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? 

Sam's Top 50 Favorite Albums of the '90s (Part 5)

Here it is, folks—the final installment of my top 50 favorite albums of the ‘90s! Here you’ll see the coveted Top 10. Make sure to check out parts one, two, three and four before you start to complain about an album that appears to be missing.

10. OK Computer by Radiohead (1997)

This is a pretty obvious choice for a ‘90s Radiohead album. While I do like The Bends (and kind of, sort of enjoy Pablo Honey), OK Computer is by far the superior album of the three. Before this album, Radiohead was just another Britpop band trying to make it big across the pond. OK Computer has a much more experimental sound (though not nearly as experimental as something like Kid A or Amnesiac, both of which came right after this album), but it’s surprisingly accessible. “Airbag” is a killer opening track, and songs like “Karma Police” and “Lucky” have the power to reach a wide audience. Since I have a thing for long, multi-part songs, my favorite song on this album (and favorite Radiohead song in general) is “Paranoid Android,” a track with so many layers that I just want to curl up and live in it. While OK Computer isn’t my favorite Radiohead album of all time (that title belongs to Hail to the Thief), it’s still a flawless record in an objective sense.

9. The Downward Spiral by Nine Inch Nails (1994)

I’ve gushed about Nine Inch Nails plenty in my NIN entry, but let me just tell you how incredible The Downward Spiral is. The first NIN song I ever heard was “Closer,” and my little pre-teen mind was fascinated by the creepiness this band exuded. The Downward Spiral was recorded in the house where Sharon Tate was murdered by the Manson family, which makes the album all the more frightening. This is supposedly a concept album following an unnamed protagonist through his descent into his own psyche--and boy, is it twisted. The lyrics are pretty dark (see “Heresy” and “Hurt,” especially), but the instrumentation is really the most menacing aspect. Listen to the clicking backbeat in “Closer,” or the swirling chorus of screams in “The Becoming.” Scary, ain’t it? If I were able to include EPs in this list, Broken would probably top this album, but The Downward Spiral is an obvious winner for best NIN album of the ‘90s.

8. The Holy Bible by Manic Street Preachers (1994)

Oddly enough, I don’t think I’ve ever mentioned Manic Street Preachers on this blog before. The Holy Bible is honestly the only Manics album I really enjoy, and I think that’s because it’s one of the darkest. Musically, it’s deceptively catchy. But lyrically, it deals with everything from British imperialism and fascism to anorexia and the Holocaust. It’s very much a politically charged album, taking on both the British and American governments. “Ifwhiteamericatoldthetruthforonedayitsworldwouldfallapart” is an especially biting criticism of racism in the US (though bassist Nicky Wire has said it’s not a completely anti-American song). “4st 7lb” is a fairly intense portrait of an eating disorder. (Warning to readers who are sensitive to mentions of anorexia: DO NOT listen to “4st 7lb.”) The Holy Bible sounds a lot like a post-punk album, but it also invokes new wave, industrial, art rock and goth rock styles. It’s an unapologetic album and I really admire the band’s audacity to write about such serious subjects on a rock record.

7. The Fat of the Land by The Prodigy (1997)

I’ve always loved this album for nostalgic reasons, but now that I’m older, I can really appreciate how great of a record this is. I grew up listening to a lot of electronic music and The Prodigy eventually became one of my favorite bands. The Fat of the Land was always on repeat in my mom’s car, and I remember being so entranced with songs like “Breathe” and “Narayan.” This album has the perfect mix of pumped up tracks (“Smack My Bitch Up,” “Firestarter”) and musically layered spectacles (“Narayan,” “Climbatize”). The Fat of the Land, like The Downward Spiral and The Holy Bible, is a fairly controversial album (mostly because of “Smack My Bitch Up”), but don’t let that deter you. Even if you don’t like electronic music, you’ll probably like this.

6. Jagged Little Pill by Alanis Morissette (1995)

Angsty female singers of the ‘90s are my lifeblood. When I was younger, I wanted to be Alanis Morissette. Jagged Little Pill was Alanis’ first foray into alternative music, as her first two albums were of the dance-pop persuasion. But she sounds at home with the distorted guitars and harmonicas. The lyrical content always hits me hard, especially on tracks like “Perfect” and “Mary Jane.” There’s really a song for every mood on this album—“Mary Jane” is for those rough patches in life, “You Oughta Know” is for that awful breakup and “Head Over Feet” is for those special occasions when you find yourself in love with someone who really cares about you. So no, not all of Jagged Little Pill is endless angst, but even the slower songs have a certain intensity to them. Alanis isn’t afraid to get personal on this album and it definitely pays off.

5. Porno for Pyros by Porno for Pyros (1993)

I said this in my Jane’s Addiction entry, but I’ve always preferred Porno for Pyros over Jane’s Addiction. Perry Farrell is an entertainer, and Porno for Pyros always seemed like a better outlet for all that creativity than his first project. Of course, I still enjoy Jane’s Addiction (though not the more recent stuff), but this album just blows me away. When I went through my Woodstock ’94 phase (which I guess I’m still going through), I watched Porno for Pyros’ performance of “Cursed Female” and “Blood Rag” for the first time on YouTube. Both songs included a bit of performance art and I thought that was so rad. This band was edgy and psychedelic without trying too hard. Porno for Pyros is a fairly chill album compared to a typical Jane’s Addiction album, but the laid-back atmosphere is perfectly executed. The band’s second album is good, but not nearly as fantastic as this one. But apparently Perry and the gang are reuniting for a new PFP album soon. Fingers crossed.

4. In the Aeroplane Over the Sea by Neutral Milk Hotel (1998)

Let me just crack open a PBR and put on my hipster glasses for this one. But in all seriousness, In the Aeroplane Over the Sea is life-changing. I discovered this album during my senior year in high school, and I shit you not, it changed my life. Senior year was a really weird time for me and this album helped me get through it. I know it’s the quintessential “hipster” record (and yes, before you ask, I have it on vinyl), but that doesn’t make it any less amazing. Sure, Neutral Milk Hotel is not everyone’s cup of tea. I can understand why some people just don’t dig anything this band has every done. Jeff Mangum’s voice isn’t always pitch-perfect and the instrumentation is sometimes off. But the first time I heard the title track, I was somehow able to ignore all those minor issues. It’s very rare for me to fall in love with an album upon first listen, but In the Aeroplane Over the Sea won me over on the first try. I love the strange instrumentation (the band used everything from a singing saw to a shortwave radio) and I adore Jeff’s cracking voice. And yes, I still cry every time I listen to “Oh Comely” and “Two-Headed Boy Part 2.”

3. Mellon Collie and the Infinite Sadness by Smashing Pumpkins (1996)

This album is 100% nostalgia for me. I mean, a track like “1979” just sounds like how nostalgia feels. It’s so comforting. I feel like I could wrap Mellon Collie around me like a big fluffy blanket and just sleep in it. And if I haven’t already mentioned this about a million times already, I really love concept albums. According to Billy Corgan, this isn’t really a concept album, though—the two halves (Dawn to Dusk and Twilight to Starlight) represent day and night. Nevertheless, the musical diversity on Mellon Collie is impressive. The Smashing Pumpkins go from moody, hard rock riffs on “Zero” to string arrangements on “Tonight, Tonight” to playful electronic effects on “Lily (My One and Only).” Mellon Collie was the last really great Pumpkins album, in my opinion. This record, along with Siamese Dream, really defines the band.

2. In Utero by Nirvana (1993)

Yes, I’m one of those people who likes In Utero more than Nevermind. But that’s not because I think I’m too cool to like Nevermind (if you recall, it still made my Top 20). I prefer In Utero because it’s so much darker and definitely more personal than its predecessor. I like dark things—who knew? This album kind of hearkens back to Nirvana’s Bleach days, but it’s not as sludgy. There are some delicate tracks on here (see “Dumb” and “All Apologies”), but the majority of the album is a heavily distorted punch in the face. The opening track, “Serve the Servants,” uses a droning guitar riff that’s almost hypnotizing, “Tourette’s” is one big feedback fest and “Scentless Apprentice” features some of the dirtiest drum work (and gnarliest screams) I’ve ever heard. Whether we know the true meanings of these songs or not, I still believe Kurt Cobain bared his soul on this record.

1. Dookie by Green Day (1994)

Was there anyone out there who didn’t see this one coming? As I have mentioned countless times on this blog, Green Day is my favorite band, so of course Dookie is my favorite album of the ‘90s. Sorry that I’m just too predictable (but I’m not really sorry). But come on—Dookie is a really fun record. Even if you hate everything Green Day’s ever done, you probably still have a soft spot for this album. It’s snotty and brash while still being radio friendly. It has a song with one of the best bass lines I’ve ever heard (that would be “Longview”). It just makes me really happy, okay? “When I Come Around” was one of the first songs I ever remember hearing on the radio, and I would make up words to sing just so I could sing along. While Dookie isn’t necessarily the one album that truly defines me (if I had to choose one, it would probably be American Idiot), it’s still an amazing album. I can listen to every song about a million more times and I would still never get sick of any of them.

Sam's Top 50 Favorite Albums of the '90s (Part 4)

Sorry for no entry last week, my dear readers. I’ll make it up to you by skipping a regular entry in favor of part four of my ‘90s albums countdown! Check out parts one, two and three first.

20. When the Pawn… by Fiona Apple (1999)

If you were not already aware of how much I adore FionaApple, prepare for ultimate fangirl mode. Fiona is a queen and When the Pawn… is quite possibly my favorite album from her (her newest release, The Idler Wheel…, is a very close second). This album isn’t as jazzy as her debut, but Fiona manages to find the right mix of soulful and poppy. But there’s still some angst underneath all those gorgeous piano hooks, especially on tracks like “Limp” and “Get Gone.” Of course there are some general crowd pleasers (“Paper Bag,” “Fast As You Can”), but I think the real highlight on When the Pawn… has to be the final track, “I Know.” I saw this live and I won’t lie—I cried. “I Know” is a strikingly heartbreaking tune that shows off Fiona’s incredibly sultry voice perfectly. If you only know Fiona Apple for “Criminal,” you’re really missing out on her best stuff (though “Criminal” is still a fantastic song).

19. Mezzanine by Massive Attack (1998)

Didn’t I say you’d see more electronic artists as the countdown went on? I grew up listening to this album in my mom’s car (even though I had no idea what I was listening to at the time), but you might recognize one of these songs as the theme tune to House (that song is “Teardrop”). The rest of Mezzanine isn’t as delicate as “Teardrop,” but it’s still brilliant. Most of the tracks are sexy as hell, as is the case for most trip-hop bands. Just take a listen to “Inertia Creeps” or “Risingson” and try to tell me you don’t get all hot and bothered. Massive Attack has a way of making even the most complicated hook sound effortless—in fact, most of the beats in the band’s songs are a little weird, but in a good way. If you’re just starting to get into electronic music (or you’re only versed in dubstep), put on Mezzanine and prepare to have your mind blown.

18. Homogenic by Björk (1997)

Björk appeared earlier on this countdown with Post, but Homogenic is definitely my favorite album of hers. From the menacing opening track (“Hunter”) to the heartbreakingly beautiful closing track (“All is Full of Love”), this album is just flawless, and it’s Björk at her very best. Homogenic is the perfect mix of pop hooks and experimentation—it’s weird, but not too weird. The Icelandic pixie shows off her incredible vocal talent on tracks like “Joga” and my personal favorite, “Bachelorette.” Homogenic is full of stuttering beats, chilly string arrangements and lyrics that make you believe in love. I still think this is Björk’s best album and I will fight anyone who says otherwise. Some may be turned off by her more recent stuff (see the highly experimental and polarizing Biophilia), but Homogenic captures the true essence of this lovely lady.

17. Darkest Days by Stabbing Westward (1998)

Taking a detour from critically acclaimed albums for a second, let’s talk about Stabbing Westward. Not all of my favorite ‘90s albums are Pitchfork-friendly (see Creed and Dave Matthews Band), but they’re still perfect 10’s to me. I grew up thinking everyone knew who Stabbing Westward was because my parents let me listen to music I probably shouldn’t have been listening to at such a young age. My mom played the shit out of Darkest Days and I eventually fell in love with it. In case you weren’t aware, Stabbing Westward was an industrial band (though not quite as heavy as Nine Inch Nails or Ministry) that had a “Brandon Lee in The Crow” vibe. You may know for their arguably biggest hit, “Save Yourself.” The rest of Darkest Days is basically a dark concept album that follows four phases of going through a nasty break-up. It’s loud, emotionally raw and just plain badass.

16. Dirty by Sonic Youth (1992)

To me (and I guess to most critics), Dirty ranks pretty high on the list of great Sonic Youth albums. The title is also the perfect description of the noise you’ll hear for one solid hour. It opens with a solid wall of sound on “100%” and continues to let the guitars buzz, even on slower tracks like “Wish Fulfillment” and “JC.” If you don’t like distortion, I’d stay away from Dirty (but you’re totally missing out on some of the best noise rock you’ll ever hear). Kim Gordon and Thurston Moore trade off vocal duties throughout the album (Lee Ronaldo only gets one song, but it’s actually one of my favorites), and even though their vocal styles are different, I don’t prefer one over the other. I keep thinking, “Oh, well I like Kim’s songs more because of ‘Swimsuit Issue’ and ‘Drunken Butterfly.’ But wait, Thurston sings really well on ‘Sugar Kane’ and ‘100%.’ THEY’RE BOTH SO PERFECT.”

15. Vegas by The Crystal Method (1997)

More electronic artists! Like Massive Attack’s Mezzanine, this album was always on repeat in my mom’s car. Vegas was TheCrystal Method’s debut album, and remains the group’s most successful album to date. I think the record’s appeal stems from the totally random samples used in almost every song. For example, the album’s opening track, “Trip Like I Do,” samples dialogue from the ultra-cool Jim Henson movie, The Dark Crystal. “Keep Hope Alive” samples a Jesse Jackson speech. But perhaps the weirdest sample is in “Bad Stone,” which uses dialogue from a couple of Bill Cosby’s stand-up routines. Other than the samples, Vegas is just a rich electonic album with a huge sound. It reminds me of a massive wave that continuously crashes around me.

14. Californication by Red Hot Chili Peppers (1999)

Okay, so I know including this album is really cutting it close in terms of the time frame. Californication was released at the tail end of the ‘90s and its major singles didn’t even make it to the radio until 2000. But dammit, this is my favorite Red Hot Chili Peppers album and I will include it in this list if I so choose! I’ve heard a lot of criticism about this album, and I can see where it comes from. Yes, it’s not as funky as, say, Blood Sugar Sex Magik. And yes, it does sound a bit overproduced. But I’ve always had this strange connection to it since the day I first heard “Otherside” (also, this album’s predecessor, One Hot Minute, is pretty awful). John Frusciante comes roaring back to the band with some crazy awesome riffs, especially on “This Velvet Glove” and “Around the World.” Many of these tracks are a bit more personal than tracks on previous Chili Peppers album (even though a lot of critics called it “false empathy”), and I think that’s what makes Californication stand out to me. Yes, Blood Sugar Sex Magik is still an amazing album (and it’s probably objectively better than this one), but I will always prefer Californication.

13. Insomniac by Green Day (1995)

Finally, Green Day makes its first appearance on this countdown. You saw it coming. While most people tend to remember Dookie as one of the best Green Day albums, Insomniac is probably the most underrated album in the band’s catalog. This was kind of a big “fuck you” to all the punks back home who cried, “Sell-outs!” Insomniac is raw, nasty and honestly has some of the best Green Day songs ever. Billie Joe Armstrong and company manage to pack a metric ton of angst into just 32 minutes of music. The lyrics are so much darker than the songs on Dookie—“Geek Stink Breath” tells the story of a meth addict and “Brat” tells the story of a kid waiting for his parents to die so he can get his inheritance. “Brain Stew/Jaded” was the most successful single (they’re technically two separate songs, but they were released as a single track for radio play), but the real highlight on Insomniac (for me, at least) is “Panic Song.” That track was written by both Billie Joe and bassist Mike Dirnt as kind of an homage to panic attacks, and that really hits home for me.

12. Rubberneck by The Toadies (1994)

I’m fairly certain that I mentioned multiple times in my Toadies entry that this band is probably the most underrated band of the ‘90s. You know these Texas post-grungers for their hit “Possum Kingdom,” but the rest of the album it came from is beyond brilliant. The Toadies inject some Southern charm into their strange, post-grunge sound, and it’s kind of unnerving (in a good way). I mean, just listen to the lyrics on “Tyler.” That song is about some guy who stalks a girl and breaks into her house. “Possum Kingdom” is (supposedly) about vampires. And Todd Lewis really knows how to wail (with his voice, that is). There’s an underlying creepiness to Rubberneck that’s hard to find on other albums, and I just wish more people listened to this band and appreciated it. I saw the Toadies live quite a few years ago and they sounded incredible. Even their most recent album is almost Rubberneck quality. It’s really too bad they’re considered a one-hit-wonder.

11. Nevermind by Nirvana (1991)

Before you go shunning me for not putting this in the top 10, let me just remind you that these are my personal preferences. You’ll see Nirvana again, I promise. As for Nevermind—well, what can I say about this album that hasn’t already been said? The first time I listened to it, I felt like I had found the Holy Grail. I was a pre-teen with some manufactured angst and I absolutely worshipped this band in 5^th and 6^th grade. I remember listening to Nevermind with my friend Alex and deciding to start a band (that obviously fell through because neither of us could play an instrument). I also remember being completely devastated when I found out Kurt Cobain has died almost a decade prior to the first time I heard “Smells Like Teen Spirit.” Even though this album belongs to Generation X, I can still feel the impact. I still love the three-chord simplicity, the gruffness of Kurt’s vocals, the often-nonsensical lyrics. Nevermind may be as old as me, but it feels new every time I hear it.

Green Day

Sound Familiar?

“Longview,” “When I Come Around,” “Good Riddance (Time of Your Life)”

Who Are They?

One of the bands responsible for reviving punk rock in the ‘90s (and can also be identified as this blogger’s favorite band).

Green Day began as Sweet Children, the project of long-time best friends Billie Joe Armstrong and Mike Dirnt, in 1987. With original drummer John Kiffmeyer (a.k.a. Al Sobrante) serving as the band’s manager, the boys were signed to Lookout! Records and recorded their first EP, 1,000 Hours, in 1989.

Before release of 1,000 Hours, Billie Joe and the gang decided to drop the name Sweet Children in favor of the name Green Day (a slang term for a day spent smoking weed).

Green Day’s first full-length album, 39/Smooth, was released on Lookout! in 1990 (re-released a year later as 1,039/Smoothed Out Slappy Hours, which included songs from previous EPs). After their first nationwide tour, John ditched the band to attend college. The Lookouts’ drummer Tré Cool stepped up as a temporary replacement, but it soon became clear that he was the one element Green Day had been missing.

Green Day’s underground success with 1992’s Kerplunk! attracted the attention of a slew of major labels, and the band eventually left Lookout! and signed with Reprise Records.

The decision to sign to a major label was met with a pretty intense backlash from the Easy Bay scene. Green Day were regarded as sellouts and were basically banned from local punk hotspot 924 Gilman Street.

But no matter. Major label debut Dookie dropped in 1994 and immediately made a splash with audiences and critics alike. Singles “Longview,” “Basket Case,” and “When I Come Around” all reached #1 on the Modern Rock Tracks chart. Holy commercial success, Batman!

Green Day also scored slots on both Lollapalooza and Woodstock ‘94’s lineups. (Woodstock ’94 was nicknamed “Mudstock” because of the band’s impromptu mud fight with the audience.)

After Dookie won the Grammy for Best Alternative Album in 1995, Green Day released its follow-up, the much darker and heavier Insomniac. Though not nearly as poppy as its predecessor, Insomniac still received high praise from critics.

Nimrod, an experimental deviation from the band’s standard pop-punk sound, was released in 1997. The album was comprised of a variety of musical styles, including surf rock, ska, and one acoustic ballad you may have heard of.

“Good Riddance (Time of Your Life)” became Nimrod’s defining single and was played during every high school graduation, television show finale, and wedding reception in the world (which is pretty hilarious considering that the song is basically a big “fuck you” to the East Bay kids who called them sellouts).

Where Are They Now?

Still relevant and considered one of the most successful ‘90s bands ever.

After the surprise success of Nimrod and “Good Riddance,” Green Day went back to the studio and make back with Warning in 2000. Warning was a step further in the direction Nimrod had barely touched upon. Comprised of mostly acoustic songs pertaining to faith, hope, and social commentary, the album confused fans and critics.

This resulted in a decline in popularity and a supporting spot on the 2002 Pop Disaster Tour with blink-182. (Imagine Green Day opening for blink-182 now. You can’t. You just can’t.)

Two compilation albums (International Superhits! and Shenanigans) followed Warning, and Green Day went back to the studio in 2003. After completing 20 tracks for the album tentatively titled Cigarettes and Valentines, the band’s master tapes were stolen from the studio and our heroes were forced to start from scratch.

In the meantime, a mysterious band called The Network was signed to Billie Joe’s label Adeline Records. After the release of the band’s only album, Money Money 2020, it was rumored that The Network was actually Green Day in disguise. Neither band confirmed this (though it’s pretty obvious that The Network is, in fact, Green Day wearing masks).

After much soul-searching and hard work, Green Day released the “punk rock opera” American Idiot in 2004. The album follows the life of a fictitious character referred to only as “Jesus of Suburbia.”

American Idiot won the Grammy for Best Rock Album and 34389473 other awards and is widely considered to be Green Day’s magnum opus (though we can’t forget about Dookie).

Following the hugely successful American Idiot was another side project (Foxboro Hut Tubs) and the Butch Vig-produced 21^st Century Breakdown. (Reasons why I hate 21^st Century Breakdown can be found in the “What Does Sam Think?” section below.)

Perhaps the most unusual achievement of the band is a Broadway musical version of American Idiot. In 2009, Green Day met with director Michael Mayer and many cast and crew members of the Tony Award-winning musical Spring Awakening to create a stage version of the album. Too ridiculous to work, right?

Wrong. American Idiot: The Musical was a smash hit on Broadway, much to everyone’s bewilderment. (Fun fact: Billie Joe appeared during the original Broadway run as St. Jimmy for a few shows. He was such a huge hit with audiences that they brought him back for a few more shows before the end of the musical’s Broadway run.)

But Why Green Day?

Billie Joe announced yesterday via Twitter that the band is back in the studio recording the follow-up to 21^st Century Breakdown! Green Day debuted a few new songs at some secret shows in the past few months, but it hasn’t been confirmed that they’ll end up on the album.

What Does Sam Think?

I’ll try not to go full fangirl in this section, but you should still prepare yourself.

I’m well aware that not everyone likes Green Day, especially after American Idiot. I remember friends of mine calling them sellouts when “Boulevard of Broken Dreams” was released as a single. You do realize that they were “sellouts” long before American Idiot, right? The term “sellout” refers to a band that signs to a major label, which is what happened when Green Day released Dookie on Reprise back in 1994.

But I’m not going to try to sway your opinion of this band or bully you into listening to their music. What I will say is that Green Day is a band that really stands apart from all the other ‘90s-era pop-punk bands.

How do they manage to do that? Well, they’re not afraid to change up their sound, and they’re not afraid to grow up. They had a winning formula with Dookie, but just one album later, they took a different route. (Just a side note: Insomniac is probably the most underrated Green Day album. It’s pure punk. We can fight about it later.)

The maturity shift between Dookie and Nimrod is also pretty impressive. “Good Riddance” was such a huge step away from the band’s familiarly snotty sound, and the fact that fans went apeshit over it says a lot.

Warning was fairly risky, but I wouldn’t say that it’s Green Day worst album (though I did used to hate it).

To be honest, my favorite album is American Idiot simply because it was crazy enough to work. (It also came out at a pivotal time in my life, but I won’t get all nostalgic and misty-eyed here.) The maturity in both the instrumentation and lyrics is almost staggering. I thought to myself, “Is this really the same band that sang about getting high and masturbating all day?”

American Idiot is smart, robust, and has just the right amount of political undertones.

21^st Century Breakdown, on the other hand, took the political aspect too far. It’s a little too preachy and takes itself way too seriously. If American Idiot was told from the point-of-view of the disillusioned youth in Middle America, then 21^st Century Breakdown is a cantankerous old hippie’s ramblings about the “good ol’ days.” The album has a few redeeming songs (“Peacemaker,” “East Jesus Nowhere”), but it crumbles under its own weight.

From what I’ve heard so far, the new album has the potential to be a return to “old school” Green Day. Rolling Stone reported that the band is laying off the political commentary for this one.

Since the length of this entry is probably killing you, I’ll end with this: Even if you hate Green Day, you have to admit that they’ve got massive staying power and a pretty catchy sound to boot.

-- Sam Boyer, reporting from the ‘90s.