Nine Inch Nails were the most popular industrial group ever and were largely responsible for bringing the music to a mass audience. It isn't really accurate to call NIN a group; the only official member is singer/producer/multi-instrumentalist Trent Reznor, who always remained solely responsible for NIN's musical direction (he was, however, supported in concert by a regular backing band). Unlike the vast majority of industrial artists, Reznor wrote melodic, traditionally structured songs where lyrics were a focal point. His pop instincts not only made the harsh electronic beats of industrial music easier to digest, but also put a human face on a style that usually tried to sound as mechanical as possible. While Ministry crossed over to heavy metal audiences, NIN built up a large alternative rock fan base right around the time of Nirvana's mainstream breakthrough. As a result, Reznor became a genuine star and his notoriously dark, brooding persona and provocateur instincts made him a Jim Morrison-esque sex symbol for the '90s. A long period of inactivity and writer's block followed, which gave virtually every alternative metal band of the late '90s a chance to rip off elements of NIN's sound. By the time Reznor's five-year hiatus finally ended, he was still a popular figure but his commercial momentum had slowed somewhat. 

Michael Trent Reznor was born May 17, 1965, in the small town of Mercer, PA; he went by his middle name to avoid confusion with his father, Michael. At age five, Reznor's parents divorced and he wound up being raised mostly by his maternal grandparents; even so, Reznor stated repeatedly that his childhood was mostly happy. He began playing the piano at age five, studying classical music, and later learned tenor sax and tuba in the school band; he also acted in musicals and became an avid Kiss fan. Reznor spent a year studying music and computers at Allegheny College, but dropped out after a year to pursue music full-time; he soon packed up and moved to Cleveland with high school friend Chris Vrenna. Around the same time, he was discovering new wave and assorted underground music; he was most fascinated with early industrial, since it offered an edgy, aggressive way to use electronic instruments. At age 19, he successfully auditioned to join an AOR band called the Innocent, which released one album, Livin' in the Streets (Reznor's picture does appear on the jacket). He quit the Innocent after just three months and subsequently gigged with local bands; he also worked in a keyboard store and as a janitor in the local Right Track recording studio. Eventually, he became a studio engineer, teaching himself various computer applications and working on his own material during off hours. In 1987, Reznor appeared in the Michael J. Fox/Joan Jett film Light of Day, where he played keyboards with a trio dubbed the Problems during a bar scene. 

As Nine Inch Nails, Reznor began recording his own Ministry- and Skinny Puppy-influenced compositions in 1988, playing all the instruments himself. At first, he simply hoped to release a 12" single on a small European label, but when he sent demo tapes to around ten American labels, nearly every one offered him a deal. He wound up signing with TVT, which released NIN's debut album, Pretty Hate Machine, in 1989 (after having rejected an initial effort called Industrial Nation). Reznor quickly assembled a backing band and toured with Skinny Puppy for a short time, but soon tired of playing for strictly industrial artists. With a tighter outfit featuring Chris Vrenna on drums and Richard Patrick on guitar (plus several revolving-door keyboardists), he consciously chose to open for alt-rock acts (including, early on, the Jesus and Mary Chain and Peter Murphy), partly for the challenge of winning over fans who might not have liked industrial music. The strategy helped expand Nine Inch Nails' fan base substantially; the single "Down in It" got some airplay in dance clubs, reaching Billboard's dance and modern rock charts, and MTV later picked up on the video for the more rock-oriented "Head Like a Hole." In 1991, after settling on keyboardist James Woolley, Nine Inch Nails became part of the inaugural Lollapalooza tour, which expanded their fan base by leaps and bounds. Pretty Hate Machine's momentum kept building slowly, and although it never climbed higher than number 75, it spent over two years on the album charts and eventually sold over a million copies -- one of the first indie-label rock albums to do so.  

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TVT had a massive hit on their hands, and to ensure that Reznor would produce another one, they attempted to take control of the follow-up's creative direction. Enraged by the outside meddling, Reznor tried to secure a release from his contract, leading to a vicious court battle. His only recording outlets were side projects; in 1990, he co-wrote and sang on "Suck," a track on Pigface's debut album, Gub, and also sang on the Al Jourgensen-led 1000 Homo DJs cover of Black Sabbath's "Supernaut." (TVT ordered Reznor's vocals removed from the track, but Jourgensen actually just altered them slightly and said he'd re-recorded it.) Eventually, he was able to sign with Interscope, which helped him set up his own label, the Cleveland-based Nothing imprint. Reznor had been recording new material on the sly, and in 1992 Nothing released the EP Broken as well as a concurrent remix disc titled Fixed. Broken featured more (and heavier) guitars than Pretty Hate Machine, partly in response to NIN's live sound and partly as a sonic evocation of Reznor's boiling frustration in the wake of the legal wars; it also featured two bonus cuts, a version of "Suck" and the Adam Ant cover "(You're So) Physical," a nod to Reznor's new wave roots. Despite many reviews characterizing the EP as a harrowing, difficult listen, Broken -- supported by NIN's now-considerable fan base -- debuted in the Top Ten and the first single/video, "Wish," won a Grammy for Best Heavy Metal Performance. Reznor enhanced his reputation as a provocateur with a widely banned clip for "Happiness in Slavery," which depicted S&M performance artist Bob Flanagan being torn apart by a machine; there was also a long-form clip for Broken that was never released commercially due to its graphic content (a torture victim is dismembered while viewing NIN videos). 

Reznor moved to Los Angeles to craft the second full-length NIN album, assembling a studio in the house where actress Sharon Tate was murdered by Charles Manson's associates. The Downward Spiral was a highly ambitious work, a concept album indebted to progressive rock that featured the most detailed, layered studio craft of any NIN release yet. Hugely anticipated, the album debuted at number two and became one of the bleakest multi-platinum albums ever. Richard Patrick had departed the touring band to form Filter, and Reznor revamped the group with drummer Vrenna, keyboardist Woolley, guitarist Robin Finck, and bassist Danny Lohner. NIN caused a sensation at that summer's 25th-anniversary Woodstock concert, performing a ferocious set after horsing around and covering themselves in mud just before hitting the stage. Meanwhile, MTV had put an edited version of the video for "Closer" in heavy rotation and NIN scored one of the year's unlikeliest hits: a song whose chorus began "I want to f*ck you like an animal," which helped make Reznor one of alternative rock's biggest sex symbols. The subdued ballad "Hurt" gained some further airplay, even though it lacked the titillating shock value of "Closer." Later in the year, Reznor assembled the soundtrack of Oliver Stone's controversial Natural Born Killers, editing the songs together to create an innovative collage; he also guested on "Past the Mission," a track on Tori Amos' second album, Under the Pink. In 1995, with new keyboardist Charlie Clouser, Nine Inch Nails hit the road with David Bowie, whose late-'70s albums (along with Pink Floyd) had been a major influence on The Downward Spiral. He also contributed a cover of Joy Division's "Dead Souls" to the soundtrack of The Crow and issued the remix album Further Down the Spiral, which nearly reached the Top 20 (a testament to his popularity). 

Using money from The Downward Spiral, Reznor built a state-of-the-art studio in New Orleans in a building that had once been a funeral home. While pondering his next move in the wake of his sudden stardom, he produced Nothing signee Marilyn Manson's second album, Antichrist Superstar, which did indeed make him a superstar. In 1997, longtime friend Vrenna had a falling out with Reznor and eventually was replaced by Jerome Dillon; Reznor's maternal grandmother also passed away that year and his friendship with Manson soon deteriorated. Even so, he produced another movie soundtrack, for David Lynch's Lost Highway, and contributed the new single "The Perfect Drug," which flitted unpredictably between several different rhythm tracks. Though "The Perfect Drug" kept him in the public eye for a time, Reznor was still unsure what kind of statement would be an appropriate follow-up to The Downward Spiral; that uncertainty resulted in a severe case of writer's block. In the meantime, NIN were proving vastly influential on a new crop of bands; major labels signed up industrial metal outfits like Filter and Stabbing Westward, and an assortment of alternative metal bands started grafting industrial production flourishes onto their music; Guns N' Roses lead singer Axl Rose even fired the rest of his band and holed up in a studio to pursue a more NIN-influenced direction. 

Nine Inch Nails finally returned in 1999 with the double-CD opus The Fragile. It debuted at number one with massive first-week sales, but slipped down the charts rather quickly afterward, perhaps because the musical climate had changed a great deal over the past five years. The remix album Things Falling Apart followed a year later, as did an extensive world tour. An album of live performances culled from the tour, And All That Could Have Been, was released in early 2002. Reznor was largely quiet during the next three years, finally re-emerging in 2005 with another chart-topper, With Teeth. Touring continued into 2006, where NIN spent the spring and summer on the road with various support acts including Saul Williams, Bauhaus, TV on the Radio, and Peaches. The EP Every Day Is Exactly the Same appeared in April 2006; it contained the title track and five various remixes (all originally from With Teeth). Touring America followed, and then late in the year Reznor was back in the studio working on the next album. In early 2007 the band resumed touring, this time in Europe. A viral marketing campaign began when USB key chains that contained new songs were found in the restrooms during NIN shows. These key chains also contained a noisy audio file that, when run through a spectrum analyzer, drew an audio wave in the shape of a phone number. The phone numbers were answering machines filled with conspiracy theories, there were fake websites strewn across the net, and busy Internet forums and wikis appeared to theorize about and document it all. The big payoff appeared in April when the dystopian concept album Year Zero arrived. A year later Reznor began experimenting with different methods of distribution when he made the Saul Williams album The Inevitable Rise and Liberation of Niggy Tardust available as a digital download.Reznor had helped produce the album and had planned to release it on his Nothing imprint but as his distaste for the major label system increased, so did the possibilities of digital distribution. He completely broke free from the system when he left Interscope and released the entirely instrumental album Ghosts I-IV on his own in 2008, making it available in both digital download and CD formats. The album's release also marked the end of his Interscope distributed Nothing label and the beginning of a new imprint, Null Corporation.

Discography:

Source: Steve Huey, All Music; eNotes

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Rising from the ashes of the legendary British post-punk unit Joy Division, the enigmatic New Order triumphed over tragedy to emerge as one of the most influential and acclaimed bands of the 1980s; embracing the electronic textures and disco rhythms of the underground club culture many years in advance of its contemporaries, the group's pioneering fusion of new wave aesthetics and dance music successfully bridged the gap between the two worlds, creating a distinctively thoughtful and oblique brand of synth pop appealing equally to the mind, body, and soul.

New Order's origins officially date back to mid-1976, when guitarist Bernard Sumner (formerly Albrecht) and bassist Peter Hook - inspired by a recent Sex Pistols performance - announced their intentions to form a band of their own. Recruiting singer Ian Curtis and drummer Stephen Morris, they eventually settled on the name Joy Division, and in 1979 issued their landmark debut LP, Unknown Pleasures.

After completing sessions for Joy Division's sophomore effort, Closer, Curtis hanged himself on May 18, 1980; devastated, the remaining trio immediately disbanded, only to re-form soon after as New Order with the addition of keyboardist Gillian Gilbert. With Sumner assuming vocal duties, the new group debuted in March 1981 with the single "Ceremony," a darkly melodic effort originally composed for use by Joy Division.

The LP Movement followed a few months later, and when it too mined territory similar to New Order's previous incarnation, many observers were quick to dismiss the band for reliving former glories. However, with its next single, "Everything's Gone Green," the quartet first began adorning its sound with synthesizers and sequencers, inspired by the music of Kraftwerk as well as the electro beats coming up from the New York underground; 1982's "Temptation" continued the trend, and like its predecessor was a major favourite among club-goers.

After a year-long hiatus, New Order resurfaced in 1983 with their breakthrough hit "Blue Monday"; packaged in a provocative sleeve designed to recall a computer disk, with virtually no information about the band itself - a hallmark of their mysterious, distant image - it perfectly married Sumner's plaintive yet cold vocals and abstract lyrics with cutting-edge drum-machine rhythms ideal for club consumption. "Blue Monday" went on to become the best-selling 12" release of all time, moving over three million copies worldwide.

After releasing their brilliant 1983 sophomore album, Power, Corruption and Lies, New Order teamed with the then-unknown producer Arthur Baker to record "Confusion," another state-of-the-art dance classic, which even scraped into the American R&B charts. The group's success soon won them a stateside contract with Quincy Jones' Qwest label; however, apart from a pair of singles, "Thieves Like Us" and "Murder," they remained out of the spotlight throughout 1984.

Heralded by the superb single "The Perfect Kiss," New Order resurfaced in 1985 with Low-life, their most fully realized effort to date; breaking with long-standing tradition, it actually included photos of the individual members, suggesting an increasing proximity with their growing audience. Brotherhood followed in 1986, with the single "Bizarre Love Triangle" making significant inroads among mainstream pop audiences.

A year later the group issued Substance, a much-needed collection of singles and remixes; it was New Order's American breakthrough, cracking the Top 40 on the strength of the newly recorded single "True Faith," which itself reached number 32 on the U.S. pop charts. The remixed "Blue Monday 1988" followed, and in 1989 - inspired by the ecstasy-fuelled house music that their work had clearly predated and influenced – New Order issued Technique; their most club-focused outing to date, it launched the hits "Fine Time" and "Round and Round."

WATCH MORE AMAZING NEW ORDER VIDEOS HERE

After recording the 1990 English World Cup Soccer anthem "World in Motion," New Order went on an extended hiatus to pursue solo projects; Hook formed the band Revenge, long-time companions Morris and Gilbert recorded as the Other Two, and, most notably, Sumner teamed with ex-Smiths guitarist Johnny Marr and Pet Shop Boys front-man Neil Tennant in Electronic, which scored a Top 40 hit with the single "Getting Away with It."

New Order reconvened in 1993 for their biggest hit to date, Republic, which earned the band its highest charting American single ("Regret") and fell just shy of the U.S. Top Ten, despite charges from long-time fans that the band had lost its edge. A major tour followed, although rumours of escalating creative conflicts plagued the group; refusing to either confirm or deny word of a breakup, New Order simply spent the mid-'90s in a state of limbo, with Sumner eventually recording a long-awaited second Electronic LP and Hook mounting another new project, Monaco.

"Brutal," the first new effort from New Order in a number of years, was featured on the soundtrack of the 2000 film The Beach, and the full-length Get Ready followed one year later. By this time, Gillian Gilbert had left the band to care for her and Stephen Morris' children, and Marion guitarist Phil Cunningham had been added to bolster the line-up. Dedicated touring followed the release of Get Ready, and New Order recorded a follow-up for release in 2005, Waiting for the Sirens' Call. ~ Jason Ankeny, All Music Guide

Source: http://www,artistdirect.com/

Discography:

Movement, Factory, 1981

Power, Corruption & Lies, Factory, 1983

Low-Life, Factory, 1985

Brotherhood, Factory, 1986

Technique, Factory, 1989

Republic, Centredate/London, 1993

Get Ready, London, 2001

Waiting For The Siren's Call, London, 2005

This information is provided as a brief overview and not as a definitive guide, there are other sources on the net for that. If however you have a story or information that is not generally known we would love to hear from you. Content@rokpool.com

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Joy Division

Pet Shop Boys

Blancmange

Gary Numen

Heaven 17

Human League

Soft Cell

Ultravox

Equally inspired by Sonic Youth, Joy Division, Gang of Four, and The Cure, East London art punkers Bloc Party mix angular sonics with pop structures. Consisting of singer/guitarist Kele Okereke, guitarist Russell Lissack, bassist/singer Gordon Moakes, and drummer Matt Tong, the band was formerly known as Angel Range and Union before settling on Bloc Party. Okereke and Lissack met each other through mutual friends at the Reading Festival, and discovered that they had musical tastes as well as friends in common. Tong and Moakes soon joined their collaboration, and under the name Union, the quartet issued a demo in early 2003; later that year, they switched their name to Bloc Party. 

The group's demo and concerts began to attract attention from both the press and their peers; Okereke sent a copy of the demo to Franz Ferdinand, who invited them to play at the Domino tenth anniversary bash in fall 2003. Early the following year, the band released one of the demo's tracks, "She's Hearing Voices," as a single on Trash Aesthetics. A few months later, Banquet/Staying Fat arrived on Moshi Moshi. That spring, Bloc Party signed to Wichita to release their full-length album in the U.K., and to Dim Mak for U.S. distribution. The band spent summer 2004 recording and touring.

Late that summer, Bloc Party, which collected the band's first two singles, arrived in the States. Their debut album, Silent Alarm, appeared early in 2005 and was released by Vice Records in the States to widespread acclaim. Later that year, Silent Alarm Remixed capitalized on the band's burgeoning popularity, as did the 2006 EP Helicopter. A Weekend in the City, Bloc Party's second proper album, followed in 2007. A Weekend in the City leaked onto the Internet months before the album's street date, which inspired Bloc Party to issue their third album, Intimacy, online in late summer 2008; the album was released on compact disc that fall.

In 2009, the band released the single One More Chance before they went on official hiatus to pursue their own projects.

Discography:

Silent Alarm (2005)
A Weekend in the City (2007)
Intimacy (2008)

Source: artistdirect.com, 

This information is provided as a brief overview and not as a definitive guide, there are other sources on the net for that. If however you have a story or information that is not generally known we would love to hear from you. Content@rokpool.com

Why Not Check Out:

Blur

The Smiths

U2

Best Ever Sports Songs Part 1

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If you asked the average person on the street, they could probably have their own favourite song from the Las Vegas band. Formed in 2002, Brandon Flowers (lead singer, piano), Dave Keuning (guitar, backing vocals), Mark Stoermer (bass, backing vocals), Ronnie Vannucci Jr (drums, percussion) are heavily influenced by 1980 iconic bands such as New Order, David Bowie and Joy Division among others. They have gone from strength to strength by selling out venues such as the legendary Royal Albert Hall and headlining festivals all over the world.

Their first album ‘Hot Fuzz’ was released in 2004 after The Killers agreed to sign for UK label Marrakesh records and US label Island records. The album included the singles ‘Mr Brightside’, ‘Smile Like You Mean It’, ‘Somebody Told Me’ and ‘All These Things That I’ve Done’. The album itself has been influenced by 80s rock and is regarded by many as one of the best records of the decade with songs released from ‘Hot Fuzz’ being placed respectfully in the top ten of the best songs of the decade. ‘Mr Brightside’ received the accolade for best song of the decade from Xfm. In 2009, young British artists were brought together to form Young Soul Rebels, covered the song ‘All These Things That I’ve Done’ to raise money for the charity War Child Group.

Bouncing from the success from ‘Hot Fuzz’, The Killers released their second album ‘Sam’s Town’ in 2006. The album was not as successful as the first and received mixed reviews. However, ‘Sam’s Town’ includes the singles ‘When You Were Young’, ‘Read my Mind’, ‘Bones’ and ‘For Reasons Unknown’ which are hits in their own right. The self titled song on the record was not released as a single to the annoyance of their fans. By the end of the year, The Killers won Best International Group and Best International Album at the BRIT awards. They also headlined Glastonbury festival in 2007.

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A B-side collection of the band was released in 2007 named ‘Sawdust’. The album saw the release of the single ‘Tranquilize’ and saw the legendary Lou Reed collaborate to create the song. The Killers also cover the songs ‘Shadowplay’ (Joy Division), ‘Ruby, Don’t Take Your Love To Town’ (Kenny Rodgers and The First Edition) and ‘Romeo and Juliet’ (Dire Straits) as a mark of respect for the bands they admire.

2008 saw The Killers release their third album ‘Day & Age’, produced by Stuart Price, includes the singles ‘The World We Live In’, ‘Spaceman’, ‘A Dustland Fairytale’ and the number one classic ‘Human’.

The Killers are heavily linked to the charity group ‘Project Red’ as they have released a Christmas song every year since 2006 with all of the profits going to the charitable organization. The singles include ‘A Great Big Sled’, ‘Don’t Shoot Me Santa’, ‘Joseph, Better You Than Me’ (collaborated with Elton John) and ‘Happy Birthday Guadalupe’.

The accolades keep coming for the American indie band with NME giving them Best International Band for the years 2005, 2008 and 2009 and they have received seven Grammy nominations.

Recently, the Daily Telegraph reported Brandon Flowers hopes The Killers will be bigger than U2 in the future. If they continue to create more number one albums, it looks like that could be the case. 

Albums:

Source: Dean Woodhouse

HAVE A LOOK AT THIS GREAT THE KILLERS MERCHANDISE HERE

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The Higsons were active from 1980 to 1986. Their main creative driver, front man, and singer was Charlie Higson, now better known for “The Fast Show” and increasingly as the writer of the Young James Bond novels.

The Higsons were the best of a pretty good crop of Post Punk and New Wave bands that came out of the University of East Anglia in the late seventies and early eighties, many of whom were featured on the “Norwich, A Fine City” collection. There is a story that the greatest adoptive East Anglian of them all called them onto his show in frank amazement that any bands were active in Norfolk. John Peel championed The Higsons, and they had consistent Indie Chart success from the release of their first single “I Don’t Want To Live With Monkeys” in July 1981, through their excellent debut album “The Curse Of The Higsons” in October 1984, and right up to their eventual demise in 1986. Openly acknowledging a debt to The Talking Heads (something I myself only hear sporadically) The Higsons’s sound has echoes of Joy Division and Iggy Pop (if that isn’t a tautology), with some Ska blended into the mix which isn’t that surprising as they ended up on the 2 Tone label. If you haven’t heard any, download a couple of tracks at random – they’re all good.

The Higsons didn’t really do much wrong, had a loyal following both in London and amongst their many friends and fans from Norwich, and trod the boards with apparently sober professional well-rehearsed and packed gigs. They probably would have achieved commercial success to match their critical acclaim if they hadn’t got their timing exactly wrong. Looking back all those years as Punk descended Rome-like into the parody of Glam Rock it did so much to end, and music scratched around in the New Romantic void created by the death of the high priest of New Wave Ian Curtis, Switch, as we knew Charlie Higson then, seemed earnestly out of sorts with an eighties of big hair and covers. (Ironically this frustration contributed to his first taste of real fame, as the joint creator of “Loadsamoney”.)

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Three years earlier and they’d have been at ease alongside The Clash, and three years after they split The Stone Roses reinvented what was to become Brit Pop. The Higsons might have been another La’s. All we were left with is a most remarkable post-dissolution adieu in “The Attack Of The Cannibal Zombie Businessmen”(1987), a tantalising bazaar of the greatest of never to be hits.

Albums:

The Curse of The Higsons (October 1984)

©JD Shanks September 2009

This information is provided as a brief overview and not as a definitive guide, there are other sources on the net for that. If however you have a story or information that is not generally known we would love to hear from you. Content@rokpool.com

Why Not Check Out:

The Talking Heads

Joy Division

Madness

Joy Division Cult Heroes

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Originally known as Warsaw, this Manchester post-punk outfit is widely regarded as one of the most important bands of their era. Joy Division comprised of Ian Curtis (vocals), Bernard Sumner (guitar/vocals), Peter Hook (bass) and Stephen Morris (drums). Curtis, Sumner and Hook had formed Warsaw in April 1977, with Steve Brotherdale on drums. By the following March, with Morris already on board, they had emerged under their new title, borrowing their name from the prostitution wing of a Nazi concentration camp.

After recording a regionally available EP, 1977's ‘An Ideal For Living’, they were signed Factory Records and placed in the hands of producer Martin Hannett. Their 1979 debut, ‘Unknown Pleasures’, was a dark and disturbing affair, with Curtis at his most manically arresting on the insistent ‘She's Lost Control'.

By the time of the single ‘Transmission', the quartet had already established a strong cult following, which increased after each gig. Much of the attention centered on the charismatic Curtis, who was renowned for his neurotic stage presence. By the autumn of 1979, however, Curtis’ performances were drawing attention for a more serious reason, having suffered from blackouts onstage.

CLICK HERE FOR EVEN MORE JOY DIVISION VIDEOS

On 18 May 1980, the eve of Joy Division's proposed visit to America, Ian Curtis was found hanged. The verdict was suicide. A note was allegedly found bearing the words: "At this moment I wish I were dead. I just can't cope anymore".

The UK Top 20 single, ‘Love Will Tear Us Apart’, was later released, probably the finest of the year, a haunting account of a fragmented relationship, sung by Curtis in a voice that few realized he possessed. The attendant album, ‘Closer’ followed shortly, showing a maturity in the bands work. The following year, a double album, ‘Still’, collected the remainder of the band's material, most of it in primitive form.

Within months of the Curtis tragedy, the remaining members sought a fresh start as New Order.

In 1995 Curtis' widow, Deborah, published a book on her former husband and the band, while a compilation album and a re-released version of ‘Love Will Tear Us Apart' were back on the shelves on the 15th anniversary of his death.

Carly Page

This information is provided as a brief overview and not as a definitive guide, there are other sources on the net for that. If however you have a story or information that is not generally known we would love to hear from you. Content@rokpool.com

Why Not Check Out:

New Order

Sex Pistols

Buzzcocks

The Complete History Of Punk

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P. J. Proby, originally born James Marcus Smith on 6th November 1938 in Houston, Texas was educated at San Marcos Military Academy, Western Military Academy and Culver Naval Academy. After graduating he moved to California and became an actor and recording artist, he released two singles "Go, Girl, Go" and "Loud Perfume" on an independent label which went unnoticed. In 1962 he started writing songs and recording demos for artists like Johnny Cash and Elvis Presley. He then auditioned for Liberty Records.

Proby created an individual fashion style wearing buckle shoes, pirate shirts, tying his ponytail back with a ribbon and wearing different coloured velvet suits for each day of the week. His trousers split on a number of occasions sending female fans into a frenzy but eventually causing tour managers to drop him in 1966.

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In 1964 he had a string of successful hits including "Hold Me" and "Together" (featuring guitarists Big Jim Sullivan and Jimmy Page), "Somewhere", "Maria" and "I Apologise". A royalty dispute in 1966 saw Proby split with Liberty Records. Proby then turned his hand to musical theatre and was very successful playing Elvis Presley in 'Elvis - The Musical'. The 1980s saw Proby covering a number of popular songs including Joy Division's "Love Will Tear Us Apart", Gloria Jone's "Tainted Love" and the Sex Pistols "Anarchy In The UK". Proby is still touring now. 

This information is provided as a brief overview and not as a definitive guide, there are other sources on the net for that. If however you have a story or information that is not generally known we would love to hear from you. Content@rokpool.com.

Why Not Check Out:

Johnny Cash

Elvis Presley

Eddie Cochran

P.J. Proby Video

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