Work with McCartney, Tim Finn, and Maria McKee followed as the '80s drew to a close, and Froom also continued his lengthy affiliations with Crowded House and Thompson. In 1990, he helmed Los Lobos' The Neighborhood; two years later, he and Blake reunited with the group for Kiko, a densely textured and adventurous record which heralded a quantum leap in their sound. From there, Froom moved on to Vega's 99.9° F, another radical departure which pushed the singer/songwriter toward a metallic, heavily rhythmic style. The new Froom-Blake aesthetic -- with its signature reverbed vocals, distorted textures, and junkyard percussion -- continued to blossom on acclaimed efforts including American Music Club's 1993 LP Mercury, and in 1994, the duo joined with Los Lobos' David Hidalgo and Louie Perez in the side project Latin Playboys. Productions including Cibo Matto's celebrated Viva! La Woman and Ron Sexsmith's Other Songs preceded the release of Froom's 1998 all-star effort Dopamine.
Froom continued to work steadily during the late '90s and early 2000s, helming records with high profiles (Sheryl Crow's Globe Sessions, and Binaural from Pearl Jam) as well as up-and-coming artists like Mia Doi Todd and Phantom Planet. In 2005, Froom served as producer for both Music from the O.C.: Mix 1 and Rhino's Whatever: The 90's Pop and Culture Box. He also issued the solo effort Thousand Days, a collection of piano music. ~ Jason Ankeny, Rovi