Sam's Top 24 Favorite Music Videos of the '90s (Part 2)

As a special Thanksgiving treat, here’s part two (the final part) of my Top 24 Favorite Music Videos of the ‘90s! Gobble gobble, my darlings.

12. “I Miss You” by Björk (1997), dir. John Kricfalusi (NSFW)

Björk has a lot of great videos, but I’ve always been drawn to this animated masterpiece. It has the same animation style as The Ren & Stimpy Show (probably because it was directed by the show’s creator, John Kricfalusi), which means it’s packed full of crude humor and surrealism. This animation style definitely suits an artist like Björk because it’s off-kilter and kind of unnerving. Warnings for cartoon nudity and some strange imagery that may not fly at work.

11. “Liar” by Rollins Band (1994), dir. Anton Corbijn

Henry Rollins is a god amongst men, and this video proves it. It starts simply enough—Henry struts around doing his jazzy, spoken-word thing in a couple different costumes (including a superhero and a cop). But as soon as the chorus kicks in, he goes full ape-man, jumping around the set covered in red body paint. If you want to know what Henry Rollins is all about, look no further than “Liar.”

10. “Intergalactic” by Beastie Boys (1998), dir. Nathaniel Hörnblowér

Ah, the Beastie Boys. I was torn between this video and “Sabotage,” but I have to be honest—I just love “Intergalactic” more. I mean, what’s not to love about this video? You’ve got robots, a giant squid monster and it’s all set in Japan. It’s the Beasties at their most irreverent, and boy, is it entertaining. The corniness of the special effects just makes it all the more hilarious.

9. “Let Forever Be” by The Chemical Brothers (1999), dir. Michel Gondry

You will see Michel Gondry again on this list because he’s just an amazing director. “Let Forever Be” is one of his best videos because it’s a perfectly synchronized, surreal dance epic. His work has a lot to do with dreams, and this video is no exception. It just looks like a dream with the camera angles, the color scheme and all the cool effects.

8. “Smack My Bitch Up” by The Prodigy (1997), dir. Jonas Åkerlund (NSFW)

Okay, this video is 100% not safe to view at work. Just warning you now. I actually did a presentation with “Smack My Bitch Up” in an English class last year, and let me tell you, the looks on people’s faces were absolutely priceless. Controversy aside, this video is incredible. It’s shot from a first-person perspective, which gives the whole thing a more intimate feel. We follow a particularly rowdy individual on a night out and things get a little extreme. This also has a great twist ending, but I won’t spoil it here. (Note: You may have to sign into YouTube to watch it, since it's age-restricted.)

7. “Closer” by Nine Inch Nails (1994), dir. Mark Romanek (NSFW)

Here’s another one you might want to save for a home viewing. “Closer” is a visually stunning video because it has a 19^th century torture chamber motif. Okay, so it’s just really creepy and I dig creepy videos. The editing in this video is pretty cool, too. In order for it to be shown on MTV, certain scenes had to be removed. They were replaced by a title card reading “Scene Missing.” And every time the word “fuck” had to be censored, the video appeared to stop, like a defective filmstrip. The film stock Mark Romanek used gives the whole video a nice vintage look.

6. “Losing My Religion” by R.E.M. (1991), dir. Tarsem Singh

This is a video that’s heavy in metaphorical imagery, but that’s what makes it great. There’s a lot of religious imagery here, but it’s not of the sacrilegious variety, as shown in “Closer.” The color contrasts are what really sold me—the video shifts between dark grays and browns in the band scenes and oversaturated colors in the other scenes. “Losing My Religion” is a gorgeously haunting song with an equally gorgeous music video.

5. “Everlong” by Foo Fighters (1997), dir. Michel Gondry

Didn’t I tell you that you’d see Michel Gondry again? This is definitely my favorite Gondry video. He still plays with the dream motif (this time by actually structuring the events of the video within a dream), but it has that trademark Foo Fighters humor to it. Also, Taylor Hawkins makes a surprisingly pretty woman.

4. “Longview” by Green Day (1994), dir. Mark Kohr

What’s a ‘90s countdown without Green Day? This was the band’s first music video, and it’s pretty underrated, if you ask me. It doesn’t have the cool special effects of “Basket Case” or the nice tracking shots of “When I Come Around,” but it perfectly captures the snotty essence of Dookie-era Green Day. Billie Joe Armstrong still has a nose piercing and the remnants of dreadlocks. Mike Dirnt and Tré Cool have enough pent up energy to rock out in a closet. This is what Green Day is all about.

3. “Heart-Shaped Box” by Nirvana (1993), dir. Anton Corbijn

Kurt Cobain had a particular vision for this video and Anton Corbijn executed it perfectly. “Heart-Shaped Box” is a surreal trip into Kurt’s imagination, complete with hospital beds, poppy fields, little girls in KKK uniforms, human fetuses dangling from trees and an old man representing Jesus in a Santa Claus hat. It’s creepy, but visually stunning.

2. “Criminal” by Fiona Apple (1997), dir. Mark Romanek

So if you read this blog on a regular basis, you already know that I’m in love with Fiona Apple. This is one of her best videos because turns the whole female exploitation thing on its head. Fiona was barely legal at the time, making the scenes of her mostly naked a little risqué. Though it was deemed controversial, the video was all Fiona’s idea. She said, “I decided if I was going to be exploited, then I would do the exploiting myself.” Nicely played, Fiona.

1. “Tonight, Tonight” by Smashing Pumpkins (1996), dir. Jonathan Dayton & Valerie Faris

There are too many things to love about this video. Based on the groundbreaking silent film, George Méliès’ A Trip to the Moon, “Tonight, Tonight” successfully evokes a sense of whimsy and pure magic. It’s almost frame-for-frame identical to the film, with shots of the band performing in the clouds added for good measure. I’m actually speechless when it comes to this video. It’s just perfect, okay? 

Nirvana

Sound Familiar?

“Smells Like Teen Spirit,” “Come As You Are,” “Heart-Shaped Box”

Who Are They?

Now honestly, if you haven’t heard of Nirvana, just leave now. No excuses.

Innovators. Definers of grunge culture. This blog’s namesake. When discussing ‘90s music, Nirvana is usually the first band to come to mind. “Smells Like Teen Spirit” regularly graces “Greatest ‘90s Songs” lists as the #1 choice, and 1991’s Nevermind is often cited as one of the greatest albums of all time. Twenty years ago, Nirvana was the biggest band on the face of the earth. And Kurt Cobain realized how much he absolutely hated that fact.

Nirvana didn’t actually start as Nirvana. Before Kurt became good buddies with bassist Krist Novoselic in 1987, he was involved in a short-lived project with Buzz Osborne, founding member of The Melvins. This project became known as Fecal Matter. Catchy, eh?

After such name considerations as Pen Cap Chew and Ted Ed Fred, Kurt and Krist settled on Nirvana and proceeded to go through drummers like tissues. Aaron Burckhard, Dale Crover, Dave Foster, and Chad Channing took turns sitting behind the drum kit. Chad stuck around long enough to lend his skills on the band’s debut, Bleach (which was recorded for a mere $606.17).

After touring being Bleach, Nirvana went back to the studio to work with the almighty Butch Vig. During these sessions, Chad became increasingly frustrated about not being involved with the songwriting. So he ditched the band and Kurt and Krist were left to recycle drummers. Following repeated recommendations from Sonic Youth’s Kim Gordon, a relatively unknown musician by the name of Dave Grohl auditioned. Turns out he was pretty damn talented.

The sessions with Vig produced Nevermind, and “Smells Like Teen Spirit” was chosen as the album’s first single. And all was right with the world. Angsty teenagers finally had a theme song and bands like Poison and Twisted Sister were left in the (glittery) dust.

As Nirvana began to conquer the world, Kurt quickly became disenchanted with his newfound fame. He was the anti-star, which ironically just made him even more famous. He resented being compared to other rock idols and even refused to ride in a limo to his own performance on Saturday Night Live. By 1992, Kurt had begun to withdraw from the rest of the band, causing Dave and Krist to become closer.

Incesticide, a compilation album, was released in 1992. Because everyone was still drooling over Nevermind, Incesticide wasn’t heavily promoted (which is a shame because there are some gems on that album).

In an attempt to distance themselves from the glossy sound of Nevermind, Nirvana chose to work with underground producer Steve Albini to record In Utero. The album was miles away from its predecessor. Christopher John Farley of Time put it quite simply: “Nirvana hasn’t gone mainstream, though this potent new album may once again force the mainstream to go Nirvana.”

The band appeared on MTV Unplugged in late 1993, and in typical Nirvana fashion, opted not to play their most popular songs. Instead, they performed several covers, most notably a rendition of David Bowie’s “The Man Who Sold the World.”

After a suicide attempt in early 1994, Kurt was convinced to commit himself into rehab, but escaped after less than a week. On Friday, April 8, he was found dead of a self-inflicted shotgun wound to the head in his Seattle home. And so ends the legend of Nirvana.

Where Are They Now?

Gone, but the music lives on.

Because of the tragic loss of their front man, Dave and Krist thought it only appropriate to retire Nirvana for good. Of the two, Dave found the most success. He formed Foo Fighters in 1994, and also teamed up with Josh Homme to record with Queens of the Stone Age and Them Crooked Vultures (for the full story/my witty banter on Foo Fighters, click here).

Krist continued with music for a short time, forming various short-lived bands with old friends. He became a full time member of the band Flipper in 2006, but departed two years later. Krist is also active in politics as an elected State Committeeman, most famously supporting libertarian Republican Congressman Ron Paul in the 2008 Presidential election.

Dave and Krist recently teamed up on Foo Fighters’ upcoming album Wasting Light. Krist plays bass and accordion on the song “I Should Have Known.”

But Why Nirvana?
This week marks the 17^th anniversary of Kurt Cobain’s death, which still remains one of the most devastating tragedies in music history. Also, Nevermind will be celebrating its 20^th birthday later this year. So break out the flannel and light a candle for Kurt.

What Does Sam Think?

I’m just gonna put it out there: Nirvana is one of my favorite bands of all time. Whether you like them or not, there’s no denying how much of an impact they made in the music industry. Without “Smells Like Teen Spirit,” without Kurt’s sense of anti-fashion, without all that feedback, a lot of the younger bands today wouldn’t exist. So yeah, they’re kind of a big deal.

But I’m sure a lot of people wonder how the hell Nirvana got so big. Some write off Nirvana’s sound as just plain noise. I can see where you’re coming from, anonymous music-basher. Kurt definitely wasn’t the greatest guitarist in the world, and he really couldn’t sing either. But that didn’t matter. It was his songwriting that caught people off-guard. He had the power (and the background story) to engage the social misfits of the world. To them, he was the ultimate symbol of despair and alienation. His words reached kids some would deem unreachable, and, whether he liked it or not, Kurt became the ultimate idol.

But it’s not all about Kurt. Nirvana was a group, not just one man with a guitar. Without Krist, we wouldn’t have the tasty bass lines in “Sliver” and “Lounge Act.” Without Dave, we wouldn’t have the overall incredible drum work that glued everything together. It all sounded so wrong, but when everything was said and done, it just worked.

Nirvana took the raw energy from punk rock, injected some smoky metal undertones, and packaged it all together with a few simple chords. It sounds easy, sure. But if that’s the case, why didn’t someone else think of it first?

This band did what other bands wish they could do, and that’s introduce a whole new side to music that no one had experienced yet. Kurt, Krist, and Dave single-handedly defined an entire decade. What have you done lately?

--Sam Boyer, reporting from the ‘90s.

Foo Fighters

Sound Familiar?

“Everlong,” “My Hero,” “Learn to Fly”

Who Are They?

Dave Grohl’s venture into post-Nirvana territory.

The year was 1994 and music had suffered a devastating casualty with the loss of Kurt Cobain. While Nirvana was obviously done for without the reluctant idol, Dave Grohl did not go quietly into that grunge-less night. He started a one-man project, recording the songs he had kept to himself during his stint as Nirvana’s drummer. Before the release of 1995’s Foo Fighters, Dave figured he needed a legitimate band to tour with. So he recruited fellow Seattle friends Nate Mendel and William Goldsmith (formerly of Sunny Day Real Estate), and threw in Nirvana’s touring guitarist Pat Smear for good measure. And when their powers united, Foo Fighters were born.

After spending most of 1995 touring behind the debut album, the boys settled down in Washington to begin recording their follow-up in 1996. But the initial recording process didn’t go as smoothly as expected. Dave, dissatisfied with how the mixes were turning out, removed Goldsmith’s drum parts and replaced them with his own. That didn’t fly with Goldsmith, so he left the band. But rescue came in the form of Alanis Morissette’s touring drummer Taylor Hawkins, just in time for the release of The Colour and the Shape. And there was much rejoicing.

Foo Fighters saw mainstream success with singles like “Everlong” and “My Hero,” making disgruntled Nirvana fans murmur, “Say, that drummer guy can actually write songs! And good ones at that!” Whodathunkit, right? Unfortunately, Dave didn’t have the same success with band mates. Pat Smear ditched the group and was replaced by Franz Stahl, but Franz left shortly before the band started recording There is Nothing Left to Lose. Terrible decision considering that the album spawned “Learn To Fly,” Foo Fighters’ first single to reach the US Hot 100.

Where Are They Now?

Far from the colossal shadow cast by Kurt Cobain.

After lending some help to Queens of the Stone Age on their album Songs for the Deaf in 2002, Dave turned his attention back to Foo Fighters with new inspiration. The original demos of what would later become One By One were re-recorded, but after the album’s release, the band expressed their displeasure with it. Dave admitted that, “Four of the songs were good, and the other seven I never played again in my life.”

Subsequent albums In Your Honor and Echoes, Silence, Patience & Grace earned the band commercial success. Singles like “Best of You” and “The Pretender” transformed them into stadium rock superstars. You couldn’t turn on the radio without hearing Dave scream, “Is someone getting the best, the best, the best, the best of you?!” But no one got the best of these guys. To date, “Best of You” is the band’s only single to reach Platinum status in the US. It also earned them a Grammy nomination for Best Rock Song in 2006. It was so good, Pat Smear returned as a touring guitarist. Now that’s talent.

In 2009, Dave took a break from the Foos to reunite with Queens of the Stone Age front man Josh Homme on his new project Them Crooked Vultures. The supergroup also included bass master John Paul Jones of Led Zeppelin. Too good to be true? Think again. The band’s self-titled debut produced the Grammy Award-winning single “New Fang” and proved not only that having John Paul Jones on your side is a win-win situation, but also that Dave Grohl can still rock out on a drum kit.

But Why Foo Fighters?

Their seventh studio album Wasting Light is slated for release on April 12. “Rope,” the first official single, dropped last month and Foo Fighters fans are practically salivating for more. And then there’s this ridiculously cheesy video for “White Limo,” featuring Motörhead’s Lemmy Kilmister. Ah, classic Foo video magic at its best.

What Does Sam Think?

Being part of one of the most influential bands of the ‘90s (and probably of all time) can potentially be a hard image to shake off. At the time, I don’t think many people really expected Dave to find success in anything else. Krist Novoselic dropped out of the music business altogether, so Dave was pretty much on his own. But even with all the doubt, he stepped up and found his own sound. Granted, he was heavily influenced by Kurt (a fact that he’s proud to admit), but you’d be hard-pressed to find a Foo Fighters song that sounds even remotely like Nirvana. Dave hasn’t completely distanced himself from his former grungy glory; he’s taken the necessary ingredients and created a monster to call his own.

However, that monster seems to have developed a mind of its own in recent years. While the band’s first three albums are fantastic, the last three have been a little disappointing. That is just the way I see it. Now cue the chorus of, “Blasphemy!” But it’s really not blasphemy, folks. Dave said himself that One By One wasn’t his greatest accomplishment. That album kind of started a slightly bland modern rock trend. “Best of You” was great…the first thousand times I heard it. And with Echoes, Silence, Patience & Grace, I kept thinking to myself, “Wait. I think I’ve heard this one before.” I was afraid that the Foos had lost their touch. But “Rope” proved me wrong. If the rest of Wasting Light sounds like that single, I’ll shut my mouth.

But there will always be a special place in my heart for The Colour and the Shape. It’s raw, yet catchy, and “Everlong” brings on a whole new level of nostalgia. Plus the video is incredible. Michel Gondry, you are a genius. And Dave Grohl, keep on keepin’ on.

--Sam Boyer, reporting from the ‘90s.