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.

Tool

Sound Familiar?

“Sober,” “Prison Sex,” “Stinkfist”

Who Are They?

Progressive metal titans widely considered to be the “thinking person’s metal band.”

In the ‘80s, the members of what would later become Tool were on very different paths. Guitarist Adam Jones and original bassist Paul D’Amour were looking to enter the film industry while Maynard James Keenan was remodeling pet stores in Michigan. Maynard and Adam met through a mutual friend in 1989, and after being thoroughly impressed by Maynard’s singing voice, Adam proposed they start a band together.

(Fun fact: According to Maynard, the name Tool means this: “Tool is exactly what is sounds like: It’s a big dick. It’s a wrench. We are […] your tool; use us as a catalyst in your process of finding out whatever it is you need to find out, or whatever it is you’re trying to achieve.”)

After playing a few shows in Los Angeles and being signed to label Zoo Entertainment, Tool released its first EP, Opiate, in 1992. The band has since claimed that Opiate included the six “hardest sounding” songs they had written up to that point.

The video for single "Hush" was actually a statement against the PMRC and its advocacy of music censorship. It was basically a big “fuck you” to Tipper Gore and friends in the form of Tool performing naked with Parental Advisory signs over their naughty bits.

(Fun fact: The band only appears in two videos: “Hush” and “Sober.” Though “Sober” is largely a stop motion animation video, you can see brief flashes of the band at the very beginning.)

The band’s first full-length album, Undertow, was released in 1993 to critical acclaim. Appearances at Lollapalooza boosted Tool’s success, and “Sober” became a hit single (due in part to the incredible stop motion music video).

Undertow’s second single, “Prison Sex,” ran into a bit of trouble. The song’s lyrics and video (also stop motion) dealt with the tough subject of child abuse, which sparked a healthy amount of controversy. MTV deemed the video too graphic (which is silly since it’s largely metaphoric) and pulled it from rotation.

The band’s second album, Ænima, dropped in 1996 and propelled Tool to the head of the alternative metal scene in the ‘90s.

(Fun fact: Ænima was dedicated to comedian Bill Hicks because Maynard and company felt that Tool and Hicks were “resonating similar concepts.” The song “Third Eye” includes a clip of one of Bill’s performances.)

Where Are They Now?

On the verge of releasing a new album, even though Maynard helms two other side projects.

At the tail end of promotion and touring for Ænima, Maynard joined the band A Perfect Circle, which was founded by Tool guitar tech Billy Howerdel. A Perfect Circle was more of an alternative rock venture than a progressive metal one, and found mainstream success with 2000’s Mer de Noms.

Meanwhile, Tool began recording Lateralus, which was released in 2001. Despite its complexity and art rock vibe, the album debuted at number one on the Billboard 200 chart. "Schism," which has since become Tool’s signature song (along with “Sober”), won the Grammy for Best Metal Performance in 2002.

At the end of the Lateralus tour, Maynard went back to A Perfect Circle to release Thirteenth Step. This prompted fans to believe that Tool was on hiatus.

(Fun fact: On April 1, 2005, the offical Tool site announced that “Maynard has found Jesus” and would no longer be recording with Tool. MTV’s Kurt Loder contacted Maynard for confirmation, but only received a response simply stating, “Heh heh.” It was, in fact, an April Fool’s joke.)

Tool’s fourth studio album, 10,000 Days, was released in 2006 to mixed reviews. After extensive touring, the band took a break and Maynard started yet another side project called Puscifer, which he considers his “creative subconscious.” Puscifer released two studio albums (2007’s “V” Is for Vagina and 2011’s Conditions of My Parole) and toured a large part of the US.

But Why Tool?

Drummer Danny Carey just confirmed that the new album is over halfway finished and may possibly be released this year!

What Does Sam Think?

Tool isn’t your average metal band. Actually, Tool isn’t your average prog metal band either. When I hear “progressive metal,” I think of Dream Theater or Isis. Tool doesn’t sound anything like either of those bands. (But if you seriously want to know more about metal as a whole, check out Justin Silk’s blog. He’s more of an expert than I am.)

This band sounds like one big experiment, except the solution is always the same—no matter what dangerous chemical you throw into the mix, the result will always be perfectly stable.

Once Maynard and friends released two prog metal albums, they decided to change things up with Lateralus. That album has a lot of art rock influence, especially on “Schism.” But does it sound chaotic? No. Does it sound boring? Not a chance. It’s still a metal album, but it’s only heavy in the right places.

Take “Parabol” and “Parabola” for example (these two songs are meant to be heard in immediate succession). “Parabol” is a really delicate track. It sets the scene for “Parabola,” which is much heavier. But “Parabola” actually ends with a droning guitar riff that almost echoes the tranquility of “Parabol.” They kind of answer each other. I know that sounds way too complicated for a metal song, but that’s what Tool is all about.

And you can’t talk about Tool without mentioning the music videos. If you’ve never seen a Tool video before, stop what you’re doing and watch one. I’ve got links to them all over this post, so there’s no excuse not to check one out (and don’t let the lengths scare you away). Yeah, they’re pretty surreal and at times a little frightening, but they’re some of the coolest videos I’ve ever seen. And I always find some meaning in them (but perhaps not the band’s intended meaning).

My favorite video is probably "Parabola," followed closely by “Prison Sex.” The imagery in “Prison Sex” is a bit easier to grasp since we already know it’s about child abuse. “Parabola” is a little tougher to explain, so I’ll just let you explore that yourself.

But if Tool isn’t your cup of tea, you have two other Maynard Keenan side projects to choose from. If you like modern rock with an art rock edge, give A Perfect Circle a try—it’s the more accessible project, in my opinion.

If you want to get weird, try Puscifer. That project is a nice mix of ambient, post-industrial, trip-hop and comedy rock. Not as chaotic as you’d think, though. (Also, I just really want to share this cover of “Bohemian Rhapsody” with you.)

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