Kamis, 30 Juni 2011

Exclusive: Inside the Red Hot Chili Peppers Comeback Album



"There is no question – this is a beginning," Anthony Kiedis, singer of the Red Hot Chili Peppers, says in his first interview about the band's new album, I'm With You, which is released by Warner Bros. on August 30th. "Yeah, the sun is just coming up here."

Produced by Rick Rubin, I'm With You is the Los Angeles quartet's first studio album since the 2006 double-disk set, Stadium Arcadium. The 14-song record also marks the debut of the Chili Peppers' new guitarist Josh Klinghoffer, who joined in the fall of 2009 following the departure of John Frusciante. The latter guitarist had been a crucial writer as well as player on the Chili Peppers' biggest albums, including 1991's Blood Sugar Sex Magik and 1999's Californication. But after he quit, Kiedis and bassist Flea "had this intuitive feeling," the singer says. "We're not really done. We wanted to maintain the Red Hot Chili Peppers if we could do it in a way that upheld historically what we had accomplished.

"There were some interesting conversations," Kiedis goes on, "about do we try to find someone we don't know, or maybe there is somebody right in our own backyard who is the perfect solution." Klinghoffer, 31, was a veteran sideman who had recorded and toured with Beck, PJ Harvey and Tricky, among many others. He was also a friend of Frusciante's, working on several of that guitarist's solo records, and had performed with the Chili Peppers on their last world tour, playing extra guitar and keyboards.
"I felt like I had the experience," Klinghoffer says in his first-ever press interview, sitting next to Kiedis on a couch in the singer's Malibu home. "There was no real adjustment. This is playing music with people I admire and who have been friends for years."

"Josh has not lacked the necessary assertions," Kiedis notes. "His voice is as dominant as any other voice on the record." That is literally true. In addition to playing guitar, Klinghoffer contributed keyboards and backing vocals. He also co-wrote the music with Kiedis, Flea and drummer Chad Smith.

The album's first single, "The Adventures of Rain Dance Maggie," is a hard-pop spin on classic Chili Peppers funk, with a creeping bass line and a marching-disco rhythm in the chorus reminiscent of the late-Seventies Rolling Stones. In fact, Flea likens the rich propulsive interplay on I'm With You – the mix of jamming exploration, textural guitar details and savvy hooks in songs such as "The Monarchy of Roses," "Factory of Faith" and "Goodbye Hooray" – to the classic Stones albums like Exile on Main Street and Tattoo You that he listened to religiously as the Chili Peppers wrote and improvised on new material in 2009 and 2010. "It's about a feeling and a song." Flea says of the connection, "about everyone embracing the moment of the song, not always about the riff."

The Chili Peppers are currently in rehearsals and plan to tour extensively in support of I'm With You. "Forever" is how Flea puts it. "I know when we write mediocre stuff, and when we write good stuff," Kiedis says. "I can't wait to go out and play this."

source:http://www.rollingstone.com/music/blogs/alternate-take/exclusive-inside-the-red-hot-chili-peppers-comeback-album-20110608

Slipknot Reveal Donnie Steele To Replace Deceased Bassist Paul Gray



Hard rock super group Slipknot have asked former member Donnie Steele to replace Paul Gray on bass for their upcoming 2011 shows, according to a statement on the band's website.


The 38-year-old Gray, who had been with the band since their inception, died last year (May 24, 2010) from an accidental overdose of morphine and fentanyl.

"Donnie was in the band at the very beginning, and rather than get an outsider, we thought it would be a fitting tribute to Paul to play with someone from within the family," the band wrote. "Donnie was great friends with Paul and we can't think of a better way to celebrate his memory than with someone who was there with us at the very beginning. The eight of us are looking forward to being onstage again and honoring Paul's legacy with our families in Europe and Brazil this summer."

Known for their ostentatious performances and aggressive musical edge, the mask-wearing members of the Grammy winning band displayed a different side in an emotional press conference the day after Gray was found dead in an Iowa hotel room, remembering their friend and band mate as "the essence of the band Slipknot," percussionist Shawn Crahan recalled.

"Paul was there from the very, very beginning, and none of us would be on the path that we're on now in life or have the sorts of life that we have without him," he added. "Paul loved the fans. He was kind of the person in the band that really wanted everybody in the band to always get along and just concentrate on the band. He was a really great friend and a really great person. He's going to be sadly missed, and the world is going to be a different place without him."
Among other performances, the band will be performing at the Sonisphere Festival in Sofia, Bulgaria on June 21.

source:http://www.mtv.com/news/articles/1659788/slipknot-reveal-donnie-steele-replace-deceased-bassist-paul-gray.jhtml

SlipKnot Biography


Mate.Feed.Kill.Repeat Era

Slipknot started in September 1995 with Anders (Colsefni) and Shawn (Crahan). Anders and Shawn hung-out all the time, they would play Werewolf: The Apocalypse (RPG) all the time (where much of the lyrics came from for MFKR). Anders was helping Shawn with some welding in his garage one winter, and they got talking about putting together a brand new band. At the time they were both drummers (Anders had been singing for awhile), and wanted to put together a band with extra stand-up percussion. Anders called Paul Grey (who was in L.A. at the time), and persuaded him to return to Des Moines and give it a try. They'd attempted to do so before as early as 92 and even wrote songs: "Slipknot" and "Gently", but Shawn got too busy and it fell apart. With the three core members: Andy, Shawn and Paul they enlisted the help of guitarists Donnie Steele (ex- Body Pit guitarist) and Quan Nong (ex heads on the Wall). The band retreated to Anders basement to figure out their sound and how to improve musically. 

The band began practicing under the name of Meld, following the first six practices Quan Nong left due to his following of a more Alternative/Punk style. Feeling something was missing, Paul was determined to get Joey involved with his new project, despite failing to receive his interest in earlier projects such as Body Pit. Paul met up with Joey at Sinclair's where Joey worked nights, there he tempted Joey to watch rehearsals within Anders' basement. Joey reluctantly agreed and despite missing two rehearsals due to work priorities, eventually made it down to the basement to view a practice session. This basement, was "largely, open spaced", not only was the area so small and cramped but for soundproofing the members used carpet samples and scraps from a nearby pet grooming centre, this made the whole basement smell of Cat piss. The first song that Joey heard them play was a song known as "Slipknot", followed by "Gently" and "Fur". Joey soon realized that he had to be in this band and soon began to play the drums; pushing Shawn onto percussion. A band had formed. Within the cramped basement new songs were being turned out by the minute, including titles such as "Killers Are Quiet", "Do Nothing Bitchslap", "Confessions", "Some Feel", "Part of Me" and "Tattered and Torn". Paul, Shawn and Joey also began to meet up at Sinclair's to discuss ideas and plans for the future. Shawn and Joey also decided that the band would require three drummers to provide a hardcore audio assault. Shawn wanted a drummer to the left and right with one at the back controlling it all, creating a wall of power, a first layer... Joey plays the main set and as a result is the main drummer who holds the band together. 

Shawn is the "Total Power Drummer" and is all aggression, finally the third element of percussion was performed by Anders adding a tribal feel. Within Sinclair's Shawn and Joey also realized that the band would need another guitarist due to the vacant position left by Quan. Josh formerly of Modifidious and Inveigh Catharsis was called and he soon added himself to the band. Now there were six. Josh was seen as the "icing on the cake" so to speak adding a touch of melody to the batch of songs already written The people of Des Moines knew that a new band was forming and they knew who was in it. However no one had heard or seen them. Soon a small performance was given, Slipknot's first show was actually under a different name, Meld (Josh's idea). It was at a club that (Josh) believes was called the Crowbar at that time. They did it without masks however Anders wore his fur skin loincloth and Paul wore wire through all his piercing. This show happened about a month or two after Josh got into the band (I'm thinking it was mid to late Nov. 95'). That was the only show they'd ever done with Donnie. The band went through the names Pyg system and Meld, before agreeing on the simpler name of "Slipknot", the title of their first song. Slipknot began to take notice of their stage show and thus eventually the idea of "Slipknot" spawned. The idea of what slipknot was about evolved and following discussions Shawn turned up to a practice wearing his legendary Clown mask, the sextet decided almost unanimously, with the exception of Donnie, that masks should be worn. Joey came fully equipped with his molded and expressionless Kabuki Mask and despite difficulty within practices the idea took off; the whole anti-image appearance which fitted so well with their rule of ignoring trends had a great appeal. Soon Shawn contacted Mike Lawyer, due to an interest in recording some studio work. Mike got an engineer/producer of his named Sean McMahon to meet up with them during a practice session. Sean McMahon: "I was contacted by former members of a band called Body Pit to check out their new band at their rehearsal space". Sean McMahon: " The band floored me the first time that I heard them play in Anders' basement. This was way before the masks and coveralls evolved. The band was solid and incredibly tight. The music had some melodic parts at that time. They played Slipknot, Gently, Do Nothing/Bitchslap, Killers Are Quiet, Vizqueen, and Fur for me. Anders himself was wearing a wolf fur loincloth - and nothing else. I did not pretend to fully understand what the band was about, as we were just getting to know each other, but it was very plain to me that Slipknot (Meld or Pale Ones at that time) was extremely good at what they did, and had the requisite drive to take it all the way". " The band soon started work on their first project, dubbed, MFKR. "Mate Feed Kill Repeat". The band grabbed every available moment to practice, perform and record within the SR Audio Studios. SR audio was customized for the MFKR sessions by the band itself. SR audio was filled with pornographic posters, films, toys, lights and many other objects all to make the band feel right at home. The recording phase for MFKR was one odd occurrence after another, Sean explains "We cut basic tracks live - all of them, including all 3 drummers, all playing together in the same room! The band advocates the use of extreme violence as a conflict resolution tool, and recording was no exception. The wall next to Clown's percussion rig acquired a few holes from his fist and drum sticks. Then there were the anatomically correct chalk line body outlines in the parking lot. Also, Joey played drums naked on one track, which he nailed". During February of 1996 (the post production stage of mfkr) a great change occurred within Donnie Steele; he found God. He realized that he could not be within such a band as Slipknot with the beliefs he held and as a result withdrew himself from the group. At this crucial point in the bands short history a new member was called up; a former member of Joey's band Modifidious, his name was Craig Jones, he had come highly recommended by Jordison. During his arrival, the MFKR album was already in its mixing stages. The mixing of MFKR was anything but smooth, each song being remixed many times. Strain was added by different view that each member held and things often got intense. Not only were their problems with the mixing but the band was also unhappy with the mastering that was done on the CD, hence they insisted that Sean should do it. Slipknot's first major show in which they would unveil themselves to the people of Des Moines became booked for the 4th April 1996 at the locally known meeting place pronounced, "The Safari". On the day's arrival the room was packed with 200 people. The band arrived in Joey's car and each member sported their individual garments. Paul with wire weaved in and out of his piercing, Andy covered with electrical tape and tribal paint, Josh showing off an executioners hood while Craig had placed pantyhose on his head. Joey and Shawn each used the masks they had always worn, the Clown and Kabuki masks. Before the band began to play Joey began to incessantly shout, "I need a little Christmas in my drink" repeatedly with each new phrase increasing in volume, energy and power. The band then slammed into their debut song, "Slipknot". By Slipknot's second performance at the club Paul had found a new "Pig" mask. The band played a total of seven shows at the club in one month alone. The band carried on playing their shows which were much more "insane" than we see these days (taming of the media etc...), rather than the same uniform jumpsuits and regular masks the band played in different things, for example Shawn rented out a large purple "Barney" suit and others wore Nun dresses and even ballroom dresses or a Little Bo Peep outfit. The shows were really dark, underground and scary however they still carried an element of humor. The shows would start with strobe lights flashing and a sample from Craig, usually of a mad laugh and "ice cream" man chimes, Shawn would drop a power saw to create a series of sparks to fly over the crowd. Joey still felt that the band was incomplete. He wanted more; a different sound and a greater variety. Craig was promptly shifted onto samples, leaving an empty vacancy. Hence Mick formerly of Bodypit arrived. MFKR was eventually finished on Halloween, 1996. The party had begun and 400 people turned up in masks to celebrate the occasion. The album was sent out to many people and a person named Sophia at a local station KKDM managed to hear it and liked it. This lead to the arrangement of Slipknot's appearance in the local KKDM battle of the band's contest. The on air tournament was held every Wednesday at the Safari club in Des Moines, and spanned across several weeks beginning with the individual heats. Slipknot faced the band; Stone Sour - they won. Slipknot also defeated "Maelstrom" and "Black Caesar" who came second. Slipknot conquered all. This was one of the band's highlights that fuelled them to their current stardom. The money from the win helped fund the heavily in debt band's new projects and demos. The band continued the onslaught of supporting their debut Mate Feed Kill Repeat. According to ISMIST records the distributor, there were only 1000 copies of this made and distributed by the band as a promotional tool. By this time several record companies had investigated the band, one of these being Roadrunner who felt that they should not pick up Slipknot due to their thought that the vocalist required more melody. This rejection continued and nowhere could they be signed. Sophia became their first manager due to her contacts and love for this new band. Things then seemed to get worse; Shawn bought the Safari, which took time away from the band despite being a good investment. The band could no longer play in Anders' basement and things were falling apart. There were often tensions between Joey and Shawn and "Slipknot" had nowhere to play. However they still managed to make it onto the bill for the local "Dotfest" in June. There they played to the largest crowd in their history, a crowd of 12 000, containing many industry people. Not only was the sound dodgy and kept going out but the crowd began to throw chicken bones on stage. At the show Slipknot came out throwing Tampons into the crowd and had several "gimps". This was the first and last time for the "gimps". The gimps were Frank with a gas mask, Lanny with tribal markings in liquid latex, Greg covered with liquid latex and a ball gag in his mouth and Greg's friend Slick Rick in a latex hood. Slipknot had the original idea of having a professional stunt man, Rick, come out dressed as Shawn and then Shawn would come out and set him on fire. They had all the things to do it (for a long time it set in the cooler at Safari) but the city would not issue the permits to perform it so the event had to be abandoned. The set ended with them being cut off and an almost riot breaking out as Andy cut open his arms and tossed CDs over the fence to the fans. Joey quit. But he reconsidered and came back. Some good things did come out of this though, their performance left a mark, they made new fans and most importantly they discovered Sid Wilson (even though they did not speak to him). Slipknot looked for the success they were not getting and decided to enlist Corey Taylor of rival band Stone Sour, to join the line up. Joey, Shawn and Mick confronted him with the an ultimatum at his work place, "The Adult Emporium". They said, "Join the band or we will kick your ass!" Slipknot provided an opportunity not present in Stone Sour; the band could go places. The music over image policy also appealed. Corey began practicing with the band and the first lyrics he wrote were to be used in the song, "Me Inside". This was a very experimental move and everyone was wondering how it would turn out. This change resulted in Anders being pushed back to percussion and back up vocals. Soon this new breed of the Knot performed a show; it turned out it was a charity event for a local hospital. The Safari was packed to the brim. Corey came out wearing a large amount of makeup that gave a dark appearance, this was added to by two latex crosses marked over his eyes. Despite this excitement the show was riddled with technical problems and was the show that resulted in Joey's nickname, "Superball". Their next show was on 17th September, again at the Safari. This show was a great improvement however nearly a year on from the MFKR release an announcement was to be made. Just before Slipknot were about to storm into their final song, "Heart ache and a pair of Scissors", Anders made an announcement, "This will be my last show" he stated. This stunned both band members and the audience. Following this sudden change the band returned to the studio to re-record the songs on their second cd titled "Crowz" - minus Anders' vocals. Of these songs included, "Gently", "Do Nothing", "Slipknot", "Tattered and Torn", "Me Inside", "Carve", "Coleslaw", "Scissors", "Windows" and "May 17th" a song written by Shawn. Crowz was to be released October 31st 1997.

Full Slipknot Era

 

Rarely since the fiery crash of Buddy Holly's plane in 1959 have the words "Iowa" and "rock and roll" been used in the same sentence. As we've come to know it, Iowa means corn, livestock, conservatism, and precious little else. And like a thousand other landlocked heartland nowheres, it brims with kids dying from boredom, and with small-minded politicians trying to keep their little slice of Americana quaint, quiet, and soul-crushingly sterile. But the kids aren't all right - they're getting pissed. And in Des Moines, their rage has a name: Slipknot. Draped in Ed Gein-style coveralls and nightmarishly surreal masks, touting a sound patched from the best parts of metal, hip hop, violent L.A.-style "new metal," and armed with a multidimensional percussive onslaught the weight of a hundred Neubautens, you could call Slipknot equal parts style and substance. You could also call it payback time for Middle America. In a recent Alternative Press cover story, drummer Joey explained the band's vitriolic attack this way: "All of us were so used to having the middle finger thrown at us, that when we finally threw it back, we did so with ten times the venom." And they hit a nerve in the process. Slipknot's self-titled Roadrunner album is nearing platinum status. Their home video, "Welcome to Our Neighborhood," has dominated Billboard's Top Ten since its release, and is already platinum. But that's just America. Australians have made the album gold and the video platinum, and the band continues to sell out gigs there - and throughout Europe and Japan too. Even grumpy old England -- notoriously intolerant of heavy American rock -- has chimed in with a Silver record and New Musical Express' declaration of Slipknot as "brilliant." Similar accolades can be found within recent cover stories in Alternative Press, Circus, Guitar World, Hit Parader and Metal Hammer, and the band has also been featured in Kerrang!, Metal Maniacs, Rolling Stone, and Spin, among others. To top it off, the tune "Wait and Bleed" (which the band performed on Late Night with Conan O'Brien) has lately been rotating on MTV, KROCK NY, KROQ LA, LIVE 105 in San Francisco, WHFS Washington, DC, KNDD Seattle and so on. The video for the single has been officially added to MTV as well. Surprised? Don't be. From the skull-pummeling "Sic" and unforgiving bludgeon force of "Surfacing," to the sublime melodicism of "Wait and Bleed," to the entrancing percussive drive of "Prosthetics," Slipknot's Ross Robinson-produced Roadrunner CD swarms with such dense instrumentation that you'd swear it was a whole symphony of sickos in command. And you'd be right: Slipknot is made up of nine native Iowans: DJ Sid (#0), drummer Joey (#1), bassist Paul (#2), percussionist Chris (#3), guitarist Jim (#4), sampler Craig (#5), percussionist Shawn (#6), guitarist Mick (#7), and vocalist Corey (#8). Nine guys, each with his own gruesome visual persona AND dehumanizing number. Sounds like a lot? Percussionist Shawn wouldn't have it any other way. "Our music is so reliant on each other that if one guy is gone, it just wouldn't be our songs. Without one person, something is really, really missing. Everybody has to be present. Even the littlest things make our songs magical." And it is about the songs, after all. While some visually oriented bands forget about that, the beast that is Slipknot, with its virally infectious sense of melody and explosive, percussion-driven backbone, knows its priorities well. "We never put on the shit we wear to try to get people into us," says Joey. "We did because, after being degraded constantly for trying to play music or do something in Des Moines, it just came out to be like we were an anonymous entity.

No one gave a fuck. No one cared, so we were never about our names or our faces; we're just about music." Shawn concurs, but refuses to downplay the importance of the band's freakish, startling visuals. Or their pathological appeal. "The masks are an extension of our personalities," he says. "Everybody's got a sort of tweaked, demented way about themselves, and we just alter the masks over time. It feels really, really good when we wear our masks for an hour and then take them off. The first thing we do is go, 'God, what a relief.' But we always seem to put them back on after a show." Forming in mid-1995, Slipknot endured the necessary growing pains and lineup changes before arriving at what they now call "a family unit." Within a year, they'd recorded, self-released and self-distributed their debut, "Mate, Feed, Kill, Repeat," which helped catch the fancy of more than a few big label suits. Eventually signing with Roadrunner via Ross Robinson's I AM RECORDS imprint, they recorded the explosive self-titled album and exported the horror to the outside world through a series of live shows that Shawn understates as simply "like nothing else out there." This included an exposure-grabbing stint on Ozzfest 1999 and a slew of sold-out shows with label-mates Coal Chamber. Which brings us full-circle in a way. Because, in actuality, there was one other strange incident besides Buddy Holly's death in which "Iowa" and "rock and roll" could be uttered in the same breath before Slipknot: January 20, 1982, when Ozzy Osbourne bit the had off a bat during a gig in Des Moines. "We got the whole thing about the bat right in us," recalls Joey. "When we were little, we kept hearing about this guy named Ozzy biting the head off a bat. That was here in this town, and we've had a little bit of the bat in us ever since." The heaviest band around could have no better teacher. And indeed, as Slipknot moves from a slot on last year's Ozzfest to the headline act at this summer's Tattoo the Earth and MTV Return of the Rock tours, one thing is clear as crystal meth: Corn ain't the only thing growing in America's heartland. Consider yourself warned, planet earth!

Iowa

Edit Iowa section

Iowa is probably best known as "the middle of nowhere." Most non-residents consider the corn-and-pig-state a geographical black hole. Since rock'n'roll's dawning in the early '50s, Iowa has had no singular voice to put on the musical map. Naming a significant musical entity from the state is inarguably a fruitless task; it simply can't be done. However, nine freaks from Des Moines, draped in industrial coveralls, surrealistic self-made masks, and an attack that combines violently regurgitated "L.A. neo-metal," death metal, hip-hop, and downtuned screeching horror--are about to leap upon the unsuspecting world like a musical of Clockwork Orange. Have you ever thought about what a messed-up hard-core metal band from "the middle of nowhere" would sound like? "Ultra-violence" only begins to describe it... Meet 0, 1, 2, 3, 4, 5, 6, 7, and 8. (In human terms that's DJ Sid Wilson, drummer Joey Jordison, bassist Paul Gray, percussionist Chris Fehn, guitarist Jim Root, sampler Craig Jones, percussionist Shawn Crahan, guitarist Mick Thomson, and vocalist Corey Taylor, respectively.) Each comes equipped with not only a frightening visual personal and number assignment, but a talent on his particular instrument that combines and collides to form the nine-headed savior/destructor of modern heavy music dubbed Slipknot. Now, with the tools and talents (not to mention complex-yet-infectiously-catchy songs) that this band holds in its grasp, the world has no choice: Slipknot has arrived, and you must now decide how to deal with it. Formed during the later half of 1995, the band went through necessary lineup changes to arrive at what they now describe as "a family unit." All native Iowans, their rather unassuming, un-happening locale gave the members plenty of space and time to perfect their unusual take on heaviosity. The band recorded and distributed the self-released debut Mate, Feed, Kill, Repeat in 1996, and the ball hasn't stopped rolling since. Attracting the attention of a number of labels, Slipknot finally signed to Roadrunner through noted producer Ross Robinson's I AM RECORDS imprint in 1997 and entered Indigo Ranch Studios in Malibu with Robinson to record their self-titled debut. From the pummeling "Sic" and the unforgiving bludgeon of "Surfacing"to the sublime melodies within "Wait And Bleed" and the hypnotizing rhythmic drive of "Prosthetics," Slipknot's vast array of influences comes seamlessly wrapped up in a sonic love/hate letter to the outside world. The touring that will follow is promised to be "unlike anything else that's going on out there. Seeing is believing." So says Shawn Crahan. And it's a gross understatement of what actually transpires when it all comes together on stage. Until you hear the sound they create, having nine members in the band might seem ludicrous. Shawn claims it couldn't work any other way: "We've maintained an excellent practice schedule for the last three years. Everybody's on time, everybody's always there, and we always practice as a unit. Our music is so reliant on each other that if one guy, even the DJ, is gone, it's just wouldn't be our songs without him. Without even one person, something is really, really missing. Everybody has to be present. Even the littlest things make the songs magical." Just as striking visually as they are musically, Slipknot stresses that the visuals do not take precedence over the music. "We never put on the shit we wear to try and get people into us," says Joey Jordison. "We did it because, after being degraded constantly for trying to play music or do something in Des Moines, it just came to be like we were an anonymous entity. No one gave a fuck, no one cared, so we were never about our names or our faces; we're just about music. So we just put it on and it started gettin' people, and it just started to turn into this big thing. The music's the most important, though. The coveralls and masks happened, and for some reason it worked, therefore we had to kind of continue with it. We got stuck with it." Now that they're stuck with it, they hardly feel like themselves without it. Shawn feels that "...the masks are extensions of our personalities. Everybody's got sort of a tweaked, demented way about themselves, and we just alter the masks over time. It feels really, really good when we wear ourmasks for an hour, and then afterwards we take them off, and the first thing we do is go, 'God, what a relief!,' but we always seem to put 'em back on after a show and walk around the place." And the visual presentation will change over time, just as the music certainly will. "I think things will always be changing with Slipknot. Everybody grows older every year, and with that you change, and that's somethin' Slipknot is always going to do." As for the number assignments they wear on their coverall sleeves, they're lucky numbers, significant and vitally important to each member. When choosing them, "Everybody fell into a number," says Shawn. "There was not one person in the band arguing over a number. It was really weird." Thanks to a hefty Ross Robinson production job on SLIPKNOT, Slipknot's vision, part one, has been successfully realized. Shawn feels that Robinson was as highly motivated to work on the record as the band were to work with him: "We're a highly, highly aggressive band, and very seldom do we meet people who are in the realm of our aggressiveness when we play as a unit, and Ross took us into the recording room and was throwing punches at us. He was into it. Ross got up every day and went and worked out so he could be in shape to do our album." When label reps and Robinson himself came to Des Moines to check out Slipknot at their best (on stage), the memberswere left with little more to do for after-show entertainment than go to local strip clubs. After hosting guest after guest, the band were completely burnt out. Now, nobody in Slipknot ever wants to step inside a strip club again (it's Des Moines's leading form of entertainment, incidentally). Shawn grunts in disgust: "Fuck the strip bars. Fuck taking anybody to strip joints. We got shit to do." The "shit" is wrapped up in a pretty little package called SLIPKNOT. It's the discordant sound of the middle of nowhere, a terrain where Slipknot is jester and king...

Vol. 3: (The Subliminal Verses)

 
Edit Vol. 3: (The Subliminal Verses) section

"What I want to know is can you watch something that can change you?" That is the question posed by Slipknot's M. Shawn Crahan, more commonly known as Clown. With one view of Slipknot's latest DVD, Voliminal: Inside The Nine, you will be shaken, jarred and have your attention arrested. And yes, to answer Crahan's question, you will be changed, because Slipknot are that type of band. If any metal band has the power to educate, entertain and change lives, it's the nine-headed, hard rock enigma known as Slipknot. Since their formation in Des Moines, IA, in September 1995, the band has released three studio albums that have sold over five million copies in the U.S. Their latest studio record, Vol. 3: (The Subliminal Verses), released in 2004, debuted at #2 on the Billboard 200 album chart and has sold over 1.5 million copies in the U.S. to date, spawning the singles "Duality," "Vermillion" and "Before I Forget." In November 2005, the band released Slipknot 9.0: Live, a gold-certified, double-live album. Before Crahan reconvened with his eight bandmates to start working on Vol. 3: (The Subliminal Verses), he was already laying the groundwork for this brutal slice-of-life double-DVD. Equal parts revealing documentary, stream-of-consciousness art film and live video, the discs take the band's fans (a.k.a. Maggots) deeper into the world of Slipknot than they've ever been before. Created and directed by Crahan, Voliminal: Inside The Nine offers reams of raw, gonzo footage shot across the world from backstage, onstage, on the street, in the tour bus and in the studio, offering viewers a true bird's eye view of the band. It's as though you've been granted unlimited, unprecedented access to the band. Unlike hundreds of formulaic documentary DVDs, Voliminal: Inside The Nine is undiluted, uncompromising and in your face, revealing Slipknot in all their joyous misery, and all their ugly beauty. "For the last three years, I vowed to get to the center of what I know I'm a part of, which is one of the greatest bands in the world today," Crahan says. The first disc, titled Voliminal, is a 80-minute film made up of rapidly edited scenes shot on handheld digital cameras, for 28 months during the making of Vol. 3: (The Subliminal Verses) and on "The Subliminal Verses" world tour. This is not a slick concert film with interspersed backstage footage. Nor is it a travelogue of fantastic sights and fabulous babes. This is survival in the belly of the beast. Crahan has assembled the shots into a dizzying cacophony of deafening sound and jarring imagery that's both challenging and impossible to ignore. "My intent was to make you sick to your stomach," Crahan says. "It was said to me very early in my career that rock n' roll is 23 hours of hell and one hour of God," states Crahan. "I've always thought about that. So, this film is all that and more. It's seconds in the day. It's lightning responses to actions. It's that voice inside that shouts, 'I'm on top of the world, and I want to die because I'm so isolated and alone in a world that I never even thought existed, but rock n' roll has taken me here'. Like the films of Harmony Korine, Voliminal juxtaposes seemingly unrelated ideas into a collage of disturbingly surreal reality. The result is a shocking, disorienting view of the thrill and terror of dangling on the precipice of the abyss. "It's vomit at its finest," explains Crahan. And that's a beautiful thing, in the world of Slipknot. In addition to being savage and uncompromising, Voliminal is also a creative work of art. For one scene, a camera was fixed to drummer Joey Jordison's kit. When the drum riser rotates and flips upside-down, viewers experience every vertigo-inducing moment. Says Crahan, "I wanted you to be right there." Since Voliminal was shot on handheld cameras, the audio is sometimes crackly and distorted, but that just adds to the cinema verité feel of the production. Take to the scene of bassist Paul Gray, which was shot at the front of the stage in a space so noisy, the band's playing sounds like mortar rounds detonating on a battlefield. "That's what I want you to hear because that's what he's going through," Crahan says. Ultimately, Voliminal will put the viewer and the fan at one with Slipknot. Buried within the septic folds of the first Voliminal: Inside The Nine disc, are nine "rabbit holes" that viewers can access with their DVD remotes. Each "hole" will feature a short starring each member of the band. The second disc of Voliminal: Inside The Nine features exclusive, in-depth interviews with each of the band members. The discussions cover 10 years of band history in unflinching candor. "The band is 10 years old and I felt that we needed to talk for real," Crahan says. "We're going into our places of choice, individually, and you're being invited all the way in. Hopefully you'll be able to stomach what is real." In addition to personal band interviews, the second DVD will include bonus live footage taken from festivals and television performances from around the world and the music videos from Vol. 3: (The Subliminal Verses) - "Duality," "Vermilion," "Before I Forget," "The Nameless" and the controversial "Vermilion 2," which was never officially released. Fans will also get an up-close view of the "death masks" Slipknot use in concert. Voliminal: Inside The Nine, in addition to vividly capturing the last three years of Slipknot, reminds viewers that the band has only scratched the surface of what it will accomplish during its career. "I'm not worried about going anywhere because we're only getting better," Crahan explains. "We constantly remind all of you that we don't push the envelope because we are the envelope."

All Hope Is Gone

 

Edit All Hope Is Gone section
"Slipknot -- which features DJ Sid Wilson (0), drummer Joey Jordison (1), Gray (2), percussionist Chris Fehn (3) Root (4), sampler Craig Jones - 133 (5), percussionist M. Shawn Crahan - Clown (6), guitarist Mick Thomson (7) and Taylor (8), -- is still heavy, still enamored of great, big walls of deeply textured layers of sound. But this time, they've approached their music with an eye towards stylistic expression that completely invalidates any and all comments about heavy metal clichés. Moreover, they've continued the exploration of melody that began on their first record. 

Songs like "Sulfur" and "Psychosocial" deliver crushing verses and bridges, but then explode into soaring choruses that provide a powerful showcase for Taylor's voice. The song "Vendetta" features a sleazy, rough-and-tumble kind of swagger, but still delivers Slipknot's trademark balls-out fury. And "All Hope Is Gone" just spews raw anger, aggression, hate and foulness that serves as a reminder to anyone still stupid enough to harbor doubts that Slipknot are experts at delivering pure, heavy-metal punishment. 

"It's our fourth album, and we wanted to do something different," says Gray. "You can't put out the same record over and over again. At the same time, you can definitely still tell that this is Slipknot." 

"I'm looking forward to the expressions on people's faces when they hear the new record," says Taylor. "There's very, very heavy stuff on this album, and it's gonna blow people's minds. But I'm also excited for them to see the stuff that's different on this album, the more experimental music. No one's going to expect it." 

Much of the album's diversity comes from the band's new approach to writing and recording. Over the years, most of the members have worked on various side projects, none of which sound remotely like Slipknot. It's no surprise to find out that these efforts influenced the writing process. Perhaps even more importantly, All Hope Is Gone was the first album on which contributions came from nearly all the band members, with each person bringing his own unique voice to the mix. The band co-produced the album with Dave Fortman. 

"I think everyone just went in with an open mind. We would always listen to everyone's ideas, and if they worked, they worked, if they didn't, they didn't," explains Gray. "This time, we really tried to build off the ideas, really tried to work on them. I think it helped that so many of us were able to spend time doing our own thing, too. Just writing with different people really makes a difference in how you think about music. When we finally came together, we were able to bring that to the mix." 

Slipknot also made the executive decision to abandon Los Angeles, where they had recorded previous records. Instead, they came back home and set up camp in Iowa. The differences were immediately apparent. 

“It gave us more time and energy to experiment in the studio. I was able to come up with more guitar sounds than ever,” says Root. 

While the heart of Slipknot remains its music, its soul is planted firmly on stage. Today, Slipknot are playing in sold-out arenas, but the band developed their talents by slogging it out in the Midwest, playing any show they could find. These were frequently one-off shows; the band would travel from their hometown of Des Moines to places like Omaha and Chicago. "There were never any actual tours in those days," says Thomson. "Our shows were like sporting events: We’d put everything into them and then afterwards, we'd be fucking exhausted. We weren't going to pile into a van -- all nine of us -- and then drive all night to the next show. We'd have fallen asleep at the wheel and died." 

"Those early shows were rough, but I loved the small stage," says Gray. "There was something intimate about it. It was like an old-school punk show, which is what I grew up with." 

"I don't miss that shit at all," disagrees Thomson. "It was 8,000 degrees, you're bumping into people, you're tripping over equipment. Those small stages have low ceilings, so the heat's trapped real low -- right at your head. Those shows are about survival, not about playing."

As difficult as those early shows were for the band, they were just as challenging for whoever might be standing in the front row. 

"Shawn used to bring chop saws on stage to grind pipes for sparks," remembers Thomson. "Once, a chunk broke off and sent a kid to the hospital. But people who got hurt at our shows were cool about it -- we'd follow them to the hospital and sign some shirts and shit. It was like, you know, no harm, no foul."
"Everyone tried to control us, though," says Taylor. 
"Yeah, those fuckers," says Thomson. "We'd be on tour and fire marshals would show up with camcorders and accuse us of all kinds of crazy bullshit. They'd say, 'We heard you set yourselves on fire.'
"Well… okay, we'd done that!" Thomson continues, laughing. "Sid and Clown would spray each other with lighter fluid and then they'd pull out lighters. That got us in trouble. One promoter would call the next -- they'd warn each other and they'd hit us with 'do not' lists. We were castrated." 

Surviving for 10 years is an accomplishment for any band. With Slipknot, it feels like some sort of miracle. Personalities frequently collide, side-projects abound, and on-stage fights are common. And yet, year after year, album after album, all nine men keep coming back for more. "We're banded together in hate," says Jordison. "Sometimes we hate each other, sometimes we hate the world, sometimes we just hate our own lives. But when we get together, something monstrous happens and we pull this amazing sound out of all that energy. 

"Plus," he adds, "we believe in world domination, and this is the band that's gonna get us there."
"You know, we went from being some local band in a basement to selling millions of records," says Gray. "It's going to be a decade since the first album came out. I'm so happy and amazed and proud and thankful for where this band has gone. I've gotten to see the world -- and I get paid for it! I'd have done it for free."
Chris Fehn agrees. "I think the best part about being in this band has been getting exposure to the rest of the world. You realize that everything in the world is the same -- people feel the same, they have the same desires, hopes, fears. Being worldly is a gift that I don't ever want to give back. It changes your life -- especially when you're from a small town in Iowa." 

"I always knew we'd go far. I just knew it," says Taylor. "There was no way this band was going to fail. But I never knew we'd reach the heights we've come to. We've traveled the world so many times; all the different countries are like our second homes. To this day, it still blows me away that we took this crazy idea and made it a global sensation." 

source:http://slipknot.wikia.com/wiki/Slipknot_%28band%29

Rabu, 29 Juni 2011

Red Hot Chili Peppers Biography


Formed in the wake of the L.A. punk scene, the Red Hot Chili Peppers combined funk and punk with macho, sexed-up lyrics. (One early track was called "Party on Your Pussy"). The result was a high-octane sound that made the quintet alt-rock favorites in the Eighties, then superstars in the Nineties. But as the Chili Peppers aged, their songs became more laid-back and lyrical, and the band went from flesh-baring firecrackers (a 1992 Rolling Stone cover featured them naked) to respected veterans. 

After meeting at L.A.'s Fairfax High School, singer Anthony Kiedis, bassist Flea, guitarist Hillel Slovak, and drummer Jack Irons formed Tony Flow and the Miraculously Majestic Masters of Mayhem before changing their name to the Red Hot Chili Peppers. They became a popular attraction up and down the L.A. strip, though the early lineup was short-lived as Irons and the Israeli-born Slovak departed to form What Is This? Kiedis and Flea recruited guitarist Jack Sherman and drummer Cliff Martinez prior to releasing their eponymous debut in 1984. The album stiffed; Slovak returned, and the band took to the road, sometimes appearing onstage wearing only strategically placed tube socks. 



The funk-heavy Freaky Styley (1985), the last album featuring Martinez on drums, was produced by P-Funk's George Clinton and featured appearances by funk horn players Maceo Parker and Fred Wesley. The record went largely unnoticed at the time. Irons returned to the band in time for the more rock-oriented The Uplift Mofo Party Plan (Number 148, 1987), which sold better than its predecessor. Any optimism was shattered by the 1988 death of Slovak from a heroin overdose. Disturbed by Slovak's death and Kiedis' own heroin problem, Irons quit the band a second time. An interim band with P-Funk guitarist Blackbyrd McKnight and Dead Kennedys drummer D.H. Peligro did not take hold. Kiedis recruited a Chili Peppers fan, guitarist John Frusciante, and auditions brought drummer Chad Smith. This version of the band recorded Mother's Milk (Number 52, 1989). With videos for "Knock Me Down" and a cover of Stevie Wonder's "Higher Ground" on MTV, it looked like the Peppers were about to break through. 

The band's lifestyle came under some attack, though, with Kiedis convicted in 1989 of indecent exposure and sexual battery in an incident following a concert in Virginia. The next year during a taping of an MTV Spring Break special in Florida, Flea and Smith jumped offstage, with Flea grabbing a woman and carrying her on his shoulders, and Smith spanking her. The two were charged, and Flea was found guilty of battery, disorderly conduct, and solicitation to commit an unnatural and lascivious act. Smith was found guilty of battery.
The Chili Peppers scored their first major hit in 1991 with BloodSugarSexMagik (Number 3), which featured the single "Under the Bridge" (Number Two) and "Give It Away" (Number 73). Produced by Rick Rubin, the record was written and recorded in a mansion the band claimed was haunted. It sold more than 4 million copies, leading to their headlining Lollapalooza in 1992. Just prior to the tour, John Frusciante left the band and was replaced by Arik Marshall. Marshall lasted only a year and, after many auditions and one false start with Jesse Tobias, was replaced by former Jane's Addiction guitarist Dave Navarro. The 1995 release One Hot Minute (Number Four) went platinum but failed to generate the unparalleled excitement of BloodSugarSexMagik, precipitating a fallow phase in the band's career. Flea joined Navarro for a 1997 reunion tour of Jane's Addiction, and Navarro and Kiedis slipped back into old drug habits. Navarro quit the group in 1998 to pursue solo ambitions, casting the future of the band in doubt. 



Instead of breaking up, however, the Chili Peppers invited Frusciante to return, the guitarist having recovered from a severe drug addiction. The subsequent album, Californication (Number Three, 1999), was a commercial and critical triumph. The Chili Peppers were back on top with hit singles "Scar Tissue" (Number Nine) and "Otherside" (Number 14) and a major tour that included a fateful show at Woodstock '99, where the group had the dubious distinction of performing as a fiery melee erupted. 

By The Way (Number Two) was released in 2002 and found Frusciante digging into the complexities of multi-tonal, layered guitar tracking. In 2006, the ambitious double album Stadium Arcadium (Number One) was the first Chili Peppers' record to top the charts and earned the band Grammys for Best Rock Album, Best Rock Song ("Dani California," Number Six), Best Rock Performance By a Duo Or Group With Vocal and Best Producer (Rick Rubin). 

But for the occasional live appearance, the Chili Peppers spent the next two years on hiatus as Frusciante — with the occasional help from Flea — and Smith embarked on solo careers. Frusciante announced in late 2009 that he was leaving the band a second time to focus on other projects. The Chili Peppers' follow-up to Stadium Arcadium is set for release in late 2010. 

Portions of this biography appeared in The Rolling Stone Encyclopedia of Rock & Roll (Simon & Schuster, 2001). Joel Hoard contributed to this story.

 source: http://www.rollingstone.com/music/artists/red-hot-chili-peppers/biography

Axl Rose One of the most sensational vocalist


For the past decade and a half, Axl Rose has ranked among music's most sensationalized sideshow attractions. But as with his fellow Indiana-native Michael Jackson — with whom both his lyrics and lifestyle always shared a certain palpable paranoia, apparently traceable back to an intensely traumatic childhood — nobody would care about him if he hadn't once been one of the most aurally and visually exciting performer of his day.

With Guns N' Roses, Rose's whip-cracking mid-Eighties falsetto attained uncharted heights across the emotional spectrum: "Axl sings the most beautiful melodies with the most aggressive tones and the most outrageous, freakish range," Skid Row's Sebastian Bach told Rolling Stone in 2008. But he also put together a group that stood, at least briefly, as the definitive hard rock band of the past 30 years. And only a handful of lyricists before or since have ever come close to his exploration of rock's archetypal escape and destruction impulses.

Born to a 16-year-old mother and 20-year-old father in Lafeyette, Indiana in 1962, William Bruce Rose, Jr., was renamed William Bruce Bailey a couple years later, after his father left and his mother remarried. In interviews in the early Nineties, after undergoing psychotherapy, he recalled being sexually molested by his father; he said his stepfather, in turn, physically beat both him and his mother. Several times a week, the family went to a Pentecostal church, which Rose later described as being filled with other abusive adults. But he found comfort there nonetheless, teaching Sunday School and developing his wide vocal range while singing along with siblings in a group called the "Bailey Trio."

By high school, though, he was getting into trouble. Eventually, he was kicked out of his home, and he dropped out of school; when he learned about his birth father, he took back the name he was born with. At 20, after numerous arrests for public intoxication, assault, and other offenses, he followed a guitarist friend's move from Indiana to L.A. Jeff Isbell, now known as Izzy Stradlin, and Rose, now calling himself W. Axl Rose, playing the sleazy sort of glam-metal then popular on the Sunset Strip, commenced to spend time in a number of bands — most significantly L.A. Guns and Hollywood Rose, who combined forces into Guns N' Roses in early 1985. As the band built a local fanbase, its lineup continued to evolve. By the time G N' R settled on Rose (vocals), Stradlin (rhythm guitar) Slash (lead guitar), Duff McKagan (bass) and Steven Adler (drums), record labels were noticing.

An EP called Live ?!*@ Like A Suicide emerged in 1986 on the covert, quasi-indie Geffen imprint Uzi Suicide; in mid-1987, the full-length Appetite For Destruction followed on Geffen proper. It sold modestly at first, but well into 1988, the singles "Sweet Child O' Mine" and "Welcome To The Jungle" became inescapable on radio and MTV. Late that year, long after its release, Appetite topped Billboard's album chart. At over 18 million copies sold, it now stands as the most popular debut album in U.S. history, and critics regularly rank it among the greatest hard rock albums of all time.

Meanwhile, though, Guns N' Roses were developing an incorrigible reputation, as abusers of all manner of inebriating substances; concerts were sometimes cancelled at short notice, and speculation circulated that the band was about the break up. When Geffen bought time with an odds-and-sods set called Lies (Number 2, 1988) — half old Uzi Suicide tracks, half new acoustic numbers, including the hit ballad "Patience" — press attention largely focused on Axl's escape-by-Greyhound-to-L.A. epic "One In A Million," in which he expresssly insulted black people, gay people, and immigrants.

G N'R didn't manage an actual followup album until 1991 — or rather, two followups, since the bombastic matched pair Use Your Illusion I and II came out simultaneously, debuting on the album chart at an unprecedented Number Two and Number One, respectively. By then, drummer Adler's addictions had led to his dismissal, and Matt Sorum, formerly of the Cult, took his place. Also out: manager Alan Niven, reportedly at the volition of Rose though not all of his bandmates. Regardless, the Illusions coughed up multiple hits, an hung around on the charts for more than two years.

And Axl Rose stayed in the news, as well. In St. Louis, fans rioted and several went to the hospital when he grabbed a video camera from an audience member then walked off stage, cancelling the show; he was arrested on misdemeanor assault charges and for six-figure property damage. He got married to Erin Everly, who he'd written "Sweet Child O' Mine" about and whose dad was Don of the Everly Brothers, but the marriage lasted only a few weeks, eventually being annulled amid Everly's charges of domestic abuse. His next famous girlfriend, model Stephanie Seymour, showed up in the videos for two Use Your Illusion hits, but by 1993, the pair were filing lawsuits against each other.

Axl feuded with Vince Neil, Kurt Cobain, Jon Bon Jovi, his record label, and ultimately with his own bandmates — almost all of whom wound up leaving Guns N' Roses, volutarily or involutarily, as the '90s crawled on. An under-appreciated all-covers album, The Spaghetti Incident? (Number Four), had came out in 1993. But by 1997, Rose — who retained sole ownership of the Guns N' Roses name — was set on recruiting a new lineup from scratch, with himself at the center.

Not that he was talking about it -for a half decade or more, he refused to be interviewed. Rumors about Rose's eccentric hermitude and questionable mental and physical state trickled out of his Malibu villa for years. Occasionally, songs trickled out as well, and the concert set Live Era: '87 — '93 (Number 45, 1999.).
By 2001, with an album called Chinese Democracy supposedly on deck, a new lineup — among them guitarist Buckethead, plus former members of Nine Inch Nails, the Replacements, and Primus — played shows in Las Vegas and Brazil. By 2006, when G N' R played four nights in New York City then dates in Madrid and Rio, a few more members had been swapped out; that summer, Rose pled guilty to charges mainly resulting from assaulting a Swedish security guard's leg with his teeth. 

By December, he composed a letter to his fans, explaining their interminable wait for Chinese Democracy, and anticipating an early 2007 release. But the album didn't actually hit the stores — specifically, electronics chain Best Buy, which sold it exclusively — until late November 2008. The album peaked at Number Three, and its title track at 34 on the Billboard Hot 100, hardly spectacular. But 17 years after their previous collection of original material, Guns N' Roses had still managed one more platinum album.

Here some Photos and Screensaver of Axl Roses



source: http://www.rollingstone.com/music/artists/axl-rose/biography

AC/DC Biography


AC/DC 's rowdy image, giant riffs and macho lyrics about sex, drinking and damnation have helped make them one of the top hard-rock bands in history. When they first emerged from Australia in the Seventies, the primal simplicity of their songs and riffs fell on deaf ears of more prog-attuned American rock fans; in fact, they were initially marketed as a punk band. But that started to change by decade's end. And thanks in large part to duck-walking, knickers-clad guitar showman Angus Young, who became as famous for mooning audiences as for his gritty blues-based lead guitar, the group has remained one of the world's most dependable concert draws. AC/DC's albums consistently go platinum, despite never having produced a Top Twenty single in the U.S. 

The guitar-playing brothers Angus and Malcolm Young moved with their family from Scotland to Sydney in 1963. After forming the first version of AC/DC in 1973, they added bawdy growler Bon Scott a year later, followed by the boogiefied rhythm section of drummer Philip Rudd and bassist Mark Evans. Their first four albums were produced by ex-Easybeats Harry Vanda and George Young, Malcolm and Angus' older brother. The group had gained a solid reputation among raucous hordes in their homeland early on, but not until 1979, with the platinum Highway to Hell (Number 17, 1979), did they become a presence on the American charts.
In February 1980, not long after AC/DC's American breakthrough, Bon Scott died from choking on his own vomit after an all-night drinking binge. Two months later he was replaced by comparably gruff ex-Geordie vocalist Brian Johnson, and less than four months after that, Back in Black began a yearlong run on the U.S. chart, peaking at Number Four (1980). Spurred by the never-say-die title track and the hard-swinging double-entendre "You Shook Me All Night Long," both of which ultimately proved standard source material for acts ranging from country to hip-hip, the album has sold more than 22 million copies to date, making it the fifth best-selling album in U.S. history. 


Dirty Deeds Done Dirt Cheap, a 1981 reissue of a 1976 Australian LP, went to Number Three in the U.S., followed by For Those About to Rock, We Salute You, the group's first U.S. Number One LP, in late 1981. The less spectacular showings of the gold albums Flick of the Switch (Number 15, 1983) and Fly on the Wall (Number 32, 1985) gave way to the multiplatinum Who Made Who (the soundtrack to Maximum Overdrive) and The Razors Edge (Number Two, 1990). The latter contains the group's closest thing to a hit chart single, "Moneytalks" (Number 23, 1991). (The ubiquity of a number of AC/DC songs, especially those from Back in Black, is merely history catching up; this may well be rock's ultimate long-tail band.)
In January 1991, three fans were crushed to death at an AC/DC show in Salt Lake City, Utah. In late 1992, the group paid the families of the three deceased teenagers an undisclosed sum, following an out-of-court settlement. Other parties to the settlement included the convention center, the concert's promoter and the company in charge of security. 

AC/DC laid low until 1995, when the Rick Rubin-produced Ballbreaker (which also marked the return of drummer Phil Rudd) entered the charts at Number Four. The bulk of the five-CD box set Bonfire, released in 1997, was made up of live tracks recorded in 1977 and 1979, as well as of a remastered version of Back in Black. It marked the first time AC/DC had released material featuring Bon Scott since the singer's death.
With older brother George Young back on board as producer, Stiff Upper Lip (Number Seven, 2000) confirmed AC/DC's status as one of the most enduringly popular hard-rock bands on the planet. Wisely sticking to its time-tested formula of no-frills riffing, the band followed the record's release with extensive touring, during which Angus Young wore, as always, a schoolboy uniform. (That outfit has become such a part of rock legend that it was included in Rock Style, an exhibit at New York's Metropolitan Museum of Art, which opened in 1999.) 


In 2008, AC/DC returned with Black Ice, on which their signature stomp was stubbornly unaltered. It was their first album since 1981 to hit Number One in the United States; it debuted at the top of the charts in 28 other counties as well. In its first week in the U.S., sold exclusively through Wal-Mart, it moved 784,000 units. It was followed in late 2009 by the retrospective box set Backtracks, the deluxe edition of which comprised three CDs, two DVDs, and one LP of studio and live rarities. That year, the Recording Industry Association of America declared AC/DC the ninth-best selling artist in the U.S. ever. Boxscores, meanwhile, ranked the band's 2009 live tour behind only U2, Madonna, and Bruce Spingsteen in terms of gross and attendance. More than three and a half decades into the band's career, AC/DC showed no sign of letting up.
Portions of this biography appeared in The Rolling Stone Encyclopedia of Rock & Roll (Simon & Schuster, 2001). Chuck Eddy contributed to this article.

source: http://www.rollingstone.com/music/artists/ac-dc/biography

Nirvana Biography


Prior to Nirvana, alternative music was consigned to specialty sections of record stores, and major labels considered it to be, at the very most, a tax write-off. After the band's second album, 1991's Nevermind, nothing was ever quite the same, for better and for worse. Nirvana popularized punk, post-punk, and indie rock, unintentionally bringing it into the American mainstream like no other band to date. While their sound was equal parts Black Sabbath (as learned by fellow Washington underground rockers the Melvins) and Cheap Trick, Nirvana's aesthetics were strictly indie rock. They covered Vaselines songs, they revived new wave cuts by Devo, and leader Kurt Cobain relentlessly pushed his favorite bands -- whether it was the art punk of the Raincoats or the country-fried hardcore of the Meat Puppets -- as if his favorite records were always more important than his own music. While Nirvana's ideology was indie rock and their melodies were pop, the sonic rush of their records and live shows merged the post-industrial white noise with heavy metal grind. And that's what made the group an unprecedented multi-platinum sensation. Jane's Addiction and Soundgarden may have proven to the vast American heavy metal audience that alternative could rock, and the Pixies may have merged pop sensibilities with indie rock white noise, but Nirvana pulled at all together, creating a sound that was both fiery and melodic. Since Nirvana was rooted in the indie aesthetic but loved pop music, they fought their stardom while courting it, becoming some of the most notorious anti-rock stars in history. The result was a conscious attempt to shed their audience with the abrasive In Utero, which only partially fulfilled the band's goal. But by that point, the fate of the band and Kurt Cobain had been sealed. Suffering from drug addiction and manic depression, Cobain had become destructive and suicidal, though his management and label were able to hide the extent of his problems from the public until April 8, 1994, when he was found dead of a self-inflicted shotgun wound. Cobain may not have been able to weather Nirvana's success, but the band's legacy stands as one of the most influential in rock & roll history.

Kurt Cobain (vocals, guitar) met Chris Novoselic (born Krist Novoselic) (bass) in 1985 in Aberdeen, WA, a small logging town 100 miles away from Seattle. While Novoselic came from a relatively stable background, Cobain's childhood had been thrown into turmoil when his parents divorced when he was eight. Following the divorce, he lived at the homes of various relatives, developing a love for the Beatles and then heavy metal in the process. Eventually, American hardcore punk worked its way into dominating his listening habits and he met the Melvins, an Olympia-based underground heavy punk band. Cobain began playing in punk bands like Fecal Matter, often with the Melvins' bassist Dale Crover. Through the Melvins' leader Buzz Osborne, Cobain met Novoselic, who also had an intense interest in punk, which meant that he, like Cobain, felt alienated from the macho, redneck population of Aberdeen. The duo decided to form a band called the Stiff Woodies, with Cobain on drums, Novoselic on bass, and a rotating cast of guitarists and vocalists. The group went through name changes as quickly as guitarists, before deciding that Cobain would play guitar and sing. Renamed Skid Row, the new trio featured drummer Aaron Burkhart, who left the band by the end of 1986 and was replaced by Chad Channing. By 1987, the band was called Nirvana.

Nirvana began playing parties in Olympia, gaining a cult following. During 1987, the band made ten demos with producer Jack Endino, who played the recordings to Jonathan Poneman, one of the founders of the Seattle-based indie label Sub Pop. Poneman signed Nirvana, and in December of 1988, the band released their first single, a cover of Shocking Blue's "Love Buzz." Sub Pop orchestrated an effective marketing scheme, which painted the band as backwoods, logging-town hicks, which irritated Cobain and Novoselic. While "Love Buzz" was fairly well-received, the band's debut album, Bleach, was what began the ball rolling. Recorded for just over 600 dollars and released in the spring of 1989, Bleach slowly became a hit on college radio, due to the group's consistent touring. Though Jason Everman was credited as a second guitarist on the sleeve of Bleach, he didn't appear on the record; he only toured in support of the album before leaving the band at the end of the year to join Soundgarden and then Mindfunk. Bleach sold 35,000 copies and Nirvana became favorites of college radio, the British weekly music press, and Sonic Youth, Mudhoney, and Dinosaur Jr., which was enough to attract the attention of major labels.

During the summer, Nirvana released "Sliver"/"Dive," which was recorded with Mudhoney's Dan Peters on drums and produced by Butch Vig. The band also made a six-song demo with Vig, which was shopped to major labels, who soon began competing to sign the group. By the end of the summer, Dave Grohl, formerly of the D.C.-based hardcore band Scream, had become Nirvana's drummer and the band signed with DGC for 287,000. Nirvana recorded their second album with Vig, completing the record in the summer. Following a European tour supporting Sonic Youth in the late summer, Nevermind was released in September, supported by a quick American tour. While DGC was expecting a moderately successful release, in the neighborhood of 100,000 copies, Nevermind immediately became a smash hit, quickly selling out its initial shipment of 50,000 copies and creating a shortage across America. What helped the record become a success was "Smells Like Teen Spirit," a blistering four-chord rocker that was accompanied by a video that shot into heavy MTV rotation. By the beginning of 1992, "Smells Like Teen Spirit" had climbed into the American Top Ten and Nevermind bumped Michael Jackson's much-touted comeback album Dangerous off the top of the album charts; it reached the British Top Ten shortly afterward. By February, the album had been certified triple platinum.

Nirvana's success took the music industry by surprise, Nirvana included. It soon become apparent that the band wasn't quite sure how to handle their success. Around the time of Nevermind's release, the band was into baiting their audience -- Cobain appeared on MTV's Headbanger's Ball in drag, the group mocked the tradition of miming on the BBC's Top of the Pops by Novoselic constantly throwing his bass into the air and Cobain singing his live vocals in the style of Ian Curtis, and their traditional live destruction of instruments was immortalized on a Saturday Night Live performance that ended with Novoselic and Grohl sharing a kiss -- but by the spring, questions had begun to arise about the band's stability. Cobain married Courtney Love, the leader of the indie rock/foxcore band Hole, in February of 1992, announcing that the couple was expecting a child in the fall. Shortly after the marriage, rumors that the couple were heavy heroin users began to circulate and the strength of the rumors only increased when Nirvana canceled several summer concerts and refused to mount a full-scale American tour during the summer. Cobain complained that he was suffering from chronic stomach troubles, which seemed to be confirmed when he was admitted to a Belfast hospital after a June concert. But, heroin rumors continued to surface, especially in the form of a late-summer Vanity Fair article which implied that Love was using during her pregnancy. Both Love and Cobain denied the article's allegations, and publicly harassed and threatened the article's author. Love delivered Frances Bean Cobain, a healthy baby girl, on August 18, 1992, but the couple soon battled with Los Angeles' children's services, who claimed they were unfit parents on the basis of the Vanity Fair article. The couple was granted custody of their child by the beginning of 1993.

Since Cobain was going through such well-documented personal problems, Nirvana was unable to record a follow-up to Nevermind until the spring of 1993. In the meantime, DGC released the odds-and-ends compilation Incesticide late in 1992; the album reached number 39 in the U.S. and number 14 U.K. As the group prepared to make their third album, they released "Oh, the Guilt" as a split-single with the Jesus Lizard on Touch & Go Records. Choosing Steve Albini (Pixies, the Breeders, Big Black, the Jesus Lizard) as their producer, Nirvana recorded their third album, In Utero, in two weeks during the spring of 1993. Following its completion, controversy began to surround Nirvana again. Cobain suffered a heroin overdose on May 2, but the event was hidden from the press. The following month, Love called police to their Seattle home after Cobain locked himself in the bathroom, threatening suicide. Prior to debuting In Utero material during the New Music Seminar at New York's Roseland Ballroom in July, Cobain had another covered-up overdose. By that time, reports began to circulate, including an article in Newsweek, that DGC was unhappy with the forthcoming album, accusing that the band deliberately made an uncommercial record. Both the band and the label denied such allegations. Deciding that Albini's production was too flat, Nirvana decided to remaster the album with R.E.M.'s producer, Scott Litt.

In Utero was released in September of 1993 to positive reviews and strong initial sales, debuting at the top of the U.S. and U.K. charts. Nirvana supported it with a fall American tour, hiring former Germs member Pat Smear as an auxiliary guitarist. While the album and the tour were both successful, sales weren't quite as strong as expected, with several shows not selling out until the week of the concert. As a result, the group agreed to play MTV's acoustic Unplugged show at the end of the year, and sales of In Utero picked up after its December airing. After wrapping up the U.S. tour on January 8, 1994, with a show at Center Arena in Seattle, Nirvana embarked on a European tour in February. Following a concert in Munich on February 29, Cobain stayed in Rome to vacation with Love. On March 4, she awakened to find that Cobain had attempted suicide by overdosing on the tranquilizer Rohypnol and drinking champagne. While the attempt was initially reported as an accidental overdose, it was known within the Nirvana camp that the vocalist had left behind a suicide note.

Cobain returned to Seattle within a week of his hospitalization and his mental illness began to grow. On March 18, the police had to again talk the singer out of suicide after he locked himself in a room threatening to kill himself. Love and Nirvana's management organized an intervention program that resulted in Cobain's admission to the Exodus Recovery Center in L.A. on March 30, but he escaped from the clinic on April 1, returning to Seattle. His mother filed a missing persons report on April 4. The following day, Cobain shot himself in the head at his Seattle home. His body wasn't discovered until April 8, when an electrician contracted to install an alarm system at the Cobain house stumbled upon the body. After his death, Kurt Cobain was quickly anointed as a spokesman for Generation X, as well as a symbol of its tortured angst.

Novoselic and Grohl planned to release a double-disc live album at the end of 1994, but sorting through the tapes proved to be too painful, so MTV Unplugged in New York appeared in its place. The album debuted at the top of the British and American charts, as a home video comprised of live performances and interviews from the band's Nevermind-era, titled Live! Tonight! Sold Out!, was issued at the same time (the project began prior to Cobain's passing and was completed by surviving bandmembers).

In 1996, its electric counterpart, From the Muddy Banks of the Wishkah, was released, debuting at the top of the U.S. charts. Following Cobain's death, Grohl formed the Foo Fighters (early rumors that Novoselic would also be a member of the band ultimately proved to be false) -- releasing their self-titled debut album in 1995, followed by The Colour and the Shape in 1997 and There Is Nothing Left to Lose in 1999. Novoselic formed the trio Sweet 75, releasing their debut in the spring of 1997, and also appeared along with former Dead Kennedys' frontman Jello Biafra and former Soundgarden guitarist Kim Thayil on the 2000 live set Live From the Battle in Seattle under the name the No W.T.O. Combo.
By the late '90s, research began by Novoselic for a proposed box set of previously unreleased songs from throughout Nirvana's career. The project was supposed to surface in the fall of 2001 (to coincide with the tenth anniversary release of Nevermind), but legal problems began to surface. In 1997, Grohl and Novoselic formed the Nirvana L.L.C. partnership with Courtney Love (who manages Cobain's estate) -- a company that required a unanimous vote by all three regarding future albums, photos, and anything else Nirvana-related. When all three couldn't agree on the songs to be included on the box set, the matter was taken to court as Love attempted to dissolve the partnership. The project was ultimately shelved indefinitely as any legal decision was tied up in court. Stephen Thomas Erlewine & Greg Prato, Rovi
 
source: http://www.starpulse.com/Music/Nirvana/Biography/

Kurt Cobain Biography

Kurt Donald Cobain was the leader of Nirvana, the multi-platinum grunge band that redefined the sound of the nineties.

Cobain was born on the 20th of February 1967 in Hoquaim, a small town 140 kilometres south-west of Seattle. His mother was a cocktail waitress and his father was an auto mechanic. Cobain soon moved to nearby Aberdeen, a depressed and dying logging town.

Cobain was for most his childhood a sickly bronchitic child. Matters were made worse when Cobain's parent's divorced when he was seven and by his own account Cobain said he never felt loved or secure again. He became increasingly difficult, anti-social and withdrawn after his parent's divorce. Cobain also said that his parent's traumatic split fueled a lot of the anguish in Nirvana's music.
After his parent's divorce Cobain found himself shuttled back and forth between various relatives and at one stage homeless living under a bridge.

When Cobain was eleven he heard and was captivated by the Britain's Sex Pistols and after their self-destruction Cobain and friend Krist Novoselic continued to listen to the wave of British bands including Joy Division the nihilistic post-punk band that some say Nirvana are directly descended from in form of mood, melody and lyrical quality.

Cobain's artistry and iconoclastic attitude didn't win many friends in high school and sometimes earned him beatings from "jocks" Cobain got even by spray painting "QUEER" on their pick-up trucks. By 1985 Aberdeen was dead and Cobain's next stop was Olympia. Cobain formed and reformed a series of bands before Nirvana came to be in 1986. Nirvana was an uneasy alliance between Cobain, bassist Krist Novoselic and eventually drummer and multi-instrumentalist Dave Grohl

By 1988 Nirvana were doing shows and had demo tapes going around. In 1989 Nirvana recorded their rough-edged first album Bleach for local Seattle independent label Sub-Pop

In Britain Nirvana received a lot of recognition and in 1991 their contract was bought out by Geffen, they signed to the mega-label, the first non-mainstream band to do so. Two and a half years after Nirvana's first C.D. Bleach was released they released Nevermind, series of different, crunching, screaming songs that along with it's first single Smells Like Teen Spirit would propel Nirvana to mainstream stardom.

Smells Like Teen Spirit became Nirvana's most highly acclaimed and instantly recognizable song. Not many people can decipher it's exact lyrics but Cobain used a seductive hookline to hook the listener. Nevermind went on to sell ten million copies and make a reported $550 million (US) leaving Nirvana overnight millionaires. Cobain was shocked at the reception of his highly personal and passionate music repeatedly telling reporters that none of the band ever, ever expected anything like this. It quickly became obvious that the obsessively sickly and sensitive 24yr old was not going to cope well with the rock'n roll lifestyle. "If there was a rock star 101 course, I'd really have like to take it," Cobain once observed. Cobain fell into heroin in the early 90's, he said he used it as a shield against the rigorous demands of touring and to stop the pain of stomach ulcers or an irritated bowel. Through the touring and pressure Cobain continued to write his very personal acutely focused lyrics.

Cobain was distressed to find out that what he wrote and how it was interpreted could quite often be miles apart. He was appalled when he found out that Polly a heavily ironic anti-rape song had been used as background music in a real gang-rape. He later appealed to fans on the Incesticide liner notes "If any of you don't like gays or women or blacks, please leave us the fuck alone." It was to no avail, Cobain found that as an overnight millionaire musician control was something he had very little of. Cobain also worried that his band had sold-out, that it was attracting the wrong kind of fans (i.e the type that used to beat him up.)

In February 1992 Cobain skipped off to Hawaii to marry the already pregnant Courtney Love. Later in the year Nirvana released Incesticide and in August Cobain had hospital treatment for heroin abuse. Shortly after Frances Bean Cobain was born. In early 1993 In Utero was released into the top spot on the music charts. In Utero was widely acclaimed by the music press and it contains some of Cobain's most passionate work. In Utero was a lot more open than Nirvana's previous albums. Songs like All Apologies and Heart Shaped Box detailed aspects of Cobain's sometimes shaky marriage, other songs like Scentless Apprentice detailed the agonies and struggles of Cobain's experiences.

Nirvana embarked on a support tour and recorded and filmed an "unplugged" (acoustic) performance for MTV in November of 1993. Nirvana's choice to honour bands and people that had influenced them and Cobain's passionate and intense vocals especially on "Where Did You Sleep Last Night?"silenced many of their who had labeled Cobain talentless. Rumors circulated that the MTV Unplugged compilation would be Nirvana's last album and the band were splitting up.

Cobain was a gun fanatic and always had several in his possession or in various forms of confiscation. In the northern winter of 1993-94 Nirvana embarked on an extensive European tour. Twenty concerts into the tour Cobain developed throat problems and their schedule was interrupted while he recovered. While recovering Cobain flew to Rome to join his wife who was also preparing to tour with her own band.

On March the 4th Cobain was rushed to hospital in a coma after an unsuccessful suicide bid in which he washed down about fifty prescription painkillers with champagne. The suicide bid was officially called an accident and was not even made known to close friends and associates. Several days later he returned to Seattle. Cobain's wife, friends and managers convinced Cobain, who was still in deep distress to enter a detox program in L.A. According to a missing person's report filed by his mother Cobain fled after only a few days of the program.

Cobain was cited in the Seattle area with a shotgun. Days later on the 5th of April he barricaded himself into the granny flat behind his mansion, put a shotgun in his mouth and pulled the trigger. On Thursday April the 7th ~ two days after a medical examiner says Cobain shot himself and the day before his body was found police say Courtney Love herself was taken to hospital in L.A. for a drug overdose. Released on bail, Love checked herself into a rehab center but left soon after a friend called her the next day with news of Cobain's death.

Cobain's body was found when an electrician visiting the house to install a security system went round the back of the house when no one answered the front door and peered through windows. He thought he saw a mannequin sprawled on the floor until he noticed a splotch of blood by Cobain's ear. When police broke down the door they found Cobain dead on the floor, a shotgun still pointed at his chin and on a nearby counter a suicide note written in red ink addressed to Love and the couples then 19 month old daughter Frances Bean.

The suicide note ended with the words "I love you, I love you." Two days after Kurt Cobain's body was found about 5,000 people gathered in Seattle for a candlelight vigil. the distraught crowd filled the air with profane chants, burnt their flannel shirts and fought with police. They also listened to a tape made by Cobain's wife in which she read from his suicide note. Several distressed teenagers in the U.S. and Australia killed themselves. The mainstream media was lambasted for it's lack of respect and understanding of youth culture.
Biography by Mick Ronson 1996 
source: http://www.burntout.com/kurt/biography/

 
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