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 1)

Greetings, my dear readers. If you’re a regular reader of this blog, you’re probably wondering why the format is different this week. Well, it’s because you’re in for a treat. This week, I’ll be starting a countdown series. The first countdown will be my Top 50 Favorite Albums of the ‘90s. Notice that I said “favorite” rather than “best.” These are my personal choices, so I don’t want to hear any cries of, “But why is this album higher than this album?” or, “Where’s this album by my favorite band?” If you don’t see your favorite album on my list, you can always suggest that I listen to it (if I haven’t already).

This list will be updated every other week because I’d like to do some regular entries in between. So next week, you will see another artist spotlight. The week after next, you’ll see the next part of the list, and so on. So sit back and enjoy my fangirlery!

50. Grace by Jeff Buckley (1994)

I need to get something off my chest, guys. Jeff Buckley’s cover of “Hallelujah” is the best version of the song. Period. If you don’t agree, you’re wrong. Sorry, not sorry. That will be my only objective statement on this list, I promise. But I just have strong feelings about that song. The rest of the album is just as gorgeous. Jeff can croon like an angel. His voice just tugs at my heartstrings. I’m not sure if that’s because he was genuinely talented, or if it’s just the mystical feeling of listening to a musician who died too young. I’ve heard the argument that most Jeff Buckley fans tend to glorify his music because of his early death (much like Nirvana fans tend to hold Kurt Cobain up as a “grunge messiah”). But I think Grace holds up as a solid, moving album. With songs like “Lover, You Should’ve Come Over” and of course “Hallelujah,” Jeff knows how to reduce even the most stoic listener to tears.

49. Enter the Wu-Tang (36 Chambers) by Wu-Tang Clan (1993)

I wasn’t really a huge fan of rap until I got to college and started listening to some old school ‘90s rap. A lot of my friends were really into Wu-Tang Clan, so I had to see what the big deal was. Enter the Wu-Tang is probably the rawest rap record I’ve ever heard. There’s no flashy production here—it’s all visceral. I know I’m just a middle class white girl, and I won’t pretend that I can relate to any of the songs on this album. But I can definitely appreciate the beats and the delivery. Enter the Wu-Tang takes no prisoners. The first track, “Bring Da Ruckus,” is basically a call to arms. These guys don’t fuck around and neither does this album.

48. Bridges to Babylon by The Rolling Stones (1997)

I grew up in a Rolling Stones household. My dad is the biggest Stones geek on the planet, so naturally, I’m familiar with the majority of the band’s extensive catalog. While I do appreciate classic Stones, my favorite album is (not surprisingly) their ‘90s release, Bridges to Babylon. These guys kind of took an awkward turn in the ‘80s (accentuated by the Mick Jagger/David Bowie phenomenon that is “Dancing inthe Street”), but by the time the ‘90s rolled around, the Stones got their groove back. This album is exactly like classic Stones, but it’s got enough of the old sound to complement the new sound. “Flip the Switch” and “Gunface” have some great guitar work from the great Keith Richards, and even the slower tunes (especially “Saint of Me”) have a quiet power. There are probably some Rolling Stones purists out there who like to ignore the band’s later work, but Bridges to Babylon can definitely stand up with the greatest Stones albums.

47. Red Medicine by Fugazi (1995)

As if this list wasn’t already all over the place genre-wise, here’s a post-hardcore album to throw into the mix. Punk rock took many forms in the ‘90s: grunge, pop-punk, emo and post-hardcore. Post-hardcore was a little harder for people to swallow, but it’s honestly the most interesting mutation. While I’m sure a lot of Fugazi fans wouldn’t choose this album as their favorite, it was my introduction to the band. I heard “Do You Like Me?” and I was hooked. Those messy, raunchy riffs at the beginning of that track definitely rubbed me the right way. A lot of the other tracks are a bit more experimental, and I think that turns off some of the pop-punk kids, for example. These aren’t three-chord races to the finish line—these songs are meticulous and aggressive.

46. Dear You by Jawbreaker (1995)

Speaking of punk rock subgenres, let’s talk about Jawbreaker and emo movement of the early ‘90s. When I say “emo,” the first band that probably comes to mind is My Chemical Romance. Am I right? Yeah, I thought so. Believe it or not, MCR didn’t start the emo movement. It started back in the mid-‘80s and it had nothing to do with eyeliner or vampires or bad haircuts. Though bands like Rites of Spring and Embrace actually pioneered emo (or “emotional hardcore”), Jawbreaker and another band called Sunny Day Real Estate (who also makes an appearance on this list) reinvented it. Jawbreaker was a bit closer to the original emocore sound than Sunny Day Real Estate, though. Dear You is the band’s most polished-sounding album, but that doesn’t lessen the impact of it. My personal favorite track is “Chemistry,” which has this perfect mix of aggressive guitar riffs and a nice, melodic chorus with clever lyrics.

45. Tragic Kingdom by No Doubt (1995)

If you read my entry on No Doubt, you’ll recall that I’m in love with Gwen Stefani. Tragic Kingdom-era Gwen is the best Gwen because she was just so spunky. And yes, I do realize there are other people in the band, so let’s just talk about Tragic Kingdom in a musical sense. Again, looking back to my No Doubt entry, it’s pretty obvious that I love this album. It’s one of the most inventive albums from the third wave ska movement because it incorporates more than just swing-style beats and a trumpet/trombone chorus. “Don’t Speak,” for example, is a gorgeous ballad that you wouldn’t normally hear on a ska album. There’s even a Spanish-style guitar solo. Beat that, Reel Big Fish.

44. Hello Nasty by Beastie Boys (1998)

I know most people would choose Ill Communication over Hello Nasty, but I’m not most people. This is my favorite Beastie Boys album because it features some of the best Beastie Boys songs. “Intergalactic,” “Electrify,” “Super Disco Breakin’”—these are fantastic tunes. When I was younger, I would attempt to dance to “Body Movin’” and my parents would laugh at me, but dammit, I loved that shit. If you get me drunk enough, I will dance to every single song, and I will do those horribly embarrassing moves that I probably shouldn’t do in public. The Beasties bring out the best in me, you know? And God rest MCA’s soul. That man helped create some awesome music and I still upset when I realize he’s gone. But we still have albums like Hello Nasty to remind us that the spirit of the Beastie Boys will never die.

43. Diary by Sunny Day Real Estate (1994)

Oh hey, remember when I said you’d be seeing Sunny Day Real Estate on this list? Didn’t think you’d see them so soon, huh? Like Jawbreaker, these guys reinvented emo in the early ‘90s. Diary was the band’s first (and probably most successful) album. There’s something urgent in its tone and the sound helps bridge the gap between post-hardcore and the later forms of emo. It’s powerful (even if you can’t understand most of Jeremy Enigk’s lyrics). Some personal highlights include “The Blankets Were the Stairs,” “In Circles” and “Pheurton Skeurto.”

42. Purple by Stone Temple Pilots (1994)

This band gets a lot of shit, but they made some damn good music back in the day. I’ll admit that STP’s first album, 1992’s Core, was kind of a grunge rip-off, but Purple, the second album, was so much better. The band incorporated some psychedelic rock influences and Scott Weiland’s lyrics and vocal delivery vastly improved. Purple also had three perfect singles: “Vasoline,” “Interstate Love Song” and “Big Empty.” I still believe “Interstate Love Song” is one of the best songs of the ‘90s because of its simplicity. It has a Southern rock feel to it, but there’s a pop undertone there that makes it so much more accessible. STP wasn’t a grunge band by any means and I think most people would agree with me. Scott Weiland and company were vastly more creative than their contemporaries. It’s a shame that Scott and the rest of the band went their separate ways (but I can always hope for a reunion).

41. Siamese Dream by Smashing Pumpkins (1993)

This album was tough to place on the list because on one hand, it’s technically perfect. On the other hand, there is one SmashingPumpkins album that I love way more than this one. But let’s concentrate on this one. Siamese Dream is the definition of a flawless album. I seriously struggle to find anything wrong with it (though I do know too many people who hate “Today,” but whatever—I like it). Billy Corgan was obsessed with making this a great album, so much so that he often overdubbed James Iha and D’arcy Wretzky’s guitar and bass parts with his own playing. But the result was a record that felt so incredibly massive, yet so controlled. “Geek U.S.A.,” along with being my second favorite Smashing Pumpkins song ever, is the perfect example of this sentiment. It condenses a three-part epic into five glorious minutes. And that’s what Siamese Dream is—a glorious epic.