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Capital
Studio Smack is a collective of young artists searching for new esthetics and concepts.
Commissioned by the De Beyerd Museum three young graphic designers,
former students of AKV/St. Joost, Ton Meijdam, Thom Snels & Béla Zsigmond,
made a film about legible signs in town. The typo-animation Kapitaal (Capital)
is an impression of the enormous amount of visual stimuli that plague us every day.
The amount is so big that its commercial effectiveness has become utterly dubious.
Length: 424
Rating: 4.90 (54 ratings)
Tags: advertising city logo
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Fogo (Capital Inicial)
capital inicial - fogo
acustico Mtv
pra pessoa que com certeza inspirou o dinho a escrever essa musica
Larissa Fraga
x)
Length: 266
Rating: 4.80 (630 ratings)
Tags: fogo capital inicial acustico mtv
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MISFITS on CAPITAL CHAOS TV 1999
MISFITS @ The Crest Theater - Sacramento, CA 1999..one should not drink too much coffee prior to filming without a tripod. http://misfits.com The Misfits are a horror punk band formed in 1977 and led by singer and songwriter Glenn Danzig (born Glenn Anzalone) and later, bassist Jerry Only (born Gerald Caiafa). They were highly influential on the genres of heavy metal, punk and rock music in general. Though they ceased recording and performing in 1983, a new version of the band (led by Only and without founder and former frontman Danzig) began operations in 1995 (see below).
The early Misfits were often quite melodic, featuring Danzig's versatile singing, which had a style rooted in Italian tenors such as Mario Lanza and in 1950s doo-wop. Musically, the band has also displayed some Rockabilly influences (but not as much as Psychobilly bands). Early Misfits songs tended to have catchy, sing-along choruses, initially backed by Danzig's distorted keyboard accompaniments (circa 1977), and later by willfully crude guitar-rock. The band began as a largely untrained ensemble. After several lineup changes and increasing international acclaim, Danzig disbanded the original Misfits in 1983.
The band often wore corpse paint when performing, and bassist Jerry Only reputedly invented a hairstyle called the devilock, with the bangs coming to a point in front of the nose or chin, a style still worn by fans (A.K.A. Fiends) today and contributed to the foundation of Horror Punk.
When the band originally reformed, it featured Michale Graves on vocals, Jerry Only on bass, Dr. Chud (Cannibalistic Human Underground Drummer) on drums, and Jerry's brother Doyle on guitar. Doyle is currently estranged from the group and is working with a new group named Gorgeous Frankenstein, which formed in 2005. Doyle recently reunited with Glenn Danzig's band Danzig to perform special sets of Misfits songs on Danzig's Blackest of the Black 2005 and 2006 tour.
A third, "touring" incarnation of the band, without original singer Danzig, is presently led by the only other "constant" original member, bassist Jerry Only. Members of the touring group have included Marky Ramone (of the Ramones), and both drummer ROBO (who was a member of the original band), and guitarist Dez Cadena of Black Flag fame. http://myspace.com/themisfits History
The history of the Misfits can be split into two main eras. The first era marks the foundation of the group, founded and fronted by Glenn Danzig. The second era saw former members of the band with various new vocalists playing a mixture of new and old material.
[edit] Glenn Danzig era
[edit] Formation
In January of 1977, after singing in several garage bands such as Talus,Whodat and Boojang that mostly played Black Sabbath songs, twenty-one year old Glenn Danzig decided it was finally time to create something serious and original. As a tribute to Marilyn Monroe, he named his musical project after her final movie, The Misfits.
The Misfits, circa 1977.
The Misfits, circa 1977.
For weeks, Glenn wrote songs and practiced with friends and old band mates, trying to find a suitable lineup of musicians to bring his vision to life. The first complete Misfits lineup consisted of Jimmy Battle on guitar, his old band mate Manny MartÃnez on drums, Diane DiPiazza on bass, and Danzig on electric piano and vocals. However, after only about a month of practicing, both Jimmy and Diane left the band. In need of new band mates, Manny suggested that his friend, Jerry Caiafa, should audition for bass. Jerry, a young football player who had been voted most popular in his senior class at Lodi High School, had just received a bass guitar for Christmas and had only been practicing with it for two months. Despite Jerry's fledgling bass talents, Glenn accepted him into the band and offered to teach him how to play.
After three months of practicing, the trio headed into the studio to record their first single, "Cough/Cool". The single contained two keyboard-driven songs (the B-side was a version of the song, "She") that were quite different from the music they became known for. The title track was somber and poetic, and reminiscent of The Doors. The band released the single themselves through their own label, Blank Records.
Over the next several months, Glenn, Manny, and Jerry (who had adopted the stage name Jerry Only after a misspelling on the single liner notes) played a handful of gigs (their first two at CBGB in New York City) as they continued to practice and forge their own sound. Their experimental art rock style was met mostly with confusion.
By October 1977, British punk bands such as The Damned and New York punk bands like The Ramones began to have an influence on The Misfits. They decided to take the band in a more punk direction by adding guitarist Franché Coma to the band and ditching the keyboards, allowing Danzig to engage in antics typical of a punk frontman.
At this time The Misfits caught their first big break. Mercury Records wanted to use the name Blank Records for a subdivision, but Danzig had secured a trademark on the name. They contacted Glenn and offered him thirty hours of free time in a professional studio, in exchange for full use of the Blank Records title. Danzig accepted the offer and in January of 1978, The Misfits headed into a New York studio to record their first full length album.
Seventeen songs were recorded, featuring a unique combination of their early art rock material and a hard driving direction, akin to the powerful sounds of punk at that time. Excluding the songs "Teenagers from Mars" and "Return of the Fly", they wouldn't draw on B-movies for lyrical inspiration for at least another year, and at this point their lyrics instead portrayed a futuristic dystopia of television saturation, automaton-like submissiveness, and glamorized sex and violence. As 1977 drew to a close, Glenn and Jerry decided that Manny was too unreliable and asked him to leave the band. He was replaced by Jim Catania, aka "Mr. Jim".
Once the album was complete, the band shopped it around to various labels but no one was interested in releasing it (it would later see the light of day in 1997 as Static Age). The album was shelved and would remain (for the current time) unreleased. With no labels interested, the Misfits decided to take four tracks from the album and release them as an EP. In June 1978, the Bullet EP was released on their new label, Plan 9, which Danzig had named after the infamous Ed Wood movie Plan 9 from Outer Space.
[edit] The birth of horror punk
The Misfits, circa 1979.
The Misfits, circa 1979.
Around this time, both Glenn and Jerry decided they wanted to take the band in a more horror-themed direction. Glenn began to write more songs inspired by low-grade horror and sci-fi movies, and both he and Jerry began to adopt ghoulish appearances, with Jerry applying dark makeup around his eyes and Glenn painting bone designs on his clothes. The band started to play more frequently and began to go on small tours in support of the Bullet EP. In October of 1978, during a small tour through Canada, Franché Coma decided he couldn't handle touring and quit the band before the tour was complete. Guitarist Rick Riley stepped in temporarily to fill out guitar duties for the rest of the tour. Mr. Jim wasn't fond of the horror direction the band was heading in, and opted to leave the band once the tour was over. Within two months, Glenn and Jerry had recruited two new band members, drummer Joey Image, and guitarist Bobby Steele. Around this time, Jerry Only began to comb his hair in The Misfits signature hair style, which would later be dubbed the devilock.
In December of 1978, after less than two months, the new Misfits lineup began playing shows together. Over the course of 1979, The Misfits further evolved the horror elements of their music and their imagery, influenced by The Damned, who had recently regrouped in the proto-Goth lineup of the Machine Gun Etiquette album. Glenn and Jerry adopted a skull mascot for the band from an old poster they'd come across for a 1946 Republic movie serial, The Crimson Ghost (aka Cyclotrode X). Two more records followed on their Plan 9 label, the Horror Business EP and the "Night of the Living Dead" single, respectively. They began to establish a small but loyal fan base and decided to start their own fan club, which they called the Fiend Club. Glenn operated the Fiend Club from his mother's basement, where he would print out t-shirts, assemble records, mail out merchandise catalogs, book gigs, and respond to fan mail, making the Misfits exemplary practitioners of the DIY ethic.
As their popularity slowly began to increase within the underground American punk movement, many people started to consider The Misfits as the American equivalent of The Damned, whose singer, Dave Vanian, adopted the look of a classic vampire and sang in a brooding baritone. On June 26, 1979, The Misfits opened for The Damned at a gig in New York City. Before the show, Jerry spoke with Dave Vanian about the possibility of The Misfits doing a tour of the UK in support of The Damned.
In November of 1979, The Misfits flew over to England for their tour with The Damned. However, Dave Vanian had not taken Jerry seriously and was surprised when Jerry showed up at his front door. Instead of turning The Misfits away, Dave tried his best to arrange for them to take part in the tour, but The Misfits weren't happy with the situation. After playing only two gigs, The Misfits dropped off the tour. Their return flight back to America wasn't until late in December, and so The Misfits were forced to kill time in England. Jerry spent some time with Sid Vicious' mother, who he had befriended after Sid's death. On December 2, Glenn and Bobby went to see a gig by The Jam in London, where they were harassed by skinheads while standing in line. Glenn broke off a piece of glass and used it to fend off the skinheads while Bobby ran to get help. However, when the cops arrived, they arrested Bobby and Glenn, for what they described as "threatening behavior". In an interview with Revolver in the October 2005 issue, Glenn went into greater detail about the event. He said the police found a knife in his possession and accused Glenn of being a "ripper" that had been stalking the area at the time. The police began to beat him, and Glenn fought back. He claims he did considerable damage to the police before they were finally able to subdue him. Glenn and Bobby then spent two nights jailed up in the London district of Brixton, during which time Glenn wrote the lyrics to the future Misfits song, "London Dungeon".
After the failed European tour, Joey Image decided to leave the band, and later formed the band The Mary Tyler Whores. Upon their return to America, The Misfits released the Beware EP and decided to take a short hiatus from the band in order to recover from their bad experience in England. After a four month break, Arthur Googy was recruited as the new drummer. Around this time, Jerry's younger brother, Doyle, who had been a huge fan of the band since the beginning, started learning to play guitar with help from Glenn and Jerry. The Misfits began working on a full length album, which they planned to release through Plan 9. In August of 1980, they went into the studio and recorded twelve songs. Jerry began to persuade Glenn that Doyle would fit into the band much better than Bobby Steele. Doyle began to practice with the band and even entered the studio to record his own guitar tracks for the twelve songs they had recorded. Bobby has said that during this time period, Jerry would purposely neglect to inform him of practices, in order to make Bobby look bad. Jerry denies these accusations. Regardless, in October of 1980, shortly before the band's annual Halloween show, Jerry informed Bobby that he was being replaced by Doyle, who was only sixteen at the time. Bobby Steele went on to form his own punk band a few months later, called The Undead (not the San Francisco band of the same name, also friends of the Misfits). On Halloween of 1980, what many people consider to be the classic Misfits lineup made its debut.
After only playing a few shows with the new lineup, they took a six month break from the band. During this time, instead of releasing the entire album they had recorded, they selected three songs from it and released it as the 3 Hits from Hell EP (in 2002, Caroline Records finally released the entire album, which they called 12 Hits from Hell, but the release was canceled at the last moment at Jerry and Glenn's request). Throughout the year of 1981, The Misfits continued to go into the studio to record tracks for a full length release, which they planned on calling Walk Among Us. Although they had planned on releasing the full length themselves through Plan 9, they got an unexpected offer from Slash Records to release the album. They accepted the offer and decided to rework the album before releasing it. On Halloween of 1981, The Misfits released the "Halloween" single through Plan 9, which consisted of two more tracks from the shelved full length they had recorded the previous summer.
Sometime in 1981, Glenn wrote the song "Archangel" for The Damned vocalist Dave Vanian to sing with The Misfits backing him. However, due to scheduling conflicts, Dave never recorded vocals for the song and it was set aside until 1983, when Glenn decided to re-record it with his next band, Samhain. http://onethirtyeight.com Walk Among Us
Walk Among Us.
Walk Among Us.
In March of 1982, Ruby/Slash Records released Walk Among Us, the first full length Misfits album to be available to the public. Walk Among Us would later be considered by most fans to be the quintessential Misfits album, as well as one of the best punk albums of all time. The band began playing shows again after nearly a year. They started to become notorious for their intense stage presence and brutal live performances. Doyle was a sports athlete like his brother, and shared his linebacker physique, which, coupled with their ghoulish appearance, caused some to view them as two of punk's most intimidating axemen. Between the brothers, Glenn Danzig would bellow out his morbid lyrics while thrashing around on stage or crawling around on the floor, sometimes throwing and receiving punches from the crowd. Despite Glenn's smaller stature at about 5'5", he was fond of fighting, and enjoyed taunting the crowd, and instigating violence.
Perhaps the most infamously violent Misfits show took place in San Francisco on April 10, 1982. During the show some people in the crowd began to throw cans of beer at the stage. After Doyle was nearly hit in the head with a full beer can, he smashed his guitar over a crowd member's head, instigating a full out riot.
Arthur Googy and Danzig argued often and finally, after a lengthy argument, Danzig kicked him out of the Misfits. The Misfits had to cancel their plans to record their next EP, which they had planned on calling Earth A.D..
In need of a drummer, they offered the role to Doyle's friend and classmate, Eerie Von, who had served as an occasional photographer and roadie for The Misfits. Eerie reluctantly turned down the offer because he had already committed to drumming for the local band Rosemary's Babies. Black Flag vocalist, Henry Rollins, who had become great friends with The Misfits during their west coast gigs, informed ex-Black Flag drummer, ROBO, that The Misfits were in need of a drummer. In July of 1982, ROBO flew to the east coast and joined the band.
Doyle graduated High School and began working full time at his father's machine shop with Jerry. They used their earnings to purchase new instruments (because they tended to smash theirs on a weekly basis), and to fund The Misfits tours, recording sessions, and album pressings. While they provided funding for the band, Glenn would handle the Fiend Club and work on composing new songs. A common misconception is that Glenn only wrote lyrics and sang for The Misfits. Glenn is a multitalented musician, and would often write new songs himself and later teach them to his band mates at practice, where the songs would become fleshed out (practices were usually held in Jerry's garage, which they referred to as "The Pit").
[edit] Dissolution
In September of 1982, The Misfits embarked on a large scale tour with their friends, The Necros, opening for them. During the tour, The Misfits stopped by a studio to record the instrumental tracks for the Earth A.D. EP while Glenn slept. On October 17, the band were arrested in New Orleans on the charges of grave-robbing while in search of the burial place of voodoo practitioner Marie Laveau. The Misfits denied the charges, and a witness reportedly attested that they had not even entered the cemetery gates. The band bailed themselves out of jail and skipped court to drive to their next performance in Florida. Upon returning from the tour, The Misfits released an album of live material called Evilive.
During this time Glenn was becoming increasingly dissatisfied with The Misfits, for reasons that are disputed. He began to write songs for a new band project, which he considered calling "Danzig", but instead chose to name "Samhain", after the ancient Celtic holiday which influenced the modern Halloween celebration.
In July of 1983, The Misfits went into the studio to finish working on Earth A.D. They decided to record and add two of their new songs to the album, making it closer to full length status. In order to make it a proper full length album, Glenn decided to record two of the songs he had intended for Samhain: "Bloodfeast" and "Death Comes Ripping". The resulting album was Earth A.D., a gritty, thrashy album which none of the members were quite satisfied with. In August, after a series of arguments with Glenn, ROBO decided to leave the band. Glenn became further disenchanted with The Misfits and began to audition musicians for his new band project.
On October 29, 1983 (see 1983 in music), The Misfits played their yearly Halloween show in Detroit, Michigan. Glenn had selected Brian Damage to be the new Misfits drummer. However, Brian got drunk before the show and continuously messed up the songs. After several songs Doyle escorted Brian off the stage and the drummer for the Necros filled in for the rest of the set. The band members were visibly upset with each other and Glenn informed the audience that it would be the last Misfits show ever. The next day the band members drove back home without saying a word to each other and went about their respective lives.
The last show of the original Misfits was at Greystone Hall, Detroit, Michigan, on Saturday, October 29th,1983, when the band showed up and played one of their longest sets (about 30 songs). This show was filmed.[citation needed]
[edit] Jerry Only era
[edit] Legal battle
After the demise of the Misfits, Glenn Danzig focused on his new band project, Samhain, which was darker and more experimental than The Misfits, with more emphasis on creating a grim atmosphere and less on poppy melodies. Meanwhile, Jerry Only and his brother Doyle moved to Vernon, New Jersey, where they went to work full time in their father's machine parts factory.
During this time, Only became more focused on his family and his baby daughter, Kathy. He became more serious about his Christian faith, and regretted some of the things he took part in during his time with the Misfits. He watched as Danzig continued to grow in popularity with Samhain, a band that Only viewed as Satanic. In 1987, Only decided to start a new band, one that would oppose the "dark path" chosen by Danzig. Together with Doyle, Only (who changed his stage name to "Mo the Great") started writing songs for a Christian heavy metal band with barbarian imagery, called Kryst the Conqueror. They then created the "Doyle Fan Club" to help spread the word about their new band. Despite Only's efforts, Kryst the Conqueror failed to gain a following. Although they released one limited edition EP, the band never played live.
Also in 1987, Samhain, after touring extensively and releasing two full-length albums and an EP, were signed to a major label and the band's name was changed to Danzig. Although the Misfits had gone mostly unnoticed during their seven years as an active band, by the late 80s, they were becoming icons of the underground music world, thanks in part to word of mouth, Metallica's public adoration for the band, and Danzig's success with Samhain. The Misfits' back catalogue had been reissued and was selling extremely well. Around this time, Only contacted Danzig about getting a cut of the Misfits' royalties, beginning a legal battle that lasted several years. Only concedes that Danzig wrote nearly all the lyrics and most of the music, but he contended that he and Doyle "wrote 25% or maybe 30% of the music,"[1] and deserved compensation. Danzig, on the other hand, insisted that he himself wrote all songs, and that the other Misfits' creative input was minimal at best.
In late 1988, Danzig, the band, released its eponymous debut album, the first release on star producer Rick Rubin's new Def American record label. Seven years later, in 1994 Danzig broke into the mainstream when the live video for its first album song, "Mother", became a hit on MTV, introducing thousands of new fans to Danzig's back catalog, and to his work with Samhain and the Misfits.
Around this time, many older punk bands began to do reunion tours, earning often hefty paychecks in the process. In 1994-95 Jerry Only and Doyle approached Danzig about reuniting as the Misfits, and they even went to his hotel room after a Danzig show in New Jersey. In interviews Only jokingly remarked that security escorted them from the property, and "we took that as a 'no'". Only decided to cease his pursuit of songwriting credits, and instead tried to reach an out-of-court settlement that would allow him to use "the Misfits" name and images. In 1995, Only and Danzig finally settled, with Only gaining the rights to record and perform as the Misfits, but sharing merchandising rights with Danzig.
[edit] A new beginning
Jerry and Doyle reformed The Misfits immediately, retaining Kryst the Conqueror drummer, Dr. C.H.U.D., and after Danzig rejected their offer to return as lead singer, they held open auditions for a new vocalist (Jerry had approached Damned vocalist Dave Vanian about filling the open position, but he declined the offer). Michael Emanuel, a nineteen-year-old New Jersey native, impressed them with his audition, and was soon established as the new vocalist, taking the stage name Michale Graves.
This new incarnation of The Misfits (sometimes referred to as "The Newfits", "MisfitsTM", "The Jerry Only Band", or "Misfits 95") released their debut album, American Psycho, in 1997. The album was fairly well received, introducing The Misfits to a new generation of fans. However, many fans of the original Misfits had trouble accepting the band's renewed existence without its founder and key songwriter, Glenn Danzig, who usually refuses to acknowledge the new band's existence, and does so only with derision. Detractors also took issue with the new band's focus on a more "cartoony" image, and Jerry Only's apparent desire to make the band more family-friendly, by refraining from the use of vulgarities in their new songs.
In May of 1998, Michale Graves went on hiatus from the band. The Misfits were then briefly fronted by lead singer Myke Hideous of the New Jersey goth/deathrock band, The Empire Hideous, during their subsequent South American and European tour. Hideous was purportedly forced out by Jerry and Doyle for an unwillingness to "pump up" by lifting weights (The Misfits with Graves and Chud were featured as Characters in WCW wrestling), and left the band after the European tour. Hideous recounts details of his stint singing for the Misfits in his book "King of an Empire to the Shoes of a Misfit". Michale Graves rejoined the band later that year.
In October of 1999, The Misfits released Famous Monsters, a diverse album that further established their own sound apart from the Glenn Danzig era of the band. In 2001, The Misfits released Cuts from the Crypt, a collection of rare and unreleased "resurrected" Misfits tracks. On October 25, 2000, after months of internal band turmoil, Michale Graves and Dr. Chud officially quit the band during a performance at the House of Blues in Orlando. Doyle then took an indefinite hiatus from performing, effectively putting an end to another era of the band.
[edit] 25th anniversary and beyond
Only then took over lead vocals in addition to his bass duties, and recruited punk veterans Dez Cadena of Black Flag, and Marky Ramone of The Ramones to undertake a Misfits 25th Anniversary Tour, which lasted about three years, intermittently.
Freed from the Misfits' contractual obligations to Universal's Geffen and Roadrunner imprints, Only and Misfits confidant John Cafiero formed Misfits Records and launched their new label with two releases, the American debut of Balzac (a Japanese horror punk band strongly influenced by The Misfits and Samhain), and a new Misfits album featuring the band's retakes on ten 1950s rock classics, Project 1950. The album featured not only the punk rock all-star Misfits lineup of Only, Cadena and Ramone, but prominent appearances from 60's pop chanteuse Brendan Passey, Blondie keyboardist Jimmy Destri and also saxophonist Ed Manion from Southside Johnny & the Asbury Jukes. Cafiero also featured strongly on backing vocals.
Meanwhile Michale Graves and Dr. Chud had formed their own band, Graves, which released a single album before breaking up. In 2003, Michale Graves sang in Gotham Road. Currently, Graves is fronting his own solo project, Michale Graves, while Dr. Chud is fronting for his own band called Dr. Chud's X-Ward.
In December of 2004 Glenn Danzig performed a half hour worth of classic Misfits tracks, in the middle of his Danzig set. Joining him on guitar was none other than Doyle. It was the first time the two have performed together in 20 years, and the first time Doyle has taken to the stage since he went on hiatus. These shows have prompted rumors of a reunification of Jerry, Doyle and Glenn, although Danzig has repeatedly made public statements shooting down such rumors. Glenn and Doyle plan on performing more shows together, and Glenn has stated that this is as close as anyone will ever get to seeing a true Misfits reunion. Doyle and Danzig also performed together for approximately 30 minute sets during The 2006 Danzig Australian Tour.
Recently, Marky Ramone has left The Misfits 25 lineup, and the new lineup contains ROBO, formerly of the Glenn Danzig days of the Misfits, and originally of seminal hardcore punk band Black Flag. A full European tour has been booked with this new lineup, and some select dates in the U.S. have been announced. The UK leg of the tour had to be canceled due to a problem with ROBO's visa, and as a result the band could not play the City Invasion 2005 tour. A rescheduled UK tour followed in September.
Marky appeared alongside the new line up of The Misfits in late 2006 while touring as a member of Osaka Popstar.
The Misfits and their Japanese counterparts, Balzac, staged a show at Tony Bennett's studio complex in Englewood, N.J., for a possible future live CD and/or DVD release on Misfits Records. Original Misfits guitarist Franché Coma made a guest appearance to perform three songs from the Static Age LP. Meanwhile, Doyle returned to play with Danzig for the Blackest of the Black tour in the fall of 2005. Glenn claims that this will be his final tour, though he says he will continue to make music. He is currently slated as the producer for Doyle's upcoming band, Gorgeous Frankenstein, which currently lacks a lead vocalist, but will feature Argyle Goolsby on bass.
The Misfits are currently writing and recording material for a new studio album which they began work on in early 2006. The album will apparently feature Dez Cadena on guitar and ROBO on drums. They have yet to say whether Dez will contribute to songwriting and singing. The material planned for the new release, according to the band, is intended to be "the hardest, most aggressive Misfits material to see the pressing plant since Earth A.D.".
[edit] 30th "Anniverscary"
The Misfits will perform at the Desensitised festival on 8th September 2007. They will be one of four headline acts. http://www.myspace.com/desensitisedfestival is the website for tickets
The band will then perform a full UK tour to celebrate their 30th anniversary. Special guests are The Briefs.
It has been loosely confirmed that Michale Graves and Doyle will be returning for the 2007/2008 studio album. Dez Cadena has stated that two guitars will be featured on the new album, thus implying Doyle will be playing on the new album, although no real concrete evidence exists to back up this claim. Jerry Only has not yet commented on the status of the album.
As of June 25th, the new Misfits website has been launched, giving a list of tour dates, and confirming a US tour this fall, with dates to be added.
[edit] Legacy
The influence The Misfits have had on punk rock, and rock music in general, sometimes seems disproportionate to the publicity and critical attention they have received. Myriad bands have imitated The Misfits' style, such as Balzac, Blitzkid, The Coffin Caddies, The Bathory Boys, The Zombie Mafia, and Calabrese, and these bands have become known as horror punk. Psychobilly has various similarities with horror punk.
A number of bands have recently surfaced which, although in some cases less obviously horror punk, are still strongly visibly and audibly influenced by The Misfits. These include, most notably, bands such as AFI, Alkaline Trio, Marilyn Manson, Rob Zombie, Avenged Sevenfold, Wednesday 13 and the Murderdolls. Many musical groups whose resemblance to The Misfits seems far removed also cite the band as crucial influences, such as Metallica, Megadeth, Red Hot Chili Peppers, and Guns N' Roses. Other bands who hold The Misfits in high regard are Slayer, Pantera, NOFX and more recently, Slipknot. Many local New Jersey hardcore, punk, emo and alternative rock acts such as My Chemical Romance and The Banner, cite The Misfits as a main influence. Winnipeg born Breakcore artist Venetian Snares considers the Misfits a huge influence, inspired by the subtle, but frequent use of 3/4 time. Also New Jersey based bands Northfall Division and Royal Stigma cite The Misfits as a major influence. These underground 80s punk groups have used the lyrics from many Misfits songs as basis for the lyrics of their own songs.
The Misfits' far reaching influence is also evident in the vast number of fans from all different facets of the music world who follow the band. Wildly popular among punk rock fans, the band has also received much exposure to the heavy metal community from Metallica's numerous Misfits cover songs. Misfits fans themselves can often be easily discerned, as many completely immerse themselves in the band's imagery. At underground shows, and especially at Halloween, it is not uncommon to see many punks and metalheads dressed in black with Crimson Ghost facepaint and the devilock hairstyle. Black leather jackets, oversized leather boots, as well as gloves and bodysuits printed with the skeletal structure are also common.
The Misfits have greatly influenced the Grenade snowboard apparel company run by the two-time Olympic silver medalist and professional snowboarder Danny Kass, and his brother Matt. The Kass brothers grew up in New Jersey and are long time Fiends. Danny is a good friend of Jerry Only's son and used to skateboard on a halfpipe in the Only's back yard. Numerous Grenade products are Misfit tributes using or drawing from Misfits imagery. In classic Misfits tradition, Grenade allows 'soldiers' to enlist in their 'Army' to receive stickers and other items, following along the lines of the Misfits' Fiend Club. Grenade follows in the vein of DIY mentality displayed by the Misfits and many punk bands, and reflects its influence on snowboarding today.
Misfits posters and shirts have been spotted in numerous films and TV shows, such as Click, Men in Black, Detroit Rock City, Shorties Watchin' Shorties, as well as Saved by the Bell and CSI.
Recently My Chemical Romance did a cover of the song "Astro Zombies" for the Tony Hawk's American Wasteland videogame. The band Aiden did a cover of "Die, Die My Darling" for the Kerrang! magazine compilation. AFI have covered several Misfits songs, including "Halloween" on All Hallows E.P,"Last Caress" on the vinyl edition of Shut Your Mouth and Open Your Eyes and "Demonomania" on A Fire Inside E.P . Also in the Red Hot Chili Peppers video, "Dani California", lead singer Anthony Kiedis represented the Misfits by dressing like Glenn Danzig in a portion of the video. A Green Day side project known as The Network recently did a cover of the song "Teenagers From Mars" which originally appeared on the Misfits album Static Age. The Mexican rock band Molotov did a cover of the song "I turned into a Martian" with the song "Marciano" on their cover album Con Todo Respeto. The Texas Chainsaw Mascara covered "Halloween" for their MySpace in celebration of the holiday in 2006.
Caroline Records released an album titled "Violent World - A Tribute to the Misfits" that payed homage to the band with covers by various punk, hardcore and metal bands. It included the bands: Snapcase, Pennywise, Shades Apart, Tanner, Therapy?, Prong, 108, The Bouncing Souls, Goldfinger, Deadguy, Sick of it All, NoFX, Earth Crisis and Farside.
In 2002, during their Halloween show at the Metro, Alkaline Trio gave away 7" records to attendees. The two tracks on them were covers of Halloween and Children in Heat. Derek Grant, the drummer of Alkaline Trio once auditioned to be in the Misfits, but the spot was taken by Michael Graves. Both Derek Grant and Matt Skiba have admitted to being influenced by The Misfits. Derek Grant can often be seen with a devilock.
The 2002 release by NOFX, "45 or 46 Songs That Weren't Good Enough for our Other Records" features a cover of "Last Caress" that originally appeared on the Violent World Tribute.
In 2006 the band Sum 41 recorded a cover of the song "Attitude" for their MySpace and as a B-side for their new album expected to be released in early 2007.
Brodie Foster Hubbard has not only performed Misfits songs at his live shows, but fronts a Misfits tribute band called 138 with members of Night Wolf. The title and album cover of his second CD release, Legacy of Sentimentality, was an homage to the Misfits collection Legacy of Brutality. His third CD release, Don't Screw Up Like I Did, concludes with a cover of "Astro Zombies".
In common with the Ramones, The Misfits have had some of their songs covered by The Nutley Brass - on the album The Misfits Meet The Nutley Brass Fiend Club Lounge - in a lounge music style.
In the Lamb of God DVD Killadelphia, D. Randall Blythe, the band's vocalist can be seen wearing Misfits slip-on shoes in one of the hidden features when the band records their commentary.
[edit] Discography
[edit] "Original" Misfits
[edit] Studio albums
* Walk Among Us (1982)
* Earth A.D. (1983)
* Static Age (1997, recorded in 1978)
* 12 Hits From Hell (2001, recorded in 1980, not properly released)
[edit] Live albums
* Evilive (1982)
[edit] EP's
* Bullet (1978)
* Horror Business (1979)
* Night of the Living Dead (1979)
* 3 Hits from Hell (1981)
* Die, Die My Darling (1984)
[edit] Singles
* Cough/Cool (1977)
* Teenagers From Mars (1978)
* Halloween (1981)
* Who Killed Marilyn? (1981)
[edit] Compilations
* Beware EP (1980)
* Legacy of Brutality (1985)
* Collection I (1986)
* Collection II (1995)
* Box Set (1996)
[edit] "Resurrected" Misfits
[edit] Studio albums
* American Psycho (1997)
* Famous Monsters (1999)
* Project 1950 (2003)
* Untitled Misfits Album (2007/2008)
[edit] Live albums
* Evilive II (1998)
[edit] Singles
* Dig Up Her Bones (1997)
* The Day the Earth Caught Fire (2002)
* Monster Mash (1999)
* Psycho in the Wax Museum (2006)
* Scream! (1999)
[edit] Compilations
* Cuts from the Crypt (2001)
Length: 149
Rating: 3.70 (301 ratings)
Tags: misfits danzig punk sacramento crest rock metal capitalchaos
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Nine inch nails-Capital G
From the new album, Year Zero.
Enjoy!!
VISIT MY CHANNEL FOR MORE!!! =P
Length: 293
Rating: 4.80 (174 ratings)
Tags: nin industrial year zero skinny puppy
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Christmas With a Capital "C"
I think everyone needs to see this. I'm sick and tired of the whole "happy holidays" thing. Go Fish explains it much better than I ever could. This is more for the song, as I have provided the lyrics in the video. Enjoy.:D
Length: 224
Rating: 4.60 (4846 ratings)
Tags: happy holidays merry christmas Go Fish
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SLAYER on CAPITAL CHAOS TV 1998
SLAYER perform Bitter Peace & Death's Head on the "Diabolus In Music" world tour @ Sacramento Memorial Auditorium 1998...also on the bill were FEAR FACTORY, KILGORE & THE COUNCIL...Slayer is an American thrash metal band, formed in 1981 by guitarists Jeff Hanneman and Kerry King. Slayer rose to fame as a leader of the American thrash metal movement with their 1986 release Reign in Blood, which has been called "the heaviest album of all time.The band is credited as one of the "Big Four" thrash metal bands, along with Megadeth, Metallica, and Anthrax.
Slayer is known for its musical traits, involving fast tremolo picking, guitar solos, double bass drumming, and shouting vocals. The band's lyrics and album art, which cover topics such as serial killers, Satanism, religion and warfare have generated album bans, delays, lawsuits and strong criticism from religious groups and the public.
Since their debut record in 1983, the band has released two live albums, one box set, two DVDs, two EPs, and ten albums, four of which have received gold certification. The band has received two Grammy nominations, winning one in 2007 for the song "Eyes of the Insane", and headlined music festivals worldwide, including Ozzfest, The Unholy Alliance and the Download Festival. http://slayer.net Early days (1981--1982)
Slayer formed in 1981, when guitarist Kerry King met Jeff Hanneman while auditioning for a band. The two recruited bassist and vocalist Tom Araya, who had played with King in a band called Quits, and drummer Dave Lombardo who met King while delivering pizzas. The band began playing cover versions of Iron Maiden and Judas Priest songs at clubs and parties in Southern California. Early shows relied on a Satanic image, which featured pentagrams, make-up, spikes, and inverted crosses A rumor has the band originally known as Dragonslayer, after the 1981 movie of the same name. However, when King was asked "How did you come up with the name Dragonslayer, King responded "We never did; it's a myth to this day."
The band was offered to open for Bitch at the Woodstock Club in Los Angeles, performing eight songs — six being covers. While performing the song "Phantom of the Opera" by Iron Maiden the band was spotted by Brian Slagel, a former music journalist who had recently founded Metal Blade Records. Impressed with Slayer's performance, Slagel met with the band backstage and asked them to record an original song, "Aggressive Perfector"(sample (help·info)) for his upcoming Metal Massacre III compilation. The band agreed and the song created underground buzz, which led to Slagel offering the band a recording contract with Metal Blade. http://myspace.com/slayer
Show No Mercy (1983--1984)
Without a recording budget, the band was forced to self-finance its debut album. Combining the savings of Araya, who was employed as a respiratory therapist,[9] and money borrowed from King's father,[2] the band entered the studio in November 1983. The album was rushed into release, hitting shelves three weeks after tracks were completed. Show No Mercy, released in December 1983 by Metal Blade Records, generated underground popularity for the band, and they began their first national club tour in 1984 to promote the album traveling in Araya's Camaro towing a U-Haul trailer.[2] The tour gave the band additional popularity; sales of Show No Mercy reached more than 20,000 in the US and another 20,000 worldwide.[8]
Slayer's Show No Mercy covered topics such as Satanism, Hell, and the Devil.
Slayer's Show No Mercy covered topics such as Satanism, Hell, and the Devil.
In August 1984, Slayer released a three song EP, entitled Haunting the Chapel. The EP featured a darker, more thrash-oriented style than its predecessor, and laid the groundwork for the future direction of the band.[10] The opening track, "Chemical Warfare," has become a live staple, played at nearly every show since 1984. After the release of Haunting the Chapel, Slayer made its live European debut at the Heavy Sounds Festival in Belgium opening for UFO,[11] returning to the US to begin the Haunting The West Coast tour.[12]
Following the tour, King temporarily left Slayer to join Dave Mustaine's new band Megadeth.[13] Hanneman was worried about King's decision, stating in an interview "I guess we're gonna get a new guitar player".[2] While Mustaine wanted King to stay on a permanent basis, King rejoined Slayer after five shows, stating Megadeth was "taking too much of my time".[2] The split caused a rift between King and Mustaine, which evolved into a long running feud between the two bands.[14] Following King's return, the band embarked on the 1984 Combat Tour, with Venom and Exodus, and released a live album titled Live Undead in November.
[edit] Hell Awaits (1985--1986)
Slayer released its first live home video in 1985, dubbed Combat Tour: The Ultimate Revenge. The video featured live footage filmed at New York's Studio 54 club, on the band's 1984 tour with Venom and Exodus. By early 1985, Show No Mercy had sold over 40,000 copies,[8] which lead to the band returning to the studio to record a second full length album. Metal Blade financed a recording budget, which allowed the band to hire producer Ron Fair.
Released in September 1985, Slayer's second full length release Hell Awaits expanded on the darkness of Haunting the Chapel, with hell and Satan as common song subjects. The album was the band's most progressive offering, featuring longer and more complex song structures.[2] The intro is a backwards recording of a demonic-sounding voice repeating "Join us," ending with "Welcome back" before the track begins.[15]
[edit] Reign in Blood (1986--1987)
Following the success of Hell Awaits, Slayer was offered a recording contract with Rick Rubin's newly founded Def Jam Records, a largely rap-based label.[2] The band accepted and with an experienced producer and major label recording budget, the band underwent a sonic makeover resulting in shorter, faster songs with clearer production. Gone were the complex arrangements and long songs featured on Hell Awaits, ditched in favor of stripped down, hardcore influenced song structures.[2]
The release of Reign in Blood was delayed due to the nature of its artwork and lyrical themes.
The release of Reign in Blood was delayed due to the nature of its artwork and lyrical themes.
Def Jam's distributor, Columbia Records refused to release the album Reign in Blood, due to its graphic graphic cover art and lyrical themes.[2] "Angel of Death", detailed the Nazi concentration camps and human experiments conducted by Nazi physician Josef Mengele. The album was distributed by Geffen Records on October 7, 1986. However, due to the controversy Reign in Blood did not appear on Geffen Records release schedule.[2] Although the album received virtually no radio airplay, it became the band's first to enter the Billboard 200, debuting at #94,[16] and the band's first album certified gold in the United States.[17]
In October 1986, Slayer embarked on the Reign in Pain world tour, with Overkill in the US, and Malice in Europe. The band were added as the opening act on W.A.S.P.'s US tour, but just one month in, drummer Lombardo left the band: "I wasn't making any money. I figured if we were gonna be doing this professionally, on a major label, I wanted my rent and utilities paid."[2] To continue with the tour, Slayer enlisted Tony Scaglione of Whiplash. However, Lombardo's wife convinced Dave to return in 1987.[2] At the insistence of Rubin, Slayer recorded a cover version of Iron Butterfly's "In-A-Gadda-Da-Vida" for the film Less Than Zero.[2] Although the band was not happy with the final product, Hanneman deeming it a poor representation of Slayer and King labeling it "a hunk of shit", it was the first songs to garner radio airplay.[2]
[edit] South of Heaven (1988--1989)
Slayer returned to the studio to record their fourth studio album. To contrast the speed of Reign in Blood, the band consciously decided to slow down the tempo incorporating melodic singing, rather than screaming. Hanneman asserted; "We knew we couldn't top Reign in Blood, so we had to slow down. We knew whatever we did was gonna be compared to that album, and I remember we actually discussed slowing down. It was weird—we've never done that on an album, before or since."[2]
1988's South of Heaven received mixed responses from both fans and critics, although it was Slayer's most commercially successful release at the time, debuting at #57 on the Billboard 200,[16] and the second album to receive gold certification in the United States.[17] Press response to the album was mixed, with All Music Guide citing the album as "disturbing and powerful",[18] and Rolling Stone calling it "genuinely offensive satanic drivel".[19] King says "that album was my most lackluster performance," although Araya called it a "late bloomer" which eventually grew on people.[2]
[edit] Seasons in the Abyss (1990--1993)
Slayer returned to the studio with co-producer Andy Wallace in 1989, to record their fifth studio album. Following the backlash created by South of Heaven, Slayer returned to the "pounding speed of Reign in Blood", while retaining their new found melodic sense.[20] Seasons in the Abyss, released in October 1990, was the first Slayer album to be released under Rubin's new Def American label, as he parted ways with Def Jam owner Russell Simmons over creative differences. The album debuted at #44 on the Billboard 200,[16] and was certified gold in 1992.[17] The title track, spawned Slayer's first music video, which was filmed in front of the Giza pyramids in Egypt prior to the Gulf War.
Slayer returned as a live act in September 1990 to co-headline the European Clash of the Titans tour with Megadeth, Suicidal Tendencies, and Testament. With the popularity of American thrash at its peak, the tour was extended to the US beginning in May 1991, with Megadeth, Anthrax and opening act Alice in Chains. The band released a double live album, Decade of Aggression in 1991, to celebrate ten years. The compilation debuted at #55 on the Billboard 200.[16]
In May 1992, Lombardo quit the band due to conflicts with other members, as well as arguments over his wish to bring his wife on tour.[21] Lombardo formed his own band Grip Inc, with Voodoocult guitarist Waldemar Sorychta,[22] and Slayer recruited former Forbidden drummer Paul Bostaph to fill his place. Slayer made its debut appearance with Bostaph at the 1992 Monsters of Rock festival at Castle Donington. Bostaph's first studio effort was a medley of three Exploited songs, "War", "UK '82", and "Disorder", with rapper Ice-T, for the Judgment Night movie soundtrack in 1993.[23]
[edit] Divine Intervention (1994--1995)
In 1994 Slayer released Divine Intervention, the band's first record with drummer Bostaph. The record became the band's highest charting at that time, debuting at #8 on the Billboard 200.[16] The album featured songs boasting about Reinhard Heydrich, an architect of the Holocaust, Jeffrey Dahmer, "213" his apartment number where he murdered, raped, and tortured seventeen victims. Other themes included murder, the evils of church, and the lengths to which governments will go to wield power, Araya's interest in serial killers inspired much of the lyrical content.[9][24]
Music sample:
* "SS-3" (1994) (file info) — [Play media] play in browser (beta)
o SS-3 is about Reinhard Heydrich, an architect of the Holocaust. SS-3 refers to the license plate number of the car he was killed in.
o Problems listening to the file? See media help.
Slayer geared up for a world tour in 1995, with openers Biohazard and Machine Head. A video of concert footage, Live Intrusion was released, featuring a joint cover of Venom's "Witching Hour" with Machine Head. Relations between Slayer and Machine Head have since badly deteriorated.[25] Following the tour, Slayer were billed fourth at the 1995 Monsters of Rock festival, headlined by Metallica.
[edit] Undisputed Attitude (1996--1997)
In 1996, Undisputed Attitude, an album of punk covers, was released. The band covered songs by Minor Threat, T.S.O.L., D.R.I., D.I., Dr. Know, Verbal Abuse and Iggy and the Stooges. The album featured three original tracks, "Gemini", "Can't Stand You", "Ddamm" written by Hanneman in 1984--1985 for a side project entitled "Pap Smear". Bostaph left Slayer shortly after the album's release to work on his own project, The Truth about Seafood. With Bostaph's departure, Slayer recruited Testament drummer Jon Dette, and headlined the 1996 Ozzfest alongside Ozzy Osbourne, Danzig, Biohazard, Sepultura, and Fear Factory. Dette was fired after a year, due to a fallout with band members; Bostaph returned to continue the tour.[26]
A lawsuit was brought against the band in 1996, by the parents of Elyse Pahler, who accused the band of encouraging their daughter's murderers through their lyrics.[27] Elyse was drugged, strangled, stabbed, trampled on, and raped as a sacrifice to the devil by three fans of the band.[27] The case was unsealed by the court on May 19, 2000, stating Slayer and related business markets distribute harmful products to teens, encouraging violent acts through their lyrics,[27] and "none of the vicious crimes committed against Elyse Marie Pahler would have occurred without the intentional marketing strategy of the death-metal band Slayer".[28] The lawsuit was dismissed in 2001, for multiple reasons including "principles of free speech, lack of a duty and lack of foreseeability".[29] A second lawsuit was filed by the parents, an amended complaint for damages against Slayer, their label, and other industry and label entities. The lawsuit was dismissed; Judge E. Jeffrey Burke stated "I do not consider Slayer's music obscene, indecent or harmful to minors."[29]
[edit] Diabolus in Musica (1998--2000)
Diabolus in Musica (Latin for "The Devil in Music")[30] was released in 1998, and debuted at #31 on the Billboard 200, selling over 46,000 copies.[31] The album received a mixed critical reception and was criticized for adopting characteristics of nu-metal music such as tuned down guitars, murky chord structures, and churning beats. Blabbermouth.net reviewer Borijov Krgin described the album as "a feeble attempt at incorporating updated elements into the group's sound, the presence of which elevated the band's efforts somewhat and offered hope that Slayer could refrain from endlessly rehashing their previous material for their future output.",[32] while New York Time's Ben Ratliff had similair sentiments by saying "eight of the 11 songs on Diabolus in Musica, a few of which were played at the show, are in the same gray key".[33] However, Adrien Begrand of PopMatters said the songs "Bitter Peace", "Death's Head", and "Stain of Mind"; "blow away anything that young pretenders like Slipknot have put out."[34]
The album was the band's first with drop D tuning, as featured on the lead track, "Bitter Peace",(sample (help·info)) making use of the musical range referred to in the Middle Ages as the tritone or Devil's scale.[35] Slayer teamed up with digital hardcore group Atari Teenage Riot to record a song for the Spawn soundtrack titled "No Remorse (I Wanna Die)". The band later payed tribute to Black Sabbath by recording a cover of "Hand of Doom" for the second of two tribute albums, entitled Nativity in Black II. A world tour followed to support the new album, with Slayer making an appearance at the United Kingdom Ozzfest 1998 alongside Black Sabbath, Ozzy Osbourne, Foo Fighters, Pantera, Soulfly, Fear Factory, and Therapy?.
[edit] God Hates Us All (2001--2005)
The original cover of God Hates Us All was deemed "too graphic", so a slip-insert was created to allow the album to be distributed.
The original cover of God Hates Us All was deemed "too graphic", so a slip-insert was created to allow the album to be distributed.
After delays regarding remixing and artwork,[36] including slip covers created to cover the original artwork as it was deemed "too graphic", God Hates Us All was released on September 11, 2001. The band received its first Grammy nomination for the lead track "Disciple", although the Grammy was awarded to Tool, for "Schism".[37] Promotional material announcing the album title and release drew an unintended connection with the September 11 terrorist attacks.
The attacks jeopardized the 2001 European tour Tattoo the Planet originally set to feature Pantera, Static X, Biohazard and Vision of Disorder. Dates were canceled or postponed due to flight restrictions, with a majority of bands deciding to withdraw, leaving Slayer and Static X remaining for the European leg of the tour.[38] Pantera, Vision of Disorder and Biohazard were replaced by Cradle of Filth and other bands dependent on location; Amorphis, In Flames, Moonspell, Children of Bodom, and Necrodeath. Drummer Bostaph left Slayer before Christmas in 2001, due to a chronic elbow injury which would hinder his ability to play.[39] Slayer's "God Hates Us All" tour was unfinished so King contacted original drummer Lombardo, and asked if he would like to finish the remainder of the tour. Lombardo accepted the offer, and stayed as a permanent member.[39]
Slayer toured playing Reign in Blood in its entirety throughout the fall of 2003, under the tour banner "Still Reigning". Their playing of the final song "Raining Blood" culminated with the band drenched in a rain of fake blood. Live footage of this was recorded at the Augusta Civic Center in Augusta, Maine, on July 11, 2004 and released on the 2004 DVD Still Reigning. The band also released War at the Warfield and a box set, Soundtrack to the Apocalypse featuring rarities, live CD and DVD performances and various Slayer paraphernalia.
From 2002 to 2004 the band performed over 250 tour dates, headlining major music festivals including H82k2, Summer tour, Ozzfest 2004, the Download Festival and a European tour with Slipknot. While preparing for the Download Festival in England, Metallica drummer Lars Ulrich was rushed to hospital with a mysterious illness, and was unable to perform.[40] Metallica vocalist James Hetfield searched for volunteers at the last minute to replace Ulrich; Lombardo and Slipknot drummer Joey Jordison volunteered, with Lombardo performing the songs "Battery" and "The Four Horsemen".[40]
[edit] Christ Illusion (2006--present)
The album Christ Illusion was originally scheduled for release on June 6, 2006, and would be the first album with original drummer Lombardo since 1990's Seasons in the Abyss.[41]. However, the band decided to delay the release of the record as they did not want to be among the many, according to King, "half-ass, stupid fucking loser bands" releasing records on June 6,[42] although USA Today reported the idea was thwarted because the band failed to secure sufficient studio recording time.[43] Instead, Slayer released Eternal Pyre on June 6 as a limited-edition EP. Eternal Pyre featured the song "Cult", a live performance of "War Ensemble" in Germany, video footage of the band recording "Cult", and a five minute video of a Slayer fan carving the band's name onto his forearm. Five thousand copies were released and sold exclusively through Hot Topic chain stores, and sold out within hours of release.[44] On June 30, Nuclear Blast Records released a 7" vinyl picture disc version limited to a thousand copies.[45]
Christ Illusion was released on August 8, 2006, and debuted at #5 on the Billboard 200, selling over 62,000 copies in its first week.[46] The album became Slayer's highest charting, improving on its previous highest charting album, Divine Intervention, which had debuted at #8. However, despite its high positioning, the album dropped to #44 in the following week.[47] Three weeks after the album's release Slayer were inducted into the Kerrang! Hall of Fame for their influence to the heavy metal scene.[48]
Slayer performing at The Unholy Alliance Tour
Slayer performing at The Unholy Alliance Tour
A worldwide tour dubbed The Unholy Alliance, was undertaken to support the new record. The tour was originally set to launch on June 6, but was postponed to June 10, as Araya had to undergo gall bladder surgery.[49] In Flames, Mastodon, Children of Bodom, Lamb of God, and Thine Eyes Bleed, Which features Araya's brother Johnny Araya, were supporting Slayer.[50] The tour made its way through America and Europe and the bands who participated, apart from Thine Eyes Bleed, reunited to perform at Japan's Loud Park Festival on October 15, 2006.[51]
The video for the album's first single, "Eyes of the Insane", was released on October 30, 2006.[52] The track was featured on the Saw III soundtrack, and won a Grammy-award for "Best Metal Performance" at the 49th Grammy Awards, although the band were unable to attend due to touring obligations.[53] A week later, the band visited the 52nd Services Squadron located on the Spangdahlem U.S. Air Force Base in Germany to meet and play a show. This was the first visit ever to a military base for the band.[54] The band made its first network TV appearance on the show Jimmy Kimmel Live! on January 19, playing the song "Eyes of the Insane", and four additional songs for fans after the show, although footage from "Jihad" was cut due to its controversial lyrical themes. Slayer toured Australia and New Zealand in April with Mastodon, and appeared at the Download Festival and Rock Am Ring.[56] The band planned to attend the Heineken Jammin' Festival,[57] Switzerland's Greenfield Festival, and a summer tour with Marilyn Manson.[58] In May 2007, Blabbermouth.net announced that a 'first English language Slayer biography' was being written by British author Joel McIver, although no release date was announced.[59]
[edit] Influence
Slayer is credited as one of the "Big four" thrash metal bands along with Megadeth, Anthrax and Metallica, all of which rose to fame in the early 1980s.[1] These four bands have had a great influence on thrash and death metal scenes. "Their downtuned rhythms, infectious guitar licks, graphically violent lyrics and grisly artwork set the standard for dozens of emerging thrash bands, and Slayer's music was directly responsible for the rise of death metal" states MTV, ranking Slayer as the sixth "greatest metal band of all time,"[15] also ranking number 50 on VH1's "100 Greatest Artists of Hard Rock".[60] Hanneman and King ranked number 10 in Guitar World's "100 greatest metal guitarists of all time" in 2004,[61] and were voted "Best Guitarist/Guitar Team" in Revolver's reader's poll. Lombardo was also voted "Best Drummer" and the band entered the top five in the categories "Best Band Ever," "Best Live Band," "Album of the Year" (for Christ Illusion), and "Band of the Year."[62]
The band's 1986 release, Reign in Blood has been an influence to extreme and thrash metal bands since its release. The album was hailed the "heaviest album of all time" by Kerrang! Magazine,[3] a "genre-definer" by Stylus Magazine,[63] and a "stone-cold classic upon its release" by All Music Guide.[64] In 2006 it was named the best metal album of the last 20 years by Metal Hammer.[65] Richard Christy, former member of Death was blown away by Dave's performance on the album Reign in Blood,[66] as was Cannibal Corpse drummer Paul Mazurkiewicz.[67]
Drummer Lombardo has been an influence on many modern metal drummers including Ray Herrera of Fear Factory,[68] Pete Sandoval of Morbid Angel,[69] former Cradle of Filth drummer Adrian Erlandsson,[70] and Krisiun drummer Max Kolesne.[71] Patrick Grün of Caliban's inspiration to play drums came from Lombardo,[72] with Jason Bittner of Shadows Fall inspired by Lombardo's double bass, utilizing double bass when starting his own music career.[73]
[edit] Style
Early works were praised for their "breakneck speed and instrumental prowess," combining the structure of hardcore tempos and speed metal the band released fast, aggressive material.[1] The album Reign in Blood is the band's fastest, performed at an average of 250 beats per minute.[74] The album Diabolus in Musica was the band's first with drop D tuning, God Hates Us All the first with drop B tuning - utilizing seven-string guitars.[75] All Music Guide cited the album as "abandoning the extravagancies and accessibility of their late-'80s/early-'90s work and returning to perfect the raw approach",[76] with some fans labeling it nu-metal.[77]
Hanneman's and King's dual guitar solos have been called "wildly chaotic,"[1] and "twisted genius."[78] Drummer Lombardo uses two bass drums, instead of the double kick which is used on a single bass drum. Lombardo's speed and aggression earned him the title of the "godfather of double bass" by Drummerworld. Lombardo states his reasons for using two bass drums: "When you hit the bass drum the head is still resonating. When you hit it in the same place right after that you kinda get a "slapback" from the bass drum head hitting the other pedal. You're not letting them breathe." When playing the double bass Lombardo uses the "heel-up" technique, angling his pedals.
Writing lyrics and music
Hanneman, King and Araya contribute to the band's lyrics, and Lombardo, King and Hanneman create the music. Araya's first contribution to lyrical content was 1988's South of Heaven, forming a lyric writing partnership with Hanneman, which can overshadow the creative input of King.Hanneman states writing lyrics and music is a "free for all"; "It's all just whoever comes up with what. Sometimes I'll be more on a roll and I'll have more stuff, same with Kerry — it's whoever's hot, really. Anybody can write anything; if it's good we use it, if not we don't."
When writing new material the band writes the music before incorporating lyrics. King or Hanneman will use a 24-track and drum machine to show band members the riff they have created, and to get their opinion. Either King or Hanneman and Lombardo will mention if any alterations can be made. The band will play the riff to get the basic song structure, and figure out where the lyrics and solos will be placed.
Feuds
As of 2007, Araya and King have an ongoing feud with Dave Mustaine of Megadeth. It began when Mustaine attempted to convince King to stay with Megadeth rather than the "lame spikes" and "eyeliner" with the "poseurs" in 1984. Mustaine proceeded to tell Araya he liked it when he "sucked his dick" at the 1991 "Clash of the Titans" tour. Araya rebutted calling him a "homo" on stage. Since their falling out at the tour, King lashed out at Mustaine in several interviews stating he is a "cocksucker", "everybody hates him", and he is a "dictator". Recently in GuitarWorld.com's Dear Guitar Hero, King "admires him to this day" but as a guitarist even though he considers Mustaine as a "hypocrite".
Relations between Machine Head and Slayer deteriorated when King labeled Machine Head as "sell-outs" after the release of its 2001 album Supercharger. King continued to criticize the band stating "They're responsible for rap-metal", "they fooled me into thinking they're metal", "'they have no integrity left." Machine Head front man Robb Flynn stated King was not provoked, and these comments had come from nowhere. Flynn, who once idolized King rebutted "Oh, Mr. SUM 41 video has so much fuckin' integrity now!? Shit?!" after King appeared in Sum 41's music video "What We're All About", also stating "King's eaten so many cheeseburgers his brain's starting to clog up." However, on June 16, 2007 Flynn reported that the two sorted out their 'beef' at the Metal Hammer Awards, at which Slayer won an award for 'Metal Icon'.
Controversy
The lyrics of "Angel of Death" were inspired by the acts of Josef Mengele during World War II
Slayer has been accused of holding Nazi sympathies, due to the band's eagle logo bearing resemblance to the Eagle atop swastika, Schutzstaffel stickers on guitars, and the lyrics of "Angel of Death". The lyrics of "Angel of Death" were inspired by the acts of Josef Mengele, the doctor who conducted human experiments on Jewish and Roma prisoners during World War II at the Auschwitz concentration camp, and was dubbed the "Angel of Death" by inmates. Throughout their career, the band members were asked about these accusations, and have stated numerous times they do not condone Nazism, and are merely interested in the subject.
Slayer's cover of Minor Threat's "Guilty Of Being White" raised questions about a possible message of white supremacy in the band's music. The controversy surrounding the cover involved the changing of the refrain "guilty of being white" to "guilty of being right", at the song's ending. This incensed Minor Threat frontman Ian MacKaye, who stated "that is so offensive to me".
In a 2004 interview with Araya, when asked, "did critics realize you were wallowing in parody?", Araya replied, "No. People thought we were serious!...back then you had that PMRC, who literally took everything to heart, when in actuality you're trying to create an image. You're trying to scare people on purpose". Araya also denied rumors that Slayer members are Satanists, but they find the subject of Satanism interesting and "we are all on this planet to learn and experience".
The controversial cover of "Christ Illusion"
The song "Jihad" of the album Christ Illusion sparked controversy among families of the September 11 victims. The song deals with the attack from the perspective of a religious terrorist. The band stated the song is spoken through perspective without being sympathetic to the cause, and supports neither side. Seventeen bus benches promoting the album in Fullerton, California were deemed offensive by city officials. They felt the Antichrist and skull were inappropriate, and felt the name "Slayer" pertains to a murderer. City officials contacted the band's record label and demanded that the ads be removed. All seventeen benches were removed.
In India, the album was recalled by EMI India after protests with Muslim and Christian religious groups due to the nature of the graphic artwork. The album cover depicts Christ mutilated, missing arms and an eye, in a sea of blood with severed heads. On October 11, 2006 EMI announced that all stocks had been destroyed, noting it had no plans to re-release the record in India in the future.
Main article: Slayer discography
Studio albums
* 1983: Show No Mercy
* 1985: Hell Awaits
* 1986: Reign in Blood #94 US[16]
* 1988: South of Heaven #57 US[16]
* 1990: Seasons in the Abyss #40 US[16]
* 1994: Divine Intervention #8 US[16]
* 1996: Undisputed Attitude #34 US[16]
* 1998: Diabolus in Musica #31 US[16]
* 2001: God Hates Us All #28 US[16]
* 2006: Christ Illusion #5 US[16]
EPs/Box Sets
* 1984: Haunting the Chapel
* 2003: Soundtrack to the Apocalypse
* 2006: Eternal Pyre
DVDs/Live CDs
* 1984: Live Undead
* 1991: Decade of Aggression
* 1995: Live Intrusion
* 2003: War at the Warfield
* 2004: Still Reigning
[edit] Band members
[edit] Current members
* Tom Araya - bass, lead vocals (1981--present)
* Jeff Hanneman - guitar (1981--present)
* Kerry King - guitar (1981-present)
* Dave Lombardo - drums (1981--1986, 1987--1992, 2001--present)
[edit] Former members
* Paul Bostaph - drums (1992--1996, 1997--2001)
* Jon Dette - drums (1996--1997)
* Tony Scaglione - drums (1986--1987)
Length: 496
Rating: 4.00 (425 ratings)
Tags: slayer metal thrash satan devil sacramento speedmetal
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MR BUNGLE on CAPITAL CHAOS TV 1999
http://www.capitalchaos.net MR BUNGLE @ Club Xtreme - Cameron Park, CA 1999 on their "California" tour, also on the bill were DILLINGER ESCAPE PLAN..Mr. Bungle was an influential avant-progressive experimental rock group formed in Northern California in 1985. Created while the members were still in high school and named after a children's educational film, they released four demo tapes in the mid to late 1980s, before being signed to Warner Bros. Records, who subsequently released three full-length studio albums between 1991 and 1999. Mr. Bungle have not been active since touring in 2000 to support their last album, and a recent media interview has confirmed the group is now disbanded.[1] While early in their career Mr. Bungle went through several line up changes, the bands most long serving members were vocalist Mike Patton, guitarist Trey Spruance, bassist Trevor Dunn, drummer Danny Heifetz, and Clinton "Bär" McKinnon on saxophone and other woodwind instruments.
Mr. Bungle were known for their distinctive musical traits, often blending and cycling through several musical genres within the course of a single song and fusing radically different musical styles together. Many of their songs had a non-conventional structure and utilized a wide array of instruments and samples. Distinguished by their live shows, which often featured members dressing up and an array of unlikely cover songs, their style has influenced many recent funk metal bands. During the course of their career the band also had an ongoing feud with Red Hot Chili Peppers frontman Anthony Kiedis, which escalated in the late 90s with Kiedis having Mr. Bungle removed from a number of large music festivals in Europe and Australasia where the Chili Peppers were headlining.
Although signed to a major record label, Mr. Bungle never had significant commercial success and only released one music video. They did, however, gain a reasonable amount of worldwide popularity due to a large cult following. Mr. Bungle formed in 1985 in Eureka, California while the members were still in high school; initially consisting of Trevor Dunn, Mike Patton, Trey Spruance, Theo Lengyel, and Jed Watts. Watts was subsequently replaced by Hans Wagner, and he by Danny Heifetz, while Clinton "Bär" McKinnon joined in 1989.[2] The band's name was taken from a children's educational film devised to teach children good manners and hygiene, which was featured in a Pee Wee Herman HBO special in the early '80s. A puppet named Mr. Bungle was the main character, used to represent the kind of person no clean, polite child would wish to be. In 1989 Faith No More bassist Billy Gould told Patton about a pornographic video called Sharon's Sex Party, which also starred a character known as Mr. Bungle.[2]
Soon after forming, the band's first demo, The Raging Wrath of the Easter Bunny, was recorded during Easter of 1986. It generally featured a fast, low-fi, death metal style, though it also utilized a trainwhistle, a saxophone, bongos, and a kazoo. The Raging Wrath of the Easter Bunny was followed by the demo Bowel of Chiley in 1987; this recording featured a completely different style incorporating the sounds of ska, swing, and funk. In 1988 Mr. Bungle released their third demo, Goddammit I Love America!, which was musically similar to Bowel of Chiley. Their final demo tape was OU818, released in 1989; this recording was the first to feature tenor sax player Clinton "Bär" McKinnon and drummer Danny Heifetz. OU818 combined songs from the earlier demos along with some new tracks having a heavier overall sound than the previous releases.[3][4] In 1989 Mike Patton landed the lead vocalist slot with San Francisco's Faith No More, getting the job after Jim Martin of Faith No More heard him on a Mr. Bungle demo.[5] Patton decided not to break up Mr. Bungle, and continued to be a member of both bands simultaneously. Having established a strong following in Northern California, Mr. Bungle was signed to Warner Bros., who released their self-titled debut in 1991. Their debut, Mr. Bungle, was recorded a year after Mike Patton was recruited into Faith No More and was produced by jazz experimentalist John Zorn. Released on August 13, 1991 the album contained several new songs but overall the sound was in a similar style as OU818. The record mixed metal, funk, ska, carnival music, and free jazz, but was normally described as "funk metal" by music critics.[3] The content is, however, very hard to pin down using specific genres, and the structure and musical style of any single track frequently changes dramatically.[6] Critic Steve Huey wrote in All Music Guide "Mr. Bungle is a dizzying, disconcerting, schizophrenic tour through just about any rock style the group can think of, hopping from genre to genre without any apparent rhyme or reason, and sometimes doing so several times in the same song."[7]
The album featured numerous samples, including Kentucky Fried Chicken commercial outtakes, items from the videogames "Super Mario Bros", "Smash TV", and "RBI Baseball", the movies Blue Velvet and Sharon's Sex Party, and the pinball games "Cyclone," "Earthshaker," and "Haunted House." Almost all the members went by obscure aliases in the album credits. To promote the album in some stores, a Mr. Bungle bubble bath was given away with copies of the record sold.[2]
The first track on the self-titled recording was originally called "Travolta"(sample (help·info)); however, the actor John Travolta took issue with this title and threatened legal action. With the encouragement of Warner Bros. the song name was changed and on later pressings of the album was called "Quote Unquote", which is also the title of an unauthorized John Travolta biography by Bob McCabe.[2] They created a video for "Travolta" and submitted it to MTV. However, the station refused to air the video because of images of bodies dangling on meat hooks.[6]
The album sold well despite MTV refusing to air their video and a lack of radio airplay. It received mostly positive reviews with Journalist Bill Pahnelas calling it "an incredible musical tour de force, and hands down the best alternative rock record of the year so far".[8] Following the release of the album the band toured North America successfully building a large and loyal cult following. Their popularity was partly due to unique stage shows where they often performed with masks to hide their identities and played unlikely covers during their set such as Billy Squier's "The Stroke," "The Star Wars Theme", and John Sebastian's "Welcome Back". Due to artwork delays and the band members' many side-projects, it was another 4 years before Disco Volante was released in October 1995.[3] This, their second major release, has a completely different tone and style to earlier Mr. Bungle recordings.[9] While the self-titled album was described as "funk metal", with Disco Volante this was replaced with the label "avant-garde" or "experimental."[6]
The music was complex and unpredictable with the band continuing with their extreme shifts of musical style during songs. Some the tracks were in foreign languages and would radically change genres mid-song, arguably making it Mr. Bungle's most difficult and inaccessible release.[6] Featuring lyrics about death, suicide, and child abuse,[ along with plodding death metal, deranged children's songs, and a Middle Eastern techno number, music critic Greg Prato described the album as having "a totally original and new musical style that sounds like nothing that currently exists". Not all critics were impressed with the album, with The Washington Post describing it as "an album of cheesy synthesizers, mangled disco beats, virtuosic playing and juvenile noises", calling it "self-indulgent" and adding that "Mr. Bungle musicians like to show off their classical, jazz and world-beat influences in fast, difficult passages which are technically impressive but never seem to go anywhere".
Disco Volante included influences from contemporary classical music, avant-garde jazz, electronic music pioneer Pierre Henry, Edgar Allan Poe, John Zorn, Frank Zappa, Penderecki, and European film music of the 1960s and 1970s such as those composed by Ennio Morricone and Peter Thomas.
The album notes also contained an invitation to participate in an "unusual scam" - if $2 was sent to the bands address, participants would receive additional artwork, lyrics to the songs "Ma Meeshka Mow Skwoz" and "Chemical Marriage", and some stickers. Mr. Bungle supported this record with extensive tours through the United States, Europe, and Australia during '95 and '96, with the tours successfully widening the groups fan base. In 1996 Theo Lengyel retired as Bungle's original sax player and keyboardist due to creative differences. After another 4 year break between albums, the band's third album, California, was released on July 13 1999.[16] California is said to be Mr. Bungles most accessible[17][18] and while the genre shifts are still present, they are less frequent, with succinct song formats giving the album a less chaotic and more stable feel.[19] This resulted in what All Music Guide described as "their most concise album to date; and while the song structures are far from traditional, they're edging more in that direction and that greatly helps the listener in making sense of the often random-sounding juxtapositions of musical genres".[20] California continues the bands musical, lyrical, and thematic experimentation, although it has a much lighter tone.[21] On the different style of this album, Mike Patton explained that to the band "the record is pop-y", before adding "but to some fucking No Doubt fan in Ohio, they're not going to swallow that."[22] The album was generally well received with music critic Robert Everett-Green stating "The band's newest and greatest album does not reveal itself quickly, but once the bug bites, there is no cure. The best disc of the year, by a length."[23]
Additionally, the recording process for California became much more complex. The group chose to record the disc on analog rather than digitally[24] and some songs required several 24-track machines while utilizing more than 50 analog tracks.[19] As a result each song contains detailed layers of original samples, keyboards, percussion, and melodies.[6]
Mr Bungle live in 1999
Mr Bungle live in 1999
The album displays numerous influences, including exotica, Burt Bacharach, and The Beach Boys, while blending lounge, pop, jazz, funk, thrash-metal, Hawaiian, Middle Eastern, kecak, and avant-garde soundscapes.[17][18][21][25][20] The band did 5 tours to support this record. For the most part, perhaps with the exception of the Sno-Core 2000 tour where they were often booed, the band did have success attracting an audience. Following the 2000 tour the band again went on hiatus. Rumors circulated that the band had dissolved, with some members stating that the band was "over" while others insisted it was just "in limbo".[3] In 2003 Patton alluded to the fact that the band would probably not record any more albums stating "I think it is over. The guys are spread all over the world and we don't talk to each other. I have not spoken to a couple of the guys since the last tour, years ago."[28] While no official break-up announcement ever materialized, a 2004 Rolling Stone interview with Patton confirmed Mr. Bungle had disbanded with him revealing "We could have probably squeezed out a couple more records but the collective personality of this group became so dysfunctional, this band was poisoned by one person's petty jealousy and insecurity, and it led us to a slow, unnatural death. And I'm at peace with that, because I know I tried all I could."[1] When asked about a possible reunion, Mike Patton said, "It could happen, but I won't be singing. Some bridges have definitely been burned. It was a fun time and sometimes you just have to move on. I've got a lot on my plate now."[29] Trevor Dunn adds, on his website, "Bungle is dead and I'm happy about it" and that "the members of Mr. Bungle will never work together as such again".[30] Spruance,[31] Heifetz, and McKinnon[32] have been more optimistic; to quote Spruance, in response to the standard 'Mr. Bungle regrouping' question: "I hope so because that band could take over the fucking world if it wanted to."[31]
After the dissolution of Mr. Bungle the members have gone on to numerous different projects. Mike Patton co-founded the record label Ipecac Recordings[33] and is involved with several other ventures, most notably the bands Fantômas,[34] Tomahawk,[35] and Peeping Tom.[36] He also acted in the motion picture Firecracker.[37] Trey Spruance is involved with various bands, including Secret Chiefs 3 and Faxed Head. Trevor Dunn joined Patton in Fantômas as well as forming his own jazz band, Trevor Dunn's Trio Convulsant; he also occasionally played bass with Secret Chiefs 3.[6][38] Danny Heifetz's projects included playing with Secret Chiefs 3 and in a country/punk band called Dieselhed;[6] he now resides in Sydney, Australia, and plays in outfits such as The Tango Saloon and The Fantastic Terrific Munkle.[39][40] Clinton McKinnon also played with Secret Chiefs 3; he now lives in Melbourne, Australia, and plays with The Ribbon Device. Mr. Bungle were generally regarded as an experimental rock or avant-progressive rock group. All Music described Mr. Bungles music as a "unique mix of the experimental, the abstract, and the absurd",[4] while The Seattle Times characterized their music as "harsh, grating, unstructured, blasting, squeaky, speedy, slow, eerie and strangely compelling".[10] Distinctive features of the music were the utilization of numerous different instruments, unique vocals, and the use of unpredictable song formats and a number of different musical genres.
Along with the normal instruments of a rock band, Mr. Bungle would also incorporate additions such as bongos, woodblocks, tenor sax, Jews harp, xylophone, glockenspeil, clarinet, piano, and organ.[14] Journalist John Serba commented that the instrumentation "sounded kind of like drunken jazz punctuated with Italian accordions and the occasional Bavarian march, giant power chord, or feedback noise thrown in"[42] Overlaying this was Mike Patton's vocals, who often used death metal growls, crooning, screeching, gurgling, or simply whispering. The arrangement of their songs was also unique, normally displaying a total lack of any structured song format and rotating through different genres ranging from slow melodies to thrash-metal.[19] Critic Patrick Macdonald commented "In the middle of hard-to-follow, indecipherable noise, a relatively normal, funky jazz organ solo will suddenly drift in, it doesn't seem to fit but you can't stop listening to it".[10] Similarly New York Times journalist Jon Pareles described it as music that "leaps from tempo to tempo, key to key, style to style, all without warning".[43] Some of the notable genres they utilized include heavy metal,[20] funk,[20] free jazz,[20] surf rock,[17] punk,[43] klezmer music,[43] ska,[6] kecak,[25] avant-jazz,[21] folk music,[44] pop,[20] doo-wop,[44] funk metal,[25] electronica,[45] swing music,[20] space age pop,[20] death metal,[20][44] rockabilly,[20][25] bossa nova,[20] progressive rock,[18] country and western,[20] circus music [20] and even video game and cartoon music.[25] Critic Greg Prato stated they "may be the most talented rock instrumentalists today, as they skip musical genres effortlessly, while Mike Patton illustrates why many consider him to be the best singer in rock".[11]
Mr. Bungle's style has influenced many recent funk and metal chart-toppers, most notably Korn, whose guitarists utilize what they've dubbed the "Mr. Bungle chord".[1] Brandon Boyd of Incubus also cited Mr. Bungle as an influence.[46] Although, Patton has stated that he considers it an insult when people cite him as a forefather of Korn and Limp Bizkit, stating "I feel no responsibility for that, it's their mothers' fault, not mine." Mr. Bungle were well-known for their stage shows, where all of the band members would dress up in outrageous costumes and masks, often wearing a uniform of mechanic's jumpsuits along with masks such as Madonna, Nixon, Darth Vader, an executioner's hood, or plastic clown or gimp masks.[13] Bassist Trevor Dunn explained that initially the reason for the masks and dressing up was to assure anonymity.[48]
The shows for the California tours, while still involving various members in costumes, were largely devoid of the trademark masks and outfits due to the increased demands of the music.[19][49] Often the theme was related to California with palm tree props and the band members wearing beach party outfits including Hawaiian shirts and khaki pants.[19][50] Occasionally, the band would simply appear in black suits with white dress shirts or dress up in chef costumes, cowboy suits, or as the Village People.[42][51]
Throughout their career Mr. Bungle also performed numerous covers in their live shows, ranging from tiny snippets to whole songs. The covers were by a wide variety of artists and genres encompassing movie scores by Ennio Morricone, Henry Mancini, and John Williams, pop songs by Elton John and Jennifer Lopez, hip hop by Public Enemy and Ol' Dirty Bastard, to punk and metal songs by the Dead Kennedys, Metallica, and Slayer.Mr. Bungle is known to have had a bad relationship with the Red Hot Chili Peppers' frontman Anthony Kiedis.[2] The feud began when Kiedis saw singer Mike Patton performing with Faith No More and accused him of imitating his style. Stating "Yeah I watch that 'Epic' video, and I see him jumping up and down, rapping, and it looked like I was looking in the mirror. The thing is, I had no problem with him personally. I mean, I love 'The Real Thing,' and I liked his vocals on that record. I mean, when I heard the record I noticed subtle similarities, but when I saw that video it was like, 'Wait a second here, what the fuck?".[2] Mike Patton and Mr. Bungle took offense to Kiedis' comment, sarcastically threatening Kiedis in the press. In the early nineties, Patton met with Kiedis; the two were polite to each other and the feud seemed to have ended.[2]
However, in 1999 Mr. Bungle's album California was scheduled to be released on June 8, but their label, Warner Bros. Records, pushed it back so as not to coincide with the Red Hot Chili Peppers similarly titled album, Californication, which was to be released on the same day. This appeared to reignite the old feud with Kiedis having Mr. Bungle removed from a series of summer festivals in Europe; as the headlining act at the festivals The Chili Peppers had final word on the bands that would appear.[2][28] Patton stated "Our agent was in the process of booking these festivals, and it was becoming apparent that we'd landed some pretty good ones—one in France, another one in Holland, some big-name festivals. Turns out someone's holding a grudge! We were booted off several bills, including a really big festival in Australia, specifically because Anthony Kiedis did not want us on the bill. He threatened to pull the Chili Peppers if Mr. Bungle was on the bill. Now, rationalize that one! That's so fucking pathetic! I mean, this guy's selling a million records! We are not even a speck of dust on this guy's ass! What's the fucking problem?"[52] Trey Spruance added "We were booked, months in advance, to do eleven festival dates in Europe. Come Summer, we get a call from the three biggest of those festivals, all of them the same day, saying that we can't play, because the headlining band retains the right to hire and fire whomever they wish. We found out it was the Red Hot Chili Peppers, so our manager called their manager to find out what the hell was going on, and their manager was very apologetic, and said, 'We're really sorry, we want you to know this doesn't reflect the management's position, or the band's for that matter, it's Anthony Kiedis who wants this.'"[53]
As a result, Mr. Bungle parodied the Red Hot Chili Peppers in Detroit, Michigan on Halloween of 1999. Patton introduced each Mr. Bungle band member with the name of one of the Red Hot Chili Peppers before covering the songs Give It Away, Around The World, Under the Bridge and Scar Tissue, with Patton deliberately using incorrect lyrics. Mr. Bungle also satirized many of the mannerisms of the band, mocking their frequent heroin injections and on-stage antics. Kiedis responded by having them removed from the 2000 Big Day Out festival in Australia and New Zealand,[2][28] stating "I would not have given two fucks if they played with us there, but after I heard about some Halloween show where they mocked us and read another interview where Patton talked shit about us, and I was like, you know what, fuck him and fuck the whole band."
Length: 344
Rating: 4.20 (143 ratings)
Tags: mrbungle mike patton rock faith no more metal
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KITTIE on CAPITAL CHAOS 2006
We interviewed Kittie http://kittierocks.com when they played with The Warriors & Calico System at the Boardwalk April 17, 2006 1996 -- 2004
http://www.myspace.com/officialkittie
Kittie was formed in 1996, when Mercedes Lander and Fallon Bowman met in a high school gymnastics class. The lead singer and guitarist, Morgan Lander, is Mercedes' sister. Their original bassist was Tanya Candler, who eventually left the band in the winter of 1999 due to the fact that she wanted to finish high school. She was replaced with Talena Atfield.
In 2001, Fallon Bowman left Kittie without citing her reasons and eventually started a new project called Amphibious Assault. Fallon's position as guitarist would later be filled by Jeff Phillips who worked as Kitties' guitar technician. He now plays guitar for Thine Eyes Bleed.
In 2002 Talena Atfield left the band. She was replaced on bass guitar by Jennifer Arroyo. In 2004 the group added a fourth member, the second guitarist Lisa Marx, and Jeff Phillips went to work full-time on his side project, Thine Eyes Bleed.
http://www.taramcleod.com/
In 2004 Kittie released the album Until the End. A band with the same name, Until The End, joked about naming their newest album Kittie to return the favour, however, they didn't.
Until March 2005, Kittie were signed to Artemis Records but parted ways due to "a proposed amendment to the recording budget for the pending 4th Kittie album." Problems between the group and record label had been rumoured for a long time. The only official sign of these problems was a settlement out of court for unpaid royalties and 11 breaches of contract on Artemis Records' behalf, in March 2004.
http://www.focus-bliss.net/
On March 23, 2005, Morgan Lander made a post indicating that both Lisa Marx and Jennifer Arroyo had left the band.[1] Jennifer Arroyo's split was amicable while Lisa Marx's was a surprise. Financial reasons were cited — nothing new, as the same had happened earlier with Talena Atfield, and in the case of Jennifer Arroyo, the desire to work outside of Kittie full-time was also a factor. Jennifer Arroyo would go on to join Billy Graziadei of Biohazard, to form Suicide City.
http://www.poisonedblack.com/
In 2005 Kittie added two new members: Tara McLeod, on guitar, and Trish Doan, on bass. Most fans have stated that this is Kittie's most musically talented line-up yet. 2005 also brought the debut of Morgan and Mercedes' clothing line, Poisoned Black clothing. Morgan and Mercedes also appeared briefly in the documentary Metal: A Headbanger's Journey.
http://www.extrememusiconline.com/features/30d.html
On February 7, 2006, Kittie released the Never Again EP through Rock Ridge Music. Also in 2006, vocalist Morgan Lander provided vocals on the song "It Turns to Rust", from the album In the Arms of Devastation, by the Canadian death metal band Kataklysm.
In May of 2006 Kittie announced a joint venture to create their own record label, "Kiss of Infamy Records" which will include major label distribution by EMI. Their fourth studio album is entitled Funeral for Yesterday and was released on February 20, 2007 through their new label.
Along with the release of Funeral for Yesterday it was announced by Morgan Lander that Kittie would be releasing a new DVD. The DVD was released along with the CD. The DVD runs for about 45 minutes.[2]
Kittie kicked off 2007 with the "Funeral for Yesterday Tour" running from the beginning of February until the end of March. Other bands on the bill include Walls of Jericho, 36 Crazyfists, Dead To Fall, and In This Moment. The tour received a huge turnout and feedback that Kittie decided to extend their tour into May 2007 with Walls of Jericho and In This Moment.
The name "Kittie", explained by Morgan Lander:
" When we were thinking of names to call the band before our first show, we had decided that we wanted something completely contradictory to what the band and the sound of the band was. I think we chose Kittie because we wanted something totally unexpected, something that sounded weak, so that when you heard the band for the first time, it would be a total shock. I think there were a few other weak sounding names... Like Swan or Swansong (which is what I remember really wanting to call the band)...But Kittie was chosen, and the rest is history. http://www.capitalchaos.net
Length: 420
Rating: 4.60 (150 ratings)
Tags: kittie metal rock hot girls
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