It was all or nothing: a steep investment that you just knew wasnвЂ™t going to pay off. Pre-digital, you couldnвЂ™t cherrypick a track here or there. Usually there would be one or two tracks by an artist you actually liked, nestled among so many more by groups you hated or maybe didnвЂ™t even know. Check out more here.ДЇor record buyers in the 1990s, there was nothing more frustrating than a tribute album. All week long weвЂ™re looking at the strangest musical moments and trends of the decade. March 2018 saw the release of their ninth album, Quiet and Peace, which included ten original songs as well as a cover of Simon & Garfunkel's 'The Only Living Boy in New York.ItвЂ™s Weird вЂ™90s Week on Stereogum. Following the tour, Buffalo Tom went into the studio, returning to material they began recording in 2016. In 2017, after Beggars Banquet released an expanded 25th anniversary edition of Let Me Come Over, the trio reconvened for a short run of dates in the United States and Europe. From this point onward, Buffalo Tom were for the most part retired, but the band periodically reunited for live shows.

Skins, the band's eighth studio album, arrived in early 2011 through their own Scrawny Records label. March 2018 saw the release of their ninth album, Quiet and Peace, which included ten original songs as well as a cover of Simon & Garfunkel's 'The Only Living Boy in New York.'ДЄlmost a decade of inactivity followed, but things weren't over for Buffalo Tom they returned in 2007 with an appearance at SXSW and a new full-length album on the New West label, Three Easy Pieces. Smitten followed in 1998, and two years later a best-of, Asides from Buffalo Tom, arrived.ДЄlmost a decade of inactivity followed, but things weren't over for Buffalo Tom they returned in 2007 with an appearance at SXSW and a new full-length album on the New West label, Three Easy Pieces.

After a yearlong tour, the group returned in the summer of 1995 with Sleepy Eyed, a return to the more direct sound of Let Me Come Over.

'Soda Jerk,' the first single from the album, became a minor alternative radio and MTV hit. The follow-up, 1993's Big Red Letter Day, featured a more polished, radio-ready production, but the album received only a small push from radio and MTV. In 1992, Buffalo Tom released Let Me Come Over, a gritty set of driving rock and achingly melancholy ballads several of its tracks became alternative radio staples, including the gorgeous ballad 'Taillights Fade.' Despite an increased amount of critical praise and some radio airplay, the album didn't sell. Comprising guitarist/vocalist Bill Janovitz, bassist/vocalist Chris Colbourn, and drummer Tom Maginnis, Buffalo Tom began to develop their own style with their second album, 1990's Birdbrain, which featured a noticeable improvement in songwriting. Over time, Buffalo Tom stripped away their grungier influences and developed into a straight-ahead rock group of the early '90s, capable of throttling rockers and beautiful ballads. Admittedly, their debut was in debt to J Mascis' thundering guitar and folk-tinged songs and it didn't help that Mascis produced the record, either. When they released their first album in 1989, the Boston-based trio Buffalo Tom were written off as Dinosaur Jr.

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