90s
KORN
Korn's cathartic alternative metal sound positioned the group among the most popular and provocative to emerge during the post-grunge era. Korn began their existence as the Bakersfield, CA-based metal band LAPD, which included guitarists James "Munky" Shaffer and Brian "Head" Welch, bassist Reginald "Fieldy Snuts" Arvizu, and drummer David Silveria. After issuing an LP, the members of LAPD in 1993 crossed paths with Jonathan Davis, a mortuary science student moonlighting as the lead vocalist for the local group Sexart. They soon asked Davis to join the band, and upon his arrival the quintet rechristened itself Korn.
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After signing to Epic's Immortal imprint, they issued their debut album in late 1994; thanks to a relentless tour schedule that included stints opening for Ozzy Osbourne, Megadeth, Marilyn Manson, and 311, the record slowly but steadily rose the charts, eventually going gold. Its 1996 follow-up, Life Is Peachy, was a more immediate smash, reaching the number three spot on the pop album charts. The following summer, they headlined Lollapalooza, but were forced to drop off the tour when Shaffer was diagnosed with viral meningitis. While recording their best-selling 1998 LP Follow the Leader, Korn made national headlines when a student in Zeeland, MI, was suspended for wearing a T-shirt emblazoned with the group's logo (the school's principal later declared their music "indecent, vulgar, and obscene," prompting the band to issue a cease-and-desist order). Their annual Family Values tour also started in 1998, featuring a lineup that consisted of Korn collaborators such as Limp Bizkit and Ice Cube and likeminded artists such as Rammstein. The tour was an enormous success, so much so that it continued on with Korn overseeing the lineup for years after.
Issues followed in 1999, and in typical Korn fashion they debuted their new single in an episode of South Park. The band toured behind the album into the next year, but their efforts were cut short by an injury that took out drummer David Silveria. They hired former Faith No More drummer Mike Bordin to help them finish the remaining shows, and took a short rest before joining a summer tour with Metallica, Kid Rock, Powerman 5000, and System of a Down. (Silveria later returned amid rumors of leaving the band for a fashion career, but these stemmed from some modeling work he had done before his injury.) In the meantime, Fieldy released a gangsta rap album and Davis scored the film Queen of the Damned, but at the end of 2001 the band reunited as a unit and entered the studio. A few shows with Static-X helped iron the wrinkles out of the new material, and by the next summer they had Untouchables ready for release. Korn did a run of Ozzfest dates in support, and the album was another smash hit. The self-produced Take a Look in the Mirror arrived in 2003. Billed by the band as a reconsideration of their sound, the album was accompanied by a tour of smaller venues called "Back to Basics."
In 2005, Welch left the band, evidently due to his newfound Christian faith. But Korn continued, playing shows that summer as a quartet and signing an expansive recording and development deal with Virgin. The following December they released See You on the Other Side, a number three hit that featured a batch of songs co-written with hitmaking production team the Matrix. Live & Rare, an aptly titled disc of live recordings and rarities, was released in May 2006 with the live acoustic recording MTV Unplugged following in March 2007. Later that year, after returning to the studio, this time without drummer David Silveria, the band resurfaced with an underwhelming album appropriately named Untitled.
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Discography:
Source: Jason Ankeny & Bradley Torreano, All Music Guide; eNotes
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SUM 41
Sum 41 hit worldwide radar in 1996 after tiny Ajax, Ontario, proved unable to fully contain the foursome's blathering mixture of punk-pop riffing, hip-hop poses, and toilet-bowl humor. Led by guitarist/vocalist Deryck Whibley, who looked like a mash-up of the Prodigy's Keith Flint and cartoon land's Calvin, the band also included guitarist/vocalist Dave Baksh, bassist Cone McCaslin, and drummer Steve Jocz. Wooed by the boys' goofy antics and incendiary live show (and excited about the prospect of promoting their very own blink-182), Island put Sum 41 on the payroll in 1999. The Half Hour of Power EP followed, and Warped Tour dates got the word out. They returned in 2000 with the fun-filled full-length All Killer No Filler, and the singles "In Too Deep" and "Fat Lip" became staples of both modern rock radio and Total Request Live.
An extensive tour followed, and Sum 41 enjoyed their boffo success the way all near-teenage boys would, with plenty of towel-snapping, groupie-loving, and self-depreciating, low-ball humor. In 2002, they returned to wax with Does This Look Infected? While the album was a bit harder-edged, it found the band just as jazzed as ever to mix punk-pop business with sophomoric pleasure: the video for "Hell Song" featured the fellas acting out a sort of rock star debauchery cage match with the aid of a few celebrity action figures. Metallica, Jesus Christ, and the Osbournes all made appearances in the hilarious clip.
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Not all fun and games, however, their involvement in the charity group War Child Canada had Sum 41 lending a hand in the making of a 2004 documentary covering the effects of war in the Democratic Republic of the Congo. Five days into filming, fighting and gunfire suddenly erupted around them, and they barely escaped unharmed -- these events led to 2004's slightly more mature and serious effort, Chuck, named for the UN aid worker, Chuck Pelletier, who was instrumental in getting them to safety. The DVD Rocked: Sum 41 in Congo was released at the end of 2005 and the live album Go Chuck Yourself appeared the following March. Guitarist Dave Baksh left the band during the spring of 2006 due to creative differences, going on to form the metal-punk outfit Brown Brigade. Sum 41 continued on as a trio, and their first album as such, Underclass Hero, appeared in July 2007. ~ All Music Guide
Members include Dave "Brownsound" Baksh, guitar, vocals; Steve "Stevo 32" Jocz, drums; Jason "Cone" McCaslin (born in 1980 in Toronto, Ontario, Canada), bass; Deryck "Bizzy D" Whibley, guitar, vocals.
Group formed in Ajax, Ontario, Canada, 1996; signed with Island Records, 1999; released debut EP Half Hour of Power, 2000; released All Killer No Filler, 2001; contributed to Out Cold soundtrack, 2001; performed in Vans Warped tour, 2001; headlined Tour of the Rising Sum, 2001-02; contributed to Spider-Man film soundtrack, 2002; headlined Sum Like It Loud tour, 2002; released DVD Introduction to Destruction (Video Treats to Move Yo Feets), 2002.
Albums: (Label: Aquarius Canada, Island US)
All Killer, No Filler, 2001.
Does This Look Infected?, 2002.
Chuck, 2004.
Underclass Hero, 2007.
Screaming Bloody Murder, 2011.
Source: Johnny Loftus, Doris Morris Maxfield
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BRIGHT EYES
By the time Conor Oberst was 22 years old, he had won critical praise as the boy genius behind Bright Eyes and had been dubbed the Bob Dylan of the Ritalin generation. Bright Eyes features a revolving lineup of musicians, ranging from two to 15 pieces, with Oberst at its artistic center. In just five years, the band released three full-length albums and several EPs on Saddle Creek, an independent label in Omaha, Nebraska. With the release of Lifted, or: The Story Is in the Soil, Keep Your Ear to the Ground in 2002, however, the young singer-songwriter received critical attention from the mainstream press that lifted record sales. Oberst seemed nonplussed and continued to tour small venues. "As far as fame or something, I don't know," he told Richard Cromelin in the Los Angeles Times, "it's not something I would ever consider how to get more of."
Oberst was born in 1980 to Matthew, a Mutual of Omaha manager, and Nancy Oberst, an elementary school principal. He attended a Catholic preparatory school and spent his spare time making amateur movies and acting in a local theater. "He was always hamming it up and singing from the time he was two," his mother told Gavin Edwards in Rolling Stone. At ten, he started learning guitar, and as soon as he knew two chords, started writing songs. He listened to his father's record collection of classic rock acts that included Neil Young, Bob Dylan, and Joni Mitchell, then delved into his brother's collection of Sonic Youth, Replacements, and R.E.M. "It was always apparent," Robb Nensel, president of Saddle Creek, told Cromelin, "from the first time you saw him when he was 13 up there strumming and singing that there was something going on."
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Oberst recorded his first album at 13 on his father's four-track reel-to-reel recorder. At 14 he formed Commander Venus with several friends and they recorded two albums. He attended a local coffeehouse called Kilgore's with his friend Nensel, where they learned by watching other singer-songwriters. Oberst would later attend the University of Nebraska, although he dropped out after three semesters to tour. After Commander Venus broke up, Oberst and his friends formed Saddle Creek Records to release albums by Bright Eyes and other local groups. "The label splits the money 50-50 with the bands," Oberst told Pagan Kennedy in the New York Times Magazine. "There's no paperwork. It's trust."
In 1998 Bright Eyes released their first album, A Collection of Songs: Recorded 1995-1997. "Even at a young age," Nathan Bush wrote of A Collection of Songs in All Music Guide, "It's clear that Oberst is an extremely talented songwriter, seemingly incapable of penning a bad tune." That same year, Bright Eyes also issued Letting off the Happiness, his second full-length album. "This is a powerful record," wrote Peter J. D'Angelo in All Music Guide, "that has the ability to reach inside and identify with the listener." Yancey Strickler, of All Music Guide, called Bright Eyes' 1999 EP, Every Day and Every Night, "the best singer/songwriter record in ten years."
These early lo-fi recordings compared favorably to albums by Neutral Milk Hotel and Of Montreal, and critics applauded the maturity of Oberst's literate compositions. "I guess I write a lot about my life," he told Derek Simmonsen in the Washington Times. "The point isn't to confess anything to anybody. I have a basic truth to the song and hopefully it's pretty universal so that everyone can understand it." His emotional delivery and willingness to experiment in the studio also gave his recordings distinction.
With the release of Lifted, or: The Story Is in the Soil, Keep Your Ear to the Ground, approval of Bright Eyes' artistic vision reached critical mass. "It was orchestral pop with a rambling, shambling feel, blending dusty country waltzes," wrote Natalie Nichols in the Los Angeles Times, "'60s folkie idealism and post-punk eccentricity into a simple, elegant tapestry of emotional need and release." The album made many critics' top ten lists for 2002. "At 22, to release one of the most vital albums of the year would be remarkable enough," wrote David Peschek in the Guardian, "that the album … is the 10th release by Bright Eyes is extraordinary."
Oberst underwent a period of substance abuse, a time, he told Rolling Stone, when he didn't worry about consequences. He reached a turning point on December 17, 2000, however, after drinking a magnum of whiskey in Chicago. The following morning, suffering from withdrawal, he checked himself into a hospital and remained there for four days. Following this incident, he drank less and began to develop better strategies for dealing with his depression. "I saw people not make it through those times—when you see somebody either end their life intentionally or through drugs and alcohol, it kind of loses its attraction," he told Pescheck.
In 2001 Oberst and several friends formed Desaparecidos and released Read Music/Speak Spanish in 2002. Kennedy called it "an odd and amazing artifact, a rock album that examines the sociopolitics of urban sprawl." Oberst has also toured with different versions of Bright Eyes, including a six-girl backing band dressed in powder-blue suits, and a 15-piece band consisting of keyboards, cellos, and vibraphones.
For the Record …
Born Conor Oberst on February 15, 1980, in Omaha, NE. Education: Attended the University of Nebraska.
Recorded first album at age 13; formed group Commander Venus; group split, Oberst began releasing solo work, with various backing musicians, as Bright Eyes, 1995; released A Collection of Songs: Recorded 1995-1997 and Letting Off the Happiness, 1998; issued Fever and Mirrors and the EP Every Day and Every Night, 2000; released EP I Will Be Grateful for This Day, formed group Desaparecidos, 2001; as Bright Eyes, released EP There Is No Beginning to the Story and album Lifted, or: The Story Is in the Soil, Keep Your Ear to the Ground, with Desaparecidos, released Read Music/Speak Spanish, 2002.
Addresses:
Record company—Saddle Creek Records, P.O. Box 8554, Omaha, NE 68108-0554, website: http://www.saddle-creek.com/home.html. Booking—Ground Control Touring, 181 North 11th St., Ste. 405, Brooklyn, NY 11211, phone: (718) 290-9273, fax: (718) 290-9275, e-mail: eric@groundcontroltouring.com.
Albums:
A Collection of Songs: Recorded 1995-1997, Saddle Creek, 1998.
Letting off the Happiness, Saddle Creek, 1998.
Fevers and Mirrors, Saddle Creek, 2000.
Lifted, or: The Story Is in the Soil, Keep Your Ear to the Ground, Saddle Creek, 2002.
A Christmas Album, Saddle Creek, 2000.
I'm Wide Awake, It's Morning, Saddle Creek, 2005.
Digital Ash in a Digital Urn, Saddle Creek, 2005.
Cassadaga, Saddle Creek, 2007.
Source: Ronnie D. Lankford, Jr.
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CREED
During the late '90s, Creed emerged from a veritable sea of post-grunge contenders to become one of the decade's biggest-selling rock bands. At a time when many other Seattle disciples were lapsing into inactivity or experimenting with less commercial sounds, Creed carried the torch of straightforward, grungy hard rock without apology -- and they were amply rewarded, selling millions upon millions of albums in just a few years' time. That success didn't translate into critical acclaim, however. Many reviewers slammed the band's music as derivative, and frontman Scott Stapp was lambasted by publications like Rolling Stone for being "irony-deficient, Jesus-haired and often shirtless in a way that reminded people of the guy from Lord of the Dance." Based on their frequently spiritual lyrics, some observers deemed Creed part of a new breed of alternative-styled Christian bands, an affiliation that Creed actively tried to downplay. Neither critical derision nor a potential secular backlash could derail the band, however, and they went into the new millennium as a seemingly unstoppable commercial juggernaut. Ultimately, it was Stapp's substance abuse and increasingly erratic behavior that brought an end to Creed's heyday in 2004. The remaining members partnered with vocalist Myles Kennedy to form Alter Bridge, while Stapp briefly pursued a solo career before reconvening Creed in late 2008.
Creed took root in 1995 in Tallahassee, Florida. Founding members Scott Stapp and guitarist Mark Tremonti had been classmates in high school and both attended Florida State University, where Stapp studied law before dropping out to pursue music (a decision that led to conflict with his anti-rock & roll parents, as his father was a Pentecostal minister). Stapp and Tremonti began writing songs together, many of which obliquely addressed themes of Christian spirituality, and added a rhythm section consisting of bassist Brian Marshall and drummer Scott Phillips. As an alternative to the band's original moniker (Naked Toddler), Marshall suggested the name Creed, having previously played in another band dubbed "Mattox Creed." Now boasting a new name and a muscled, modern rock sound, Creed went on to form their own label, Blue Collar, before entering the recording studio in 1997 with producer John Kurzweg. Recorded on a shoestring budget of $6,000 and initially self-released in a limited run, the debut album My Own Prison was soon picked up by Wind-Up Records -- a fledgling imprint with distribution through Sony -- and treated to a beefy remix that gave it a heavier, radio-friendly punch. The trick worked, as My Own Prison subsequently spun off no less than four number one singles -- "My Own Prison," "Torn," "What's This Life For," and "One" -- on Billboard's mainstream rock radio charts, making Creed the first band to accomplish the feat with its debut album. My Own Prison proved to be extremely popular, moving over five million copies over several years' time despite little MTV exposure or media coverage.
Although Creed saw a good deal of competition from their post-grunge contemporaries, the band's sophomore album demonstrated their staying power. Released in the fall of 1999 (when tracks from My Own Prison were still peppering the Billboard charts and radio playlists), Human Clay turned out to be a blockbuster, entering the charts at number one and selling a whopping ten million copies over the next two years. The album's leadoff single, "Higher," spent a record-breaking 17 weeks at number one on rock radio, and the follow-up singles "What If" and "With Arms Wide Open" topped the chart as well. This gave the band seven consecutive chart-topping hits on rock radio. "With Arms Wide Open" also gave Creed their first number one pCp hit; several months later, the song won a Grammy for "Best Rock Song."
During the summer of 2000, bassist Brian Marshall made headlines for criticizing Pearl Jam's recent songwriting style during a radio interview; he later apologized, and Stapp distanced the rest of the band from Marshall's comments on Creed's website. Months later, as the band readied itself for an American tour, it was announced that Marshall was no longer a member of Creed. He was quickly replaced by touring bassist Brett Hestla (also of Virgos Merlot) and later formed a new band, Grand Luxx, with his old bandmates from Mattox Creed. That same summer, Stapp was goaded into a brief media feud with Limp Bizkit frontman Fred Durst, who launched into a profane tirade against Stapp at a summer festival that both bands were playing. Although Stapp later blasted Durst's business tactics (as senior VP at Interscope), claiming they stemmed from a "mobster mentality," things soon reverted to normal as the band returned to the studio.
Creed worked on their new album for much of 2001; although Hestla remained in the touring lineup, Tremonti chose to handle the bass parts himself, preserving the band's initial core. Weathered was then released in November 2001, entering the charts at number one and tying a record (among other number one debuts) by remaining there for eight straight weeks; during that two-month time, it also sold a staggering five million copies. The first single, "My Sacrifice," was a Top Five pop hit that spent nine weeks atop the rock-radio charts. "One Last Breath" also demonstrated the band's crossover appeal by faring well on both charts.
Stapp was involved in a car accident in April 2002 and suffered both a concussion and vertebrae damage. Creed initially canceled the rest of their tour, but Stapp recovered quickly, allowing the band to reschedule most of their show dates during the summer. Stapp's health was slipping in other ways, however, as he developed an addiction to Percocet and began taking a host of other medications on the road, including Xanax and throat steroids. The tour concluded with an infamous performance in Chicago, during which an obviously intoxicated Stapp performed one song whilst lying on his back. Such problems quickly led to the band's unraveling.
Wind-Up Records officially announced the breakup of Creed in June 2004. Over the course of ten years, the band had sold over 30 million albums worldwide and became one of the biggest touring draws of the 1990s. Founding members Mark Tremonti, Scott Phillips, and Brian Marshall went on to form Alter Bridge with ex-Mayfield Four frontman Myles Kennedy. Scott Stapp went on to issue a solo record, 2005's The Great Divide, which included a collection of rock songs inspired by Mel Gibson's Passion of the Christ.
Three years later, Stapp and Tremonti reconvened at the Hard Rock Hotel in Florida, where they began to reconcile past differences. Shortly thereafter, the two persuaded Scott Phillips and original bassist Brian Marshall to band together once again, thus cementing Creed's reunion. While material for a new album, the band booked a series of shows for the summer of 2009.
For The Record:
Members include Brian Marshall (born April 24, 1973), bass; Scott Phillips (born February 22, 1973), drums; Scott Stapp (born August 8, 1973, in Orlando, FL; one son, Jagger), vocals; Mark Tremonti (born on April 18, 1974), guitar.
Source: Andrew Leahey & Steve Huey, All Music Guide; eNotes
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AVRIL LAVIGNE
Discography:
Let Go, Arista, 2002.
Avril Lavigne first appeared in summer 2002, touting an addictive debut single (the spunky pop/rock gem "Complicated") and a skatepunk image that purposely clashed with the polished glamour of mainstream pop. Lavigne, who was 17 at the time, quickly rose to teen idol status, selling several million copies of her debut album, Let Go (the best-selling album by a female artist in 2002), while inspiring a genuine fashion craze with her penchant for tank tops and neckties. As the decade progressed, so did Lavigne's marketable sound, which took a contemplative turn on the sophomore effort Under My Skin before reaching an aggressively upbeat tone for 2007's The Best Damn Thing.
Born into a devout Christian household in the small town of Napanee, Ontario, Lavigne sharpened her vocal talents in church choirs, local festivals, and county fairs. She began playing guitar and writing songs in her early teens, focusing her early efforts on country music and contributing vocals to several albums by local folk musician Steve Medd. Arista Records caught wind of the singer and brought her aboard at the age of 16, with CEO Antonio "L.A." Reid personally taking Lavigne under his wing. She quit high school, relocated to Manhattan, and set to work with a handful of prime songwriters and producers, but the partnerships only produced country songs -- not the rock music in which Lavigne had become increasingly interested. Arista relented and instead sent Lavigne to Los Angeles, where she fashioned her melodic, edgy debut alongside such writing teams as the Matrix. Released in 2002, Let Go was the polished product, and its four high-charting singles -- "Complicated," "Sk8er Boi," "I'm with You," and "Losing Grip" -- led the album to multi-platinum status within its second month of release. Lavigne became the youngest female musician ever to have a number one album in the U.K., and she supported the wildly popular disc (which eventually gained eight Grammy nominations) with a tour of Europe, Asia, North America, and Australia.
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Compared with the skin-bearing antics of other teen idols -- Britney Spears chief among them -- Avril Lavigne was a new kind of superstar, one whose appeal didn't rely on sexy videos or suggestive music. She further distinguished herself by bypassing the assistance of professional writing teams during the creation of her second album, choosing instead to collaborate with singer/songwriter Chantal Kreviazuk, Evanescence's Ben Moody, and Evan Taubenfeld (who had previously worked with Lavigne as her touring guitarist). Released in May 2004, Under My Skin was more serious than its predecessor, dealing with such issues as premarital sex ("Don't Tell Me"), depression ("Nobody's Home"), and the death of Lavigne's grandfather ("Slipped Away"). The album debuted at number one in more than ten countries, went platinum within one month, and further established Lavigne as a pop icon. Incidentally, a song that was co-written by Lavigne and ultimately cut from the final track list -- "Breakaway" -- was later given to Kelly Clarkson, who used it as the title track and leadoff single for her Grammy-winning sophomore album.
Lavigne married her boyfriend of two years, Sum 41's Deryck Whibley, in July 2006, just one month after the animated film Over the Hedge announced her cinematic debut (Lavigne voiced the part of Heather, a hungry opossum). She also appeared in Richard Linklater's fictional adaptation of Fast Food Nation, which was released that November. Nevertheless, she spent most of the year working on her third album, enlisting former blink-182 drummer Travis Barker to play drums and cherry-picking a variety of producers (including her husband) to helm the recording sessions. The Best Damn Thing appeared in April 2007, and its leadoff single, "Girlfriend," marked a return to the bratty, spunky punk-pop of her first album. "Girlfriend" soon became the subject of controversy as the '70s power pop band the Rubinoos sued Lavigne, claiming that her tune reworked their 1979 song "I Wanna Be Your Boyfriend." No amount of bad publicity could hurt the singer, however, as "Girlfriend" became her biggest U.S. single ever and The Best Damn Thing topped album charts worldwide. ~ All Music Guide
Born Avril Ramona Lavigne on September 27, 1984, in Napanee, Ontario, Canada.
Won contest to perform with Shania Twain, 1999; signed with Arista Records, 2002; released Let Go, 2002; released Under My Skin, 2004.
Awards: MTV Music Video Award, Best New Artist, 2003; Juno Award, Single of the Year for "Complicated," 2003; Juno Award, Album of the Year for Let Go, 2003; Juno Award, New Artist of the Year, 2003; SOCAN Awards for "Complicated," "Sk8er Boi," and "I'm With You," 2003.
Addresses: Record company—Arista Records, 6 West 57th St., New York, NY 10019. Management—Nettwerk Management, 8730 Wilshire Blvd., Ste. 304, Beverly Hills, CA 90211. Website—Avril Lavigne Official Website: http://www.avril-lavigne.com.
Sources: Andrew Leahey; Sarah Parkin
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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NINE INCH NAILS
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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THE SPECIALS
True innovators of the punk era, the Specials began the British ska revival craze, combining the highly danceable ska and rocksteady beat with punk's energy and attitude, and taking on a more focused and informed political and social stance than their predecessors and peers.
The band was originally formed in Coventry, in 1977, as the Coventry Automatics and later the Special A.K.A. by songwriter/keyboardist Jerry Dammers, with Terry Hall (vocals), Lynval Golding (guitar, vocals), Neville Staples (vocals, percussion), Roddy Radiation (guitar), Sir Horace Gentleman (bass), and John Bradbury (drums).
An opening slot for the Clash stirred up interest with the major labels, but Dammers instead opted to start his own 2-Tone label, named for its multiracial agenda and after the two-tone tonic suits favoured by the like-minded mods of the '60s. The Dammers-designed logos, based in '60s pop art with black and white checks, gave the label an instantly identifiable look.
Dammers' eye for detail and authenticity also led to the band adopting '60s-period rude-boy outfits (porkpie hats, tonic and mohair suits, and loafers). The band released the "Gangsters" single, which reached the U.K. Top Ten. Soon after, hordes of bands and fans followed in the same tradition, and the movement was in full swing. Over the next several months, 2-Tone enjoyed hits by similar-sounding bands, such as Madness, the (English) Beat, and the Selecter.
Late in 1979, the band released its landmark self-titled debut album, produced by Elvis Costello. They followed with several 2-Tone package tours and a live EP, Too Much Too Young (confusingly credited to Special A.K.A.). The title track, a pro-contraception song, was banned by the BBC but reached the number one spot in the U.K. At this time, the band switched musical directions, releasing album number two, More Specials, with a new neo-lounge persona.
Signs indicated that the movement was fading and 2-Tone began to experience financial troubles. Nevertheless, a film documenting the 2-Tone package tours, Dance Craze, as well as its companion album, saw considerable success.
The Specials released the timely "Ghost Town" single in 1981 amid race-related unemployment riots in Brixton and Liverpool. The single jumped to number one, but the band was falling apart. Hall, Staples, and Golding left to form Fun Boy Three, leaving the band without its trademark voice. Dammers held on, reverting back to the old name, Special A.K.A., and enlisted a new vocalist, Stan Campbell.
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After several years, they returned with In the Studio in 1984. They managed a few hits with "Racist Friend" and "Free Nelson Mandella," but the album stiffed. The band's final single, "What I Like Most About You Is Your Girlfriend", failed to break the British Top 40. Dammers dissolved the unit, pursuing political causes such as Artists Against Apartheid.
Shortly after the official breakup, various members of the band joined up with other bandless ska revivalists (English Beat, etc.) to form a touring unit named Special Beat. By the mid-'90s, in response to the third wave ska revival, a Dammers-less version of the Specials reappeared with a series of shameful cash-in albums: Today's Specials (1996,) Guilty Til Proved Innocent! (1998,) and Conquering Ruler (2002.) ~ , All Music Guide
Source: Chris Woodstra; John F. Packel
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THE DISTILLERS
The hardcore punk outfit the Distillers first came together in late 1998 when Aussie native Brody Armstrong met bassist Kim Chi at work and realized their love for playing. Soon they hooked up with Detroit guitarist Rose Casper and drummer Matt. Signed to Epitaph, the band issued its self-titled debut in April 2000.
Sing Sing Death House appeared the same year, but was re-released in early 2002 thanks to the sudden popularity of "Seneca Falls." By now, Kim Chi had left the group to join Exene Cervenka in her band, the Original Sinners. Ryan Sinn stepped in to replace her; Matt departed to join Chi while Casper left during the height of "Seneca Falls."
By summer 2002, the Distillers were composed of Armstrong, Sinn, and new drummer Andy “Outbreak” Granelli; joint American dates with No Doubt and Garbage were planned for later that fall.
Guitarist/vocalist Tony Bradley joined the Distillers in time for the recording of their third album and major-label debut, Coral Fang, which was released in 2003 by Sire. For the album, Armstrong reverted back to playing under the name Brody Dalle, following her very public divorce from Rancid's Tim Armstrong that same year.
Granelli left the band in early 2005, moving on to play with Darker My Love, and by the summer, Sinn had exited as well, later joining up with Angels and Airwaves.
Despite rumours, the Distillers, now just comprised of Dalle and Bradley, denied that they were breaking up, instead simply going on hiatus. In early 2006, Dalle had her first child, daughter Camille, with new husband Josh Homme of Queens of the Stone Age.
By the year's end, the two remaining members formally announced the band's disbandment and went on to form Spinnerette together.
Albums:
The Distillers, Epitaph, 2000.
Sing Sing Death House, Hellcat, 2002.
Coral Fang, Sire, 2003.
Source: MacKenzie Wilson, All Music Guide
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Queens Of The Stone Age
System of A Down
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ULTRAVOX
Rejecting the abrasive guitars of their punk-era contemporaries in favor of lushly romantic synthesizers, Ultravox emerged as one of the primary influences on the British electro-pop movement of the early '80s.
Formed in London in 1974, the group - originally dubbed Ultravox! - was led by vocalist and keyboardist John Foxx (born Dennis Leigh), whose interest in synths and cutting-edge technology began during his school years. With an initial line-up consisting of bassist Chris Cross, keyboardist/violinist Billy Currie, guitarist Steve Shears, and drummer Warren Cann, their obvious affection for the glam rock sound of David Bowie and Roxy Music brought them little respect from audiences caught up in the growing fervour of punk, but in 1977 Island Records signed the quintet anyway, with Brian Eno agreeing to produce the band's self-titled debut LP.
After scoring a minor U.K. hit with the single "My Sex," Ultravox returned later that year with Ha! Ha! Ha!; sales were minimal, however, and Shears soon exited, replaced by guitarist Robin Simon. A third LP, 1978's Systems of Romance, was recorded in Germany with renowned producer Conrad Plank, but it too failed commercially. Island soon dropped the band, at which time both Foxx and Simon quit, the former mounting a solo career and the latter joining Magazine.
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At that point the remaining members of Ultravox tapped singer/guitarist Midge Ure, an alumnus of Silk as well as Glen Matlock's Rich Kids; upon signing to Chrysalis, the new line-up recorded Vienna, scoring a surprise smash hit with the single "Sleepwalk," which reached the number two spot on the U.K. pop charts in 1981 and pushed the LP into the Top Five. The album's title track also fared well, peaking at number two on the charts and remaining there for several weeks.
After 1981's Rage in Eden, Ultravox teamed with legendary producer George Martin for 1983's Quartet; their most successful LP in the otherwise impenetrable American market, it launched the minor hit "Reap the Wild Wind." Upon completing 1984's Lament, Warren Cann left Ultravox to forge a solo career.
The remaining members, after adding Big Country's Mark Brzeicki, resurfaced with U-Vox in 1986 before going their separate ways. Currie and Simon re-formed the band in 1993, adding vocalist Marcus O’Higgins; three years later, they released the lack-luster Ingenuity with Sam Blue on lead vocals. The album marked the group's final studio release.
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Ocean Colour Scene
Falling between the energetic pop/rock of mod revival and the psychedelic experimentations of Traffic, Ocean Colour Scene came to be one of the leading bands of the traditionalist, post-Oasis British rock of the mid-'90s. Although they had formed in the late '80s and had several hits during the height of Madchester in the early '90s, the band didn't earn a large following until 1996, when their second album, Moseley Shoals, became a multi-platinum success story in the U.K. Their ascent was greatly aided by Paul Weller and Oasis' Noel Gallagher, who both publicly praised Ocean Colour Scene for keeping the flame of real rock & roll burning during the '90s. And, according to one specific definition, they were right, since Ocean Colour Scene was nothing if not rock & roll traditionalists, drawing heavily from British Invasion pop, psychedelia, soul, R&B, and blues-rock to create a reverential homage to classic rock. Their devotion to trad rock may have earned them decidedly mixed reviews, but that was the very thing that earned them a sizable following.
Ocean Colour Scene is comprised of Steve Cradock (lead guitar, keyboards, vocals), Simon Fowler (lead vocals, guitar), Damon Minchella (bass), and Oscar Harrison (drums). Prior to forming in 1990, the members of the band had played in a variety of other groups. During the late '80s, Cradock played in a mod revival band called The Boys. Though they released an independent EP called Happy Days and supported former Small Faces frontman Steve Marriott, the band never gained much of an audience. At the same time The Boys were active, Fowler and Minchella were in a Velvet Underground-influenced group called Fanatics, who released an EP, Surburban Love Songs, on the independent label Chapter 22 in the spring of 1989. Following the release of the single, the group's original drummer, Caroline Bullock, was replaced by Harrison, who had previously played with a reggae/soul band called Echo Base. Shortly after Harrison joined Fanatics, the group split up. Several months after their disbandment, Fowler, Minchella, and Harrison formed Ocean Colour Scene with Cradock, whom they met at a Stone Roses concert.
Appropriately, Ocean Colour Scene was initially heavily influenced by the Stone Roses. After performing a few concerts, the group built a small fan base and signed with a local indie label, !Phfft. Shortly after signing with !Phfft, Ocean Colour Scene became hyped as "the next big thing" by the British music weekly press, as their live shows and debut single, "Sway," earned extremely positive reviews during the first half of 1990. In the spring of 1991, they headed into the studio to record the debut album with Jimmy Miller, who worked on The Rolling Stones' classic albums of the late '60s and early '70s. Instead of concentrating on work, the band essentially drank away their hours in the studio, resulting in a batch of uneven recordings. Unsatisfied by the tapes, the band headed back into the studio with Hugo Nicolson, who had previously worked with Primal Scream.
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By the time they completed the record, !Phfft had been acquired by Fontana Records, who bought the indie with the intent of owning the rights to Ocean Colour Scene. Despite their enthusiasm for the band, the label's head of A&R, Dave Bates, rejected the group's first attempt at the album and asked them to re-enter the studio to re-record most of the album with another producer, Tim Palmer, who had previously worked with Tin Machine. Palmer also remixed the remaining cuts, resulting in a slick, over-produced debut album that was delivered belatedly in the spring of 1992. By that time, the music press had abandoned the Madchester scene that the Stone Roses spawned and, in turn, they rejected the return of Ocean Colour Scene. The public also refused to buy the record and it sank upon its release. The band made some headway on an American tour, but tensions with Fontana continued to increase throughout the year.
Ocean Colour Scene returned to England halfway through the year, planning to record a new album quickly, but Bates rejected their new material. Soon, the band sued to get out of its Fontana contract. By the time it was settled in early 1993, the group owed hundreds of thousands of pounds to the label and they were back on the dole. Ocean Colour Scene continued to rehearse, often supported by their manager (and Steve's father), Chris Cradock, who put the family house up for mortgage. The band converted their rehearsal space into a recording studio and began recording constantly, but their break didn't arrive until they played a gig supporting Paul Weller's new band in early 1993. Weller was impressed with Steve Cradock's playing, and asked him to play on his forthcoming single, "The Weaver." Cradock gradually became part of Weller's backing band, performing on much of Weller's second solo album, Wild Wood. However, the guitarist didn't abandon Ocean Colour Scene -- all the money he was making was funneled back into the band, and he landed Fowler a gig as a backing vocalist for Weller. By the end of the 1993, Cradock, Fowler, and Minchella were all playing in Weller's band.
The next break for Ocean Colour Scene arrived in late summer of 1994, when Noel Gallagher, the leader of Oasis, heard the band's tape in the offices of his record label. Gallagher offered OCS the opening slot for Oasis' breakthrough fall 1994 tour, which provided the group with needed exposure. Soon, the group was subject to a bidding war among several major labels, all of whom wanted the band to change their name. Eventually, the band signed with MCA in the summer of 1995; they were one of the few labels not to insist that the group change their name.
During early 1996, the hype machine began to go into overdrive for Ocean Colour Scene, as Gallagher proclaimed them the best band in Britain in several interviews and Chris Evans, a DJ on BBC's Radio 1, constantly played OCS's comeback single, "The Riverboat Song," essentially using it as his theme song. "The Riverboat Song" entered the charts at number 15 early in 1996. Moseley Shoals, the band's second album, was released in April of 1996, unexpectedly entering the charts at number two. The album was a fixture in the British Top Ten throughout 1996, spending six months total in the upper regions of the charts. Two subsequent singles from the record, "You've Got It Bad" and "The Day We Caught the Train," reached the Top Ten and the album continued to sell strongly throughout 1996, going multi-platinum in the U.K. Ocean Colour Scene also became a popular live attraction in Britain, selling out concerts during their summer tour. Moseley Shoals was released in America during the summer, but it failed to make much of an impact in the U.S.
As they were working on their third album, Ocean Colour Scene released the rarities compilation B-Sides: Seasides & Freerides in March 1997. By the late summer they had completed the album and had released "Hundred Mile City" as a single; it debuted at number two on the U.K. charts. Marchin' Already, OCS's third album, was released in September 1997 and debuted at number one in the U.K., knocking Oasis' Be Here Now off of the top slot.One from the Modern arrived in 1999, followed by Mechanical Wonder and the greatest-hits collection Songs for the Front Row: The Very Best of Ocean Colour Scene in 2001. 2003 saw the release of North Atlantic Drift, followed by Hyperactive Workout for the Flying Squad in 2005. Live Acoustic: At the Jam House arrived in 2006, followed by a collection of all-new material, On the Leyline, in 2007.
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