Grunge
NICKELBACK
Few bands did more than Nickelback to establish the force of slick, commercially minded post-grunge in the 2000s. Led by vocalist Chad Kroeger, the band initially emerged in the late '90s as Canada's answer to Creed, prizing a blend of gruff vocals and distorted (yet radio-friendly) guitars. After a handful of singles failed to gain much traction in Canada, "How You Remind Me" caught hold in 2001, eventually topping the charts in several countries while gathering four Grammy nominations and four Juno Awards. Creed imploded several years later, but Nickelback's popularity only grew as the decade progressed, effectively eclipsing those acts that had once informed the band's sound.
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Chad Kroeger honed his frontman skills by performing with cover bands in Hanna, a small Canadian town 215 kilometers northeast of Calgary. After growing tired of playing other people's songs, he borrowed money from his stepfather and relocated to Vancouver, where he recorded his first batch of original material. Mike Kroeger, Chad's bass-playing sibling, decided to join his brother's band, as did fellow Vancouver transplants Ryan Peake (a guitarist who had befriended the Kroegers in middle school) and Ryan Vikedal (a drummer from Peake's hometown of Brooks, Alberta). Nickelback officially took shape in 1996 and quickly set to work, releasing two albums -- the Hesher EP and full-length album, Curb -- before the year was up. By 1998, the bandmates were managing themselves; Chad courted radio stations, brother Mike Kroeger handled distribution, Ryan Vikedal booked shows, and Peake maintained the band's website.
January 2000 saw the arrival of The State, Nickelback's second independent release. Issued at a time in which Canadian content requirements were increased (and, accordingly, local radio stations had begun to desperately seek out homegrown product), the album fared very well on indie charts. Nickelback toured ceaselessly in support of The State, logging approximately 200 shows while playing alongside other groups of the burgeoning post-grunge genre. Nickelback's commercial appeal wasn't lost on the record industry, either, and The State's distribution rights were quickly snapped up by Roadrunner Records in the U.S. and EMI in Canada. As the band continued to tour, Chad Kroeger kept writing new songs, many of which were honed in front of live audiences.
Much of that material found its way onto Silver Side Up, which was produced by Rick Parashar (who came to prominence in the early '90s by helming Pearl Jam's Ten, Alice in Chains' Sap, and Blind Melon's self-titled debut) and recorded at Green House, the same Vancouver studio used during The State's creation. The combination of Nickelback's growing popularity and Kroeger's focused songwriting propelled Silver Side Up onto album charts across the world, spearheaded by the hit single "How You Remind Me." Kroeger capitalized on that exposure by producing another Vancouver-based band, Default, and collaborating with Saliva's Josey Scott for the Spiderman soundtrack. The Long Road then arrived in 2003, featuring an increasingly polished sound and another high-charting single, "Someday." While some listeners criticized the apparent similarities between "Someday" and "How You Remind Me," The Long Road had little trouble maintaining Nickelback's wide audience, eventually selling over five million copies worldwide.
In February 2005, Nickelback announced the departure of Ryan Vikedal. He was soon replaced by 3 Doors Down's former drummer, Daniel Adair, and Nickelback returned to Kroeger's studio in Vancouver to begin work on another album. ZZ Top's Billy Gibbons and Pantera's Dimebag Darrell (who unfortunately died before the album's release) were guests on the chart-topping All the Right Reasons, which arrived in October 2005. The album proved to be Nickelback's most popular effort to date, remaining in the Billboard Top 30 for over two years and selling over 7 million copies in the U.S. alone. It also spawned five Top 20 singles, a feat that attracted the attention of veteran producer (and demonstrated hit-maker) Mutt Lange. Nickelback traveled to Lange's home in Switzerland to share songwriting ideas; impressed with the results, they also enlisted him to helm their next album. Recorded in a converted Vancouver barn, Dark Horse marked the band's sixth studio album upon its release in November 2008. ~ All Music Guide
For the Record
Members include Chad Kroeger, vocals, guitar; Mike Kroeger, bass; Ryan Peake, guitar; Ryan Vikedal. drums.
Group formed in Vancouver, Canada, early 1990s; released debut EP Hesher on independent label, 1995; followed with full-length independent CD Curb, 1995; released second full-length independent CD, The State, 1999; signed with EMI Music Canada and with the U.S. label Roadrunner Records, 1999; rereleased The State under Roadrunner label, 2000; released Silver Side Up, 2001.
Addresses: Record company Roadrunner Records, 902 Broadway, 8th Floor, New York, NY 10010.
Website: http://www.nickelback.com.
Albums: (all albums produced by Roadrunner)
Curb, 1996.
The State, 1998.
Silver Side Up, 2001.
The Long Road , 2003.
All the Right Reasons, 2005.
Dark Horse, 2008.
Here and Now, 2011.
Source: Andrew Leahey; Wendy Kagan
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THE PIXIES
Combining jagged, roaring guitars and stop-start dynamics with melodic pop hooks, intertwining male-female harmonies and evocative, cryptic lyrics, The Pixies were one of the most influential American alternative rock bands of the late '80s. The Pixies weren't accomplished musicians. Black Francis wailed and bashed out chords while Joey Santiago's lead guitar squealed out spirals of noise. But the bandmembers were inventive, rabid rock fans who turned conventions inside out, melding punk and indie guitar rock, classic pop, surf rock, and stadium-sized riffs with singer/guitarist Black Francis' bizarre, fragmented lyrics about space, religion, sex, mutilation, and pop culture; while the meaning of his lyrics may have been impenetrable, the music was direct and forceful.
The Pixies' busy, brief songs, extreme dynamics, and subversion of pop song structures proved one of the touchstones of '90s alternative rock. From grunge to Brit-pop, The Pixies' shadow loomed large -- it's hard to imagine Nirvana without The Pixies' signature stop-start dynamics and lurching, noisy guitar solos. While The Pixies were touted as the band to bring indie rock into the mainstream, they simply laid the groundwork for the alternative explosion of the early '90s. MTV was reluctant to play their videos, while even modern rock radio didn't put their singles into regular rotation. Furthermore, tensions between leader Black Francis and bassist/vocalist Kim Deal, who wanted to incorporate her songs into the band's repertoire, crippled the band's progress. By the time Nirvana broke the doors down for alternative rock in 1992, The Pixies were effectively broken up.
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The Pixies were formed in Boston, MA, in 1986 by harles Thompson and his roommate, Joey Santiago. Born in Massachusetts and constantly shuttling between there and California, Thompson began playing music as a teenager, before he moved to the East Coast for good during high school. Following graduation, he became an anthropology major at the University of Massachusetts. Half way through his studies at the college, he went to Puerto Rico to study Spanish, and after six months he decided to move back to the U.S. to form a band. Thompson dropped out of school and moved to Boston, managing to persuade Santiago to join him. Advertising in a music paper for a bassist who liked "Hüsker Dü and Peter, Paul & Mary," the duo recruited Kim Deal (who was billed as Mrs. John Murphey on the group's first two records), who had previously played with her twin sister Kelly in the folk-rock garage band the Breeders in her hometown of Dayton, OH. On the advice of Deal, the group recruited drummer David Lovering. Inspired by Iggy Pop, Thompson picked the stage name Black Francis and the group named itself The Pixies after Santiago randomly flipped through the dictionary.
By the fall, The Pixies had played enough gigs to land a supporting slot for fellow Boston band Throwing Muses. At the Muses concert, Gary Smith, an artist manager and producer at Boston's Fort Apache studios, heard the group and offered to record them. In March 1987, The Pixies recorded 18 songs over the course of three days. The demo, dubbed The Purple Tape, was given to key players within the Boston musical community and the international alternative scene, including Ivo Watts, the head of England's 4AD Records. Impressed with the cassette, Watts signed the band and released eight of the demo's songs as the EP Come On Pilgrim in 1987.
The Pixies convened to record their first full-length album, Surfer Rosa, with producer Steve Albini, who had pioneered the thin, abrasive indie-guitar grind with Big Black. Albini gave the band a harder-edged, abrasive guitar sound, yet the group retained its melodic hooks. Released in the spring of 1988, Surfer Rosa earned enthusiastic reviews from the British weekly music press and became a college radio hit in America; in the U.K., the album made inroads on the pop charts. By the end of the year, the buzz on The Pixies had become substantial, and the group signed to Elektra Records. At the end of 1988, the group reentered the studio, this time with British producer Gil Norton. Released in the spring of 1989, Doolittle boasted a cleaner sound and received excellent reviews, which led to greater exposure in America. "Monkey Gone to Heaven" and "Here Comes Your Man" became Top Ten modern rock hits, clearing the way for Doolittle to peak at number 98 on the U.S. charts; in the U.K., it entered the charts at number eight. Throughout their career, the Pixies were more popular in Britain and Europe than America, as evidenced by the success of the Sex and Death tour. The band became notorious for Black Francis' motionless performances, which were offset by Deal's charmingly earthy sense of humor. The tour itself became infamous for the band's in-jokes, such as playing their entire set list in alphabetical order. By the completion of their second American tour for Doolittle at the end of 1989, the group had begun to tire of each other and decided to take a hiatus during the beginning of 1990.
During the hiatus, Black Francis went on a brief solo tour and Kim Deal formed a group with Tanya Donnely from the Throwing Muses and bassist Josephine Wiggs of Perfect Disaster, naming it after her teenage band, The Breeders. The Breeders recorded the Albini-produced Pod, which appeared on 4AD in early summer 1990, shortly after The Pixies reconvened to record their third album with Gil Norton. More atmospheric than its predecessors, and relying heavily on Francis' surf rock obsession, Bossanova was released in the fall of 1990; unlike Surfer Rosa or Doolittle, it contained no songs by Deal. Bossanova was greeted with decidedly mixed reviews, but the record became a college hit, generating the modern rock hits "Velouria" and "Dig for Fire" in the U.S. In Europe, the record expanded the group's popularity, hitting number three on the U.K. album charts and paving the way for their headlining appearance at the Reading Festival. Though the supporting tours for Bossanova were successful, tension continued to grow between Kim Deal and Black Francis -- at the conclusion of their English tour, Deal announced from the stage of the Brixton Academy that the concert was "our last show."
While The Pixies did cancel their planned American tour, due to "exhaustion," the band reconvened in the spring of 1991 to record its fourth album, again with Gil Norton. Hiring former Captain Beefheart and Pere Ubu keyboardist Eric Drew Feldman as an auxiliary member, the band moved back toward loud rock, claiming to be inspired by the presence of Ozzy Osbourne in a neighboring studio. Upon its fall release, Trompe le Monde was hailed by some as a welcome return to the sound of Surfer Rosa and Doolittle, but closer inspection revealed that it relied heavily on sonic detail and featured very few vocals by Deal and none of her songs. The band embarked on another international tour, playing stadiums in Europe but theaters in America. During the spring of 1992, The Pixies opened for U2 on the opening leg of the Zoo TV tour; it would be their last trek through the United States. Upon the conclusion of the Zoo TV tour The Pixies went on hiatus, with Deal returning to The Breeders, who releasing the EP Safari later that spring. Francis began working on a solo album.
As he was preparing to release his solo debut, Francis gave an interview on BBC's Radio 5, announcing that The Pixies were disbanding. He hadn't yet informed the other members; later that day, he faxed them his statement. Inverting his stage name to Frank Black, Francis released his eponymous debut that spring to mixed reviews; over the next few years, Frank Black's audience gradually shrank to a small cult following. The Breeders released their second album, Last Splash, in the fall of 1993. The album became a surprise hit, going gold in the U.S. and spawning the hit single "Cannonball." Soon after, Deal also formed the Amps, who released their one (and only) album, Pacer, in 1995. Santiago and Lovering formed The Martinis in 1995 and appeared on the soundtrack to Empire Records. Although 4AD began issuing archival Pixies releases, including Death to the Pixies 1987-1991, Pixies at the BBC, and Complete B-Sides in the late '90s and early 2000s, those were relatively quiet years for the band's members.
After releasing the disappointing The Cult of Ray for American in 1996, Black shuffled between different labels before ending up at spinART for 1999's Pistolero, where he also released his subsequent solo albums, most of which were met with a fair-to-middling response. Deal and the rest of The Breeders, meanwhile, suffered from problems ranging from substance abuse to writer's block, and only surfaced intermittently, spending time in the studio but only having a cover of the Three Degrees' "Collage" on the soundtrack to 1999's The Mod Squad to show for their efforts until they released Title TK in 2002. David Lovering left The Martinis and became the touring drummer for Cracker, and also appeared on Tanya Donelly's Sliding and Diving, but found himself unemployed in the late '90s. Combining his studies in electronic engineering at Wentworth Institute of Technology and his years of performing experience, Lovering dubbed himself a "scientific phenomenalist," a cross between a scientist, performance artist, and magician, and warmed up the crowds at Frank Black, Breeders, Camper Van Beethoven, and Grant Lee Buffalo concerts. Santiago and his wife Linda Mallari continued The Martinis through the '90s, recording several demos and self-released albums. Santiago also began a career composing soundtracks and incidental music, beginning with the score for 2000's Crime & Punishment in Suburbia, to which Black also contributed a track.
At the time, rumors circulated that Santiago would join Black on-stage during one of his London dates on the Dog in the Sand tour; though this didn't happen, it at least sparked hopes that The Pixies would eventually reunite. These hopes seemed unfounded until 2003, when Black revealed in an interview that he had considered reuniting the band and that he, Deal, Santiago, and Lovering occasionally got together to jam. Soon after, it was confirmed that The Pixies would reunite in 2004 for U.S. tours in the spring and fall; an appearance at that year's Coachella festival; and gigs in Europe and the U.K. that summer, including performances at the T in the Park, Roskilde, Pinkpop, and V festivals. All 15 of the band's North American warm-up tour dates were recorded and released in limited editions of 1,000 copies, which were sold online and at the shows. The week after The Pixies' Coachella appearance, the long-awaited DVD retrospective Pixies and revamped best-of Wave of Mutilation: The Best of Pixies were released by 4AD.
Members include Black Francis (born Charles Michael Thomson Kitteridge IV in Long Beach, CA; also known as Frank Black) guitar, vocals; Kim Deal, bass, vocals; David Lovering, drums; Joey Santiago, guitar.
Sources: artistdirect.com; Sean Pollock and Ronnie D. Lankford, Jr.
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ALICE IN CHAINS
Discography:
We Die Young, Columbia, 1990.
In many ways, Alice in Chains was the definitive heavy metal band of the early '90s. Drawing equally from the heavy riffing of post-Van Halen metal and the gloomy strains of post-punk, the band developed a bleak, nihilistic sound that balanced grinding hard rock with subtly textured acoustic numbers. They were hard enough for metal fans, yet their dark subject matter and punky attack placed them among the front ranks of the Seattle-based grunge bands.
While this dichotomy helped the group soar to multi-platinum status with their second album, 1992's Dirt, it also divided them. Guitarist Jerry Cantrell always leaned toward the mainstream, while vocalist Layne Staley was fascinated with the seamy underground. Such tension drove the band toward stardom in their early years, but following Dirt, Alice in Chains suffered from near-crippling internal tensions that kept the band off the road for the remainder of the '90s and, consequently, the group never quite fulfilled their potential.
Staley formed the initial incarnation of the band while in high school in the mid-'80s, naming the group Alice N Chains. Staley met Cantrell in 1987 at the Seattle rehearsal warehouse the Music Bank and the two began working together, changing the group's name to Alice in Chains. Cantrell's friends Mike Starr (bass) and Sean Kinney (drums) rounded out the lineup,and the band began playing local Seattle clubs. Columbia Records signed the group in 1989 and the label quickly made the band a priority, targeting heavy metal audiences. Early in 1990, the label released the We Die Young EP as a promotional device and the song became a hit on metal radio, setting the stage for the summer release of the group's debut, Facelift. Alice in Chains supported the album by opening for Van Halen, Poison, and Iggy Pop, and it became a hit, going gold by the end of the year. As the band prepared their second album, they released the largely acoustic EP Sap in 1991 to strong reviews.
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Prior to the release of Alice in Chains' second album, Seattle became a media sensation thanks to the surprise success of Nirvana. As a result, Alice was now marketed as an alternative band, not as a metal outfit, and the group landed a song, the menacing "Would?," on the Singles soundtrack during the summer of 1992. "Would?" helped build anticipation for Dirt, the group's relentlessly bleak second album that was released in the fall of 1992 to very good reviews. Following its release, Starr left and was replaced by Mike Inez. Dirt went platinum by the end of 1992, but its gloomy lyrics launched many rumors that Staley was addicted to heroin. Alice in Chains soldiered on in the face of such criticism, performing successfully on the third Lollapalooza tour in 1993, which helped Dirt reach sales of three million.
The band released the low-key EP Jar of Flies in early 1994. It debuted at number one upon its release, becoming the first EP to top the album charts. Despite the band's continued success, they stayed off the road, which fueled speculation that Staley was mired in heroin addiction. Later that year, Staley did give a few concerts as part of the Gacy Bunch, a Seattle supergroup also featuring Pearl Jam's Mike McCready, the Screaming Trees' Barrett Martin, and John Saunders. The group subsequently renamed itself Mad Season and released Above in early 1995. Later that year, Alice in Chains re-emerged with an eponymous third album, which debuted at number one on the American charts. Again, the band chose not to tour, which launched yet another round of speculation that band was suffering from various addictions and were on the verge of disbanding. The group did give one concert -- their first in three years -- in 1996, performing for an episode of MTV Unplugged, which was released as an album that summer. Despite its success, the album did nothing to dispel doubts about the group's future and neither did Cantrell's solo album, Boggy Depot, in 1998.
Cantrell basically released Boggy Depot because he couldn't get Staley to work, but its very existence -- and the presence of Inez and Kinney on the record, not to mention Alice producer Toby Wright -- seemed to confirm that the group was on moratorium at best, defunct at worst. Staley, for his part, stayed quiet, conceding his spot on Mad Season's second album to Screaming Trees singer Mark Lanegan. In 1999, Sony put together a three-disc Alice in Chains box set, Music Bank, divided between the group's best work and assorted rarities. At the turn of the new millennium, Columbia Records issued Live, which plucked material from bootlegs, demos, and festival shows covering the years 1990, 1993, and 1996.
As if the group hadn't been repackaged as many times as possible with its limited repertoire, a ten-track best-of set, Greatest Hits, appeared in July 2001. With no sign of the group reclaiming their spot atop the alt-metal heap (and such copycat acts as Godsmack, Days of the New, Puddle of Mudd, and Creed taking the Alice in Chains formula to the top of the charts), Cantrell completed his sophomore solo effort, Degradation Trip, in 2002. But just two months before the album's release, in April 2002, the news that every Alice in Chains fan had been fearing for years had finally come to pass: Layne Staley was found dead due to a lethal overdose of cocaine and heroin. Although understandably grief-stricken, Cantrell launched his solo album's supporting tour according to schedule, opting to open shows in the summer for another Alice in Chains-influenced band, Nickelback.
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Awards: Gold record, 1991, and platinum record, 1993, for Facelift; voted best new band by Rip and Guitar for the Practicing Musician readers polls, 1991; platinum record, 1993, for Dirt; MTV Award for best video from a film, 1993, for "Would."
Addresses: Record company—Columbia Records, 2100 Colorado Ave., Santa Monica, CA 90404.
Sources: Artistdirect.com; Simon Glickman
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Pearl Jam
Pearl Jam was formed by Jeff Ament (bass) and Stone Gossard (rhythm guitar) in Seattle, Washington in the early 90s. After various line-up changes, the band Pearl Jam was formed with the addition of Mike McCready (guitar), Eddi Vedder (vocals) and Dave Krusen (drums). They signed to Epic in 1991, debuting with ‘Ten’, by which time Krusen had left the band and was later replaced by Dave Abbruzzese. The album remained in the US Top 20 a year and a half after its release, an astonishing achievement for band that aided the birth of Grunge music, even though Nirvana’s Kurt Cobain accused them of, ‘Jumping on the band wagon’.
The eagerly awaited ‘V’s’ seemed overtly concerned with re-establishing the band’s grassroots credibility. There were also numerous references to the death of Cobain. Abbruzzese left the band in 1994 and was replaced by Jack Irons. The new lineup appeared on Neil Young’s ‘Mirror Ball’ and then released the semi-acoustic, ‘No Code’. Hailed as a return to their roots, the hard rocking ‘Yield’ was not a great commercial success despite reaching number 2 on the US album chart, with the effects of the band’s long-term feud with Ticketmaster cutting into their fanbase. Irons was replaced later in the year by Matt Cameron.
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The band bounced back in the summer of 1999, reaching number 2 in the US singles chart with their cover version of Wayne Cochran’s ‘Last Kiss’. The year 2000 proved to be an extraordinary one for Pearl Jam. In addition to a new studio album, ‘Binaural’, they issued an unprecedented 25 separate double albums of live concerts from their European tour. Unfortunately, during their tour, at the Rokslide Festival in Denmark, nine fans were crushed underfoot and suffocated to death as the crowd rushed to the front. The band stopped playing and tried to calm the crowd when the musicians realized what was happening, but it was already too late. Pearl Jam was initially blamed for the accident, but was later cleared of responsibility.
Pearl Jam are currently headlining a number of tours both in Europe and in North America including, the Virgin Festival, the Outside Lands Music and Arts Festival and will be playing five shows in Europe and three in North America. In October 2009, Pearl Jam will be headlining the Austin City Limits Music Festival.
Mathew Jones
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Nirvana
Formed in Aberdeen, Washington, USA, at the end of 1987, the Nirvana that the MTV generation came to love comprised Kurt Cobain (guitar/vocals), Krist Novoselic (bass) and Dave Grohl (drums).
Having been signed by the Seattle-based Sub Pop Records, the original line-up of Nirvana completed their debut single, ‘Love Buzz’/‘Big Cheese’, of which their debut album ‘Bleach’ followed. The set confirmed Nirvana's ability to match heavy riffs with melody and they quickly attracted a cult following.
The revamped trio of Cobain, Novoselic and newly recruited Grohl secured a prestigious contract with Geffen Records, whose faith was rewarded with ‘Nevermind’, which broke the band worldwide. This was a collection of songs that transcended structural boundaries and almost single-handedly brought the ‘Grunge’ subculture overground. The MTV channel's non-stop airing of the video for the opening track, "Smells Like Teen Spirit", helped push sales of ‘Nevermind’ through the roof, and when released as a single the song reached the US and UK Top 10.
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In February 1992, the romance of Cobain and Courtney Love was sealed when the couple married, The first big story to break concerned an article in Vanity Fair magazine that alleged Love had taken heroin while pregnant. The recording of ‘In Utero’ was not without difficulties. When the record was finally released, the effect was not as immediate as ‘Nevermind’, although Cobain's song writing remained inspired on ‘Penny Royal Tea’, ‘All Apologies’ and the evocative ‘Rape Me’.
Cobain's descent into self-destruction accelerated in 1994, however, as he went into a coma during dates in Italy, before returning to Seattle to shoot himself on 5 April 1994. The man who had long protested that Nirvana were ‘merely’ a punk band had finally been destroyed by the success that overtook him and them.
A legal squabble broke out in summer 2002 between Love and Grohl/Novoselic over the ownership of Nirvana's unreleased recordings. The dispute was eventually settled, however, and in October the first new Nirvana recording to emerge since Cobain's death, ‘You Know You're Right’, made its debut in the US Hot 100. The enduring appeal of Nirvana was confirmed with the following month's publication of Cobain's private diaries, and the commercial success of the same year's compilation album. In 2004, Geffen released a box set comprising three CDs of unreleased material and a DVD of live performances and rehearsals.
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