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.

The Prodigy

Sound Familiar?

“Voodoo People,” “Firestarter,” “Smack My Bitch Up”

Who Are They?

One of the most popular electronic acts of the ‘90s (and one of the most controversial). Also, this is Smells Like the ‘90s’ first electronic music entry—so get your rave on, folks.

In the beginning, The Prodigy was just another UK rave band. Liam Howlett recruited Keith Flint and Leeroy Thornhill to perform with him at clubs. After hearing Liam’s demo mix, Keith and Leeroy were in for the long haul.

The band’s first single, 1991’s “Charly,” became a huge hit in the UK rave scene, and even climbed to number 3 on the UK Singles Chart. Critics didn’t really get it, but do critics really ever get rave music?

(Fun fact: “Charly” is actually a reference to cocaine. The song samples a public information film called “Charly Says,” which resulted in critics identifying The Prodigy as “kiddie rave” or “Toytown Techno.”)

The Prodigy’s first full-length album, 1992’s Experience, made critics do a double take. With this release, the band was already beginning to distance itself from the “kiddie rave” label and move on to more seriously electronic territory. This new territory was later dubbed big beat, which is a style of electronic music characterized by heavy breakbeats and synthesizer-generated loops.

The band’s first foray into big beat was 1994’s Music for the Jilted Generation. The album was nominated for a Mercury Music Prize, but Liam didn’t let that get to his head. He refused to let his band appear on Top of the Pops in the UK, but as the videos for “Voodoo People” and “No Good (Start the Dance)” began receiving heavy airplay on MTV Europe, our heroes softened up to the idea of mainstream success.

“Firestarter,” the first single from 1997’s The Fat of the Land, helped The Prodigy break into the US and other overseas markets, and even earned the band a headlining spot at Lollapalooza. The Fat of the Land cemented The Prodigy as one of the most internationally successful electronic music acts, but also came with its share of controversy.

The album’s third single, “Smack My Bitch Up,” became the target of women’s rights groups due its lyrical content (the only lyrics in the song are “Change my pitch up, smack my bitch up”). The National Organization for Women claimed the song was a “dangerous and offensive message advocating violence against women” (from the 1997 LA Times article "Time Warner Again Faces the Music Over Song Lyrics"). The band, on the other hand, maintained that the repeated phrase in the track simply meant “doing anything intensely, like being on stage.”

If you thought the song was offensive, then boy, are you in for a treat when you watch the music video. Widely considered to be the most controversial video in MTV history, “Smack My Bitch Up” was a first-person chronicle of an intense night out at the clubs, complete with explicit drug use, graphic nudity and abuse of both men and women. Despite the twist ending (which I will not reveal here for those who haven’t seen the video), feminist groups blasted the video for its fierce misogyny and “Smack My Bitch Up” was eventually banned from television.

After massive demand, MTV finally began airing the video again, but only showed it after midnight. You can view the full, unedited version here, but you’ll have to verify your age since it’s age-restricted. (Side note: I don’t find it that offensive, but I definitely wouldn’t let your grandma watch it.)

(Fun fact: During a performance at the 1998 Reading Festival, the Beastie Boys requested that The Prodigy not play “Smack My Bitch Up,” to which vocalist/beatboxer Maxim replied, “They didn’t want us to play this fucking tune. But the way things go, I do what the fuck I want.” The song went on to win Best Dance Video and Best Breakthrough Video at the MTV VMAs the same year.)

Leeroy left the band at its commercial peak in 1999, and The Prodigy went on a brief hiatus.

Where Are They Now?

Still playing huge festivals and recording new material.

The Prodigy reunited in 2002 and released the single “Baby’s Got a Temper” to critical disappointment. Once again, the single was accompanied by a controversial video. This one featured topless women suggestively milking cows. No, I’m not kidding (this video is also age-restricted, by the way). The lyrics also included references to the date rape drug Rohypnol, so The Prodigy was just asking for this to get banned.

The band released two more albums (2004’s Always Outnumbered, Never Outgunned and 2008’s Invaders Must Die) and embarked on a whirlwind tour, which included stops at festivals like Przystanek Woodstock and Download Festival.

(Fun fact: Dave Grohl played drums on the Invaders Must Die track “Run with the Wolves.”)

In May 2012, The Prodigy announced the working title of its next album: How to Steal a Jet Fighter. As of 2013, the album has yet to be released.

But Why The Prodigy?

The band debuted a few new tracks at various festivals last year, so How to Steal a Jet Fighter is a real thing. No idea when it will be released, but it should be soon.

What Does Sam Think?

I don’t mean to sound like a music elitist or anything, but I started listening to The Prodigy at a young age (probably too young, now that I think about it). The Fat of the Land was one of the CDs my mom would play in her car all the time, along with The Crystal Method’s Vegas and Massive Attack’s Mezzanine. My mom is apparently a raver in disguise (proved by her trip to a Crystal Method show that turned out to be a rave).

Anyway, I grew up listening to a lot of different kinds of music, so when I got older, I never really understood why a lot of my friends had no idea what I was talking about when I mentioned The Prodigy. I just assumed everyone listened to them. I mean, didn’t every kid grow up hearing “Smack My Bitch Up” on the way to the pool in the summer? No? Perhaps this explains a lot.

I can’t say that I’m an expert on electronic music—I just know what I like. After researching the bands I heard in my mom’s car, I realized most of them had one thing in common: they were all big beat electronic bands. So if you like The Prodigy, you will most likely also dig The Crystal Method, Fatboy Slim and The Chemical Brothers (I know I mentioned Massive Attack earlier, but that’s considered trip-hop).

The Prodigy just has great beats. If you ignore the controversy for a second, you can definitely see the appeal here. The Fat of the Land in particular is some heavy stuff. It’s not like the electronic music you hear today. Yeah, this band started out as a rave band, but these guys weren’t afraid to experiment later on. Of course electronic music gets a little repetitive, but I could listen to The Prodigy forever.

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