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 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. 

No Doubt

Sound Familiar?

“Just a Girl,” “Don’t Speak,” “Simple Kind of Life”

Who Are They?

One of the most successful ska revival bands of the ‘90s (even if they did go pop in the ‘00s).

No Doubt started as a strictly ska band in 1986. Gwen Stefani’s older brother Eric came up with the idea after a conversation with his pal John Spence at a Dairy Queen in Anaheim. John took over lead vocals and Eric jammed on the keyboard with a handful of other musicians playing backup. Eric thought it was only appropriate to include his little sister Gwen on backing vocals (little did he know, she’d soon become the star of the whole show).

Current bassist Tony Kanal joined No Doubt shortly after attending one of the band’s earlier shows. Gwen had the hots for him and the two began dating secretly, as it was an unspoken rule that nobody was allowed to date Gwen. (Think of these two as the ska versions of Romeo and Juliet.)

But it wasn’t all trombone and secret romance in the beginning. In 1987, several days before the band was scheduled to play an important gig at The Roxy Theatre, singer John Spence committed suicide. No Doubt disbanded in his honor, but decided to regroup after several weeks with Alan Meade on vocals. Alan didn’t last long, so Gwen replaced him.

By 1989, No Doubt had a solid lineup with Gwen on vocals, Eric on keyboards, Tony on bass, Tom Dumont on guitar and Adrian Young on drums. The band eventually landed a record deal with Interscope Records in 1990 and released their self-titled debut album in 1992.

Unfortunately, that was the wrong time to release a ska record. The album’s upbeat sound was a little too happy-go-lucky for gloomy grunge fans, so No Doubt was a commercial failure.

Eric began to withdraw from the group after this little setback and left No Doubt during the recording process of the outtake album The Beacon Street Collection in 1994. (Fun fact: Eric went on to work as an animator for The Simpsons.)

One year after Eric’s departure, No Doubt released their commercial breakthrough Tragic Kingdom. The album, though quite poppy, focused on Gwen and Tony’s tumultuous relationship. The hugely successful ballad “Don’t Speak” was based on the couple’s messy breakup and earned No Doubt Grammy nods for Song of the Year and Best Pop Performance by a Duo or Group.

Moral of the story: everyone loves a good breakup song.

Where Are They Now?

Reunited after an eight-year hiatus.

After the mainstream success of Tragic Kingdom, the band released the 2000 follow-up Return of Saturn. The album was a little darker than its predecessor and instead of focusing on Gwen and Tony’s romance, it focused on Gwen’s new beau, Bush frontman Gavin Rossdale.

Though critics praised Return of Saturn for its more mature content, the album failed to achieve the same commercial success as Tragic Kingdom.

During the recording process of 2001’s Rock Steady, Gwen began to venture out on her own, making high-profile appearances on Moby’s “South Side” and Eve’s “Let Me Blow Ya Mind.” Instead of tearing the band apart, Gwen’s explorations lent No Doubt credibility and an opportunity to explore new genres.

The result of these musical adventures was the heavily Jamaican dancehall-influenced Rock Steady. Fueled by Grammy-winning singles “Hey Baby” and “Underneath It All,” Rock Steady enjoyed huge mainstream success. In 2003, the band released a greatest hits compilation (The Singles 1992-2003), which included a cover (and a very good one, at that) of Talk Talk’s “It’s My Life.”

A year later, No Doubt embarked on a hiatus, giving Gwen the chance to start a solo career. And what better way to make a name for yourself than to employ the help of a group of a cute little Asian girls? Armed with her Harajuku Girl Posse, Gwen released two solo albums, 2004’s Love. Angel. Music. Baby. and 2006’s The Sweet Escape. (Her solo success can also be measured by the guilty pleasure “Hollaback Girl.” Admit it, you can’t spell “bananas” without singing that song. And I bet you just started singing it. Am I right?)

While Gwen was off spelling out fruit (and having a child with Gavin Rossdale), Tony released his own solo project, Invincible Overlord, and collaborated with P!nk on her album Funhouse. Meanwhile, Adrian became the touring drummer for Bow Wow Wow in 2004 and played on the majority of Unwritten Law’s 2005 album Here’s to the Mourning.

The band began recording the follow-up to Rock Steady in 2008 without Gwen, but planned to complete it after Gwen’s solo tour. The process was slow, mostly due to Gwen’s second pregnancy, so No Doubt didn’t really have time to tour in 2008.

In 2009, the band announced a summer tour with Paramore, The Sounds, Panic! At the Disco and others.

The mysterious new album was originally slated for a 2010 release, then a 2011 release and finally a 2012 release.

But this is the year, folks. This is the year we get a new No Doubt album.

But Why No Doubt?

I repeat: a new album. The first No Doubt album in 11 years is due September 25, 2012. It’s kind of a big deal, guys.

What Does Sam Think?

I will admit that I have a lady-crush on Gwen Stefani. Just thought I’d throw that out there. But I’ll concentrate on the music, I promise.

So I haven’t really addressed ska in any of my entries thus far. Believe it or not, it wasn’t just a ‘90s thing. Ska originated in 1950s Jamaica, was revived in the ‘70s with English 2 Tone and eventually made it into the mainstream beginning in the late ‘80s.

Ska in the ‘90s was mostly a West Coast thing, particularly in Orange County. When you think of ‘90s ska (or ska punk, as it was sometimes called), you probably think of three bands: No Doubt, Reel Big Fish and Sublime.

No Doubt wasn’t the first American ska band to find commercial success (that title belongs to The Mighty Mighty Bosstones), but they were one of the only American ska bands to branch out.

Of course their sound got incredibly poppy, but that isn’t necessarily a bad thing. Though Rock Steady isn’t nearly as good as Tragic Kingdom, it isn’t the worst record No Doubt could have made. The singles from Rock Steady are fantastic, especially “Underneath It All.” That track has some great reggae undertones that I’ve come to appreciate.

Of course Tragic Kingdom is an instant classic, but a lot of people overlook the first record. If No Doubt’s later releases weren’t ska enough for you, check out the self-titled debut. It’s almost cartoonish in its delivery, but that’s what makes it good. To me, ska is supposed to be a little over the top. I mean, you’ve got an entire horn section behind you, so why not pump up the volume?

In regards to Gwen’s solo career, I never had a problem with it. I bought her first album and loved it (though The Sweet Escape wasn’t exactly my cup of tea). “Hollaback Girl” was my jam and I’m not afraid to admit it.

But I’m so glad there’s a new No Doubt album on the horizon. Love you, Gwen, but I prefer you with the boys instead of the Harajuku Girls.

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