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.

Pulp

Sound Familiar?

“Common People,” “Disco 2000,” “This Is Hardcore”

Who Are They?

The Britpop band that rode the waves made by Blur and Oasis, but was--in fact--the most original.

When you think of the Britpop explosion of the mid-‘90s, what are the first bands that come to mind? Oasis? Blur? Maybe even Suede?

Among all these one-name bands from across the pond, there was Pulp, making music way before the Gallagher brothers exchanged their first “fuck yous.” Formed in 1978, Pulp’s musical style mirrored the Sheffield sound (electronic New Wave, like The Human League). Their first album, It, was released in 1983 and largely consisted of romantic pop songs influenced by Leonard Cohen.

The album was a commercial failure, leading founder and vocalist Jarvis Cocker to throw a hissy fit and threaten to break up the band. After a handful of lineup changes, Pulp was signed to Fire Records in 1985. (Fun fact: Soon after signing to the label, Jarvis fell out of a window while trying to impress a girl with his Spider-Man impersonation. He had to use a wheelchair for a while, which he proudly performed in onstage.)

The next release (1987’s Freaks) failed to meet Jarvis’ standards, but bassist Steve Mackey, who joined the band in 1989, introduced Jarvis to the magical world of house music, pulling Pulp into a more dance-oriented direction.

The band left Fire Records and signed to Island Records, which proved to be a good move. Once His ‘n’ Hers dropped in 1994, Jarvis finally began experiencing the success he has so desperately craved since Day 1. Pulp ultimately had their first Top 40 hit with “Do You Remember the First Time?,” an ode to popping the cherry. (Fun fact: A short film was produced to promote the track. It consisted of a series of interviews with fans and celebrities describing their “first times.”)

Pulp’s success was due in part to the massive media interest in Britpop and the moderately huge single “Common People” from 1995’s magnum opus, Different Class. The album was pretty dark compared to (What’s the Story) Morning Glory? or even Parklife. Jarvis’ lyrics were highly sexualized, and the single “Sorted for E’s and Wizz” became a lightning rod for “pro-drugs” accusations.

Despite all the controversy (or maybe because of it), Different Class garnered immense critical praise and catapulted Pulp into their own little spotlight (I can’t say the spotlight because they were kind of overshadowed by all the other Britpop bands). (And another fun fact: At the 1996 BRIT Awards, Jarvis invaded the stage during Michael Jackson’s performance of “Earth Song” and “wiggled his backside” at the audience. Michael was pissed and Jarvis ended up spending the night in Kensington Police Station charged with actual bodily harm and assaulting the child performers. The charges were later dropped.)

After the circus that was the Different Class era, the band began to disintegrate. Jarvis developed a cocaine addiction and key member Russell Senior ditched the group. This Is Hardcore, released in 1998, mirrored the band’s real-life struggles, touching on even darker subject matter than its predecessor. (You don’t have a dirty mind for thinking the title track is a reference to porn. It really is.)

Where Are They Now?

Reemerging from a hiatus for a new tour!

Pulp released one last album (2001’s We Love Life) before calling it quits. To no one’s surprise, Jarvis became the most successful member after the breakup. He’s released a couple solo albums and the BBC is basically in love with him.

Jarvis also ventured into acting, lending his voice to Wes Anderson’s Fantastic Mr. Fox (as Petey) and playing the lead singer of The Weird Sisters in Harry Potter and the Goblet of Fire. How can you not love this man?

Bassist Steve Mackey has also been busy. He’s produced tracks for M.I.A. and Florence + The Machine.

Pulp reunited in 2010, playing various festivals in the UK and touring Europe and Australia in 2011. They co-headlined the Reading Festival and the Leeds Festival with The Strokes in August 2011.

But Why Pulp?

Though they’ve been back together and touring the UK for a couple years now, Pulp is making an appearance at this year’s Coachella Festival, the first show in the US in a decade.

What Does Sam Think?

Out of all the musical movements of the ‘90s, Britpop has always seemed the stalest to me. I like Blur, but I have a love-hate relationship with Oasis. (My love for Radiohead is irrelevant because they really had nothing to do with Britpop).

But Pulp kind of changed my mind. They played disco-influenced pop rock songs with ridiculously sexualized subject matter. My confession: I love disco. And sexy songs. I love sexy disco songs. No shame.

Pulp can definitely hold its own with a sound like that. Different Class is such a fun record, even if it does take a dark turn. Listening to “Common People” just brings a smile to my face. It’s like the disco version of “Wonderwall.” It makes you want to grab that boy/girl of your dreams and dance the night away (and maybe grind a little when no one is watching).

Their darker material (anything from This Is Hardcore) isn’t exactly party music, but it’s got a lot of soul. Jarvis’ demons drive the record, but Pulp’s signature sound isn’t lost at all. The darkness actually makes things more interesting. And writing a song about the porn industry also helps.

If you’ve never listened to Pulp before, you’re definitely missing out. Even if the mere mention of disco makes you cringe, give this band a chance. You may find yourself breaking out the platforms and spandex and having your own little “disco inferno.”

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