Sam's Top 24 Favorite Music Videos of the '90s (Part 1)

What’s that? You want another countdown? Well, your wish has been granted, dear readers. If you were a fan of my Top 50 Favorite Albums of the ‘90s countdown, you’ll love my Top 24 Favorite Music Videos of the ‘90s countdown!

I love music videos. I appreciate the artistry of matching music with visuals, and the weirder the visuals, the more I love the video. So get ready for some cinematic adventures, kids. Look for part two next week. (Warning: Some of these videos are not safe to view at work. I’ll label them to spare you the embarrassment.)

24. “This Is Hardcore” by Pulp (1998), dir. Doug Nichol

“This Is Hardcore” is a song about pornography, so you would think the accompanying music video would reference that. Well, you’re wrong. Pulp opted out of the obvious porn parody video and instead produced a collection of dramatic film noir scenes that feel just as seedy as a homemade porno. The characters are dark and empty, much like adult film actors going through the motions.

23. “Tommy the Cat” by Primus (1991), dir. Mark Kohr

I had a hard time deciding which Primus video would make this list. It was between this video and “Mr. Krinkle,” but I ultimately went with “Tommy the Cat.” I think this video captures the true essence of Primus. You’ve got hyper-sexualized cartoon cats, Monty Python references and a special appearance by Tom Waits. And damn, that’s a funky bass line.

22. “Just” by Radiohead (1995), dir. Jamie Thraves

My music video preferences tend to fall on opposite sides of the spectrum. On one hand, I love weird, extravagant videos full of metaphors and symbolism. On the other hand, I really appreciate simple videos with a strong hook. The hook in Radiohead’s “Just” is the mystery of one person’s actions. A man lies on the sidewalk and refuses to explain why he’s doing it until the very end. But we never hear his words.

21. “Everybody (Backstreet’s Back)” by Backstreet Boys (1997), dir. Joseph Kahn

Most boy bands in the ‘90s tended to make cheesy videos that mostly consisted of either synchronized dance breaks or “come hither” bedroom eyes. I definitely have to give the Backstreet Boys props for this extravagant ode to old horror films. Those pretty boys weren’t afraid to get ugly for this video. Vampires and werewolves and mummies, oh my!

20. “Give It Away” by Red Hot Chili Peppers (1991), dir. Stéphane Sednaoui

This video is a great introduction to the Chili Peppers. It just shows Anthony Kiedis and company as a bunch of funky, shirtless dudes who like to get weird. That is the RHCP philosophy in a nutshell. Also, the camera work in this video is trippy as hell.

19. “Who Was in My Room Last Night?” by Butthole Surfers (1993), dir. William Stobaugh

Butthole Surfers didn’t have a ton of success with this song, but this video just screams ‘90s MTV. The Surfers play in a creepy bar with even creepier characters buying drinks, but the animated sequences are the really rad parts (those scenes were animated by RobZombie, so you know they’re badass). “Who Was in My Room Last Night?” is basically a Saturday morning cartoon on acid with some live action shenanigans thrown in.

18. “Three Little Pigs” by Green Jellÿ (1993), dir. Fred Stuhr

If you’re not familiar with Green Jellÿ (pronounced “green jello”), sit yourself down and watch the video for “Three Little Pigs.” You will probably love it. Green Jellÿ is a comedy rock band that promoted itself as “the world’s first video-only band.” “Three Little Pigs” is part of the band’s video album, Cereal Killer. The video is ultra cheesy claymation, directed by the guy responsible for Tool’s “Sober” video. Unlike “Sober,” “Three Little Pigs” is hilarious.

17. “Just a Girl” by No Doubt (1995), dir. Mark Kohr

Okay, so this is probably because I have a huge girl crush on Gwen Stefani, but I’ve always loved the “Just a Girl” video. It sets up a nice contrast between the “boy’s club” and the “girl’s club.” Gwen is stuck in the girl’s room with the pretty pink walls and mirrors, while the rest of her bandmates are jamming away in the boy’s room. The visuals really complement the song here. And Gwen looks her best.

16. “Jeremy” by Pearl Jam (1992), dir. Mark Pellington

Most of the videos on this countdown are fun videos, but I do appreciate a music video with a serious message. “Jeremy” is powerful in its simplicity. We get a glimpse of the title character’s story through newspaper clippings and brief flashes of his home life and the final controversial scene in the classroom. The subject matter is dark, but it’s handled so well on the screen.

15. “Prison Sex” by Tool (1994), dir. Adam Jones (NSFW)

Tool produces some of the most thought-provoking music videos I’ve ever seen. Though most people tend to like “Sober,” I prefer “Prison Sex.” Both videos use claymation, but the message behind “Prison Sex” is much stronger. Though the visuals are mostly metaphorical, the song itself is about the cycle of child abuse. In the video, we see the larger, more menacing creature play around with the smaller creature like a helpless doll, only to put it back on the shelf.

14. “Freak on a Leash” by Korn (1999), dir. Todd McFarlane

Say what you want about Korn, but this video is badass. Using the same camera techniques as The Matrix, “Freak on a Leash” follows a bullet in slow motion as it travels through various objects (and leaves them shattered). White boy, nu-metal angst aside, the bullet trick in this video is beyond cool.

13. “Violet” by Hole (1994), dir. Mark Selinger & Fred Woodward

I was torn between this and “Doll Parts,” but “Violet” resonates more with me. I love the ballerina/stripper dichotomy presented in the video, and Courtney Love shifts between virgin and whore seamlessly. The old-timey film stock also gives the video a gritty feel to it, making the whole song just that much more aggressive.

Sam's Top 50 Favorite Albums of the '90s (Part 3)

Get ready for part three! Check out part one and part two first.

30. Sixteen Stone by Bush (1994)

So, if you couldn’t tell already, a lot of my favorite albums came out in 1994. This was the year of Kurt Cobain’s death and the unofficial death of grunge. All other bands with a similar sound that came out after Kurt’s passing are considered post-grunge (what an original name). Bush was one of the first, and say what you will about the band’s later albums, but Sixteen Stone is flawless. If you don’t listen to any other Bush albums, listen to this one. Gavin Rossdale and company are from across the pond, but they ended up with not three, not four, but FIVE successful singles from just this album. You’ll probably recognize the songs “Comedown,” “Everything Zen” and my personal favorite, “Glycerine.” Bush isn’t the most creative band out there, but sometimes I like straightforward rock songs, and Sixteen Stone has plenty of those.

29. Electriclarryland by Butthole Surfers (1996)

What can I say about Butthole Surfers? This band is strange and unapologetic, but it scored a mainstream hit with a song that features the line, “Then there was the ever-present football player rapist / They were all in love with dyin’, they were doing it in Texas.” That was from possibly the only Butthole Surfers song most people know, “Pepper.” The rest of Electriclarryland is a pretty bizarre ride (though not nearly as bizarre as earlier albums), but it still packs a punch. There’s something psychedelic about the whole album, like a 50-minute acid trip. It’s honestly difficult to describe Butthole Surfers to someone who isn’t familiar with their music. My only advice is to listen to Electriclarryland first, then work your way up to something like Locust Abortion Technician. Highlights include “Jingle of a Dog’s Collar,” “Cough Syrup” and “The Lord is a Monkey.”

28. Goo by Sonic Youth (1990)

This was the first Sonic Youth album I ever listened to and it quickly became one of my favorites. I was always aware that Sonic Youth was an important band and basically required listening. During my huge Nirvana phase back in 5^th and 6^th grade, I took Kurt Cobain’s musical preferences as gospel and began to go through all his influences. That list included PJ Harvey, the Melvins and of course, Sonic Youth. Goo is usually cited as the band’s best album (probably next to Daydream Nation) and the most accessible album thanks to singles like “Kool Thing” and “Dirty Boots.” It’s noisy, gritty and just plain cool. My favorite Sonic Youth song also appears on this album, even though Goo is only my second favorite album from the band (that song is “Mote” if you’re interested).

27. Eleventeen by Daisy Chainsaw (1992)

I just recently got into this band and I’m still kicking myself for not listening to Eleventeen earlier. I first heard of Daisy Chainsaw on an episode of Roseanne (if you know me in real life, you know how much I love that show). This was Darlene’s favorite band, and I love Darlene, so I had to check it out. Eleventeen is the definition of noise rock with one hell of a female singer. It’s the only Daisy Chainsaw album to feature the flawless Katie Jane Garside on lead vocals, and oh man, can she wail. Katie Jane has one of the best screams I’ve ever heard. Add some heavy distortion and trippy vocal effects and you’ve got one weird, raw album. It’s really too bad Daisy Chainsaw broke up. I always seem to get into bands that have already disappeared.

26. Odelay by Beck (1996)

Oh, Beck. You clever man. Yes, I went with the obvious choice for best ‘90s Beck album, but Odelay is incredible (and it proved that Beck wasn’t just a one hit wonder with “Loser”). This was one of the many albums that I found in the CD traveler case in my mom’s car and became obsessed with. Beck is cool without even trying, especially on songs like “Devil’s Haircut” and “Sissyneck.” Even though he samples a healthy mix of different songs, he makes everything his own. Take “Where It’s At” for example—Beck samples five different songs, but the samples are seamless. “Where It’s At” doesn’t sound like an amalgamation of five different artists—it sounds like one really rad Beck song. This man is incredibly talented and dares to be different, experimenting with hip-hop, noise rock and folk music. Odelay is still impressive almost a decade later.

25. Loveless by My Bloody Valentine (1991)

I tried to explain what shoegaze is to my mom one day, but I found it impossible to give her a clear description, so I just played “Only Shallow” from Loveless. I waited a while to listen to My Bloody Valentine, possibly because I didn’t think I could handle it. You have to be emotionally prepared for Loveless. This album is pure fuzzy noise, but it’s beautiful. Each song is a swirl of drum loops, hushed vocals and the sound of a million guitars. When you hear the term “wall of sound,” it’s basically referring to this album. The sound just hits you in the face and the swallows you whole. I know quite a few people who can’t stand My Bloody Valentine, but they’re wrong and we’re probably not friends anymore (kidding, but seriously, they’re wrong). Loveless has influenced plenty of bigger names, including Trent Reznor, The Cure and Radiohead. It’s a fuzzy dreamscape that I don’t want to wake up from.

24. Pinkerton by Weezer (1996)

Remember when Weezer put out great albums? Pinkerton wasn’t a huge hit when it first came out, but it has since gained cult status (and a perfect 10/10 rating from Pitchfork). It’s dark, it’s abrasive and it has one of the best drunk sing-a-long songs ever (“El Scorcho”). I’ll admit that I wasn’t a Weezer super fan before I head this album. I was familiar with a few songs, most notably “Buddy Holly” and “Hashpipe.” I listened to Pinkerton for the first time over Christmas break a few years ago and I fell in love. It’s a brutally honest album with some excellent musical moments. The heaviness of a track like “Tired of Sex” meshes surprisingly well with the delicateness of a track like “Butterfly.” Pinkerton is one of those albums that seems to be accessible for everyone, even people who otherwise dislike Weezer. Everyone finds common ground when they’re shouting, “I think I’d be good for you / And you’d be good for me!”

23. Human Clay by Creed (1999)

I’m not even sorry for this one. You secretly made fun of me for including Dave Matthews Band earlier in the countdown, but now you’re probably considering leaving this blog for good for including Creed in a list of great albums. If you read my previous entry on the band, you already know that I used to be a Creed fanatic. Since this band was such a huge part of my life growing up (though not so much anymore), I just had to include Human Clay. Ignoring “With Arms Wide Open” for a second (because that song is probably the worst one on this album), Human Clay is a pretty strong rock record. “Are You Ready?” is a great opener, and even the slower songs have intensity. Yes, Scott Stapp’s voice can get grating at times, but he can still carry a tune. And yes, I still know the words to every song. Judge me all you want.

22. Dummy by Portishead (1994)

Still with me after that last album? Yes? Good. Let’s talk about Portishead. I grew up listening to a lot of ‘90s electronic music. I got really into trip-hop for a while with Massive Attack’s Mezzanine (which you’ll see later in the countdown), and it was around that time that I found Portishead. Beth Gibbons’ voice is absolutely heavenly and the instrumentals are so sexy. I remember listening to this album during a certain coming of age experience, so that might be why it appears so high on this list. But aside from that, Dummy is just a really chill record. This sounds silly, but I’ve written so much poetry while listening to songs like “Mysterons” and “Pedestal.” The slower tempos and trippy electronic effects are perfect for fueling creativity. And “Strangers” remains one of my favorite songs of all time.

21. Frizzle Fry by Primus (1990)

If you know me at all, you know that I adore Primus. And while this band has a fairly strong catalog, I’m going to have to go with Frizzle Fry as my absolute favorite (though Tales from the Punchbowl is a very close second). Frizzle Fry is the first complete studio album from the band and it’s the perfect introduction to the insanity that is Primus. I have a thing for heavy bass and this album is ALL BASS. The first Primus song I ever heard was “Too Many Puppies” and it hits me just as hard as the first time I heard it. Not only is Les Claypool a master bassist, but Larry LaLonde is one of the most underrated guitarists of all time. There’s some real skill on songs like “Pudding Time” and “The Toys Go Winding Down” that you just can’t ignore. Frizzle Fry as a whole is probably the heaviest funk metal album you’ll ever come across. And if you ever get a chance to see Primus live (which I had the pleasure of doing a few years ago), bring a helmet.

Butthole Surfers

Sound Familiar?     “Pepper,” “Who Was In My Room Last Night?”

Who Are They?

One huge, chaotic, darkly comic drug trip of a band. (Side note: this entry is going to be filled with ridiculous fun facts because this band is just too weird, but in a good way.)

Like Bad Religion, Butthole Surfers got their start in the late ‘70s/early ‘80s in the hardcore punk scene. (Yes, believe it or not, there was a hardcore punk scene in San Antonio, Texas.)

Oddballs Gibby Haynes and Paul Leary met in the ‘70s at Trinity University in San Antonio and bonded over their shared taste in non-mainstream music. Gibby landed a job at an accounting firm, while Paul stayed in college to work on his degree.

(Fun fact: Gibby and Paul published a magazine in 1981 called Strange V.D., which was basically a collection of abnormal medical disorder photos, complete with hilariously fictitious explanations for each one.)

After playing a few shows in San Antonio with the sibling rhythm section of Quinn and Scott Mathews, the band (not known as Butthole Surfers at this point) bought a van and headed to California. During a concert in San Francisco, Dead Kennedys frontman Jello Biafra became a fan of the band and invited them to open for his band.

(Fun fact: The band didn’t settle on the name Butthole Surfers until its first paid gig. Prior to that, they performed under various aliases, including the Vodka Family Winstons, Ashtray Babyheads, Ed Asner Is Gay and The Inalienable Right To Eat Fred Astaire’s Asshole.)

Jello soon offered them a chance to record an EP and release it through his record label, Alternative Tentacles. The Mathews brothers ditched the band following an altercation between Scott and Gibby, so bassist Bill Jolly and drummer King Coffey filled in.

The resulting EP, 1983’s Butthole Surfers (also known as Brown Reason to Live and Pee Pee the Sailor), was just a preview of the band’s albums to come.

(Fun fact: Butthole Surfers’ first EP became one of Kurt Cobain’s favorite albums. He actually met Courtney Love at a Butthole Surfers/L7 concert in 1991.)

After several dozen lineup changes (I’m not even going to bother listing all of them because there are just too many) and two fantastically strange albums (1984’s Psychic…Powerless…Another Man’s Sac and 1986’s Rembrandt Pussyhorse) the legend of Butthole Surfers began to grow. Their chaotic live shows attracted a plethora of weirdos and punk rockers alike, featuring everything from strobe lights and smoke machines to naked dancers and cross-dressing.

(Fun fact: At the end of the band’s first tour, the boys settled in a small town in Georgia, where they admitted to stalking members of R.E.M. They would leave a van parked in front of Michael Stipe’s house that had the message “Michael Stipe/Despite the Hype/I’d Love to Suck/Your Big Long Pipe” painted on the side.)

The Surfers returned to Texas in 1986 to record a follow-up to Rembrandt Pussyhorse, which resulted in their heaviest record to date, 1987’s Locust Abortion Technician. (This album is sometimes considered to be an early precursor of grunge, which makes sense since Kurt Cobain was such a huge Butthole Surfers fan.)

Hairway to Steven, released in 1988, was a delicate mix of the band’s experimental roots and the more accessible sound that would later give the Surfers mainstream success. After the release of piouhgd in 1991, Butthole Surfers shocked the world and signed to Capitol Records. They teamed up with bass legend John Paul Jones (of Led Zeppelin, if you have to ask) and released the much more mainstream Independent Worm Saloon in 1993.

The album gave them their first rock radio hit, “Who Was In My Room Last Night?” (complete with a bizarrely awesome music video).

After losing yet another band member, Gibby and Paul pursued side projects. Gibby’s side project, P, featured the musical talents of Johnny Depp, Bill Carter, Sal Jenco and Flea.

(Fun fact: P was the band playing at the Viper Room in Los Angeles the night River Phoenix died of a drug overdose.)

In 1996, the Surfers released their most successful album, Electriclarryland. The lead single, “Pepper,” became a Top 40 hit and propelled the album to number 31 on the Billboard 200 chart.

Despite the surge of popularity (and money), Butthole Surfers didn’t get along with their record label. The planned 1998 project After the Astronaut was scrapped and the band ditched its manager.

Where Are They Now?

Touring sporadically, but not in support of any new material.

The Surfers resolved their little tiff with Capitol Records and released Weird Revolution in 2001. The album included rerecorded After the Astronaut outtakes and another successful single, “The Shame of Life.”

Since the release of Weird Revolution, Butthole Surfers have toured intermittently, even making an appearance at the 2008 All Tomorrow’s Parties festival.

(Fun fact: All Tomorrow’s Parties founder and organizer Barry Hogan reportedly told The Village Voice that after watching Butthole Surfers’ performance, they would never play the festival again.)

The band’s last tour was in 2011 and only included 12 stops. Is this the end of Butthole Surfers?

But Why Butthole Surfers?

While it’s true that these guys haven’t done much in the last couple of years, there’s still a possibility that new material may turn up. Paul and King Coffey recently stated that the Surfers will tour again if they can pull off another album.

What Does Sam Think?

I always pair Butthole Surfers with Primus, and I think that’s because they’re both really strange bands. But if we’re really having a strange contest here, the Surfers out-weird Primus every time.

First of all, if the only Butthole Surfers song you know is “Pepper,” you’re in for a treat if you choose to listen to the rest of their discography. And by “treat,” I mean a bad acid trip.

If you’re not a fan of psychedelic, glitchy sound splices, steer clear of the band’s first few albums. Locust Abortion Technician makes a little more sense (and sounds a bit closer to metal than anything), but a first-time listener should always start with Electriclarryland.

So what makes this band so weird (and why is that a good thing)? Well, the Surfers incorporate a lot of different elements into their music. They experiment with psychedelia, noise rock, punk rock and a touch of electronica, as well as a healthy dose of sound manipulation and tape editing. There are noises on their albums that you will never hear anywhere else.

This is some really underground stuff, guys. I understand that it’s not everyone’s cup of tea, but you have to respect the experimentation. There really aren’t any other bands that sound like Butthole Surfers at the moment. I mean, some of their songs sound like pure chaos, but others sound like fairly accessible (though slightly off-kilter) alternative tracks.

It honestly surprises me that this band reached the mainstream. “Pepper” may be a pretty tame track by Surfers standards, but it’s still a little weird to hear on the radio. With lyrics like “Flipper died a natural death, he caught a nasty virus / And then there was the ever-present football player rapist,” how did this song become so popular? But I guess that was after Nirvana had paved the way for alternative bands to get a little weirder on the radio.

But if you do dig all the crazy shit this band puts out, hit me up and we’ll get weird, Locust Abortion Technician style.

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