.
The title of this album presumably refers to the future sacking of guitarist Wurzel (RIP), since this was his last album with the band. This album is (by Motörhead standards) pretty run-of-the-mill, with very little variation to the tone, songwriting and overall sound. The band may have been losing steam at this point, but through “Sacrifice,” Motörhead had brighter horizons to look forward to.
Recorded after Lemmy’s admittedly hedonistic lifestyle started to catch up with him around 2012, this album is the first in their career to feel like it is slightly lacking in energy. But with a title like “Aftershock,” a band that once seemed like they would live forever were starting to see cracks in this mortal coil, with the lyrics starting to reflect this change, looking towards potential change, for better or worse, a decision the band decided not to go with, instead staying the course for the rest of their existence, shining bright in the night sky like those stars on Christmas (Lemmy’s Birthday).
Drawing more from classic rock than many Motörhead albums, “March or Die” finds a way to fit between both of these extremes, and we’re not sure how we would describe such a stroll. It also features presumably Lemmy’s second tribute to a punk band in the form of “Bad Religion” which, while decent, definitely ain’t not R.A.M.O.N.E.S. But as a midlife crisis record, this is definitely better than “St. Anger,” even predating that album too, proving how even at their most average, Motörhead were still capable of turning heads and creating revolutionary concepts.
“Kiss of Death” is a Motörhead record through and through, and it contains the songwriting of their ‘70s and ‘80s work mixed with the more modern, frankly better production on later records, leaving a midrange Motörhead record that could have been recorded in any era of the band and probably turned out the same. But “If it ain’t broke, don’t fix it” could easily be the motto of this band, and this album is absolutely listenable, even if it doesn’t break new ground.
If we’re being completely honest, we could have scrambled all of these next listings up to number twelve and this article would still make sense without changing a word. But that’s not how these listings work, so here we go. This late ‘90s work stands on par with their ‘80s classics, and contains one of Motörhead’s most underrated ballads in the form of “Dead and Gone,” which upon first listen, wouldn’t sound out of place on a Simon and Garfunkel record, proving that Motörhead ain’t a one-trick pony after all.
Named for the plural form of what Lemmy originally wanted to call the band upon formation, this album pulls from everything Motörhead past, present and future, just like a tweaked-out Scrooge McDuck. It was also the first album to feature Motörhead’s technically best (the best kind of best) drummer Mikkey Dee. The production on this album is strangely abhorrent though, for reasons we don’t completely understand, maybe the producer, his crew, or the record label were the titular “Bastards” that the album title is referring to.
Just as Lemmy had prophesied way back during “The Decline of Western Civilization Part 2, The Metal Years,” the band would be inspired enough by something to rip it off in their music. And while this wasn’t in the form of a musical ripoff, the title derives from the video game “Scarface: The World Is Yours.” Well we hope so anyway since we know Lemmy was a gamer, and this late-career gem was released a couple of years after the aforementioned video game. But it’s far more memorable than that cheap Scarface cash grab of a game, so who’s ripping off who doesn’t matter.
More Motorizing than moisturizing, “Motorizer” is an instructional manual on how to perform Rock’n’Roll (courtesy of the track “Rock Out”) and the blues too (there’s literally a song entitled “Teach You How To Sing the Blues”). It’s a great two-for-one deal, and that’s some great lessons from some Rock’n’Roll veterans deep into their third decade, with Lemmy recording this record at 63, and this album still sounds young and vibrant regardless of age. But you know, “If You think you’re too old to Rock’n’Roll, you are” which is a saying to live by, musically or otherwise.
Infernally furious, especially with a band who was approaching their 30th year as a band, coming in Hot as the Hounds of Hell, so fiery that the band had to do a blues number to cool off with the final track “Whorehouse Blues.” If any other band would have released this album, it would have been considered their masterpiece, but it’s just another Motörhead album, and Motörhead has the benefit of being fronted by “God” himself, and you can’t have god without the devil, so burn on “Inferno.”
Lemmy and the boys favorite state to achieve in their off time, this record is a perfect fusion of every era of Motörhead, brought directly to your homes courtesy of theme song for WWE Superstar Triple H, the aptly titled “The Game.” But wait, there’s more, so much more to the greatness of this album, with the frankly underrated “Walk a Crooked Mile” being the best Motörhead album opener of the 2000s.
Named after some obscure style of music that Motörhead helped perfect, this was the last album the band would release in the metal-tinted ‘80s, and it is every bit as invigorating as prior albums. When contacting the estate of Lemmy Kilmister researching this article, they refused to share the recipe for a “Bacon Torpedo,” which if we’re being honest, sounds kind of delicious, but some things are better left to mystery.
Conventional wisdom would dictate that you cannot teach an old dog new tricks, but this only applies to canines, and everyone in Motörhead has been human mixed with demons (as far as we know). While the band may not have been breaking any new ground on this album, they still find plenty of nuance in old territory, fine-tuning the Motörhead formula like bored chemists discovering a brand new, exciting variation on an old recipe, which still excites to this day.
Released after “Overkill” and “Bomber” became an overnight sensation but recorded before. United Artists (funny name for a greedy record company) had heard that this little pub band they recorded made it to the big time and decided to release this previously shelved recording, and Lemmy originally saw it as a greedy cash-in by an already wealthy company. But this is the first record to be recorded with that classic lineup of Kilmister, Clarke, and Taylor, and oh boy is it ever a step up from their first album, refining everything that made the band already great and propelling them to future glory.
Due to their aging fanbase starting to suffer from dementia (substance-fueled or otherwise), Motörhead kicked off the turn of the Millennium in the most Motörhead way imaginable by releasing both a kickass album and improving the original “God Save the Queen” by taking it out of the hands of the Sex Pistols and making it awesome. Doing what the band was born to do, this album kicks your ass.
While the production leaves much to be desired, there are still many great songs to be found within, including the title track which was both a critique of organized religion and a humble brag on the band’s collective sexual prowess. It’s also the band’s first release as a four-piece, the first with Phill Campbell and “Wizzo” bringing that ‘80s twin guitar proficiency and increasing the band members’ ability to be an “Orgasmatron” by increasing the surface area to band member ratio, whatever and “Orgamsatron” is (tell us if you know, it sounds awesome).
Motörhead entered the ‘90s with one of their strongest records, and even though it was their last release to feature “Philthy Animal” Taylor on drums (RIP to the father of the modern blast beat), his opening drum beat to “One To Sing The Blues” stands right alongside the intro to “Overkill” as a beat that is both brutal and makes you want to move. This album cemented Lemmy’s songwriting prowess with the title track showcasing Lem’s softer side while lamenting the loss of life in World War One scarring a generation, showing the man’s ability to write a ballad just before he wrote another heart-wrenching track in “Mama I’m Coming Home” for Ozzy.
The last album to feature “Fast” Eddie Clark on guitar, this record was plagued with problems from the beginning, with the loss of a producer leading the boys to take even more cues from the nascent hardcore movement and attempt to produce the album themselves, to mixed results production-wise, but this led to the grand finale of the best lineups to ever grace rock’n’roll, even it felt a Harley Davidson running on fumes, it was the end to “Another Perfect Day” in Rock’n’Roll.
Motörhead’s swan song ironically begins with the ultimate anthem for life in the form of “Victory or Die,” and the rest of the album sees Lemmy making a deal with the Devil by offering him all of his then-limited lifeforce in exchange for one last, great Motörhead album. This even gave Lemmy some “Sympathy for the Devil” and that Rolling Stones cover feels like a man who has lived his life to the fullest given’er for one last great record, while honoring the Gods of Rock’n’roll who Rock’n’Rolled before him. Sniff, sniff, no I’m not snorting drugs, I’m crying over this masterpiece. Baaaaaa.
Containing Motörhead’s most popular song in “Ace of Spades” and anthem for professional musicians in “We Are the Road Crew,” this record was Motörhead’s highest charting record of their career, and the band was comfortably settled into their loud, fast and abrasive sound at this point in their career. Motörhead had reached a point in their career where the only people they had to bicker with were themselves, which planted the seeds of destruction in their classic lineup.
Playing like a well-maintained B-52 delivering its payload, “Bomber” saw both the classic iteration of its configuration and frontman Lemmy stepping into their unique and groundbreaking approach to loud, fast music. With lyrics drawing both from frontman Lemmy’s real-life experiences (Dead Men Tell No Tales) and fascination with history (the title track), Motörhead were pushing boundaries, and that’s not even mentioning Lemmy’s revolutionary approach to bass (Big Guitar goo BRRR).
For those unfortunate enough to have never seen Motörhead live, the band fortunately recorded this flawless performance at the height of the band’s popularity, relative youth and straight-up raw power. Deafening, bombastic and fantastic, this is a must-listen for anyone who is a fan of Rock’n’Roll or musicologists looking for a time period of pure, raw, unadulterated perfection.
Beginning with one of the most iconic and revolutionary drum beats/imitation of a heart full of speed on the title track, courtesy of Phil “Philthy Animal” Taylor, “Overkill” is Motörhead in full force. Merging Heavy Metal, Good time Rock’n’Roll, and even some Psychedelic Influences on “Metropolis”. Everyone and their relatives love this album, from the Punks, Metalheads, and straight-up rock fans singing the praises ever so highly, there’s even some feminist messaging in “I’ll Be Your Sister” (for the late ‘70s anyways). This Groundbreaking release paved the way for punk and metal to get beyond their petty squabbles and embrace a brotherly love that has only grown every year since. And God Bless ‘Em. Every one of ‘em.
Turns out when it comes to writing book reports, a robot raised by Die Antwoord is about as useful as my friend whose way into Die Antwoord; not at all.
There was something concerningly familiar about GERTY’s voice. Sure enough, as soon as GERTY found out I was a teenage boy he got real creepy. Kept complimenting my muscles and telling me I should let him take Polaroids of them? I don’t know, I got the hell out of there.
As soon as he got to the part about Phineas’s pink shirt he got fed up and went on a murder spree.
She just danced. In 1927 that was the big concern with AI I guess. “What if they do all of our dancing?!” Simpler times.
Basically a bunch of cute radiators. They don’t talk so they weren’t much help. In fact, it’s unclear whether they are actually sentient or if I’ve simply anthropomorphized them in my desperate isolation while reading this god-awful book.
He read the book, and Johnny Five no longer wants to be alive. Are you happy now John Knowles?
The kid just kept crying for his mommy. I know it’s a shitty book but Jesus kid, grow up a little!
The Tabernacle did write me a book report and this thing makes no sense. Phineas is a mutant? Gene needs to meditate on the 2nd level? The boarding school is Oz? Can a computer be on drugs? This computer has to be on drugs.
You know the robot you designed for a movie is cool when he gets cast in other movies. Robby was indeed up to the task of writing a competent book report, but he’s just too damned slow. I don’t know how his inner workings operate but he needs to do like 100 typewriter clicks between every word. It’s been 3 days and he’s still on the introduction, so he’s not gonna bang this thing out in time.
Apparently, the fourth unwritten law of robotics is “Do not waste my time with WWII-era coming-of-age melodramatic horse shit.”
M3gan suggested we blow off school altogether and just have a dance-off. I’m sensing a theme here with the female presenting robots on this list. It was slightly more productive than her first idea, murder.
Reading “A Separate Peace” triggered some dormant memories in Robo from his former life as Murphy. He went rogue, hunted down and murdered the English teacher who made him read it as a kid.
Another female robot and once again, she just danced. Why is it that when a male writer imbues a robotic female character with the gift of sentience, they just make them dance? Can I just write a report on that? THAT’S interesting!
Turns out it’s a sore subject. This book is what caused the machines to turn on humanity in the first place.
Sid’s mind is an algorithmic combination of over 200 violent criminals and psychopaths, all of whom begged to be shut down halfway through this book.
