Presidents of the United States of America were one of the most unlikely success stories of the post-grunge alternative rock scene in Seattle. Where the rest of their Seattle brethren traded in heavy guitars and heavy angst, the Presidents rejected torment for humor, writing short, simple, and absurd punk songs that relied more on goofy attitude than sludgy riffs and tormented screams. It was a formula that worked, as the group's self-titled debut album became a double-platinum record much to the surprise of many critics, music industry insiders, and the band itself.
Childhood friends Chris Ballew (lead vocals, two string basitar) and Dave Dederer (three-string guitbass, backing vocals) played in a number of groups and projects before forming the Presidents of the United States of America around 1990. The duo recorded a demo tape, which began circulating around the Seattle musical community and, in the process, earning them a cult following. Drummer Jason Finn, a member of Love Battery, saw the duo in 1991 and, after a few years of persuading, joined the band in 1993. Within a year after Finn joined, the Presidents became one of the most popular bands in Seattle. In the spring of 1994, they released their eponymous debut album on Pop Llama Records. The record became an independent hit and the band attracted the attention of major record labels; the group eventually signed with Columbia Records, who re-released the Presidents' debut in the spring of 1995. By this time, Finn had left Love Battery to become a full-time President.
The Presidents of the United States of America became a hit in the summer of 1995, when MTV and modern rock radio began airing "Lump" frequently. "Lump," followed by the radio hit "Kitty" in the fall and the radio/video hit "Peaches" in the spring of 1996, propelled the album to a surprise Top Ten, double-platinum status. The band quickly capitalized on their sudden success by releasing their second album, The Presidents of the United States of America: II, in November of 1996.
In December of 1997, the Presidents called it quits after Chris Ballew left the band to spend more time with his family. A farewell concert followed in February 1998 and a rarities album, Pure Frosting, was released in March. Rumors of a possible reunion and collaboration with fellow Seattle resident Sir Mix-a-Lot (under the collective name Subset) floated around in 1999, but the project never materialized. However, the band did reconvene in 2000 (without a rapper) under the officially shortened moniker the Presidents, and released their third album, Freaked Out and Small. Another long hiatus preceded the release of Love Everybody in 2004. ~ Stephen Thomas Erlewine, All Music Guide
Best-known for their ubiquitous hit "The Distance," Cake epitomized the postmodern, irony-drenched aesthetic of ‘90s geek-rock. Their sound freely mixed and matched pastiches of widely varying genres -- white-boy funk, hip-hop, country, new wave pop, jazz, college rock, and guitar rock -- with a particular delight in the clashes that resulted. Their songs were filled with lyrical non sequiturs, pop-culture references, and smirky satire, all delivered with bone-dry detachment by speak-singing frontman John McCrea. Cake's music most frequently earned comparisons to Soul Coughing and King Missile, but lacked the downtown New York artiness of those two predecessors; instead, Cake cultivated an image of average guys with no illusions or pretensions about their role as entertainers. At the same time, critics lambasted what they saw as a smugly superior attitude behind the band's habitual sarcasm. Perhaps there was something in Cake's doggedly spare, low-key presentation that amplified their ironic detachment even when they didn't intend it, but most reviewers pegged them as one-hit wonders after the success of "The Distance." Nonetheless, Cake managed a few more alternative-radio hits in the years that followed, while retaining largely the same approach. Cake was formed in Sacramento, California in 1992 by vocalist/songwriter John McCrea, who'd recently returned home after spending a few years in Los Angeles, unsuccessfully trying to break into the music business. The original lineup of Cake also featured guitarist Greg Brown, trumpeter Vince DiFiore, bassist Sean McFessel, and drummer Frank French; McFessel soon left to attend college, and was replaced by Gabe Nelson. In 1993, the band released their debut single, "Rock ‘n' Roll Lifestyle," on a local basis, and followed it with a self-produced, self-released, self-distributed album, Motorcade of Generosity. Motorcade found its way to the revived Capricorn label, which released the album nationally after Cake signed a contract with them. With the prospect of extensive national touring, both Gabe Nelson and Frank French left the band, and were replaced by bassist Victor Damiani and drummer Todd Roper. Re-released by Capricorn, "Rock ‘n' Roll Lifestyle" caught on at college radio in 1995, and was followed by two more singles, "Ruby Sees All," and "Jolene" (not the Dolly Parton song). Cake's second album, Fashion Nugget, was released in 1996 and spawned a breakout smash in the Greg Brown-penned "The Distance," which dominated alternative radio that fall, and even turned into an unlikely sporting-event anthem. Mostly on the strength of "The Distance," Fashion Nugget charted in the Top 40 and sold over a million copies. It also spun off a somewhat controversial follow-up single in a cover of Gloria Gaynor's "I Will Survive"; although the band professed its sincere admiration for the song, some critics and listeners took it as a smarmy put down, in part because of McCrea's dead pan vocals. In 1997, Greg Brown and Victor Damiani both left Cake and formed a new group, the new wave-influenced Deathray, which eventually released its debut album on Capricorn in 2000. Meanwhile, McCrea briefly considered putting Cake to rest, but brought original bassist Gabe Nelson back to replace Damiani. For Cake's next album, McCrea used a tag-team procession of guitarists -- five in all -- on different tracks; the result, Prolonging the Magic, was released in 1998. True to its sardonic title, it defied critical opinion to produce another big alternative-radio hit in "Never There," plus decently successful follow-ups in "Sheep Go to Heaven" and "Let Go." Prolonging the Magic sold nearly as well as Fashion Nugget, and was also certified platinum. For the supporting tour, one of the album's guitarists, Xan McCurdy, officially joined Cake full-time. In the spring of 2000, Cake signed a new deal with Columbia, and debuted in 2001 with their fourth overall album, Comfort Eagle, which became their highest-charting yet (at Number 13). The lead single "Short Skirt/Long Jacket" was a hit on alternative radio, and even earned some MTV airplay -- no longer an easy task for any artist -- with a video that featured reactions to the song by randomly selected people on the street. Following the completion of the album, drummer Todd Roper left the group to spend more time with his children, and was replaced on the supporting tour by Pete McNeal. ~ Steve Huey, All Music Guide
One of the most inventive and eclectic figures to emerge from the '90s alternative revolution, Beck was the epitome of postmodern chic in an era obsessed with junk culture. Drawing upon a kaleidoscope of influences -- pop, folk, psychedelia, hip-hop, country, blues, R&B, funk, indie rock, noise rock, experimental rock, jazz, lounge, Brazilian music -- Beck created a body of work that was wildly unpredictable, vibrantly messy, and bursting with ideas. He was unquestionably a product of the media age -- a synthesist whose concoctions were pasted together from bits of the past and present, in ways that could only occur to an overexposed pop-culture junkie. His surreal, free-associative lyrics were laced with warped imagery and a sardonic sense of humor that, while typical of the times, only rarely threatened the impact of his adventurous music. Beck appropriated freely from whatever genres he felt like, juxtaposing sounds that would never have co-existed organically (and his habitual irony made clear that he wasn't aiming for authenticity in the first place). If his musical style was impossible to pigeonhole, his true identity lay in that rootless, sprawling diversity, that determination to acknowledge no boundaries or conventions; everything he did bore the stamp of his distinctively skewed viewpoint. Beck caught his big break when the bizarre Delta blues/white-boy-rap pastiche "Loser" spawned a national catch phrase in early 1994. His debut album, Mellow Gold, became a hit, and the official follow-up, the Dust Brothers-produced Odelay, was widely acclaimed as one of the decade's landmark records. Beck followed those touchstones with genre exercises in folk and funk that still managed to dazzle with their variety, solidifying one of the most creatively vital oeuvres in alternative rock -- or all of modern pop music, for that matter.
Beck David Campbell was born July 8, 1970, in Los Angeles, and came from strong creative stock. His father, David Campbell, was a conductor and string arranger (who later worked on his son's records); however, he left the family early on, and Beck adopted the last name of his mother Bibbe Hansen, a regular on Andy Warhol's Factory scene who appeared in the Warhol film Prison. Moreover, his grandfather Al Hansen was an important figure in the Fluxus art movement, best known for launching the career of Yoko Ono. The young Beck Hansen grew up mostly in Los Angeles, also spending some time with both sets of grandparents (Al Hansen in Europe, and his other grandfather -- a Presbyterian minister -- in the Kansas City area). He dropped out of school in tenth grade, and began playing acoustic blues and folk music as a street busker, as well as trying his hand in the poetry-slam scene; in 1988, he produced a cassette of home recordings called The Banjo Story. In 1989, he moved to New York and tried to break into the city's short-lived "anti-folk" scene, a punk-influenced movement of acoustic singer/songwriters that included Roger Manning and Michelle Shocked. Finding the going tough, he returned to Los Angeles after about a year, and attempted to gain exposure at rock clubs by playing a few songs in between the regular sets.
In the summer of 1991, Beck was discovered separately by Bong Load label owners Tom Rothrock (at one of his club performances) and Rob Schnapf (at the Sunset Junction street fair). The two approached him about cutting some folk songs backed with hip-hop beats, and Beck agreed. Gathering in the kitchen of up-and-coming hip-hop producer Karl Stephenson, Beck recorded "Loser" and a selection of other tracks. In 1992, Beck traveled to Olympia, WA, to record for Calvin Johnson's K label, and also inked a publishing deal with BMG. At the beginning of 1993, Beck finally saw his first official releases: the single "MTV Makes Me Want to Smoke Crack" on Flipside, and the full-length, cassette-only Golden Feelings on Sonic Enemy. In September, Bong Load finally released "Loser" as a 12" single, and it became an instant smash on L.A.'s independent radio stations, so much so that Bong Load had trouble pressing enough copies to keep up with the demand. Combining a funky drum-machine track and Beck's nonsense raps with bluesy slide guitar and a sample of Dr. John's "I Walk on Gilded Splinters," "Loser" sounded like nothing else. Word spread quickly, helped out by Sonic Youth's Thurston Moore, who raved about Beck after seeing him perform at a backyard party. A major-label bidding war ensued, and Beck signed an innovative contract with Geffen that allowed him to continue releasing uncommercial material on smaller independent labels. In the meantime, another indie album, the 10" record A Western Harvest Field by Moonlight, was released in January 1994 by Fingerpaint.
Beck's major-label debut, Mellow Gold, was released in March 1994, and Geffen also reissued "Loser" on a national level. Instantly labeled an anthem for the so-called slacker generation, the song was a sensation, climbing into the Top Ten and hitting number one on Billboard's modern rock chart. Mellow Gold was a hit, climbing into the Top 20 and eventually going platinum. Initial reviews were somewhat mixed; many critics raved over the album, but others were reluctant to lavish praise on an artist they weren't sure would ever be anything more than a one-hit novelty. Meanwhile, Beck immediately took advantage of his Geffen deal to release two more indie albums in 1994. Stereopathetic Soul Manure, issued on Flipside, consisted of lo-fi noise rock, while One Foot in the Grave -- which included the material from Beck's 1992 session for K Records, fleshed out with new recordings -- was a bare-bones acoustic folk collection. Later that year, Bong Load released another indie single, "Steve Threw Up." Beck's low-budget body of work, especially his indie recordings, seemed to place him as part of the emerging lo-fi aesthetic, whose other adherents included Pavement, Sebadoh, and Liz Phair.
In the summer of 1995, Beck undertook his first major promotional tour, appearing as part of the fifth edition of Lollapalooza. For his second major-label album, he entered the studio with producers the Dust Brothers, who'd been a significant force behind the Beastie Boys' groundbreaking masterpiece Paul's Boutique. Odelay was released in June 1996 to massive acclaim, and wound up topping many year-end critics' polls; it was commercially successful as well, reaching the Top 20, selling over two million copies, and spinning off a string of MTV hits that included "Where It's At," "Devil's Haircut," "Jack-Ass," and "The New Pollution." "Where It's At" went on to win a Grammy for Best Male Rock Vocal, and Odelay also won for Best Alternative Music Performance. Late in 1997, Beck contributed the single "Deadweight" to the soundtrack of the film A Life Less Ordinary, which starred Ewan McGregor and Cameron Diaz. In the spring of 1998, Beck's artwork was featured in a joint show with that of his late grandfather.
Also in 1998, Beck began work on a new, folk-styled album -- in the vein of One Foot in the Grave -- that was originally slated for release on Bong Load. However, excited by the results and the presence of Radiohead producer Nigel Godrich, Geffen stepped in and released the album themselves that November. Titled Mutations, the record's quiet, gently trippy tone and relatively straightforward approach made it an unlikely progression from Odelay, and indeed both Beck and Geffen made it clear that the record was never intended as the official follow-up. Although everything about Mutations was low-key, it still became Beck's third straight Top 20 major-label album. In early 1999, lawsuits between Geffen, Bong Load, and Beck began to fly over the abrupt release change of Mutations, but were eventually worked out in friendly fashion. That summer, Beck recorded a duet with Emmylou Harris on "Sin City," a track featured on the Gram Parsons tribute album Return of the Grievous Angel.
The official follow-up to Odelay took an exhausting total of 14 months to record. Released in November 1999, Midnite Vultures was designed as a party record, running the gamut of variations on funk and allowing Beck to play the roles of R&B loverman and horny Prince disciple. Reviews ranged from glowing to indifferent, and Midnite Vultures didn't sell quite as well as its predecessors. Mutations won Beck another Grammy for Best Alternative Music Performance in early 2000, and he embarked on an extensive international tour in support of Midnite Vultures. In 2001, Beck recorded a cover of David Bowie's "Diamond Dogs" with cutting-edge hip-hop producer Timbaland, and also contributed to French electronic popsters Air's 10,000 Hz Legend album.
His next project was another folk-styled album, titled Sea Change, again recorded with Mutations producer Nigel Godrich and released by Geffen in September 2002. Beck promoted Sea Change with a brief acoustic tour beforehand, then announced that he had hired the Flaming Lips as his backing band for the more extensive official tour following its release. For the follow-up to Sea Change, Beck re-enlisted the Dust Brothers as producers; the resulting album, titled Guero, was released in March 2005. Guero spawned hits like "E-Pro" and "Hell Yes" and was seen as a conscious return to the sound and feel of Beck's Odelay days. Guerolito, a remixed version of the album, appeared in December 2005. Godrich was back for 2006's The Information, a hip-hop-influenced effort. The album came with a blank cover and a sheet of stickers that fans could use to make their own cover art. ~ Steve Huey, All Music Guide
Along with such similarly styled outfits as the Goo Goo Dolls, the New Orleans trio Better Than Ezra helped open the floodgates for countless chart-topping mainstream alt-pop acts of the late '90s (Sugar Ray, Semisonic, Matchbox Twenty, Third Eye Blind, etc.) by merging rock with melody and creating a more easily digestible form of alternative music for the masses. Better Than Ezra began as a roots rock outfit with slight elements of both country and punk; originally formed in 1988, the band consisted of members Kevin Griffin (vocals, guitar), Joel Rundell (guitar), Tom Drummond (bass), and Cary Bonnecaze (drums) while all were attending Louisiana State University. Their first gigs were expectedly at college bars and fraternity houses, which was followed by a debut cassette-only release in 1990, Surprise, which received positive press and comparisons to such alt-punk stalwarts as the Replacements and Dinosaur Jr. But despite the accolades, the group's future was suddenly thrust into doubt when Rundell committed suicide on August 8, 1990.
Immediately following Rundell's passing, the remaining members opted to go their separate ways, but by the end of the same year had reunited as a trio. Deciding that a change of scenery would be a good idea, Better Than Ezra relocated to Los Angeles shortly thereafter, where they laid down tracks at a friend's home studio, resulting in the 1993 independent release Deluxe. The album continued to raise the band's profile further, resulting in several major labels vying to sign up the band. Signing on with Elektra, Better Than Ezra's new label reissued Deluxe two years after its original release, which spawned a sizeable radio hit with the track "Good," helping push the album to platinum status by the end of 1995. But despite enjoying a hit right off the bat, Bonnecaze opted to leave the group in early 1996 and was replaced by a fellow New Orleans native (who at the time was living in San Francisco), Travis McNabb.
The latest lineup of Better Than Ezra entered the recording studio shortly after welcoming their new member into the fold and issued their second major-label release, Friction, Baby, in 1996. Although the album was comparable musically to its predecessor, it failed to match the commercial success of Deluxe, as the album came and went rather quickly on the charts. The group proceeded to create their own recording studio in their hometown of New Orleans (called Fudge Studios), where they recorded their fourth release overall, 1998's How Does Your Garden Grow? The album failed to re-establish the group back to their heady Deluxe days, resulting in Better Than Ezra parting ways with Elektra and issuing a compilation of rare tracks, Artifakt, via their official website. Undeterred, the trio signed on with the independent Beyond Music label, issuing their next release, Closer, in 2001. BTE took a break before resurfacing in 2004 with a live album for Sanctuary. A greatest hits collection came along the following year, but to the delight of their devoted fanbase (the "Ezralites"), Better than Ezra were not finished. Before the Robots (Artemis) appeared in May that same year, and the band headed out to tour through the summer. ~ Greg Prato, All Music Guide
Singer/songwriter Cherie Call was born and raised in Mesa, Arizona, and has been performing in front of appreciative audiences since she was three. By the time she turned 13, Cherie was writing and performing many of her own songs.
Following her high school graduation, she moved to Utah to attend Brigham Young University, where she graduated in music in 1997. She began recording several self-released albums, including One Star, Taken, and Heart Made of Wind, the latter released in November 2000. She has also been featured on seven other albums, including the best-selling album Women of Destiny, A Season for Courage, Remember the Promise, Look and Live, Whatever It Takes, and the soundtracks from the theatrical releases God’s Army, Brigham City, and Charly. Cherie was a songwriter and music coordinator for the 2000 Banff Award winning film, True Fans.
In October 2001, her first album for Deseret Book, He Gives Flowers to Everyone, was released. The Faith Centered Music Association honored this collection of songs and Cherie Call with four 2002 Pearl Awards including Contemporary Album, Inspirational Song for the title track and Songwriter of the Year. Her sophomore release, The Ocean in Me made its debut in September of 2002. She received two Pearl Awards for this collection of songs. Cherie’s third Deseret Book album, Beneath These Stars, was released on March 22, 2005.
Of her performing and composing abilities, fellow singer/songwriter Brett Raymond has said, “Because I appreciate great songwriting, my CD player is filled with music from songwriters like Billy Joel, Carole King, Cherie Call…”
Cherie has been a regularly invited performer at Nashville’s famous Blue Bird Café, and in the summer of 2004 she was also a finalist in the prestigious Kerrville New Folk songwriting competition. She regularly travels around the United States speaking and performing. Cherie resides in Utah with her husband, Joe.
When she was 16 years old, Samantha Fox rose to stardom in Britain as a topless model in the Daily Sun newspaper. Fox's popularity as a model soon led to a record contract. She released her first single, "Touch Me (I Want Your Body)," in 1986. "Touch Me" set the pattern for her career -- frothy, sexually suggestive dance-pop with good beats and sketchy melodies. Throughout her career, Fox always accentuated her sex appeal, making it take priority over her music. Nevertheless, she had a fairly long string of hits, beginning with the U.K. number three single "Touch Me." "Do Ya, Do Ya (Wanna Please Me)" followed her debut single into the British Top Ten.
Soon afterward, her records were released in America to nearly equal success. Touch Me, her debut album, went gold with the title track hitting number four. Her next two singles didn't fare as well, yet "Naughty Girls (Need Love Too)" -- taken from her second album, Samantha Fox (1987) -- became a number three hit in the U.S. Samantha Fox also went gold, as did 1988's I Wanna Have Some Fun, but the hits dried up after that album. Fox has since tried her hand at acting. ~ Stephen Thomas Erlewine, All Music Guide
Sabrina Salerno, mainly known as Sabrina, (born on 15 March 1968) in Genoa, Italy is a popular Italian singer and also model, dancer and producer. She is also an actress who has appeared in a number of European TV series, movies and theatre. In 1989 she appeared in the film Fratelli d’Italia with Jerry Calà. She performed live at the Montreux Pop Festival in 1988 .
Sabrina was photographed naked in erotic magazines (such as appearing on the cover of the British magazine, Mayfair), and she is also known for her revealing music videos (her videos for “My Chico” and “Boys” were banned in some places as her breasts were accidentally exposed in each). She is now considered an erotic star, those photos and clips circulating in large quantities all over the Internet.
At the height of her career, Sabrina entered into a well-publicized “feud” with UK topless model-turned-singer Samantha Fox. Magazines such as Playboy played up the “war of words” between the two over who was the sexier singer. There’s no evidence to suggest that this was anything more than a publicity stunt.
Few celebrity siblings can emerge from the shadows of their already famous relations to become superstars in their own right and with their own distinct personalities. That's exactly what Janet Jackson did in becoming one of the biggest female pop and R&B stars of the '80s and '90s. Since her breakthrough in 1986 with the album Control, Jackson's career as a hitmaker has been a model of consistency, rivaling Madonna and Whitney Houston in terms of pop chart success over the long haul. A big part of the reason was that Jackson kept her level of quality control very high; her singles were always expertly crafted, with indelible pop hooks and state-of-the-art production that kept up with contemporary trends in urban R&B. Once established, her broad-based appeal never really dipped all that much; she was able to avoid significant career missteps, musical and otherwise, and successfully shifted her image from a strong, independent young woman to a sexy, mature adult. With a string of multi-platinum albums under her belt, she showed no signs of slowing down in the new millennium.
Janet Damita Jo Jackson was born May 16, 1966, in Gary, IN. She was the youngest of nine children in the Jackson family, and her older brothers had already begun performing together as the Jackson 5 by the time she was born. Bitten by the performing bug at a young age, she first appeared on-stage with the Jackson 5 at age seven, and began a sitcom acting career at the age of ten in 1977, when producer Norman Lear selected her to join the cast of Good Times. She remained there until 1979, and subsequently appeared on Diff'rent Strokes (1981-1982) and A New Kind of Family. In 1982, pushed by her father into trying a singing career, Jackson released her self-titled first album on A&M; a couple of singles scraped the lower reaches of the charts, but on the whole, it made very little noise. She was cast in the musical series Fame in 1983; the following year, she issued her second album, Dream Street, which sold even more poorly than its predecessor. Upon turning 18, Jackson rebelled against her parents' close supervision, eloping with a member of another musical family, singer James DeBarge. However, the relationship quickly hit the rocks and Jackson wound up moving back into her parents' home and having the marriage annulled.
Jackson took some time to rethink her musical career, and her father hired her a new manager, John McClain, who isolated his young charge to train her as a dancer (and make her lose weight). McClain hooked Jackson up with producers/writers Jimmy Jam and Terry Lewis, whom she'd seen perform as members of the Minneapolis funk outfit the Time. Jackson collaborated with Jam and Lewis on most of the tracks for her next album, Control, which presented her as a confident, tough-minded young woman (with a soft side and a sense of humor) taking charge of her life for the first time. In support of Jackson's new persona, Jam and Lewis crafted a set of polished, computerized backing tracks with slamming beats that owed more to hard, hip-hop-tinged funk and urban R&B than Janet's older brother Michael's music. Control became an out-of-the-box hit, and eventually spun off six singles, the first five of which -- "What Have You Done for Me Lately," the catch phrase-inspiring "Nasty," the number one "When I Think of You," the title track, and the ballad "Let's Wait Awhile" -- hit the Top Five on the pop charts. Jackson was hailed as a role model for young women and Control eventually sold over five million copies, establishing Jackson as not just a star, but her own woman. It also made Jam and Lewis a monstrously in-demand production team.
For the hotly anticipated follow-up, McClain wanted to push Jackson toward more overtly sexual territory, to which she objected strenuously. Instead, she began collaborating with Jam and Lewis on more socially conscious material, which formed the backbone of 1989's Rhythm Nation 1814 (the "1814" purportedly stood for either the letters "R" and "N" or the year "The Star-Spangled Banner" was written). Actually, save for the title track, most of the record's singles were bright and romantically themed; four of them -- "Miss You Much," "Escapade," "Black Cat," and "Love Will Never Do (Without You)" -- hit number one, and three more -- "Rhythm Nation," "Alright," and "Come Back to Me" -- reached the Top Five, making Jackson the first artist ever to produce seven Top Five hits off of one album (something not even her brother Michael had accomplished). Aside from a greater use of outside samples, Rhythm Nation's sound largely resembled that of Control, but was just as well crafted, and listeners embraced it enthusiastically, buying over six million copies. Jackson undertook her first real tour (she'd appeared at high schools around the country in 1982) in support of the album and it was predictably a smashing success. In 1991, Jackson capitalized on her success by jumping from A&M to Virgin for a reported $32 million, and also secretly married choreographer and longtime boyfriend René Elizondo.
Once on Virgin, Jackson set about revamping her sound and image. Her 1992 duet with Luther Vandross from the Mo' Money soundtrack, "The Best Things in Life Are Free," was a major R&B hit, also reaching the pop Top Ten. The following year, she also resumed her acting career, co-starring in acclaimed director (and former junior high classmate) John Singleton's Poetic Justice, along with rapper Tupac Shakur. But neither really hinted at the sexy, seductive, fully adult persona she unveiled with 1993's janet., her Virgin debut. Jackson trumpeted her new image with a notorious Rolling Stone cover photo, in which her topless form was covered by a pair of hands belonging to an unseen "friend." Musically, Jam and Lewis set aside the synthesized funk of their first two albums with Jackson in favor of warm, inviting, gently undulating grooves. The album's lead single, the slinky "That's the Way Love Goes," became Jackson's biggest hit ever, spending eight weeks at number one. It was followed by a predictably long parade of Top Ten hits -- "If," the number one ballad "Again," "Because of You," "Any Time, Any Place," "You Want This." janet.'s debut showing at number one made it her third straight chart-topping album, and it went on to sell nearly seven million copies.
In 1995, Janet and Michael teamed up for the single "Scream," which was supported by an elaborate, award-winning, space-age video that, upon completion, ranked as the most expensive music video ever made. The single debuted at number five on the pop charts, but gradually slid down from there. In 1996, A&M issued a retrospective of her years at the label, Design of a Decade 1986-1996; it featured the Virgin hit "That's the Way Love Goes" and a few new tracks, one of which, "Runaway," became a Top Five hit. Jackson also signed a new contract with Virgin for a reported $80 million. Yet while working on her next album, Jackson reportedly suffered an emotional breakdown, or at least a severe bout with depression; she later raised eyebrows when she talked in several interviews about the cleansing value of coffee enemas as part of her treatment. Her next album, The Velvet Rope, appeared in 1997 and was touted as her most personal and intimate work to date. The Velvet Rope sought to combine the sensuality of janet. with the more socially conscious parts of Rhythm Nation, mixing songs about issues like domestic abuse, AIDS, and homophobia with her most sexually explicit songs ever. Critical opinion on the album was divided; some applauded her ambition, while others found the record too bloated. The lead American single "Together Again," an elegy for AIDS victims, was a number one hit; also popular on the radio was "Got 'til It's Gone," which featured rapper Q-Tip and a sample of Joni Mitchell over a reggae beat. "I Get Lonely," featuring Blackstreet, was another big hit; but on the whole, The Velvet Rope didn't prove to be the blockbuster singles bonanza that its predecessors were, which was probably why its sales stalled at around three million copies.
Jackson toured the world again, and stayed on the charts in 1999 with the Top Five Busta Rhymes duet "What's It Gonna Be?!"; her appearance in the video remade her as a glitzy, artificially costumed, single-name diva. In 2000, she appeared in the Eddie Murphy comedy Nutty Professor II: The Klumps, and her soundtrack contribution, "Doesn't Really Matter," became a number one single. Unfortunately, Jackson's marriage to Elizondo had become strained and the couple divorced in 2000, sparking a court battle over her musical income. Jackson returned with a new album, All for You, in 2001, which largely continued the sensual tone of janet. and The Velvet Rope; it debuted at number one, selling over 600,000 copies in its first week alone. The title track was issued as the album's first single and quickly topped the charts, followed by another sizable hit in "Someone to Call My Lover."
While Jackson spent much of 2001 and 2002 on the road supporting All for You, she also found time for some guest appearances, most notably with Beenie Man on his Tropical Storm LP and Justin Timberlake on Justified. By 2003 she was back in the studio, working once again with Jam and Lewis on tracks for a new album; additional producers included Dallas Austin and Kanye West. Later that year, it was revealed Jackson would take part in an MTV-produced extravaganza during halftime at the Super Bowl. 2004 began with an Internet leak of the upbeat Austin production "Just a Little While." The singer's camp rolled with the punches, offering the track to radio as an authorized digital download, but the buzz this business caused was minuscule in comparison to the nightmare union of free exposure and bad publicity that Jackson's next adventure caused. Appearing at halftime of Super Bowl XXXVIII as scheduled, Jackson performed "All for You" and "Rhythm Nation" before bringing out surprise guest Timberlake for a duet on his hit "Rock Your Body." But the real surprise came at song's end, when a gesture from Timberlake caused Jackson's costume to tear, exposing her right, pierced breast on live television to hundreds of millions of viewers.
The incident caused furious backpedaling and apologizing from Timberlake, Jackson, the NFL, CBS, and MTV, which swore no previous knowledge of the so-called "wardrobe malfunction," and led to speculation over how Damita Jo -- Jackson's upcoming album and her first in three years -- would be received. But while the controversy gave Jackson both grief and a bit of free advertising, it was also the impetus for a national debate on public indecency. A federal commission was set up to investigate prurience, the FCC enacted tougher crackdowns on TV and radio programs broadcasting questionable content, and suddenly everyone from pundits to politicians to the man in the street had an opinion on Janet Jackson's chest. Later that March, the singer quietly started making the talk show rounds. She was still apologizing for the incident, but she was also promoting Damita Jo, which Virgin issued at the end of the month. Largely considered a disappointment, the album nonetheless sold over two million copies worldwide and earned three Grammy nominations. 20 Y.O. followed two years later, and though it was reviewed more favorably than Damita Jo, it was off the Billboard 200 album chart after 15 weeks. Jermaine Dupri, Jackson's love interest and the executive producer of the album, was so upset over Virgin's lack of support that he left his post as president of Virgin's urban division. ~ Steve Huey, All Music Guide
A good number of Afrocentric, politically oriented rap groups put out records during the late '80s and early '90s. Very few of those groups were on the level of the hard-hitting X-Clan, a Brooklyn-based collective that released a pair of stellar albums -- 1990's To the East, Blackwards, and 1992's Xodus -- before breaking up. The group's primary members were Grand Verbalizer Funkin Lesson "Brother J" (born Jason Hunter), Lumumba Professor X "The Overseer" (born Lumumba Carson, the son of prominent and influential activist Sonny Carson), the Rhythem Provider "Sugar Shaft" (born Anthony Hardin), and Grand Architect "Paradise" (born Claude Grey), and they were joined by a cast of associates, which included powerful MC Isis (aka Lin Que). X-Clan were activists outside of music as well; they were Blackwatch members and were vocal supporters of several pro-black organizations. Unfortunately, the group's political stance and their bold red-black-green garb often gained more attention than their records, which featured Brother J's accomplished vocal skills and teacher-like lyricism over in-house productions that flipped the overused Parliament/Funkadelic sampling routine on its back as well as any other group. To the East, Blackwards and Xodus were almost equally strong, reflected in the fact that both albums peaked at number 11 on the Top R&B/hip-hop album chart. Before the group's split, both Professor X and Isis released spinoff solo albums. After the group's split, Brother J formed Dark Sun Riders, a project that released an album in 1996. The year before that, Sugar Shaft succumbed to AIDS-related causes. None of this prevented the group from re-forming at the end of the '90s; however, as of 2003, the group had yet to release anything commercially. Professor X passed away in March 2006, a victim of meningitis.
The daughter of '50s British pop singer Marty Wilde, Kim Wilde had several pop hits during the '80s. Initially, her synth-driven pop fit in with the new wave movement, but as the decade progressed, it became clear that her strength was mainstream pop.
In 1980, Kim Wilde signed with producer Mickie Most's Rak Records, releasing her first single, "Kids in America," early in 1981. "Kids in America" climbed to number two on the British charts that spring, while her second single, "Chequered Love," made it into the Top Ten; her self-titled debut album performed as well as her singles. The following year, "Kids in America" became a Top 40 hit in America, while Select kept her in the British charts. However, Wilde wasn't able to keep her momentum going and it wasn't until late 1986 that she had another hit with a dance cover of the Supremes' "You Keep Me Hangin' On," which charted in the Top Ten on both sides of the Atlantic. Wilde never had another hit in America, yet she was back in the charts in the summer of 1987 with "Another Step (Closer to You)," a duet with Junior Giscombe. After the single's success, she began changing her image, becoming sexier. The approach didn't entirely pay off, though she had a handful of hit singles from her 1988 album, Close, including "You Came," "Never Trust a Stranger," and "Four Letter Word." Wilde continued to record in the '90s, scoring the occasional hit, either in the dance or adult contemporary field. ~ Stephen Thomas Erlewine, All Music Guide
A New York-based blues-rock quartet formed in 1988 by singer/harmonica player John Popper, guitarist Chan Kinchla, bassist Bobby Sheehan, and drummer Brendan Hill, Blues Traveler was part of a revival of the extended jamming style of '60s and '70s groups like the Grateful Dead and Led Zeppelin. Signed to A&M, they released their first album, Blues Traveler, in May 1990 and followed it with Travelers & Thieves in September 1991. Popper was in a serious car accident in 1992, leaving him unable to perform for a number of months. Fortunately, he recovered, yet he still had to perform in a wheelchair for a period of time. In April 1993, Blues Traveler released its third album, Save His Soul, which became its first to make the Top 100. Blues Traveler's aptly named fourth album, Four, released in September 1994, at first looked like a sales disappointment, but it rebounded in 1995 when "Run-Around," a single taken from it, became the group's first chart hit. "Run-Around" became one of the biggest singles of 1995, spending nearly a full year on the charts and sending Four into quintuple platinum status.
As the group prepared the follow-up to Four, Blues Traveler released the live double-album Live From the Fall in the summer of 1996. The group returned in the summer of 1997 with its fifth studio album, Straight on Till Morning. After completing his 1999 debut solo effort Zygote, Popper -- who'd been experiencing chest pains for months -- was forced to undergo an angioplasty; weeks later, tragedy struck on August 20, 1999, when Sheehan was found dead in his New Orleans home. He was just 31 years old. The new millennium saw a newly charged Blues Traveler, and their sixth record, Bridge, appeared in May 2001. The next winter, Blues Traveler released the live What You and I Have Been Through. The studio record Truth Be Told followed in 2003, and another concert album, Live on the Rocks, appeared in 2004. The group returned to the studio in 2004, releasing the Jay Bennett-produced Bastardos in September of the following year. ~ William Ruhlmann, All Music Guide
With their fusion of heavy metal, funk, hip-hop, and progressive rock, Faith No More has earned a substantial cult following. By the time they recorded their first album in 1985, the band had already had a string of lead vocalists, including Courtney Love; their debut, We Care a Lot, featured Chuck Mosley's abrasive vocals but was driven by Jim Martin's metallic guitar. Faith No More's next album, 1987's Introduce Yourself, was a more cohesive and impressive effort; for the first time, the rap and metal elements didn't sound like they were fighting each other.
In 1988, the rest of the band fired Mosley; he was replaced by Bay Area vocalist Mike Patton during the recording of their next album, The Real Thing. Patton was a more accomplished vocalist, able to change effortlessly between rapping and singing, as well as adding a considerably more bizarre slant to the lyrics. Besides adding a new vocalist, the band had tightened its attack and the result was the genre-bending hit single "Epic," which established them as a major hard rock act.
Following up the hit wasn't as easy, however. Faith No More followed their breakthrough success with 1992's Angel Dust, one of the more complex and simply confounding records ever released by a major label. Although it sold respectably, it didn't have the crossover potential of the first album. When the band toured in support of the album, tensions between the band and Martin began to escalate; rumors that his guitar was stripped from some of the final mixes of Angel Dust began to circulate. As the band was recording its fifth album in early 1994, it was confirmed that Martin had been fired from the band.
Faith No More recorded King for a Day, Fool for a Lifetime with Mr. Bungle guitarist Trey Spruance. During tour preparations he was replaced by Dean Mentia. Mentia only lasted for the length of the King for a Day tour and was replaced by Jon Hudson for 1997's Album of the Year. Upon the conclusion of the album's supporting tour, Faith No More announced they were disbanding in April 1998. Patton, who had previously fronted Mr. Bungle and had avant-garde projects with John Zorn, formed a new band named Fantômas with Melvins guitarist Buzz Osbourne, Mr. Bungle bassist Trevor Dunn, and former Slayer drummer Dave Lombardo. Roddy Bottum continued with his band Imperial Teen, who released their first album, Seasick, in 1996. A posthumous Faith No More retrospective, Who Cares a Lot, appeared in late 1998. ~ Stephen Thomas Erlewine, All Music Guide
At the time of their 1990 debut, the kind of rock & roll the Black Crowes specialize in was out of style. Only Guns N' Roses came close to approximating a vintage Stones-style raunch, but they were too angry and jagged to pull it off completely. The Black Crowes replicated that Stonesy swagger and Faces boogie perfectly. Vocalist Chris Robinson appropriated the sound and style of vintage Rod Stewart while guitarist Rich Robinson fused Keith Richards' lean attack with Ron Wood's messy rhythmic sense. At their best, the Black Crowes echo classic rock without slavishly imitating their influences.
The Robinson brothers originally formed the Black Crowes in Georgia in 1984. By the time of their 1990 debut, Shake Your Money Maker, the group comprised Chris Robinson (vocals), Rich Robinson (guitar), Johnny Colt (bass), Jeff Cease (guitar), and Steve Gorman (drums). "Jealous Again," the first single from Shake Your Money Maker, was a moderate hit but it was the band's cover of Otis Redding's "Hard to Handle" that made the group a multi-platinum success. "Hard to Handle" climbed its way into the Top 40, propelling the album into the Top Ten. The acoustic ballad "She Talks to Angels" became the band's second Top 40 hit in the spring of 1991. Shake Your Money Maker would eventually sell over three million copies.
The Black Crowes delivered their second album, The Southern Harmony and Musical Companion, in the spring of 1992. It entered the charts at number one, but it didn't have as many hit singles as the debut; none of the singles cracked the Top 40 and only "Remedy" and "Thorn in My Pride" made the Top 100. Nevertheless, the band established itself as a popular concert attraction that summer, selling out theaters across America. During 1992, the band added keyboardist Eddie Harsch as a permanent member. The Black Crowes' third album, Amorica, arrived in late 1994. Amorica debuted in the Top Ten, but none of the singles from the album made the charts; even though the record went gold, it slipped off the charts in early 1995.
Three Snakes and One Charm, the group's fourth album, was released in July 1996. The album entered the charts at number 15, but it quickly slipped out of the Top 50. Nevertheless, the album received the best reviews of any Crowes album since The Southern Harmony and Musical Companion. Guitarist Marc Ford was fired from the Black Crowes in August 1997; two years later, the group returned with By Your Side. In mid-2000, the band collaborated with Led Zeppelin guitarist Jimmy Page on the double-disc Live at the Greek, an eclectic mix of newly recorded Zeppelin covers and additional classic blues cuts. Greatest Hits 1990-1999: A Tribute to a Work in Progress, a 16-track best-of compilation, was also released in mid-2000.
The Don Was-produced Lions appeared in spring 2001, and a summer tour with Oasis -- the Tour of Brotherly Love -- followed in June. But all was apparently not well with the group, and in January 2002, the band announced that it was on hiatus. Drummer Steve Gorman was fired, and Chris Robinson announced his intentions for a solo career. In 2005, however, the group got back together for a show at San Francisco's Fillmore, a concert that was released in both CD and DVD form in 2006 as Freak 'N' Roll... Into the Fog. That same year, The Lost Crowes, which contained two previously unreleased albums, 1993's Tall, parts of which were seen in Amorica and other places, and the 1997 never-before-heard Band, came out. ~ Stephen Thomas Erlewine, All Music Guide
With their angst-filled hybrid of Van Morrison, the Band, and R.E.M., Counting Crows became an overnight sensation in 1994. Only a year earlier, the band was a group of unknown musicians, filling in for the absent Van Morrison at the Rock & Roll Hall of Fame ceremony; they were introduced by an enthusiastic Robbie Robertson. Early in 1993, the band recorded their debut album, August and Everything After, with T-Bone Burnett; it was released in the fall. It was a dark, somber record, driven by the morose lyrics and expressive vocals of Adam Duritz; the only up-tempo song, "Mr. Jones," became their ticket to stardom. What made Counting Crows was how they were able to balance Duritz's tortured lyrics with the sound of the late '60s and early '70s; it made them one of the few alternative bands to appeal to listeners who thought that rock & roll died in 1972. Recovering the Satellites followed in 1996, and in 1998 they issued the two-disc Across a Wire: Live in New York. Counting Crows' third studio album, This Desert Life, appeared in 1999. In the midst of recording and collaborating with Ryan Adams on his sophomore album, Gold, Duritz joined his band in the studio as well. The fruit of those sessions was the Steve Lillywhite-produced fourth album, Hard Candy. The next year saw the release of the best-of Films About Ghosts, and in 2004 Counting Crows reminded fans of their ability to write a hit single with "Accidentally in Love," which appeared on the Shrek 2 soundtrack. Two years later, New Amsterdam: Live at Heineken Music Hall, recorded from a show on February 6, 2003, was made available to the public. ~ Stephen Thomas Erlewine, All Music Guide
Falling between Hootie & the Blowfish and Live, Third Eye Blind's catchy and melodic post-grunge made the group's first single, "Semi-Charmed Life," into a hit in the spring of 1997. The San Francisco-based quartet consisted of Stephan Jenkins (vocals), Kevin Cadogan (guitar), Arion Salazar (bass), and Brad Hargreaves (drums). After earning an English degree from the University of California at Berkeley, Jenkins concentrated on playing solo shows in the San Franciscan scene. He spent four years playing in local bands before beginning a solo career; however, shortly after he set out on his own, he decided to form a band. After several lineups failed to gel, former Fungo Mungo bassist Arion Salazar joined the group, which was now called Third Eye Blind. At one of the band's shows, guitarist Kevin Cadogan, a former student of Joe Satriani who later became involved in the northern California ska and punk scenes, introduced himself to Jenkins. Cadogan joined Third Eye Blind in late 1995, bringing along former Counting Crows drummer Brad Hargreaves, as well.
As Third Eye Blind was getting off the ground, Jenkins was earning major-label attention through his production of the Braids' cover of Queen's "Bohemian Rhapsody," which became an international hit. Shortly afterward, he signed a publishing deal, which was reported to be the largest ever for an unreleased artist. By playing the Bay Area frequently, Third Eye Blind cultivated a dedicated fan base, and the group's original 14-song demo attracted the attention of major labels. The buzz was continuing to build on Third Eye Blind when the group finagled their way to a prized opening slot for Oasis' April 1996 concert at San Francisco's Civic Auditorium. At the time of the concert, the group was unsigned, but following their well-received performance, the band became the subject of a bidding war. The band signed with Elektra/Asylum because the label offered the most artistic freedom, which included enlisting Jenkins as the album's producer. Upon signing to Elektra, he was offered a production deal to help develop new bands.
Jenkins produced Third Eye Blind's eponymous debut, which was recorded in San Francisco with the assistance of Eric Valentine, an engineer who also worked on their early demos. Third Eye Blind was released in the spring of 1997, and by the summer, its first single, "Semi-Charmed Life," had become a number one modern rock hit. Spawning several more successful singles (including "How's It Going to Be" and "Jumper"), the album broke into the Billboard Top 200 and stayed there for over a year. Blue followed in 1999, selling 150,000 within a month of its release, but it didn't gain the praise and popularity compared to the band's previous albums. Tours across the globe followed throughout 2000, but by the time 2001 rolled around, the band opted for some time off. Instead of focusing on music, Third Eye Blind participated in several charity events. They put on shows for the Tiger Woods Foundation and as well as Breathe, a performance organized by Jenkins to promote breast cancer awareness. Cadogan, who co-wrote much of the band's material with Jenkins, exited in early 2000. Guitarist Tony Fredianelli soon joined on in his place. By 2003, Third Eye Blind resumed schedule with the release of Out of the Vein in May. They followed up three years later with A Collection, a best-of compilation. ~ Stephen Thomas Erlewine, All Music Guide
When Seattle grunge went mainstream, it was only a matter of time before the ripple effect was felt in regions other than the Pacific Northwest. Georgia quintet Collective Soul, along with fellow inheritors of the now commercially lucrative post-grunge landscape like Live, Bush, and Candlebox, developed the genre into a more succinct brand of angst, turning the sonic cacophony of bands like Mudhoney and the Melvins into radio-friendly hard rock.
Collective Soul -- taken from a line in Ayn Rand's book The Fountainhead, were formed in the small town of Stockbridge in the early '90s by principal songwriter Ed Roland (lead vocals/keyboards/guitars), guitarists Dean Roland and Joel Kosche, and rhythm section Will Turpin (bass/percussion) and Shane Evans (drums/percussion). Originally released in 1993 on the Atlanta indie label Rising Storm, Hints Allegations and Things Left Unsaid proved popular enough on the local level that it was picked up the following year by Atlantic. Within months of its release, "Shine" became a modern rock and MTV staple, and Collective Soul found themselves with a platinum debut, playing everywhere from arenas with Aerosmith to Woodstock 1994.
They released the eponymous sophomore effort the following year, which featured the hits "World I Know" and "December," once again going multi-platinum, but their fan base began to wane upon the release of 1997's Disciplined Breakdown. Released in 1999, Dosage was a return to form for the group, yielding the hit singles "Run" and "Heavy," but despite their best efforts, the post-grunge genre was suffering under the weight of the emerging nu-metal scene. In 2000 they released Blender, an image-seeking misfire that saw the group attempting a clean-cut (no facial hair) image and mixing in heavily produced AOR with dance-pop, even performing a duet with Elton John. The following year, fans were treated to 7even Year Itch: Collective Soul's Greatest Hits 1994-2001. In 2004, the group returned to their roots, bringing on new guitar player Joel Kosche and releasing the stripped-down and dynamic Youth on its own El Music Group imprint. An eight song EP (From the Ground Up) arrived the following year. ~ James Christopher Monger, All Music Guide
