reverend horton heat psychobilly freakout 7" TEST PRESS vinyl sub pop RARE punk

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You are looking at a RARE copy of Reverend Horton Heat psychobilly freakout 7" TEST PRESS b/w baby you know who, on sub pop records, black vinyl, TEST PRESS.....NO Cover just a white sleeve and White Label handwritten, as Sub Pop did back then.

"Psychobilly Freakout" is a 7" single by The Reverend Horton Heat. It was released in December 1990 on Sub Pop as part of the label's "single of the month" club. One thousand copies were pressed; 250 were on blue vinyl while the remaining 750 were on black vinyl. In other media Cover version is featured in Guitar Hero II. Master track is featured in Guitar Hero: Smash Hits. It was used in a commercial for Buell American Motorcycles. It is featured in episode "What's the Deal?" of Beavis and Butt-Head. It is featured in Bio-Dome. Track listing 1."Psychobilly Freakout" - 2:39 2."Baby, You Know Who " - 2:39 Personnel Jim "Reverend Horton" Heath - lead vocals, guitar Jimbo Wallace - upright bass, vocals Patrick "Taz" Bentley - drums, vocals Single by The Reverend Horton Heat from the album Smoke 'Em If You Got 'Em B-side "Baby, You Know Who" Released December 1990 Format 7" vinyl record Genre Psychobilly Length 05:18 Label Sub Pop

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The Reverend Horton Heat is the stage name of American musician Jim Heath (born 1959 in Corpus Christi, Texas) as well as the name of his Dallas, Texas-based psychobilly trio. Heath is a singer, songwriter and guitarist. The group originally formed in 1985, playing its first gigs in Dallas's Deep Ellum neighborhood. Its current members are Jim "Reverend Horton" Heath on guitar and lead vocals, Jimbo Wallace on the upright bass, and Paul Simmons on drums. Their sound is self-described as "country-fed punkabilly". Some of their songs could also be described as psychobilly. Their music is a mixture of country, surf, punk, big band, swing, and rockabilly, all played loud and energetically with lyrics that are often very humorous. The band has achieved success within the genre and even in mainstream America with many of their songs being featured in video games and commercials. Contents [hide] 1 History 2 Artistic and commercial success 3 Band members 3.1 Current members 3.2 Former members 3.3 Other personnel 4 Discography 4.1 Studio albums 4.2 Collections 4.3 Singles 4.4 DVDs 4.5 Music videos 4.6 Soundtracks 4.7 Compilations 5 Other 5.1 Movie appearances 5.2 TV appearances 6 See also 7 References 8 External links [edit] History This section does not cite any references or sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (February 2010) Reverend Jim Heath Jim Heath played in a cover band called Southern Comfort with friends from W.B. Ray High School, his high school, before attending the University of Texas at Austin in the fall of 1977. At UT, he often entertained friends and dormmates and was often found playing in the stairwells at Moore-Hill Dormitory late into the night. Heath left school in the spring to join up with a touring cover band by the name of Sweetbriar. Three years later, former dormmate David Livingston, now in his senior year of school and at home visiting family, saw a familiar face on stage and reunited with Heath. David told Jim stories of the punk music scene in Austin and the acts playing at venues like Raul's and Club Foot. Once, while home on another visit, Livingston took Heath to a Dallas rock and roll venue, The Bijou, to see an act called The Cramps. After the show, a brawl between punks and rockers broke out in the parking lot. While Heath and Livingston escaped any involvement in the scuffle, Heath later claimed to have had an epiphany on that evening. Always a fan of blues and honky tonk, Heath returned the favor by taking Livingston and his wife to see The Blasters in Dallas at the Hot Klub, starting his love for roots rock. Heath had married a former bandmate from Sweetbriar, and together they had a child; they decided that the rock-and-roll lifestyle was over and that it was time to have real jobs. Around 1985, Heath was known as "Jim the Sound Guy" by those who frequented two warehouses that by night became music venues, Theater Gallery and The Prophet Bar. Heath used the old Sweetbriar PA system to earn extra money, running sound for bands such as the New Bohemians, End Over End, Shallow Reign and Three On A Hill. One night during a lull, Russell Hobbs, one of the original Deep Ellum visionaries and proprietors of these venues goaded him into getting up to play. He played alone, tearing through a version of "Folsom Prison Blues"; throughout the song, Hobbs hooted and shouted out, "Go Reverend." Heath decided then and there to form a band and came up with the name Reverend Horton Heat, as an ode to Johnny Horton, using the shortened version of his last name, Heath. Soon, life on the road took its toll on the marriage, and his wife left with their child and dog. Jim's feelings upon the loss of his family are well documented in the song "Where In The Hell Did You go With My Toothbrush?" The Jimi Hendrix poster mentioned in the song was on the back of a door that Jim used for a practice room in the house he shared with his wife and child. The dog's name really was Smokey. Jimbo Wallace About this time, Livingston moved back from Oklahoma City, where he had lived since graduation. He began to book gigs for Heath and his new band, and they quickly won over the local music scene. They drew crowds to brand new music venues. Livingston continued to work with Reverend Horton Heat until 1989, when his own new family and day job required all of his attention, and Heath needed a real manager who could get him out on the road and into the studio. Jim and David remain close friends today, and a song that they co-wrote together back in the '80s, "Liquor, Beer and Wine," appeared on 1994's Liquor In The Front. In the spring of 1989 Jim Heath met and befriended Charles F. Reid Jr.(aka "Charlie Ray"). Initially a full-time roadie for the band, Reid's role was expanded to include the job of Booking Agent/Manager by the fall of 1989. Touring constantly through the Midwest and the West Coast, RHH quickly became a sellout act everywhere they played. In the fall of 1990 a bidding war to sign RHH developed between Hollywood's XXX Records and Seattle's Sub Pop Records. After moving to Seattle to run The Vogue on 1st Ave, Charlie Ray and attorney Barry Simons secured a two record deal with an option for three more, with Bruce Pavitt and Jonathan Poneman from Sub Pop. Although present at the Reciprocal Sound Sessions, which made up the majority of material on RHH's debut album "Smoke 'em If You Got 'em," and coordinating the photo shoot for the cover of the "The Full-Custom Gospel Sounds of the Reverend Horton Heat" and routing the band to New York City for the "Psychobilly Freakout" video shoot, Reid's role as manager/booking agent came to an abrupt halt in April 1992. Immediately following Charlie Rays' firing as band manager, Jim hired Scott Weiss as his manager/booking agent, and Scott continues in that capacity. [edit] Artistic and commercial success While attracting a mostly cult audience,[citation needed] and having released nine studio albums, The Reverend's music has occasionally found its way into the main stream of American culture. Big Red Rocket of Love" was used in a commercial for the Mazda Miata, and the instrumental which they often used to open their show, Big Sky, was the music behind a commercial for Levi's jeans. A cover of the Guadalcanal Diary song Watusi Rodeo was in the Jim Carrey movie Ace Ventura: When Nature Calls. Like a Rocket (with altered lyrics) was chosen as the official Daytona 500 theme song for 2002. In 2005, the song Eat Steak was featured in television commercials for Boston Market, along with the song Turkey Gotta Gobble featured for Thanksgiving 2005. They were the theme band, with accompanying video, of the popular cartoon Johnny Bravo.[citation needed] In Your Wildest Dreams was also used in a commercial on the cable network, Showtime. The song I Can't Surf was part of the soundtrack of the video game Tony Hawk's Pro Skater 3 published in 2001. Psychobilly Freakout was used on a commercial for Buell American Motorcycles and a slightly altered version was featured in the game Guitar Hero II and later on Guitar Hero Smash Hits. Their song Baddest Of The Bad is featured on the soundtrack to Tony Hawk's Proving Ground. The 1997 PC video game Redneck Rampage also includes two of their songs: Wiggle Stick and Nurture my Pig! The song Big Red Rocket of Love is also featured on the video game Motorstorm for the PlayStation 3. The song Pride of San Jacinto is featured on the video game Hot Wheels Turbo Racing. Jim "Reverend Horton" Heath has a signature guitar from the Gretsch Guitar company, the 6120RHH. One of his favorite vintage guitars is a 1954 Gibson ES-175, which he rarely plays on the road since its wiring buzzes in certain venues. His favorite amplifier is the Fender Super Reverb.[1] [edit] Band members [edit] Current members Jim Heath: guitar, vocals (1985–present) Jimbo Wallace: upright bass, vocals (1989–present) [edit] Former members "Swingin'" Jack Barton: upright bass (1985–1989) Bobby Baranowski: drums (1985–1989) Kyle Thomas: drums (1989) Patrick "Taz" Bentley: drums (1989–1994) Scott Churilla drums (1994-2006) Paul Simmons drums (2006-2012) [edit] Other personnel Tim Alexander: piano/keyboards (1996–present) David Livingstone: Manager/Booking Agent/Road Crew (1985–1989) Charlie "Ray" Reid: Manager/Booking Agent/Road Crew (1989–1992) Scott Weiss: Manager/Booking Agent/Road Crew (1992–present) [edit] Discography [edit] Studio albums YearAlbum detailsPeak chart positions US [2]US Heat [3]US Indie [4] 1990Smoke 'em If You Got 'em Release date: November 1, 1990 Label: Sub Pop ——— 1993The Full-Custom Gospel Sounds of the Reverend Horton Heat Release date: April 20, 1993 Label: Sub Pop ——— 1994Liquor in the Front Release date: July 5, 1994 Label: Sub Pop/Interscope Records ——— 1996It's Martini Time Release date: August 6, 1996 Label: Interscope Records 156—— 1998Space Heater Release date: March 24, 1998 Label: Interscope Records 187—— 2000Spend a Night in the Box Release date: March 21, 2000 Label: Time Bomb Recordings ——— 2002Lucky 7 Release date: February 26, 2002 Label: Artemis Records ——15 2004Revival Release date: August 24, 2004 Label: Yep Roc Records —3424 2005We Three Kings Release date: October 11, 2005 Label: Yep Roc Records ——— 2009Laughin' & Cryin' with the Reverend Horton Heat Release date: September 1, 2009 Label: Yep Roc Records —1444 "—" denotes releases that did not chart [edit] Collections Holy Roller (1999) 20th Century Masters - The Millennium Collection: The Best of The Reverend Horton Heat (2006) 25 To Life (2012) [edit] Singles "Big Little Baby" (1988) "Psychobilly Freakout" (1990) "400 Bucks / Caliénte" (1994) "One Time For Me" (1994)#40 Alternative songs "Lie Detector" (1998) "King" (1999) "It Was a Very Good Year" (2000) [edit] DVDs Reverend Horton Heat: Live and in Color (2003) Reverend Horton Heat: Revival (2004) [edit] Music videos "Psychobilly Freakout" (Director: Michael Levine) "Wiggle Stick" (Director: David Roth) "One Time For Me" (Director: L.M. Talkington) "Jonny Quest/Stop That Pigeon" (Director: N/A) "Slow" (Director: Mike Drumm) "Lie Detector" (Director: Martian Nowak) "Hey, Johnny Bravo" (Director: Primal Screen) [edit] Soundtracks Love and a .45 – "The Devil's Chasing Me" (1994) Ace Ventura: When Nature Calls – "Watusi Rodeo" (1995) Bio-Dome – "Psychobilly Freakout" (1996) Homicide: Life on the Street: Full Moon (#4.17) – In your wildest dreams (1996) Redneck Rampage (video game) – "Nurture My Pig", "Wiggle Stick" (1997) Major League 3: Back To The Minors – "Baby I'm Drunk" (1998) Cleveland Rocks! Music From The Drew Carey Show – "Now, Right Now" (1998) Space Bunnies Must Die! (video game) – "In Your Wildest Dreams" (1998) Hot Wheels Turbo Racing (video game) – "Pride Of San Jacinto" (1999) The Flintstones in Viva Rock Vegas – "Rock The Joint" (2000) Tony Hawk's Pro Skater 3 (video game) – "I Can't Surf" (2001) Auto Focus – "Real Gone Lover" (2002) Guitar Hero 2 (video game) – "Psychobilly Freakout" (2006) Motorstorm (video game) – "Big Red Rocket of Love" (2007) Tony Hawk's Proving Ground (Video Game) – "Baddest Of The Bad" (2007) The Sims 3 Fast Lane Stuff (Video Game) – "Big Red Rocket of Love" (2010) [edit] Compilations Texas Lovers – "Love Whip," "All Walks Of Life" (1987) The Sound of Deep Ellum – "The Devil's Chasing Me" (1987) Dude, You Rock! – "Speed Demon" (1990) Afternoon Delight! – "Where in the Hell did You go With My Toothbrush?" (1992) Curtis W. Pitts: Sub Pop Employee Of The Month – "400 Bucks" (1993) Revolution Come and Gone – "Marijuana" (1994) CMJ New Music Monthly August 1994 – "Yeah, Right" (1994) Rev 105 Radio Archive Vol. 1 – "Liquor, Beer and Wine" (1995) X Factor – "One Time For Me" (1995) Saturday Morning – "Jonny Quest/Stop That Pigeon" (1995) Twisted Willie – "Hello Walls" (1996) (with Willie Nelson) MOM: Music For Our Mother Earth – "I Can't Surf" (1996) CMJ New Music Monthly August 1996 – "Big Red Rocket Of Love" (1996) The Best Of Hootenanny – "Baby I'm Drunk" (1998) Halloween Hootenanny – "The Halloween Dance" (1998) IFC: In Your Ear, Vol. 1 – "In Your Wildest Dreams" (1999) Southern Edge, Vol. 1 – "Time To Pray," "Slow" (1999) Live At The Hootenanny Vol. 1 – "Five-O Ford" (2000) Sing Along With Los Straitjackets – "Down The Line" (2001) (with Los Straitjackets) Dressed in Black: A Tribute To Johnny Cash – "Get Rhythm" (2002) Billy Vol. 1 – "Loco Gringos Like A Party" (2003) [edit] Other [edit] Movie appearances Love and a .45 (1994) [edit] TV appearances Cartoon Network performing "Hey Johnny Bravo" Musical guest on Late Night with Conan O'Brien performing "Big Red Rocket of Love" and "It's Martini Time." Musical guest on the Late Show with David Letterman performing "Galaxie 500." The band: Reverb (HBO live music series) performing "It's Martini Time" and several other songs. (1996) Drew Carey HBO Special (1996) The Drew Carey Show, episode "That Thing You Don't" - performing "Now, Right Now" (as The Underprivileged) (November 26, 1997) Psychobilly Freakout and Wiggle Stick were featured on the MTV program Beavis & Butthead. Psychobilly Freakout was featured on the CBS program Hawaii Five-0 (2012). "The Reverend" (without the band): Homicide: Life on the Street, episode "Full Moon" - playing "Crazy Preacher in Motel" (April 5, 1996) Sub Pop is a record label founded in 1986 by Bruce Pavitt and Jonathan Poneman in Seattle, Washington. Sub Pop achieved fame in the late 1980s for first signing Nirvana, Soundgarden, Mudhoney and many other bands from the Seattle music scene.[1] They are often credited with taking the first steps toward popularizing grunge music, and have continued to achieve critical and commercial success in the new millennium, with popular bands such as Fleet Foxes, Foals, Beach House, The Postal Service, Flight of the Conchords, No Age, Wolf Parade and The Shins on their roster. In 1995 the owners of Sub Pop sold a 49% stake of the label to the Warner Music Group. In 2009, they signed their first hip-hop group - Seattle-based Shabazz Palaces. Formation The origins of Sub Pop can be traced back to the early 1980s when Bruce Pavitt started a fanzine called Subterranean Pop that focused exclusively on American independent record labels. Pavitt undertook the project in order to earn course credit while attending Evergreen State College in Olympia, Washington. By the fourth issue, Pavitt had shortened the name to Sub Pop and began alternating issues with compilation tapes of underground rock bands. The Sub Pop #5 cassette, released in 1982, sold two thousand copies.[2] In 1983, Pavitt moved to Seattle, Washington and released the ninth and final issue of Sub Pop. While in Seattle, he wrote a column for local newspaper The Rocket titled "Sub Pop U.S.A.", a column he ended in 1988.[3][4] In 1986, Pavitt released the first Sub Pop LP, the compilation Sub Pop 100, which featured material by artists including Sonic Youth, Naked Raygun, Wipers, and Scratch Acid. Seattle group Green River chose to record their Dry as a Bone EP for Pavitt's new label in June 1986; Pavitt couldn't afford to release it until the following year. When finally released, Dry as a Bone was promoted by Sub Pop as "ultra-loose grunge that destroyed the morals of a generation".[5] Also in 1987, Jonathan Poneman provided $20,000 in funding for Sub Pop to release the debut Soundgarden single "Hunted Down"/"Nothing to Say" in July 1987, followed by the band's first EP Screaming Life that October.[6] Poneman soon became a full partner in the label. Pavitt focused on the label's artists and repertoire aspects, while Poneman dealt with the business and legal issues.[7] Both men decided they wanted the label to focus on "this primal rock stuff that was coming out," according to Pavitt.[8] [edit] The "Seattle sound" In early 1988 Pavitt and Poneman quit their jobs to devote their full attention to Sub Pop. Raising $43,000, they incorporated that April. "Of course that was spent in, like, thirty days", Pavitt recalled. "We almost went bankrupt after a month".[9] That August Sub Pop released the first single by Mudhoney, a band featuring former members of Green River. Sub Pop released the Mudhoney single "Touch Me I'm Sick" in an intentionally limited first pressing of 800 copies to create demand. The strategy was later adopted by other independent labels.[10] Pavitt and Poneman studied earlier independent labels ranging from Motown to SST Records and decided that virtually every successful movement in rock music had a regional basis. The pair sought to create a cohesive brand identity for Sub Pop. The label's ads promoted the label itself more than any particular band. The label also sought to market a "Seattle sound", which was accomplished with the help of producer Jack Endino, who produced 75 singles, albums, and EPs for Sub Pop between 1987 and 1989. Endino recorded cheaply and quickly; in order to operate this way, he utilized some consistent studio techniques, which gave the records a similar sound.[11] In November 1988 Sub Pop released "Love Buzz", the debut single by Aberdeen, Washington band Nirvana, as the first entry in the Sub Pop Singles Club, a subscription service that would allow subscribers to receive singles by the label on a monthly basis by mail. At its peak in 1990, the club had two thousand subscribers.[12] The club made Sub Pop a powerful force in the Seattle scene, and effectively made the label's name synonymous with the music of the Seattle area—much in the same way Motown Records was to Detroit—and helped to secure the label's cash flow.[13] The original series was discontinued in 1993, followed by Singles Club V.2, launched in 1998 and discontinued in 2002.[14] Mindful that garnering the attention of the American mainstream music press was difficult for all but the largest indie label, Pavitt and Ponemen took inspiration from alternative bands like Sonic Youth, Butthole Surfers, and Dinosaur Jr. and sought to publicize the label via the British music press. In March 1989, Pavitt and Poneman flew Melody Maker journalist Everett True to Seattle to write an article on the local music scene. As Pavitt had anticipated, the British press became enamoured with Sub Pop and the grunge sound. Pavitt said, "I really felt that the Brits and the Europeans wanted to see something that was unruly and that was more of an American archetype -- something that was really primal and really drew from the roots of rock & roll, which was very American."[15] Poneman explained the label's success: "It could have happened anywhere, but there was a lucky set of coincidences. Charles Peterson was here to document the scene, Jack Endino was here to record the scene. Bruce and I were here to exploit the scene."[13] When Nirvana moved to Geffen Records, Sub Pop received royalties from sales of Nevermind that kept the label going for years afterwards.[13] A stipulation was also implemented where selected future Nirvana studio LPs were required to carry the Sub Pop logo alongside Geffen's. After the mainstream success of Nirvana, many successful grunge bands had left Sub Pop for major record labels. Soon afterwards, a joint venture was formed with Warner Bros. Records (which had distributed Geffen since that label was founded in 1980; after 10 years under Warner, Geffen was sold to MCA Music Entertainment Group), thereby ending Sub Pop's status as an entirely independent label. [edit] Pavitt's departure Poneman and Pavitt had a disagreement about the direction the label should take, with Poneman wanting the label to become larger and make more money.[13] In 1996, unable to take the new corporate culture following the Warner partnership, Bruce Pavitt left the label and was able to spend more time with his family.[16] The split between Pavitt and Poneman was not amicable, and they did not speak for seven years.[16] The label opened offices worldwide and began major investment in new artists, but without achieving great commercial success, prompting a scaling down and a return to Seattle.[13] In 2006, Sub Pop Records became the first Green-e certified record label. Through work with the Green-e program and the Bonneville Environmental Foundation, Sub Pop "greened" their label by purchasing enough renewable energy certificates to offset 100 percent of the electricity they use in their office, showing their commitment to putting renewable energy in the mainstream as a way consumers can take action to do something about global warming.[17] In early 2007, Sub Pop started a sister label by the name of Hardly Art.[18][19] This label is also partially owned by Warner Music. In August 2008, Sub Pop relaunched the singles club for one year to celebrate its twentieth anniversary.[20] [edit] Commercial success Sub Pop has three platinum records, Nirvana's Bleach; Flight of the Conchords's Flight of the Conchords; and The Postal Service's Give Up, as well as one gold record, The Shins' Wincing the Night Away. The Shins' "New Slang" has gone gold, and The Postal Service's digital single for "Such Great Heights" has gone platinum. On January 31, 2007, Sub Pop announced that The Shins' third full-length for Sub Pop, Wincing the Night Away, debuted at number two on the Billboard charts, reporting first week sales of 117,991 (35K in digital sales). This is the first time any album in Sub Pop history has ever charted in the top ten or broken 100,000 in the first week of sales. [edit] Deluxe Editions Starting in 2008, Sub Pop has released Deluxe Editions of their top-selling albums, which features the remastered album as well as some live tracks. Some of the Deluxe Editions are known to contain some demos. The albums with Deluxe Editions are Nirvana's Bleach, Mudhoney's Superfuzz Bigmuff, Sebadoh's Bakesale, Jason Loewenstein's Codes, and Red Red Meat's Bunny Gets Paid. Bri 10 Minute Warning 5ive Style [edit] A A Frames The Action Suits Afghan Whigs The Album Leaf All Night Radio Arlo Avi Buffalo [edit] B Babes in Toyland Band of Horses Baptist Generals Bareminimum The Beach Boys ("I Just Wasn't Made for These Times" 7 inch promoting the Pet Sounds Sessions box, 1996) Beach House Beachwood Sparks Beat Happening Steven Jesse Bernstein Big Chief The Black Halos Blitzen Trapper Blood Circus The Blue Rags Bright Eyes Broken Girl The Brunettes Built to Spill [edit] C CSS (Cansei de Ser Sexy) Cat Butt The Catheters Chappaquiddick Skyline Chemistry Set (from Seattle, WA) Billy Childish Chixdiggit Chris and Carla Cocorosie Codeine Combustible Edison Comets on Fire Constantines Cosmic Psychos Courtney Fortune David Cross [edit] D Damon & Naomi Thornetta Davis Dead Moon Death Cab for Cutie Death Vessel Deerhunter Dinosaur Jr Dickless Dntel Julie Doiron Heather Duby Dum Dum Girls Dwarves [edit] E Earth The Elected Elevator to Hell/Elevator Through Jeremy Enigk Eric's Trip The Evil Tambourines [edit] F The Fartz The Fastbacks Father John Misty Steve Fisk Fleet Foxes Flight of the Conchords The Fluid Foals Frausdots Friends of Dean Martinez Fruit Bats Fugazi [edit] G Gardener Gas Huffer Gluecifer The Go The Go! Team Godflesh godheadSilo Grand Archives Green Magnet School Green River The Grifters The Gutter Twins [edit] H Handsome Furs The Hardship Post Hazel The Head and the Heart Hellacopters The Helio Sequence Helios Creed Heroic Doses Hole Holopaw Hot Hot Heat Husky (band) [edit] I Iron & Wine [edit] J Jale Jennifer Gentle The Jesus and Mary Chain Damien Jurado [edit] K King Tuff Kinski [edit] L L7 Mark Lanegan The Legend! Lethal Dosage Jason Loewenstein Loney, Dear Looper Love as Laughter Low Lubricated Goat [edit] M The Makers Male Bonding Eric Matthews Memoryhouse Migala Eugene Mirman Daniel Martin Moore Modest Mouse Mogwai Mudhoney Murder City Devils [edit] N Nebula Nightcaps Niki & The Dove Nirvana No Age [edit] O Obits Om Patton Oswalt Oxford Collapse [edit] P Reid Paley Papercuts Pedro the Lion Pernice Brothers Pigeonhed Pigface Pissed Jeans Pleasure Forever Plexi Poison 13 Pond The Postal Service [edit] Q Nigel Quashie[citation needed] [edit] R Radio Birdman Rapeman The Rapture Red House Painters Red Red Meat Rein Sanction The Reverend Horton Heat Boyd Rice Rogue Wave The Ruby Suns [edit] S S*M*A*S*H Saint Etienne Screaming Trees Scud Mountain Boys Seaweed Sebadoh Shabazz Palaces Shearwater (band) Shiner The Shins Six Finger Satellite Sleater-Kinney The Smashing Pumpkins ("Tristessa" 7 inch, 1990) Ben Sollee Sonic Youth Soul-Junk Soundgarden The Spinanes Spoek Mathambo Sprinkler Still Corners Kelley Stoltz Sunny Day Real Estate Supersnazz The Supersuckers [edit] T TAD Tall Birds Ten Minute Warning Thee Headcoats THEE Satisfaction The Thermals Rosie Thomas The Thrown Ups Les Thugs Tiny Vipers Trembling Blue Stars Turbonegro The Twilight Singers The Tyde [edit] U Ugly Casanova Ultrababyfat [edit] V Chad VanGaalen Vaselines (The Way of the Vaselines compilation, 1992) Velocity Girl Vetiver Vue [edit] W The Walkabouts The White Stripes The Wipers Wolf Eyes Wolf Parade Washed Out [edit] Y The Yo-Yos Michael Yonkers [edit] Z Zen Guerrilla Zumpanodge 0–9 7 Shot Screamers [edit] A Hasil Adkins Animal Alpha Asmodeus Aqua Bats [edit] B Bad Reputation Batmobile Big John Bates Black Cat Rebellion Bodeco [edit] C Calabrese Calamitiez The Chop Tops The Cramps The Creepshow [edit] D Dash Rip Rock Deadbolt Demented Are Go Devil's Brigade [edit] F The Fireballs [edit] G Guana Batz The Go-Katz The Gun Club Ghoultown [edit] H The Hangmen Hellbillys The Highliners Hilera Elvis Hitler HorrorPops [edit] I I Vampiri [edit] K King Kurt Klingonz [edit] L Th' Legendary Shack Shakers The Limit Club [edit] M Mad Heads Mad Sin The Matadors The Meteors Mojo Nixon [edit] N Nekromantix Nitkie [edit] P The Phenomenauts Pitmen The Polecats The P.O.X. [edit] Q The Quakes [edit] R Red Elvises Reverend Horton Heat Ripmen Ruby Joe [edit] S The Sharks The Silver Shine Skitzo Southern Culture on the Skids Space The Spectres Speed Crazy Switchblade Valentines [edit] T The Termites Tiger Army [edit] V The Van Orsdels [edit] W Les Wampas [edit] Y The Young Werewolves [edit] Z Zombie Ghost Train Psychobilly is a fusion genre of rock music that mixes elements of punk rock, rockabilly, and other genres. It is one of several subgenres of rockabilly which also include thrashabilly, trashabilly, punkabilly, surfabilly and gothabilly.[1] Psychobilly is often characterized by lyrical references to science fiction, horror and exploitation films, violence, lurid sexuality, and other topics generally considered taboo, though often presented in a comedic or tongue-in-cheek fashion. It is often played with an upright double bass instead of the electric bass more common in modern rock music. Psychobilly gained underground popularity in Europe beginning in the early 1980s, but remained largely unknown in the United States until the late 1990s.[2][3] Since then the advent of several notable psychobilly bands has led to its mainstream popularity and attracted international attention to the genre. Contents [hide] 1 History 1.1 Origins 1.2 First wave in Britain 1.3 Second wave in Europe 1.4 Third wave internationally 2 Musical style 2.1 Lyrical style 3 Fashion 4 See also 5 References 6 Footnotes [edit] History The evolution of psychobilly as a genre is often described as having occurred in waves. The first wave occurred in Britain in the early 1980s, the second wave took place at the end of that decade and spread through the rest of Europe, and the third crested in the late 1990s with the genre finding international popularity.[4] [edit] Origins The Cramps are considered progenitors of psychobilly. The Cramps weren't thinking of this weird subgenre when we coined the term "psychobilly" in 1976 to describe what we were doing. To us all the '50s rockabillies were psycho to begin with; it just came with the turf as a given, like a crazed, sped-up hillbilly boogie version of country. We hadn't meant playing everything superloud at superheavy hardcore punk tempos with a whole style and look, which is what "psychobilly" came to mean later in the '80s. We also used the term "rockabilly voodoo" on our early flyers. —Poison Ivy Rorschach[5]In the mid- to late 1970s, as punk rock became popular, several rockabilly and garage rock bands appeared who would influence the development of psychobilly.[4] The term "psychobilly" was first used in the lyrics to the country song "One Piece at a Time", written by Wayne Kemp for Johnny Cash, which was a Top 10 hit in the United States in 1976. The lyrics describe the construction of a "psychobilly Cadillac."[6] The rock band The Cramps, who formed in Sacramento, California in 1972 and relocated to New York in 1975 where they became part of the city's thriving punk movement, appropriated the term from the Cash song and described their music as "psychobilly" and "rockabilly voodoo" on flyers advertising their concerts.[6] The Cramps have since rejected the idea of being a part of a psychobilly subculture, noting that "We weren't even describing the music when we put 'psychobilly' on our old fliers; we were just using carny terms to drum up business. It wasn't meant as a style of music."[6] Nevertheless, The Cramps, along with artists such as Screamin' Jay Hawkins, are considered important precursors to psychobilly.[4][6] The Cramps' music was heavily informed by the sound and attitude of 1950s American rockabilly, and they recorded numerous covers of songs from the Sun Records catalog. Their 1979 album Songs the Lord Taught Us is considered influential to the formation of the psychobilly genre.[7] http://....trebuchet-magazinedot com/lux-interior-in-memoriam/ [edit] First wave in Britain The Meteors are considered the first verifiable psychobilly band. The Meteors, formed in South London in 1980, are considered the first verifiable psychobilly band.[8] Their albums In Heaven (1981) and Wreckin' Crew (1983) are recognized as landmarks of the early years of the genre.[4][7] The Meteors blended elements of punk rock, rockabilly, and horror film themes in their music. They also articulated psychobilly's apolitical stance, a reaction to the right- and left-wing political attitudes which divided British youth cultures.[4] Fans of The Meteors, known as "the Crazies", are often attributed with inventing the style of slam dancing known as "wrecking", which became synonymous with the psychobilly movement.[6] The short-lived Sharks, formed in Bristol in 1980, followed closely behind The Meteors with their influential album Phantom Rockers.[4][9] Another significant British band were the Guana Batz, formed in Feltham, Middlesex in 1983.[9] Their first album, 1985's Held Down to Vinyl at Last, has been described by Tiger Army frontman Nick 13 as "the most important release since the Meteors' first two albums."[4] The Klub Foot nightclub, opened in 1982 at the Clarendon Hotel in Hammersmith, served as a center for Britain's emerging psychobilly movement and hosted many bands associated with the style. Johnny Bowler of the Guana Batz describes the club as "the focal point for the whole psychobilly scene. You'd get people from all over at those gigs. It built the scene. Record labels like Nervous were there, signing bands all the time."[4] A live compilation album entitled Stomping at the Klub Foot was released in 1984, documenting the club's scene and the bands who played there.[4][7] At the same time psychobilly bands were forming elsewhere in Europe, such as Batmobile who emerged in the Netherlands in 1983, released their debut album in 1985, and soon began headlining at psychobilly festivals and at the Klub Foot.[10] [edit] Second wave in Europe The second wave of psychobilly is noted as having begun with the 1986 release of British band Demented Are Go's debut album In Sickness & In Health.[6] The genre soon spread throughout Europe, inspiring a number of new acts such as Mad Sin (formed in Germany in 1987) and the Nekromantix (formed in Denmark in 1989), who released the album Curse of the Coffin in 1991.[7] The Quakes formed in Buffalo, New York in 1986, but had such difficulty building a following in their hometown that they moved to London the following year, where they released the album Voice of America in 1990.[4][6][7][9] Another significant release of this era was the compilation album Rockabilly Psychosis and the Garage Disease, which acknowledged the genre's roots in rockabilly and garage rock.[7] The second-wave bands broadened the music's scope, with the introduction of new and diverse musical influences into the sound.[6] Record labels such as Nervous and Crazy Love helped the genre to expand, although it still remained largely unnoticed in the United States, where the albums were poorly distributed and most psychobilly bands preferred to play weekenders than to tour.[6] Nick 13 states that while other British youth trends such as scooter riding, the skinhead subculture, and 2 Tone ska crossed over to the United States during the 1980s, psychobilly did not.[6] However, one American act that emulated the style was The Reverend Horton Heat, formed in Dallas, Texas in 1985. Their 1990 single "Psychobilly Freakout" helped introduce American audiences to the genre.[citation needed] The band was heavily inspired by The Cramps, and original Cramps members Lux Interior and Poison Ivy have both identified The Reverend Horton Heat as the latter-day rockabilly/psychobilly band most closely resembling the style and tone of The Cramps.[11] [edit] Third wave internationally Tiger Army, shown here performing on the 2007 Warped Tour, are one of the most significant American psychobilly acts. The third wave of psychobilly began in the mid-1990s, with many acts incorporating influences from genres such as: hardcore punk, indie rock, heavy metal, new wave, goth rock, surf rock, country, and ska.[6] Psychobilly became popular in the United States, particularly in southern California, where punk rock had thrived and remained popular since the 1970s. The area's large Latino community, which revered early rock and roll icons, also played a part, as did the popularity of bands like the horror-influenced Misfits and country/rockabilly-inspired Social Distortion, as well as a celebration of hot rod and motorcycle culture.[6] Tiger Army, formed in San Francisco in 1995, became the dominant American psychobilly act following the release of their 1999 self-titled debut.[6][7] Their touring in support of the album helped to establish a foothold for psychobilly across the United States.[4] Los Angeles-based Hellcat Records, run by Rancid's Tim Armstrong, became home to many psychobilly acts, including Tiger Army, Devil's Brigade and the Danish groups Nekromantix and HorrorPops, both of whom relocated to southern California in the early 2000s.[6] Guana Batz members Pip Hancox and Johnny Bowler relocated there as well, moving to San Diego where they sometimes perform with Slim Jim Phantom of the Stray Cats under the name Guana Cats.[9] Another notable California psychobilly band formed in the 1990s was The Chop Tops. The Living End share many of psychobilly's characteristics and have experienced international success. The genre remained vital in Europe, where new acts continued to appear. Asmodeus formed in Amsterdam in 1992, the same year the Kryptonix emerged in France, and the Godless Wicked Creeps formed in Denmark the following year.[6][12] The Sharks re-formed in Britain, releasing the album Recreational Killer.[9] Battle of Ninjamanz formed in Japan in 1994 and Os Catalepticos formed in Brazil in 1996.[12] Australian act The Living End formed in 1994 and scored a hit with the double single "Second Solution"/"Prisoner of Society" in 1998. It peaked for several weeks at #4 on the Australian charts and became the country's highest selling single of the decade. The Living End generally describe their style as "punkabilly" rather than psychobilly because they do not share the genre's fascination with horror imagery, though they do blend punk rock and rockabilly at fast tempos, use a double bass and share much the same fanbase as psychobilly. [edit] Musical style "Zombie Dance" by The Cramps Sorry, your browser either has JavaScript disabled or does not have any supported player. You can download the clip or download a player to play the clip in your browser. The Cramps combined rockabilly and punk rock with horror film lyrical imagery, laying the framework for psychobilly as this song demonstrates. From the album Songs the Lord Taught Us (1979). "Take a Razor to Your Head" by The Sharks Sorry, your browser either has JavaScript disabled or does not have any supported player. You can download the clip or download a player to play the clip in your browser. In this song, The Sharks advised their fans to cut their hair as a rebellion against the Teddy Boy movement, informing aspects of psychobilly fashion.[4] From the album Phantom Rockers (1980). "Wreckin' Crew" by The Meteors Sorry, your browser either has JavaScript disabled or does not have any supported player. You can download the clip or download a player to play the clip in your browser. This Meteors song inspired the psychobilly style of slam dancing known as "wrecking".[6] From the album Wreckin' Crew (1983). "Psychobilly Freakout" by The Reverend Horton Heat Sorry, your browser either has JavaScript disabled or does not have any supported player. You can download the clip or download a player to play the clip in your browser. "Psychobilly Freakout" by The Reverend Horton Heat illustrates the fast tempos and double bass playing common to psychobilly. From the album Smoke 'em if You Got 'em (1990). "Curse of the Coffin" by the Nekromantix Sorry, your browser either has JavaScript disabled or does not have any supported player. You can download the clip or download a player to play the clip in your browser. This song by the Nekromantix demonstrates the genre's "slap" style of bass playing and horror lyrical imagery. From the album Curse of the Coffin (1991). Problems listening to these files? See media help. "Prisoner of Society" by The Living End Sorry, your browser either has JavaScript disabled or does not have any supported player. You can download the clip or download a player to play the clip in your browser. The Living End often describe their style as "punkabilly". As this song demonstrates, they do not use the horror imagery that many psychobilly bands do. "Prisoner of Society" was the highest-selling Australian single of the 1990s, from the album The Living End (1999). "Ghostfire" by Tiger Army Sorry, your browser either has JavaScript disabled or does not have any supported player. You can download the clip or download a player to play the clip in your browser. This song by Tiger Army illustrates the influence of blues and country music on later generations of psychobilly. From the album III: Ghost Tigers Rise (2004). "MissFit" by the HorrorPops Sorry, your browser either has JavaScript disabled or does not have any supported player. You can download the clip or download a player to play the clip in your browser. The HorrorPops blend elements of 1980s new wave, pop, and goth to their style. They are also notable for being a female-fronted act, a rarity in psychobilly which the lyrics of "MissFit" partially address.[13] From the album Kiss Kiss Kill Kill (2008). Problems listening to these files? See media help. Musically, psychobilly is rooted primarily in two genres: late 1970s punk rock and 1950s American rockabilly. Tiger Army frontman Nick 13 explains: "The number-one misconception people have is that psychobilly is the same thing as rockabilly. Rockabilly is on the family tree, but it's a totally different sound and attitude."[4] Psychobilly progenitors The Cramps acknowledge their music's deep roots in American blues, rhythm and blues, and traditional rock and roll.[6][11] Alternative Press writer Ryan Downey notes that contemporary psychobilly also draws from other rock genres and subgenres: "Driven by the rhythmic pounding of a stand-up bass, the music swings with the snarl of punk rock while sometimes thrashing alongside speed metal or crashing headlong into country icon Hank Williams."[4] Downey acknowledges that contemporary psychobilly's roots extend into 2 Tone ska, garage rock, hardcore punk, street punk and Oi!.[4][6][12] Hilary Okun, publicist for Epitaph and Hellcat Records, notes: "The music appeals to fans of punk, indie, metal, new wave, goth, rockabilly, surf, [and] country."[6] The influence of heavy metal on the psychobilly style resulted in the Nekromantix's 1994 album Brought Back to Life being nominated for a Grammy Award in the category of "Best Heavy Metal Album."[14] Psychobilly is commonly played with a simple guitar/bass/drum/vocal arrangement, with many bands consisting of only three members. Often the guitarist or bassist will be the lead vocalist, with few acts having a dedicated singer. An upright double bass is often used instead of the electric bass found in most rock bands. The use of the upright bass is influenced by 1950s rockabilly and rock and roll musicians. The bass is often played in the slap style, in which the player snaps the string by pulling it until it hits the fingerboard, or hits the strings against the fingerboard, which adds a high-pitched percussive "clack" or "slap" sound to the low-pitched notes. HorrorPops frontwoman Patricia Day plays an elaborately decorated double bass, a common instrument in psychobilly. Some acts have made their upright bass the centerpiece of their stage shows; some psychobilly musicians elaborately decorate their upright bass, such as Nekromantix frontman Kim Nekroman, whose "coffinbass" is in the shape of a coffin, with a headstock in the shape of a cross. Nekroman created his original "coffinbass" from an actual child-sized coffin, and has since designed new models to achieve better acoustics, as well as collapsibility for easier transportation.[15] Another notable act to use a coffin-shaped bass is the Brazilian psychobilly band Os Catalepticos.[12] HorrorPops frontwoman Patricia Day also uses an elaborately painted and decorated double bass. The Cramps performed without a bass player in their early career, using two guitars instead. They did not add a bass guitar to their arrangement until 1986, and have used an electric bass since that time. Cramps guitarist/bassist Poison Ivy sees this as one of the distinctions that separate the band from the psychobilly movement: "I think psychobilly has evolved into a gamut of things... It seems to involve upright bass and playing songs extremely fast. That's certainly not what we do."[6] [edit] Lyrical style Lyrically, psychobilly bands tend to favor topics and imagery drawn from horror, science fiction and exploitation films, violence, lurid sexuality, and other taboo topics, usually presented in a comedic or tongue-in-cheek fashion reminiscent of the camp aesthetic. Most acts avoid "serious" subjects such as politics. Original psychobilly act The Meteors articulated a very apolitical stance to the scene, a reaction to the right- and left-wing political attitudes dividing British youth cultures of the late 1970s and early 1980s.[4] This attitude has carried through later generations of psychobilly. Nekromantix frontman Kim Nekroman describes: "We are all different people and have different political views. Psychobilly is all about having fun. Politics is not fun and therefore has nothing to do with psychobilly!"[6] Nine Records is a contemporary hardcore punk record label located outside Boston, Massachusetts. Bridge Nine is owned by Chris Wrenn of Salem, Massachusetts, who began the label in 1995 and produced its first release in 1996. The label is named as a metaphor for what Wrenn wanted to do in creating the label, bridge all parts of the hardcore scene into one label and then put his lucky number (nine) in the title.[1] The label currently has 7 employees and 22 active bands. Contents [hide] 1 Active Bridge Nine bands 2 Previous Bridge 9 Bands 3 Releases 4 Bridge Nine Crew 5 See also 6 References 7 External links [edit] Active Bridge Nine bands Alcoa Agnostic Front The Alligators Antidote Cruel Hand Dead Swans Death Before Dishonor Defeater DYS Expire Foundation Gallows Goodtime Boys H2O International Superheroes of Hardcore Lemuria Mother of Mercy Paint It Black Polar Bear Club Soul Control Strike Anywhere Verse [edit] Previous Bridge 9 Bands Ambitions Anger Regiment Betrayed Blue Monday Breaker Breaker Breathe In Carry On Ceremony Champion Cops and Robbers Crime In Stereo Death Threat The Distance Energy For The Worse American Nightmare (now Give Up The Ghost) Have Heart Holding On The Hope Conspiracy Mental Miles Away New Found Glory No Turning Back No Warning Over My Dead Body On The Rise Outbreak Palehorse Panic Proclamation Project X (2005 Reissue) Ramallah Reaching Forward Right Brigade Ruiner Sick Of It All Sinners and Saints Slapshot Some Kind Of Hate Stand and Fight Stars and Stripes Striking Distance Sworn In Ten Yard Fight Terror Think I Care Triple Threat The Trouble Underdog Verse Wrecking Crew [edit] Releases Catalog NumberArtistTitleFormat(s)Release date B9R001Tenfold / Sum of All FearsSplit [EP]7"July 1, 1996 B9R002TenfoldNow Is Our Time [EP]7"April 1, 1997 B9R003ProclamationStraight Edge Hardcore [EP]7"April 1, 1998 B9R004The TrustThe Trust [EP]7"October 1, 1998 B9R005ProclamationTaken by ForceCD/DLOctober 1, 1999 B9R006Right Brigade / A Poor ExcuseSplit [EP]7"February 1, 2000 B9R007American NightmareAmerican Nightmare [EP]CD/7"July 1, 2000 B9R008Ten Yard FightThe Only WayVHSOctober 18, 2000 B9R009American NightmareThe Sun Isn't Getting Any Brighter [EP]CD/7"March 18, 2001 B9R010Death ThreatPeace & SecurityLPMarch 18, 2001 B9R011Shark AttackBlood in the Water [EP]7"March 18, 2001 B9R012Breaker BreakerDemo Y2K1 [EP]7"July 10, 2001 B9R013Cops and RobbersExecution Style [EP]CD/7"/DLOctober 16, 2001 B9R014 (7") / B9R015 (CD)The Hope ConspiracyFile:03 [EP/single]CD/7"/DLOctober 2, 2001 B9R016No WarningNo Warning [EP] [reissue]CD/DLOctober 23, 2001 B9R017PanicDying for It [EP]CD/7"/DLSeptember 1, 2001 B9R018Over My Dead Body / Death ThreatSplit [EP]7"April 30, 2002 B9R019Carry OnA Life Less PlaguedCD/LP/DLOctober 16, 2001 B9R020Breathe InFrom This Day OnCD/LP/DLOctober 16, 2001 B9R021Breathe InNervous Breakdown [EP]7"November 16, 2001 B9R022Sinners & SaintsThe Sky Is Falling [EP]CD/DLMay 28, 2002 B9R023Reaching ForwardBurning the LiesCD/DLJune 25, 2002 B9R024Sworn InSworn In [EP]CD/7"/DLMay 28, 2002 B9R025Good Riddance / Kill Your IdolsSplit [EP]7"March 1, 2002 B9R026ChampionCount Our Numbers [EP]CD/7"/DLJune 29, 2002 B9R027Some Kind of HateSome Kind of Hate [EP]CD/7"/DLJune 29, 2002 B9R028PanicPanic [EP]CD/7"June 29, 2002 B9R029Striking DistanceThe Fuse Is Lit [EP]CD/7"/DLMay 28, 2002 B9R030No WarningIll BloodCD/LP/DLNovember 26, 2002 B9R031Holding OnQuestion What You Live ForCD/LP/DLNovember 26, 2002 B9R032SlapshotGreatest Hits, Slashes and CrosschecksCDNovember 26, 2002 B9R033RamallahBut a Whimper [EP]CD/2x7"/DLNovember 26, 2002 B9R034TerrorLowest of the Low [EP]CD/LPJanuary 28, 2003 B9R035Give Up the GhostYear OneCD/LP/2x7"/DLFebruary 17, 2004 B9R036ChampionCome Out Swinging [EP] [reissue]CD/7"February 1, 2003 B9R037On the RiseBurning InsideCDFebruary 1, 2003 B9R038Give Up the GhostLove American [single]CD/7"July 29, 2003 B9R039Stand & FightImpact Demo [EP]7"February 27, 2003 B9R040MentalGet an Oxygen Tank! [EP]CD/7"/DLAugust 12, 2003 B9R041F-MinusSweating Blood [EP]CD/7"July 29, 2003 B9R042Stand & FightStand & Fight [EP]CD/7"/DLAugust 12, 2003 B9R043Sick of It AllRelentless [single]CD/7"July 29, 2003 B9R044SlapshotDigital WarfareCD/LPJanuary 6, 2004 B9R045Some Kind of HateUndisputedCD/LP/DLNovember 4, 2003 B9R046Anger RegimentAces and EightsCD/7"/DLJuly 27, 2004 B9R047The DistanceYour Closest Enemies [EP]CD/7"/DLJanuary 27, 2004 B9R048OutbreakYou Make Us Sick [EP]CD/7"/DLJuly 27, 2004 B9R049Project XProject X [EP]CD/7"/DLSeptember 20, 2005 B9R051V/ABridge Nine Singles Collection Volume 1CD/DLOctober 5, 2004 B9R052Stand & FightTogether We WinCD/LP/DLJuly 27, 2004 B9R053For the WorseThe Chaos Continues [LP/EP]CD/7"/DLAugust 10, 2004 B9R054For the WorseBlood, Guts, Going NutsCD/LPNovember 28, 2006 B9R055ChampionTime Slips AwayCD/LP/DLApril 19, 2005 B9R056ChampionPromises KeptCD/LP/DLSeptember 7, 2004 B9R057Outbreak / Some Kind of Hate / The Distance3-Way Split [EP]7"June 1, 2004 B9R058Wrecking Crew1987-1991CD/DLMarch 22, 2005 B9R059TerrorOne with the UnderdogsLPJuly 27, 2004 B9R060V/ABridge Nine HardcoreCDNovember 1, 2004 B9R061Death Before DishonorFriends Family Forever [EP]CD/LPFebruary 22, 2005 B9R062R'N'R / Fit for AbuseSplit 7" [EP]7"February 1, 2005 B9R063Blue MondayRewrittenCD/LP/DLApril 19, 2005 B9R064BetrayedAddiction [EP]CD/7"/DLJuly 12, 2005 B9R065Miles AwayMiles AwayCDJuly 12, 2005 B9R066The TroubleNobody Laughs AnymoreCD/DLJuly 12, 2005 B9R067No Turning BackRise from the Ashes [EP]CD/DLSeptember 20, 2005 B9R068Miles AwayConsequencesCD/DLJanuary 24, 2006 B9R069V/ABridge Nine Singles Collection Volume 2CD/DLOctober 5, 2004 B9R070Think I CareWorld AsylumCD/LP/DLApril 25, 2006 B9R071Death Before Dishonor / Black Friday '29Split [EP]7"July 1, 2006 B9R072Crime in StereoThe Troubled StatesideLPSeptember 16, 2008 B9R073V/ABridge Nine MMVICD/7"March 25, 2006 B9R074OutbreakFailureCD/LP/DLJune 20, 2006 B9R075Have HeartThe Things We CarryCD/LP/DLAugust 8, 2006 B9R076Triple ThreatInto the DarknessCD/LP/DLJuly 25, 2006 B9R077PanicStrength in SolitudeCD/LPJune 27, 2006 B9R078ChampionDifferent Directions(CD/DVD)/LPApril 24, 2007 B9R079PalehorseAmongst the FlockCD/DLNovember 14, 2006 B9R080No Turning BackHolding OnCDNovember 14, 2006 B9R081Death Before DishonorBreak Through It All [single]7"/DLApril 3, 2007 B9R082Death Before DishonorCount Me InCD/LP/DLMay 15, 2007 B9R083RuinerThe Lives We Fear [single]7"May 1, 2007 B9R084RuinerPrepare to Be Let DownCD/LP/DLJune 19, 2007 B9R085AmbitionsExile [EP]7"/DLAugust 17, 2007 B9R086AmbitionsStrangerCD/LP/DLNovember 6, 2007 B9R087CeremonyScared People [EP]7"/DLJuly 2, 2007 B9R088H2OStill the Same Fellas [single]7"April 8, 2008 B9R089Agnostic FrontFor My Family [EP]7"September 25, 2007 B9R090Crime in StereoCrime in Stereo Is DeadCD/LP/DLOctober 23, 2007 B9R091 [1 of 2 entries]International Superheroes of HardcoreTakin' It Ova!CD/LP/DLApril 29, 2008 B9R091 [2 of 2 entries]New Found GloryTip of the Iceberg [EP]CD/7"/DLApril 29, 2008 B9R092H2ONothing to ProveCD/LP/DLMay 27, 2008 B9R093VerseAggressionCD/LP/DLJune 10, 2008 B9R094Have HeartYou Can't Go Home Again [single]7"May 10, 2008 B9R095VerseStory of a Free Man [EP]7"May 5, 2008 B9R096Have HeartSongs to Scream at the SunCD/LP/DLJuly 8, 2008 B9R097CeremonyHe - god - Has Favored Our Undertakings [single]7"/DLJuly 28, 2008 B9R098CeremonyStill Nothing Moves YouCD/LP/DLAugust 5, 2008 B9R099EnergyRace the Sun [EP]7"/DLSeptember 2, 2008 B9R101EnergyInvasions of the MindCD/LP/DLSeptember 30, 2008 B9R102Cruel HandLife in Shambles [single]7"/DLSeptember 23, 2008 B9R103Cruel HandPrying EyesCD/LP/DLOctober 14, 2008 B9R104Crime in StereoSelective WreckageCD/LP/DLSeptember 30, 2008 B9R105RuinerI Heard These Dudes Are AssholesCD/LP/DLSeptember 30, 2008 B9R106International Superheroes of HardcoreHPxHC [EP]7"/DLOctober 30, 2008 B9R107DefeaterTravelsCD/LPFebruary 24, 2009 B9R108New Found GloryNot Without a FightLPMarch 10, 2009 B9R109New Found GloryListen to Your Friends [single]7"February 12, 2009 B9R110Polar Bear ClubSometimes Things Just Disappear(LP/CD)April 7, 2009 B9R111New Found Glory / Shai HuludNot Without a Heart Once Nourished by Sticks and Stones Within Blood Ill-Tempered Misanthropy Pure Gold Can Stay [EP]7"March 25, 2009 B9R112Death Before DishonorOur Glory Days [single]7"/DLJune 16, 2009 B9R113Paint It BlackAmnesia [EP]7"/DLJune 16, 2009 B9R114Dead SwansIt's Starting [EP]7"/DLJuly 14, 2009 B9R115Soul ControlSilent Reality [single]7"/DLAugust 4, 2009 B9R116Death Before DishonorBetter Ways to DieCD/LP/DLJuly 28, 2009 B9R117V/ABridge Nine 2009 CompilationCD/LPJune 26, 2009 B9R118Polar Bear ClubThe Summer of George [EP]7"/DLJuly 28, 2009 B9R119Dead SwansSleepwalkersCD/LP/DLAugust 11, 2009 B9R120Strike AnywhereIron Front [EP]7"/DLSeptember 6, 2009 B9R121Soul ControlCyclesCD/LP/DLAugust 25, 2009 B9R122DefeaterLost Ground [EP]2x7"/DLNovember 17, 2009 B9R123Polar Bear ClubChasing HamburgCD/LP/DLSeptember 8, 2009 B9R124RuinerDead Weight [single]7"/DLAugust 22, 2009 B9R125RuinerHell Is EmptyCD/LP/DLSeptember 22, 2009 B9R126Strike AnywhereIron FrontCD/LP/DLOctober 6, 2009 B9R127Polar Bear ClubThe Redder, The Better [EP]LP/DLJuly 28, 2009 B9R128Agnostic FrontUnited Blood [EP]7"/DLNovember 17, 2009 B9R129Agnostic FrontVictim in PainCD/LP/DLNovember 17, 2009 B9R130CeremonyRohnert Park EP: Sick [single]7"/DLMay 4, 2010 B9R131Crime in StereoI Was Trying to Describe You to SomeoneCD/LP/DLFebruary 23, 2010 B9R132UnderdogUnderdog [EP]7"/DLApril 6, 2010 B9R133UnderdogMatchlessCD/2xLP/DLMay 18, 2010 B9R134CeremonyRohnert ParkCD/LP/DLJune 8, 2010 B9R135Cruel HandCruel Hand [single]7"/DLJune 22, 2010 B9R136Cruel HandLock & KeyCD/LP/DLJuly 27, 2010 B9R137AntidoteThou Shalt Not Kill [EP]CD/7"/DLAugust 24, 2010 B9R138EnergyWalk Into the Fire [EP]7"/DLOctober 26, 2010 B9R139LemuriaChautauqua County [single]7"/DLNovember 23, 2010 B9R140Have Heart10.17.09(CD/DVD)/LP/DLNovember 23, 2010 B9R141LemuriaPebbleCD/LP/DLJanuary 11, 2011 B9R142Mother of MercyIV: Symptoms of ExistenceCD/LP/DLJanuary 25, 2011 B9R143DefeaterDear Father [single]7"/DLFebruary 8, 2011 B9R144DefeaterEmpty Days & Sleepless NightsCD/2xLP/DLMarch 8, 2011 B9R145Agnostic FrontThat's Life [single]7"March 8, 2011 B9R146FoundationAt Your Mercy [single]7"/DLApril 19, 2011 B9R147FoundationWhen the Smoke ClearsCD/LP/DLMay 3, 2011 B9R148Soul ControlGet Out Now [EP]7"/DLJuly 12, 2011 B9R149Ceremony6 Cover Songs [EP]CD/LP/CS/DLAugust 9, 2011 B9R151DYSLive from the Gallery East ReunionLP/DLAugust 9, 2011 B9R152Polar Bear ClubThe View, The Life [EP]7"/DLAugust 10, 2011 B9R153Polar Bear ClubClash Battle Guilt PrideCD/LP/DLSeptember 13, 2011 B9R154H2OCalifornia [EP]7"/DLSeptember 13, 2011 B9R155H2ONew York City [EP]7"/DLOctober 18, 2011 B9R156H2OD.C. [EP]7"/DLOctober 28, 2011 B9R157H2ODon't Forget Your RootsCD/LP/CS/DLNovember 15, 2011 B9R158H2OH2OLPNovember 15, 2011 B9R159H2OSomeday I Suppose [single]7"December 21, 2011 B9R160Dead SwansAnxiety and Everything Else [EP]CD/LP/DLFebruary 28, 2012 B9R161The AlligatorsTime's Up You're DeadCD/LP/DLMarch 26, 2012 B9R162TerrorNo Regrets, No Shame: The Bridge Nine Days(CD/DVD)/LP/DLApril 24, 2012 B9R163LemuriaVaroom Allure [single]7"/DLApril 24, 2012 B9R164Dropkick MurphysSunday Hardcore Matinee [single]7"March 20, 2012 B9R165Dave HausePray for Tucson [EP]7"/DLJune 19, 2012 B9R166ExpireSink with Me [single]7"/DLApril 4, 2012 B9R167ExpirePendulum SwingsCD/LP/DLMay 22, 2012 B9R168VerseBitter Clarity, Uncommon GraceCD/LP/DLJuly 17, 2012 B9R169Agnostic FrontLive at CBGB [reissue]LPJuly 17, 2012 B9R170Polar Bear ClubLive at the MontageCD/LP/DLJuly 31, 2012 B9R171What's Eating GilbertCheap Shots [EP]CD/7"/DLJuly 17, 2012 B9R172Soul ControlBore Core [EP]7"/DLJuly 31, 2012 B9R173Goodtime BoysEvery Landscape [EP]7"/DLAugust 28, 2012 B9R174Strike AnywhereIn Defiance of Empty TimesCD/LP/DLAugust 28, 2012 B9R175GallowsGallowsCD/LP/DLSeptember 18, 2012 B9R176Goodtime BoysWhat's Left to Let GoCD/LP/DLOctober 22, 2012 B9R178/VHR001Candy HeartsThe Best Ways to Disappear [EP]CD/LP/DLNovember 6, 2012 B9R180AntidoteNo Peace in Our TimeCD/LP/DLNovember 13, 2012 B92002_CDV/ABridge Nine Fall 2002 CD SamplerCDSeptember 4, 2002 B92003_CDV/ABridge Nine 2003 CD SamplerCDFebruary 4, 2003 B9B01TerrorLive & Death [EP]7"March 14, 2003 B9B02Give Up the GhostLive in London [EP]7"July 29, 2003 B9B03SlapshotThe New England Product Session [EP]7"January 1, 2004 B9B04ChampionThe Truth [single]7"August 7, 2004 B9B05Wrecking CrewWhy Must They & Live at CBGB [EP]7"March 22, 2005 B9B06Miles AwayWorlds Apart [EP]7"April 19, 2005 B9B07ChampionLive in Australia [EP]7"February 1, 2005 B9B08The TroubleLive at The Rat [EP]7"July 11, 2005 B9B09Death ThreatLive at The Showcase Theatre [EP]7"October 4, 2004 B9B010Polar Bear ClubDrifting Thing [single]7"October 16, 2010 B9B011VerseLive at Sound & Fury 2007 [EP]7"October 17, 2010 B9B012Have HeartLive at Sound & Fury 2007 [EP]7"October 17, 2010 B9B013Polar Bear ClubLive from Montage Music Hall [EP]7"September 13, 2011 B9B014ExpireLive at Sound & Fury [EP]7"April 26, 2012 B9B015Cruel HandLive at Sound & Fury [EP]7"April 26, 2012 B9B016Strike AnywhereLive at the Montage Music Hall [EP]7"April 26, 2012 [edit] Bridge Nine Crew Chris Wrenn - Owner Stephanie Marlow - Marketing & Publicity Seth Decoteau - Label Manager/Accounting Matteo Ferrari - Webmaster Matt Kona - Mailorder Ryan Boone - Production and Customer Service Brian Shultz - Utility Player Indecision was a prolific hardcore band which was started in Bay Ridge, Brooklyn in 1993 and officially disbanded in the summer of 2000 though they still play shows occasionally for charity. Indecision is known for their song "Hallowed be Thy Name". The song features the lyric "For those I love, I will sacrifice" that fans across the world have turned into a tattoo.[1][2] Most famously, the image of the tattoo on the ribs of a 19-year-old US Army Infantryman named Kyle Hockenberry being treated in a medevac helicopter following an explosion that cost him both of his legs and one arm. The photo was taken for a military newspaper and went on to win photographer Laura Rauch an award from the Society of Professional Journalists.[3][4][5][6][7] Contents [hide] 1 History 2 Touring 2.1 Records and labels 2.1.1 To Live and Die in New York City 2.1.2 Release the Cure 3 History 3.1 Controversy 3.2 Touring disasters: The "Indecision Curse" 3.3 The breakup 4 Discography 4.1 Full length 4.2 EPs 4.3 Split records 4.4 Contributions to compilations 5 References 6 External links [edit] History From the band:[8] Formed in 1993 in Brooklyn, NY, disbanded summer 2000 in El Paso, TX. Notorious for their tireless work ethic, Indecision toured the world until exhaustion, literally. They released three full length albums, as well as countless 7"s and EPs. Took pages from Sick Of It All, Agnostic Front and the Cro-Mags as well as the West coast sounds of Unbroken, Undertow and Outspoken and created a sound of their own. Indecision is revered for their uncompromising integrity. Inspired some, hated by many but ultimately respected by all. The band members—guitarist Justin Brannan drummer Pat Flynn, bassist Steve Bago and vocalist Tom Sheehan (who was replaced by Artie Phillie in 1998) -- met while attending Xaverian High School in the Bay Ridge section of Brooklyn. The band added second guitarist Rachel Rosen after having met her while performing live on her infamous WNYU radio show, Crucial Chaos, in 1996. Initially Indecision played mostly in local clubs. Over time, a lot of the venues in their neighborhood closed down, which prompted them to take a larger step and lead to the bands integration into the New York City hardcore scene. In the early days, the band would often show up to gigs all in one car, with their equipment tied to the roof with Bungee cords. Justin Brannan recounts these early days in the liner notes to A Hard Rain's Gonna Fall:[9] Fort Hamilton High School Auditorium in Bay Ridge, Brooklyn, New York. The infamous "Battle of the Bands". Our first show as Indecision. Also playing was Out of Line, Confusion and Purge. Indecision had a different drummer, two guitarists and two bass players at the time. What the fuck were we thinking? We used to tie Bago's bass cabinet to the roof of his car with fishing rope and drive to the shows like a caravan. 5 U.S. tours, 2 European tours, almost 300 shows and 5 years later - here we are. Indecision in late 1998. [...] The band was first noticed for its insane live shows at The Wetlands Preserve. Indecision, being a relatively new band at the time, would often open up the Sunday matinees. After they had finished their set, the club would quickly empty out. This only added to their mystique and quickly built a cult following. [edit] Touring Relentless recording and touring kept the band relevant long after many of their contemporaries faded away. Inspired by bands like Black Flag, Indecision embarked on voracious trailblazing tours, and it became their trademark usually spending a solid 9 to 10 months a year on the road. They were dubbed "The Working Man's Band" for their affinity to tour cities and countries that other bands wouldn't dare. Indecision was the first American band to play in Croatia (Zagreb) after the Croatian War of Independence ended in 1995 Indecision also showed its appreciation for its home Brooklyn as well as New York City—which they regularly labeled "Gotham City" on merchandise --. The former Indecision-members Justin and Rachel are now in the hardcore band Most Precious Blood on Trustkill Records. [edit] Records and labels The band released their first recording in 1993 on a 7-inch released by R.P.P., a then small Belgian hardcore label. Over the next 7 years, Indecision would tally over a dozen 7-inch singles on a number of different labels, including many limited color vinyl and special edition covers. The band got known on a very grassroots word-of-mouth level from New York City to Thailand, where Indecision remains one of the most popular underground American bands to this day. In 1996 they signed with WreckAge/Exit Records family and would release 3 albums with the label over the next 3 years: "Unorthodox", "Most Precious Blood" and "To Live and Die in New York City", all of which showed off their slightly metal-tinged brand of thought-provoking hardcore (which managed to express anger and injustice without being hateful). [edit] To Live and Die in New York City In 1998, "To Live and Die in New York City" was their first album to feature the polarizing Artie Phillie on vocals (whom the band befriended and poached from noise-crust-punk labelmates, Milhouse), but the album retained the straight-ahead style that their other releases possessed. The album featured an eerily prophetic manipulated photo of the Manhattan skyline, including the World Trade Center, completely engulfed in flames. Post-September 11 the album cover was banned in many places.[citation needed] The song "Purgatory" features an audio sample about the Union Carbide tragedy in Bhopal, India. In December 1984, a gas leak at a Union Carbide India Limited plant in Bhopal, India, results in tragic loss of life in what is known as the Bhopal disaster, when up to 20,000 people lost their lives.[10] [edit] Release the Cure In 1999 they tried their luck at another label, putting out Release the Cure on M.I.A. Records (and on Overcome Records in Europe). This, arguably their most highly acclaimed album, would be their last. The lyrical content was notably more socio-political with songs questioning the government and health care and conspiracy theories in regard to AIDS and cancer research. It was the first album recorded with full songs with singer Artie...formerly of the band Milhouse. Tom Sheehan was singer previous and now for MOst Precious Blood [edit] History [edit] Controversy Indecision was notoriously outspoken. Most of their album art and merchandise was somehow controversial. The band always claimed it wasn't done maliciously or hatefully, but to "stir-up a dialogue and inspire free-thought and discussion." [edit] Touring disasters: The "Indecision Curse" The bands tour stories have become legendary. During their first European tour in 1997, after having played a show in Wels in front of a handful of people at an indoor skate park with Flatline and Racial Abuse the band was stopped at the Austrian border on their way to Zagreb. The members were strip searched and held for hours, while the van was disassembled by the customs officials. Another incident happened on the last day of a tour in Quebec in 1999, when they had all their money and merchandise seized. A follow-up to "Release The Cure" was in the works and tentatively entitled "The Curse" but the band broke up before anything was recorded. [edit] The breakup Indecision disbanded after a show in El Paso, Texas while on tour with Kill Your Idols on June 7, 2000. [edit] Discography [edit] Full length Unorthodox Most Precious Blood A Hard Rain's Gonna Fall To Live and Die in New York City Release the Cure [edit] EPs Indecision Believe Samaritan Campaign for Complete Musikal Destruction To Starve and Steal in New York City (UK) To Starve and Steal in New York City (Japan) [edit] Split records Youth Crew 1995 (7" "Split with Shutdown) 7" Split with Sons of Abraham 7" Split with Sons of Abraham 7" Split with Indifference Smash Tradition (7" Split with Knuckledust) The Fall of Every Man (10" Split with Shai Hulud) [edit] Contributions to compilations Harder they come, Harder they fall East Coast Assault From the Ground up All about friends Definitely not the Majors New Yorks Hardest Incompatible CD-ROM Zine Losing Face N.Y. Catheter Crew Punk Rock Jukebox Bay Ridge, Brooklyn/New York City, USA Genres Hardcore Years active 1993–2000, 2006-present Labels R.P.P. (1993, 1998) Back Ta Basics (1995) Positive Face (1996) Under Estimated (1997) Exit (1997–1999) City Lights (1997) Crisis (1998) Revelation (1998) Household Name (1998) Denied a Custom (1998) MIA (1999) Jawk (2000) Associated acts Most Precious Blood The Wage of Sin The Judas Factor Milhouse Website Indecision Members Justin Brannan: Guitar Pat Flynn: Drums Steven Bago: Bass Artie Phillie: Vocals (1997–2000) Rachel Susannah Rosen: Guitar (1998–2000) Past members Tom Sheehan: Vocals (1993–1998) 25 ta Life is an American band from New York City, originally formed in Queens, N.Y. in mid-1991. Contents [hide] 1 History 2 Members 2.1 Former members 3 Discography 3.1 Studio albums 3.2 EPs 4 Splits 4.1 Demos 4.2 Live albums 4.3 Compilation albums 5 Notes 6 External links [edit] History The band was started by Frank Smarra (bass) and Harry Minas (drums) in Astoria, Queens, N.Y., they were soon joined by Fred Mesk (guitar) and together wrote most of the material that would be on their early releases. In early 1992, they recruited former Agnostic Front roadie Rick Healy (AKA Rick ta Life) who added the lyrics to all the songs. They adopted the name after it was suggested by Freddie Madball. Madball also helped the band by giving them guest appearances at the end of their sets. 25 ta Life played their first full show at Studio 1 in New Jersey on May 10, 1993 supporting Obituary. After a few failed attempts to add a second guitar player, Beto (formally of D'mize & Madball) joined the band in late 1993. In January 1994, Bassist and co-founding member Frank Smarra left the band due to family commitments and was replaced by Warren Lee. The band continued to play a large number of shows in the tri-state area and up and down the East Coast. In early 1996, 25 ta Life traveled to Europe, playing in Italy, Germany, Austria, Belgium and Poland for the first time. By late 1997, co-founding member Harry Minas left the band and was replaced by Seth Meyer from One4One. 25 ta Life opened for Agnostic Front's reunion show at the Wetlands in December 1996 and then played all of AF's East Coast dates along with Madball, Hatebreed and H2O in early 1997. They went to Japan in April 1997. Warren and Beto left in May 1997 after the West Coast tour. Mike from One4One joined on bass in June 1997 and they went to Europe in July 1997. They recorded Strength Through Unity in July 1997, writing half of it on the spot. Loyal to da Grave featuring Freddy from Madball and Lord Ezec from Crown of Thornz/Skarhead was written and recorded in less than an hour. Mike left in August 1997 and was replaced by Dave from Faction Zero. Later that month, they went to Puerto Rico and recorded two songs for the New York's Hardest 2 Compilation with Candiria and SFA. In October–November 1997, Biohazard took 25 ta Life on a short eight-show tour of the East Coast from Washington DC to Boston. Seth Meyer left the band in February 1998 and was replaced by Rob Pallotta. The band recorded its first full-length album "Friendship, Loyalty & Commitment" in 1999. [edit] Members Rick ta Life - Vocals Ezra Vanbuskirk - lead guitar Chris Manning - guitar Big Ed - bass Petey Pabblo - drums Andrew Chumbley - Designated Pitter [edit] Former members Fred Mesk - guitar Steve Petit - guitar Beto - guitar Zack Attack - guitar Mark Da Fist - guitar Frank Smarra - bass Warren Lee - bass Mike H. - bass Big Dave - bass Chumley - bass Big Ed - bass Harry Minas - drums Seth Meyer- drums Rob Pallotta - drums J. Skams NWR - drums Justin the Jew - drums Matt Brewer*-guitar [edit] Discography [edit] Studio albums YearTitleLabel 1999Friendship Loyalty CommitmentTriple Crown Records 2005Hellbound Misery TormentBack Ta Basics 2009Strength Integrity BrotherhoodBack Ta Basics [edit] EPs YearTitleLabel 199425 ta LifeSFT Records 1995Keepin' It RealWe Bite Records 1997Strength Through Unity: The Spirit RemainsTriple Crown Records 2003Best of Friends And EnemiesBack Ta Basics 2006Fallen AngelSuperhero [edit] Splits YearTitleComments 1996Morning Again/25 ta LifeSplit with Morning Again 1996Make it WorkSplit with Skarhead 1998Highway to HellfestSplit with Spazz 1999Never Tear Us ApartSplit with Slang 2004Hellbound SplitSplit with Last Hope 2006Cut Throat/25 ta LifeSplit with Cut Throat 200625 ta Life/In Search ofSplit with In Search of [edit] Demos YearTitleLabel 1993NYHC DemoBack Ta Basics No. 01 [edit] Live albums YearTitleLabel 2004Live at Few da RealBack Ta Basics [edit] Compilation albums YearTitleLabel 1996N.Y.H.C. Documentary SoundtrackSFT Records 2004Haterz Be DamnedBack Ta Basics 2006Early DayzBack Ta Basics 2008Forever, True, RepresentBack Ta Basics [edit] Notes Cold Front 1995 demo There has been a long tradition of groove-oriented hardcore in and around NYC. Just think of bands such as Leeway (post-'Born To Expire'), Enrage, Breakdown, Crown Of Thornz, Fahrenheit 451, and so on. A band that definitely deserves to be in this list is Cold Front. I feel Cold Front is mostly known for being one of the bands Mike Dijan (Crown Of Thornz, Breakdown, Skarhead) was in. However, he wasn't part of the band until the late '90s, and as you can hear on their 1995 demo, that didn't mean they sucked. On the contrary, this is a really good & solid demo. Excellent stuff. Unfortunately my copy of the demo didn't come with a lyric sheet, nor does it mention a line-up. But the Cold Front myspace mentions the line-up on this demo as: 'M.S. - Vocals, Nick B. - Guitar, Harry - Bass and Harry Minas - Drums'. All 3 songs would be re-recorded for the 1996 self-titled CD (Mike Dijan, while not playing on this album, did produce it). For more info on this band, check their myspace. In the meantime, enjoy! Disbelief - Making Progress 7" I'm not sure I know enough about this band to make a fair entry, but I will put this up for now and edit it as info comes in. Disbelief was a heavy-ish hardcore band from the Bowie/PG County area of MD in the late 90's. Shades of Snapcase and older bands like Outburst come through, and I find the overall energy and manic feel of the music compares to an overlooked favorite of mine, Inner Dam from Long Island, who were around at the same time, although I don't know at all if either band knew of each other. Oddly enough, singer Mike's voice is a dead ringer for Civ, but just slightly grittier, and it works for sure. Being that I'm too lazy to look right now, I can only talk about recalling that members of this band also spent time in Longshot, including I believe Steve who went on to 86 Mentality and a bunch of other awesome bands. A friend of mine recently gave me a shirt of theirs he found online, and it now resides in my collection, unused because it's too small for this gut. I ripped this direct off the 7" into my computer, and accidentally let side B in as one file. Sorry. I'll do a better job next time. Enjoy, and if you have any more info about Disbelief, drop me a line. Bladecrasher - 700 Club 7" Goat cover, numbered 89 out of 100. Thirty or so of these were lost so only about 65 exist. Comes with insert/lyric sheet. _-_.youngblood-records_-_ for pressing info. Blade Crasher played a very straight forward, fast hardcore with just the slightest little almost heavy punk part to it. Youth positive, angry, and energetic; they existed for an all too short time with an equally all too short amount of output (demo, 7inch, and apparently 1 other track). I honestly don't know a ton about the band other than some of the more well known things- they were from the Virginia area (at least I always heard them mentioned with VA bands & VA Beach), playing out with a lot of the bands of the east coast revival bands of the mid-90's (Time Flies, Count Me Out, ROTP, In My Eyes, etc.); and their singer Timmy went on to the even shorter lived No Justice, whose 7inch can be found here. I do have the Blade Crasher demo (second gen copy from the good old tape trading days) but cannot at the moment place my photocopy of the cover, but look for it in the future. All in all, one of my favorite bands from the 90's revival, even if the 7inch does suffer a little of a thin sound (the demo doesn't). For now, here's the Blade Crasher 7inch, released on Youngblood Records. Jump to: navigation, search Music of the United States AK AL AR AS AZ CA CO CT DC DE FL GA GU HI IA ID IL IN KS KY LA MA MD ME MI MN MO MP MS MT NC ND NE NH NM NV NJ NY OH OK OR PA PR RI SC SD TN TX UT VA VI VT WA WI WV WY Virginia's musical contribution to American culture has been diverse, and includes Piedmont blues, folk, brass, hip-hop, and rock and roll bands. The origin of music from within the state is also diverse, including cities such as Richmond, college towns such as Charlottesville and Fredericksburg, and rural areas. Contents [hide] 1 Notable music artists from Virginia by genre 1.1 Blues 1.2 Country/Bluegrass 1.3 Pop/rock/heavy metal 1.4 Urban 1.5 Other/multi 2 Music venues and institutions 3 Music festivals 3.1 Blue Ridge mountain music 4 Country music 5 Hardcore punk and heavy metal 6 Notes 7 References [edit] Notable music artists from Virginia by genre One of Virginia's most famous musical contributions is the country singer Patsy Cline. Several towns claim her as their own, including Gore and Winchester. Winchester is home to several Patsy Cline attractions, including a driving tour published by the local Chamber of Commerce, and the Kurtz Cultural Center/Old Town Visitor's Center, which shows various Cline memorabilia.[1] Jim & Jesse McReynolds and the Virginia Boys, Ralph Stanley, Hobart Smith, The Statler Brothers, and The Carter Family are award winning bluegrass and country music musicians from Virginia. Ella Fitzgerald and Pearl Bailey were both from Newport News. Hip hop and rhythm and blues acts like Missy Elliott, Timbaland, The Neptunes, Chris Brown, and Clipse hail from the commonwealth. The Neptunes produced 43% of all songs on American radio in 2003.[2] Singer-songwriters from Virginia include Jason Mraz and jam bands like the Pat McGee Band and Dave Matthews Band, who continue their strong charitable connection to Charlottesville, Virginia.[3] Influential stage-rock group GWAR as well as heavy metal group Lamb of God began at Virginia Commonwealth University. Alternative Rock group Seven Mary Three formed at The College of William and Mary in Williamsburg. Multi-Platinum certified artists are in bold.[4] Grammy Award Winning Artists are currently being indicated. [edit] Blues Robert Cray - blues guitarist, Newport News Ella Fitzgerald - jazz singer, Newport News Tommy Newsom - musician in Johnny Carson's The Tonight Show Band, Portsmouth Victor Wooten - bass virtuoso, member of Béla Fleck and the Flecktones, Hampton Ruth Brown - singer, songwriter, actress, musician, Portsmouth, Virginia [edit] Country/Bluegrass The Carter Family - highly influential 1920's & 1930'2 country trio, known as the "First Family of Country Music, Maces Spring, Virginia The Stanley Brothers - influential bluegrass duo made up of brothers Carter Stanley and Ralph Stanley, Dickenson County The Statler Brothers - Mega country-rock-gospel band, Staunton Kenny Alphin - of the country group Big & Rich, b. Culpeper Tim Barry - frontman of Avail, and country/folk singer/songwriter, Richmond Roy Clark - country music artist, Meherrin Patsy Cline - country music singer, b. Winchester Neko Case - country singer, b. Alexandria Steve Earle - country-rock musician and songwriter, b. Hampton River City Gang - country-rock band, Richmond Scott Miller - alternative country singer-songwriter, also of The V-Roys and Scott Miller & The Commonwealth, Augusta County Jim & Jesse - bluegrass duo, Coeburn Old Crow Medicine Show - Americana/folk band formed by Ketch Secor and Critter Fuqua in Harrisonburg Hobart Smith - banjo virtuoso, Saltville, Virginia Phil Vassar - country singer and songwriter, Lynchburg Ricky Van Shelton - country singer, Danville, Virginia Canaan Smith - country singer, Williamsburg, Virginia [edit] Pop/rock/heavy metal Glass Cloud - metalcore Hampton The BoneShakers - Alternative Virginia Beach, Virginia Aimee Mann - Punk/ New Wave / Adult Contemporary Richmond, Virginia States - Rock Norfolk, Virginia Fredds - Rock Richmond, Virginia Cashmere Jungle Lords - Rock / Alternative Richmond, Virginia Waxing Poetics - Alternative Norfolk, Virginia ENGAGE -Power Metal Richmond, Virginia Scott McKenzie - mainstream folk, singer/songwriter, Alexandria, Virginia The J.O.B. (The Jim O'Ferrell Band) - alternative rock, modern Americana rock band, Richmond Alabama Thunderpussy - mainstream rock, metal band, Richmond At War- Kris Bensonthrash/speed metal, Virginia Beach Avail - punk band, Richmond Carbon Leaf - Celtic-infused rock, Richmond Clarence Clemons - saxophonist for Bruce Springsteen's E Street Band, Norfolk Stewart Copeland - drummer for rock band The Police and jazz ensemble Animal Logic, Chesapeake Beyond The Victory - metalcore Richmond, Virginia Days Difference - pop/rock band, Virginia Beach Parachute - indie rock band, Charlottesville Dave Matthews Band - jam band, Charlottesville The Dismemberment Plan - Fairfax The Dreamscapes Project - acoustic rock, Reston The Downtown Fiction - Fairfax The Friday Night Boys - Fairfax Mark Oliver Everett - lead singer, guitarist, and keyboardist of Eels Dave Grohl - Nirvana/Foo Fighters drummer, guitarist and lead singer - grew up in Alexandria Down To Nothing - hardcore punk band, Richmond Gwar - thrash metal band, Richmond Hounds - hardcore band, Richmond Lamb of God - heavy metal band, Richmond Mae - Pop/rock, Norfolk Moutheater - Noise Rock/Sludge/Punk, Norfolk Jason Mraz - acoustic pop/rock, Mechanicsville Municipal Waste - thrash crossover band, Richmond Pig Destroyer - grindcore band Seven Mary Three - alternative rock, post-grunge band, Williamsburg Matt Sharp - original Weezer bassist, The Rentals, grew up in Arlington Stitch The Lids - Punk/Skate from Fredericksburg, VA Strike Anywhere - punk rock/melodic hardcore band, Richmond Scott Travis - Heavy Metal - drummer for Judas Priest, Norfolk We Were Gentlemen - metalcore band, Virginia Beach Jake E. Lee - Heavy Metal/Glam Metal - Guitarist - Ex Ratt, Ex Dio, Ex Ozzy Osbourne, Ex Mandy Lion The Ziggurat- Heavy Metal- Radford Aaron Crawford-Front man of Rude Buddha, Aaron Crawford & The Badcards Bill Leverty - guitarist for Firehouse, Richmond Bracewar - Hardcore band, Richmond [edit] Urban Chris Brown - R&B singer, Tappahannock Clipse (Malice and Pusha T) - rap/hip-hop duo, Virginia Beach Danja - record producer/songwriter, Virginia Beach D'Angelo - R&B singer, Richmond Grandmaster Jay - Hip-Hop Rapper/Deejay/Producer Richmond Missy Elliott - hip-hop and R&B singer, Portsmouth Lex Luger - producer, Suffolk Nottz - producer and rapper, Norfolk Pharrell - rapper and producer, Virginia Beach The Neptunes (Pharrell and Chad Hugo) - hip hop, R&B and pop producer/artist duo N.E.R.D (Pharrell, Chad Hugo, and Shay Haley) - rock, funk, and hip hop band Skillz - rapper and ghostwriter, Richmond Trey Songz - R&B singer, Petersburg Timbaland - rapper and producer, Norfolk The Lady of Rage - American rapper and actress, from Farmville, VA, best known for collaborations with several Death Row Records artists. Kid Kovida - Rapper and Ftlm Ent Owner, Suffolk (DIAMOND DIALECT ENTERTAINMENT)[(PORTSMOUTH, VIRGINIA])-HIP HOP [(DOUBLE S RECORDS)] A-ville (Owner/Producer/Artist), Quiet (Owner), Ras Al Goul (President/Producer/Artist), John Dawson (Artist), Crash Tokyo (Artist) TGZ (Artist) Kayci Amour (Artist) Hip Hop, R&B, Pop, Soul [(HAMPTON VA)] [edit] Other/multi Bruce Hornsby - singer, pianist and songwriter, Williamsburg Gary "U.S." Bonds - singer and songwriter, Norfolk Keller Williams - one-man jam band from Fredericksburg Pearl Bailey - Broadway singer, Newport News Toby Mac - Christian hip hop, rap, rock, Fairfax Wayne Newton - a.k.a. "Mr. Las Vegas"; singer and songwriter, Roanoke Ketch Secor of the Old Crow Medicine Show is from, Harrisonburg, Virginia Robbin Thompson [edit] Music venues and institutions For larger concerts and events, Virginia has the Jiffy Lube Live in Bristow (marketed as D.C. for most tours), the Farm Bureau Live at Virginia Beach in Virginia Beach, the Richmond Coliseum, the Hampton Coliseum and the Norfolk Scope. Vienna is home to the Wolf Trap National Park for the Performing Arts, the only National Park for the arts in the United States. Wolf Trap features a large outdoor amphitheatre, the 7,000 seat Filene Center, as well as a smaller indoor venue called The Barns. The Old Dominion Opry is another major venue, located near Colonial Williamsburg, a popular tourist attraction.[1] Virginia's other prominent music venues include The Birchmere in Alexandria, a local country and bluegrass club where Mary Chapin Carpenter performed early in her career. The Landmark Theater in Richmond and the Harrison Opera House in Norfolk both host the Virginia Opera. Phase 2 (the former Cattle Annie's, but significantly remodeling in 2010) is a popular, large club venue in Lynchburg with a reputation for attracting prominent performers. Garth Newel Music Center in Hot Springs was once a farm that is now known for classical, jazz, and blues concerts with gourmet meals and views from the side of Warm Springs Mountain. Richmond's 929 West Grace Street has housed a punk and rock-oriented club nearly uninterrupted for nearly three decades. Most famously known as Twisters throughout the 1990s, more recently the building has been known as Club 929, The Nanci Raygun, and Bagel Czar before re-opening in 2009 as Strange Matter. Like its predecessors, Strange Matter hosts up-and-coming local and national touring acts nearly every night. Alley Katz in Richmond continues to have regular shows. Toad's Place accommodated mid sized bands in 2007 and 2008 but closed shortly after that time. Another mid sized venue is The National which holds around 1,500 people. The Hampton Roads area also has several more intimate venues. The most prominent of them is the Norva Theatre, which is a small club-style venue for smaller to mid-size acts. The Shenandoah Valley hosts a few smaller venues. The mockingbird in downtown Staunton hosts a 168-seat newly renovated grass roots and acoustic music hall. Clementine cafe in downtown Harrisonburg has cemented itself as the premier venue in the valley.[citation needed] The Basement of the Blue Nile in Harrisonburg is one of the most popular stops for up-and-coming touring bands. [edit] Music festivals The Wolf Trap is home to several renowned music festivals, including the Louisiana Swamp Romp, the Washington Irish Folk Festival and Ricky Skagg's Pickin' Party, a bluegrass festival. Winchester is home to the Celebrating Patsy festival for Virginia's country legend Patsy Cline; Winchester is also home to the Shenandoah Apple Blossom Festival, which includes a major bluegrass concert.[1] FloydFest is a popular music festival in Floyd County. The festival began in 2002 and features camping and a wide range of music from bluegrass, rock, reggae, folk, zydeco, African, and Appalachian. In 2005, 2006, and 2007 Richmond is hosted the National Folk Festival that features Virginia-area regional folk music as well as folk musicians from around the world. Many previous NFF sites have continued to conduct a regional folk festival when the NFF moves to the next site and Richmond has done the same in the form of the Richmond Folk Festival. The Virginia Blues & Jazz Festival was started in 2006 at Garth Newel Music Center in Hot Springs. It is held each June and has featured national acts like Taj Mahal, The Dirty Dozen Brass Band, Buckwheat Zydeco, and Eric Lindell. The MACRoCk festival happens the beginning of April every year in Harrisonburg VA. It has featured national acts like MewithoutYou, Q and Not U, Fugazi, The Faint, Archers of Loaf, Dismemberment Plan, Sufjan Stevens, Prefuse 73, Mates of State, The Wrens, Converge, Antibalas Afrobeat Orchestra, Of Montreal, Norma Jean, The Dillinger Escape Plan, Superchunk, Elliott Smith,An Albatross, Coheed and Cambria, Avail,and Engine Down [edit] Blue Ridge mountain music Southwest Virginia is, along with western North Carolina, part of the Blue Ridge area, home to a distinctive style of old-time music sometimes called mountain music, which is a vibrant tradition most famously celebrated through an annual series of festivals. Galax is a small town that is home to the Old Fiddlers' Convention, held since 1935; it is the largest and oldest festival of old-time Appalachian music in the country. The Convention has given Galax the nickname the "Capital of Old-Time Mountain Music".[1] The Convention attracts upwards of 20,000 visitors to witness many of the most renowned American folk, country and bluegrass performers, as well as regional stars. Galax and the surrounding area has long been a rich part of American, and Virginian music, and is known for an intricate fiddling style and instrumental and vocal traditions; music collectors like Peter Seeger and Alan Lomax visited Galax and recorded the region's music.[5] Though the Galax Old Fiddlers' Convention is a major focal point for the Blue Ridge's vibrant folk music scene, the region is home to a major music festival season, which is inaugurated by the late March Fairview Ruritan Club Fiddlers' Convention, which hosts a major regional competition in several categories. Ferrum College in Ferrum, Virginia, is home to the annual Blue Ridge Folklife Festival, which has been held every October since 1973. The White Top Mountain-Mount Rogers area is home to the Wayne Henderson Music Festival & Guitar Competition, as well as a number of regional festivals, with mountain music as a major part of the White Top Mountain Molasses Festival, the White Top Mountain Maple Festival and the White Top Mountain Ramp Festival. The aforementioned, FloydFest always features bluegrass and traditional Appalachian mountain music. Local mountain music festivals in Virginia abound in small towns like Fries, Wytheville, Troutdale, Vesta, Stuart, Bassett, Baywood and Elk Creek, as well as at the Grayson Highlands State Park near Mouth of Wilson.[6] Farther southwest, The Carter Family Fold, in the Carter Family hometown of Hiltons hosts an annual folk music festival as well as weekly concerts. Johnny Cash often visited the Hiltons area and The Fold with his wife, June Carter Cash. In fact, Johnny Cash's last public performance was at The Fold in the summer of 2003. The area around the Virginia and Kentucky border, folk, country and bluegrass remains a vital regional tradition. Norton is home to the Virginia Kentucky Opry and a historic music venue called the Country Cabin, while local festivals include the Doc Boggs Festival (in Wise), and the Ralph Stanley's Annual Memorial Weekend Bluegrass Festival.[1] [edit] Country music Virginia's contributions to country music include the legendary singer Patsy Cline, pioneering performers The Carter Family and Staunton's Statler Brothers, who were one of the most popular country acts in the country in the 1970s and 80s. Bristol, TN/VA has been designated by Congress as the 'Birthplace of Country Music'. In 1927 record producer Ralph Peer of Victor Records began recording local musicians in Bristol, to attempt to capture the local sound of traditional "folk" music of the region. One of these local sounds was created by the Carter Family, which got its start on July 31, 1927, when A.P. Carter and his family journeyed from Maces Spring, Virginia, to Bristol to audition for Ralph Peer, who was seeking new talent for the relatively embryonic recording industry. They received $50 for each song they recorded. That same visit by Peer to Bristol also resulted in the first recordings by Jimmie Rodgers. These 1927 sessions became known as the Big Bang of Country Music. Since 1994, the Birthplace of Country Music Alliance has promoted the city as a destination to learn about country music and the city's role in the creation of an entire music genre. Currently, the Alliance is organizing the building of a new Cultural Heritage Center to help educate the public about the history of country music in the region. The Bristol Rhythm & Roots Reunion is held every September on State Street in Downtown Bristol and celebrates the city's contribution to country music. It has grown to become one of the more popular music festivals in Virginia and the Appalachia region, as close to 50,000 people attended the festival in 2012. [edit] Hardcore punk and heavy metal Further information: hardcore punk The city of Richmond has long had one of the more active punk rock scenes on the East Coast. The city is perhaps best known for shock-punk-metal band GWAR, known for wild on-stage antics. GWAR grew out of Death Piggy, a hardcore punk band that followed in the footsteps of local scene leaders White Cross, Beex, and The Prevaricators. However Richmond punk became big with Avail. The Richmond punk scene grew, including: Inquisition, Fun Size, Knucklehed, Uphill Down, Four Walls Falling, The Social Dropouts, Ann Beretta, Sixer, River City High, BraceWar, Smoke or Fire (originally from Boston), Strike Anywhere,and many underground bands. Richmond punk is often mistakenly considered to be an offshoot of the D.C. scene, however Richmond punk bands have developed a unique sound, often influenced by country, folk, and southern rock (particularly prevalent in Avail, Sixer, and Ann Beretta, and to a lesser degree in Strike Anywhere). This is most likely due to the fact that Richmond, the capital of the Confederacy during most of the Civil War, is arguably the oldest and most lively punk scene in the South. Richmond punk has a close relationship with punk from Gainesville, Florida, particularly between Avail and the now-disbanded Hot Water Music. Other hardcore bands from Richmond included Unseen Force, God's Will, Graven Image and Honor Role.[7] Richmond also has an active metal scene that includes, in addition to GWAR, Lamb of God, Alabama Thunderpussy, Municipal Waste. The metal scene is closely related the city's punk rockers, and, like the punks, there is a Southern influence in the music of Lamb of God and particularly in Alabama Thunderpussy. Richmond still harbors an extremely strong hardcore scene, emerging from the shadows of the mid 80's Four Walls Falling, Fed Up, Set Straight, Step Above, Count Me Out and Dead Serious. More recently a resurgence of old school hardcore punk has risen from Richmond with such bands as Direct Control, Government Warning, Wasted Time, etc. Richmond also has a small post-hardcore scene with bands such as Remaniscense, Wow, Owls! and Ultra Dolphins. Norfolk was known, during hardcore's heyday, for violent clashes between punks and local military personnel from the Navy base. Ray Barbieri (Agnostic Front, Warzone) and John Joseph McGeown (Cro-Mags) became punks while serving in Norfolk due to a judge's order. This section may require cleanup to meet Wikipedia's quality standards. No cleanup reason has been specified. Please help improve this section if you can. (August 2008) There were many semi-pros, who played venues...from the late 30's-early fifties, in southwestern Virginia. Roanoke was a hub for some of these lesser known music men, who came and went thru the early years, of country music radio, and stage performances thruout this part of Virginia. One of the more notable ones, was a group known as "The Blue Ridge Entertainer's". It was led by a man, who had done some work in Nashville, and was very popular on the Roanoke scene, by the name Roy Hall. Roy was a man of considerable talent, and well liked by his band members. Among his band members was Jayhue, and Saiford Hall(related to him), Wayne Watson, and a man by the name of Eddie Dooley. Sadly, Roy's music career ended, when he was killed, in tragic car crash accident. "Eddie" Dooley, was a friend to Roy, as well as a member of his band....and had considered going back to Nashville with Roy, who was asking him to do so. The group had just opened a show for Roy Acuff, in Radford, Va...the night Roy Hall was killed. Eddie was very saddened, by Roy's untimely death. Eddie went on to play with a number of local bands, after Roy died. He was a multi-talented self-taught music man, who played about 6 different instruments, equally well. He played guitar, Hawaiian(or steel) guitar, fiddle, piano, and a number of other instruments. When a band member was out, Eddie could fill in most any position needed. He was also a talented singer. Among the bands he played with, were, the "Virginia Pioneers", "Wanderers of the Wasteland"(led by Woody Mashburn), "Hamilton's Hawaiians", and many more. There were others, besides Eddie, who played and were members of some of these early bands. There was Ralph Hambrick, Shannon Kincaid, Jimmy Argenbright, Carl Decker, Ralph Thomas, and many more. Some of these men, were very talented men, and although many had day to day jobs....were known as regular performers on radio, and for stage shows, in Roanoke and the surrounding areas. Some of these men have now died. Eddie died in December, 2001. These men may have been lesser known, but still made a significant mark, as pioneers on early country radio, in southwestern Virginia,and deserve to be recognized for the contributions they made, to the music history, in Virginia. (More information can be found, in the archives of the "Blue Ridge Institute", in Ferrum, Va).Straight Edge straightedge punk youth crew Youth crew is a music subgenre of hardcore punk attributed to the band Youth of Today who were primarily active during the early to mid-1980s particularly during the New York hardcore scene of 1988. Youth crew is distinguished from other hardcore and punk scenes by its anger, optimism, mesomorphic, fraternal machismo and bombastic moralist outlook as well as its New York "thug rock" hardcore sound. The original youth crew bands and fans were predominantly straight edge and Vegetarian advocates. Early musical influences included Minor Threat, Bad Brains, Negative Approach, Cro-Mags and Agnostic Front. While some youth crew music is similar to melodic hardcore, youth crew also includes breakdowns intended for the hardcore dancing style associated with live performances.[1] Youth of Today was a very thrashy youth crew band, with abrasive vocals and fast songs too short to include a lot of melody (similar to early Agnostic Front, and contrasting with the other big New York City youth crew band, Gorilla Biscuits). Later youth crew bands took increasing influence from heavy metal. Powell Peralta is an American skateboard company founded by George Powell and Stacy Peralta in 1978. The company rose to prominence in the 1980s as skateboarding began maturing as a sport. The company featured the Bones Brigade, a team of the era's top competitors. Peralta left the company in 1991 and Powell continued to produce skateboard equipment as Powell, Bones Bearings and RollerBones. The two company founders reunited to produce the company's now classic inventory under the name Powell Classic. Contents [hide] 1 Background 2 Foundation of Powell Peralta 2.1 Members 2.2 Filmography 3 Downturn and formation of Powell Corporation 3.1 Filmography as Powell 3.2 Bones Bearings 4 Reunion 5 Cultural references 6 References 7 External links [edit] Background George Powell studied engineering at Stanford University and started making homemade skateboards in 1957. In 1974, Powell's son came and asked for a skateboard. When Powell pulled an old one out of the garage, his son complained it did not ride smoothly. Powell became interested in skateboarding again, as he realized urethane wheels improved a skateboard's ride. With this prompting, Powell started making his own skateboards and wheels. He bought urethane and baked his own wheels. He also used some new materials like aluminum and fiberglass to fabricate his own composite boards. One of the test riders of one of his flexible slalom boards was Stacy Peralta. When Powell was laid off from his job in the aerospace industry, he moved from Los Angeles to Santa Barbara to start his own skateboard manufacturing business. In 1976, George built the Quiksilver ProSlalom deck which he marketed through Sims. This was followed by the Quicktail. He developed wheels named "Bones" because of the color of the first urethane bones wheels. While Powell was making them in his kitchen, someone mentioned they had a color like a human bone. Skateboarding changed and George Powell moved into wood laminates. [edit] Foundation of Powell Peralta In 1978, George teamed up with Stacy Peralta forming Powell Peralta.[1] Peralta was a big name in skateboarding and took over team management and advertising. In 1979 they created a skateboarding team called the Bones Brigade, which included many of the best skateboarders of the era. Powell Peralta developed a signature art style, designed by Vernon Courtlandt Johnson, with a skeleton motif. These designs stood out in the market and helped propel Powell Peralta to become arguably the most popular skateboarding company of the 1980s. They produced the now famous Tony Hawk Iron Cross deck — as well as the McGill Skull and Snake, the Caballero Dragon, the Lance Mountain Future Primitive graphics, the Ray Underhill cross graphic, and the Ollie Tank — while continuing to produce Bones wheels. [edit] Members The Bones Brigade was a skateboarding team that rode under the Powell Peralta, and later, Powell banner. Notable Bones Brigade members throughout the years have included:[2] Agustin Lopez Ray Barbee Steve Caballero Alan Gelfand Nicky Guerrero Tommy Guerrero Kevin Harris Jesse Martinez Doug Zyskowski "Fat" John Burke Cameron Martin Tony Hawk Eric Sanderson Bucky Lasek Andy Macdonald Guy Mariano Tu Vieja! Productions Mike McGill Colin McKay Lance Mountain Martin Difeo Rodney Mullen Steve Rocco Marc Saito Steve Saiz Chris Senn Tim Simmons Steve Steadham Jim Thiebaud Ray Underhill David Zakrzewski ("Dave Z") Teddi Bennett Mike Vallely Danny Way Per Welinder Frankie Hill Rodney Jones Chet Thomas Giorgio Zattoni Scott Foss Braian Cardellini [edit] Filmography Powell Peralta went on to produce the Bones Brigade videos which became some of the most influential skateboarding videos of the era. Powell Peralta started to produce videos in 1982. These videos are: Skateboarding In The Eighties (1982) The Bones Brigade Video Show (1984) Future Primitive (1985) The Search for Animal Chin (1987) Public Domain (1988) Axe Rated (1988) Ban This (1989) Propaganda (1990) Eight (1991) Celebrity Tropical Fish (1991) [edit] Downturn and formation of Powell Corporation In the late 1980s, smaller, skater-run companies like World Industries appeared and took market share from the bigger companies. Powell Peralta suffered as many of their riders defected and either set up or rode for those new independent companies. At the end of 1991, Stacy Peralta left Powell Peralta and the company was then re-branded as Powell Corporation.[1] [edit] Filmography as Powell Hot Batch (1992) Chaos (1992) Play (1993) Suburban Diners (1994) Scenic Drive (1995) Strip Mall Heroes (1998) Magic (1999) Bones Bearings Class of 2000 (1999) FUN (2009) [edit] Bones Bearings Bones specializes in bearings. Despite severe financial problems initially, Powell continues to make skateboard products, including Bones Bearings and wheels. [edit] Reunion Powell Peralta has revisited its enormous market success of the 1980s with their line of re-issue decks under the brand, Powell Classic. George Powell and Stacy Peralta have teamed up once again to re-issue some of the original pro models under the Powell-Peralta brand. Current Reissues include models from Steve Caballero, Ray "Bones" Rodriguez, Mike McGill, Steve Steadham, and Mike Vallely. In late 2010 Powell Skateboards and Powell Classic were folded into Powell-Peralta. Powell Peralta continues to reissue classic decks, wheels, clothing and videos as well as new products with decks that are both classically inspired shapes and contemporary "Popsicle" shapes. The current team is Pros: Steve Caballero, Jordan Hoffart, and Chad Bartie, Ams: Josh Hawkins, Aldrin Garcia, Steven Reeves and Shane Borland[3] In March 2011 it was announced that Legendary Artist VCJ (Vernon Courtlandt Johnson) has returned to Powell-Peralta, and is working on new art for the Brand.[4] [edit] Cultural references Powell-Peralta Skateboards appeared in several films, from them: The 1992 film Encino Man features Brendan Fraser's character Link riding a Lance Mountain Family (art by Lance's son) skateboard deck near the end. There is a Powell-Peralta poster clearly visible in Dave's room. In the Teen-Angst/Skateboard movie "Gleaming The Cube" (1989) starring Christian Slater, and featuring an early cameo from Tony Hawk, the 'Crew' can be witnessed in one scene to be stickering skate transfers on public property, one or many of which are of Powell-Peralta design. Also, the main character Brian, as played by Slater, can be seen wearing some Powell-Peralta Lizard Bones Black Sweat Pants. Most of the Bones Brigade appeared in a skateboard sequence in Police Academy 4: Citizens on Patrol in 1987. In the 2009 single "Skate or Die" by Teenage Bottlerocket, the Bones Brigade was mentioned in the lyrics. "We're waging war against the poseurs of the day, If we play our cards right someday, we might be in the Bones Brigade." The lead off track "Hornets! Hornets!" on the Hold Steady's 2005 album Separation Sunday references Bones Brigade with the lyrics "She's got those Bones Brigade videos. She knew 'em back and forth. She slept with so many skaters." [edit] References The Bones Brigade Video Show is a 1984 skateboarding video, produced by Stacy Peralta and Craig Stecyk.[1] It was the first of several videos produced by the Powell Peralta company, and showcased members of the Bones Brigade skateboarding team, including Steve Caballero, Tony Hawk, Mike McGill, Lance Mountain, Rodney Mullen, Stacy Peralta, and Per Welinder.[2] Contents [hide] 1 Etymology of the term 2 History 3 Youth crew fashion 4 Notes 5 Bibliography [edit] Etymology of the term The term Crew was apparently coined by John L Hancock III (AKA "Rat Boy") as a slang term for a group of friends when he wrote the Youth of Today song "Youth Crew" on their 1985 7" "Can't Close My Eyes" which was predated by a T Shirt designed by RatBoy himself as well as the 7 Seconds "The Crew" record. Warzone also had a song called "We're the Crew" on their 1988 album Don't Forget the Struggle, Don't Forget the Streets. Judge also had a song called "New York Crew". [edit] History Youth crew was most popular from 1984 to 1990, primarily in New York City and, to a lesser degree, Los Angeles. The sound was largely defined by a series of releases by Revelation Records, including albums by Youth of Today,[1] Chain of Strength, Gorilla Biscuits,[1] Bold,[1] Judge,[1] Side By Side, and Uniform Choice. Like 7 Seconds, these bands were all straight edge, and lyrical concerns included brotherhood and community values. However, many of these bands were more aggressive in their attitudes. Ray Cappo eventually converted to the Hare Krishna faith, and 108[2] and the Cro-Mags also participated in the Krishnacore offshoot. The California band Vegan Reich established the hardline wing of straight edge youth crew hardcore. Although hardline had few adherents, its attitudes and militancy had a notable effect on later bands such as Earth Crisis and Racetraitor. The "Youth Crew" scene also included the participation of skinheads, many of whom were fans of Warzone, Cro-Mags and Youth Defense League.[3] Youth crew bands were contemporary to, though noticeably distinct from, crossover thrash, thrashcore, crust punk, melodic hardcore, and emo bands. In the 1990s, bands inspired by this scene became increasingly influenced by thrash and death metal. These bands, including Earth Crisis, Snapcase, One Life Crew, Integrity, Strife, Hatebreed and Blood for Blood, recorded for Victory Records, and were partly responsible for the contemporary metalcore scene.[4] Groups on Trustkill Records, such as Walls of Jericho, Racetraitor and Shai Hulud, were also part of this current. There were some bands, such as Mouthpiece, who were still keeping the original sound of youth crew. Youth crew bands first achieved visibility in popular culture through CIV (featuring the former singer of Gorilla Biscuits). Later youth crew-derived music became increasingly associated with metalcore, particularly in the cases of Earth Crisis and Strife. The late 1990s saw a revival of the youth crew style, revisited by bands such as In My Eyes, Floorpunch, Ten Yard Fight, and Ray Cappo's Better Than a Thousand. [edit] Youth crew fashion The youth crew fashion, different from the stereotypical skinhead fashion worn by many NYC-area hardcore music fans circa 1988, is preserved in record-liner photos, videos, and zine photos from that era. The look was more conventional than a lot of punk fashion. In an interview in 2004's All Ages: Reflections on Straight Edge, Cappo described the youth crew look as being "Tony Hawk meets Beaver Cleaver." Youth crew fashion included bleached hair, crewcuts and similar haircuts, athletic wear, letterman jackets, sportswear, army pants or shorts, oversized T-shirts bearing band logos or straight edge slogans, hooded sweatshirts and hightop basketball shoes. 7 Seconds and their fans often drew black lines under their eyes in a similar manner to athletes. Hardliners and more militant straight-edgers sometimes wore camouflage and military surplus gear. The Swatch X-Rated became popular in youth crew fashion. Sports brands, such as Adidas, Nike or Champion, were popular in youth crew fashion. The year 1988 is often considered to be the peak of youth crew straight edge New York hardcore, so the abbreviation '88 sometimes appears in songs, T-shirts, album cover art or other media. 1988 is also commonly remembered as a year that was very violent and dangerous in the New York hardcore scene, when a lot of clubs closed or banned hardcore concerts. Straight edge is a subculture and subgenre of hardcore punk whose adherents refrain from using alcohol, tobacco, and other recreational drugs. It was a direct reaction to the sexual revolution, hedonism, and excess associated with punk rock.[1][2] For some, this extends to not engaging in promiscuous sex, following a vegetarian or vegan diet, and not using caffeine or prescription drugs.[1] The term was adopted from the song "Straight Edge" by the 1980s hardcore punk band Minor Threat.[3] Straight edge emerged amid the mid-'80s hardcore punk scene, in part as a reaction against the perceived "jock" element of the developing scene.[citation needed] Since then a wide variety of beliefs and ideas have been incorporated into the movement, including vegetarianism,[4] animal rights,[4] communism[5] and Hare Krishna beliefs.[6] In many parts of the United States, straight edge is treated as a gang by law enforcement officials.[7] A 2006 study suggested that the vast majority of people who identify as straight edge are nonviolent.[8] The influence of straight edge has expanded beyond the punk rock subculture, with celebrities such as American rapper Tyler, the Creator[9] claiming adherence to straight edge temperance. Contents [hide] 1 Terminology 2 History 2.1 1970s and early 1980s 2.1.1 Bent edge 2.2 Youth crew (mid 1980s) 2.3 1990s 2.3.1 Outside the United States 2.4 2000s 3 X symbol 4 See also 5 Notes 6 References and bibliography 6.1 Further reading 7 External links [edit] Terminology A authors have adopted a variety of terms for the subculture as well as for individuals that have adopted the lifestyle. Several permutations of the term have been adopted by Straightedge,[6] straight-edge, and Straight Edge. [edit] History In 1999, William Tsitsos wrote that straight edge had gone through three eras since its founding in the early 1980s.[10] Later analysts have identified another era that has taken place since Tsitsos's writing.[11] [edit] 1970s and early 1980s Minor Threat, the coiners of the term straight edge Straight edge grew out of hardcore punk in the late 1970s and early 1980s, and was partly characterized by shouted rather than sung vocals.[12] Straight edge individuals of this early era often associated with the original punk ideals such as individualism, disdain for work and school, and live-for-the-moment attitudes.[10] Straight edge sentiments can be found in songs by the early 1980s band Minor Threat, most explicitly within their song "Straight Edge",[13] first wave English punk band The Vibrators song "Keep It Clean" and Jonathan Richman's early band The Modern Lovers 1970s song "I'm Straight", which rejected drug use.[14] As one of the few prominent 1970s hard rock icons to explicitly eschew alcohol and drug use, singer/guitarist Ted Nugent was also a key influence on the straight edge ideology.[15] Straight edge started on the East Coast of the United States in Washington D.C., and quickly spread throughout the US and Canada.[16] By the 1980s, bands on the West Coast of the United States, such as America's Hardcore (A.H.C.), Stalag 13, Justice League and Uniform Choice, were gaining popularity. In the early stages of this subculture's history, concerts often consisted of non-straight-edge punk bands along with straight edge bands. Circumstances soon changed and the early 1980s would eventually be viewed as the time "before the two scenes separated".[12] Early straight edge bands included: the Washington D.C. bands Minor Threat, State of Alert (S.O.A.), Government Issue, Teen Idles and The Faith; Reno's 7 Seconds; Boston's SSD, DYS and Negative FX; California bands as mentioned above; and New York City bands such as Cause for Alarm and The Abused.[3][17][18] [edit] Bent edge Main article: Bent edge Bent edge began as a countermovement to straight edge by members of the Washington, D.C. hardcore scene who were frustrated by the rigidity and intolerance in the scene.[19] This idea spread and on Minor Threat's first tour in 1982, people would come up to the band identifying as bent or curved edge.[20] The countermovement was short lived and faded away by the end of the 1980s. [edit] Youth crew (mid 1980s) Youth of Today, the pioneers of Youth Crew. During the youth crew era, which started in the mid 1980s, the influence of music on the straight edge scene seemed to be at an all-time high. The new branches of straight edge that came about during this era seemed to originate from ideas presented in songs. Many youth crew bands had a strong heavy metal influence.[21] Notable youth crew bands included: Youth of Today,[21] Gorilla Biscuits,[21] Judge, Bold, Chain of Strength, Uniform Choice, and Slapshot.[22] Starting in the mid 1980s, the band Youth of Today became associated with the straight edge movement, and their song "Youth Crew" expressed a desire to unite the scene into a movement.[23] Vegetarianism became an important theme in straight edge during this era,[24] starting with Youth of Today's 1988 song "No More", which contained the lyrics: "Meat-eating, flesh-eating, think about it. So callous this crime we commit".[25] This catalyzed a trend towards animal rights and veganism within the straight edge movement that would reach its peak in the 1990s.[24] [edit] 1990s By the early 1990s, militant straight edge was a well-known part of the wider punk and DIY scene. However, militant straight edge punks were not known for being tolerant. They displayed outward pride, outspokenness, and showed a willingness to resort to violence in order to promote their sub-culture.[26] The militant straight edge individual was characterized by being more conservative and less tolerant of homosexuality and abortion.[27] In the mid 1990s, a number of bands advocating social justice, animal liberation, veganism, and straight edge practices leaned towards metal. During the 1990s, the straight edge scene split into factions:[28] hardline[6] and Krishna Consciousness.[29] [edit] Outside the United States In the early to mid 1990s, straight edge spread from the United States to Northern Europe,[30] Eastern Europe,[31] the Middle East,[32] and South America.[33] Straight edge spread around the world due to the relentless touring of youth crew bands and the ease of ordering records from American record labels via the mail.[34] [edit] 2000s By the beginning of the 2000s, only small groups of militant straight edge individuals remained.[35] The decline in militant behavior has been linked to the lack of a well known straight edge band leading the movement.[citation needed] Contrary to news reports that portrayed straight edge as a gang,[36][37] several studies have shown that straight edge individuals as a whole are mostly peaceful people.[38] In the 2000s, there was a growing amount of tolerance of people who do not follow the straight edge lifestyle by straight edge individuals.[39] In this incarnation of straight edge, the musical styles of the bands involved are more varied, ranging from a youth crew revival style to metalcore to posicore.[35] Straight edge bands from the 2000s include Champion, Down to Nothing, Embrace Today, Have Heart, and Throwdown.[40] [edit] X symbol Italian straight edge band To Kill performing live The letter X is the most known symbol of straight edge, and is sometimes worn as a marking on the back of both hands, though it can be displayed on other body parts as well. Some followers of straight edge have also incorporated the symbol into clothing and pins. According to a series of interviews by journalist Michael Azerrad, the straight edge X can be traced to the Teen Idles' brief U.S. West Coast tour in 1980.[41] The Teen Idles were scheduled to play at San Francisco's Mabuhay Gardens, but when the band arrived, club management discovered that the entire band was under the legal drinking age and therefore would be denied entry to the club. As a compromise, management marked each of the Idles' hands with a large black X as a warning to the club's staff not to serve alcohol to the band. Upon returning to Washington, D.C., the band suggested this same system to local clubs as a means to allow teenagers in to see musical performances without being served alcohol.[41] The Teen Idles released a record in 1980 called Minor Disturbance with the cover shot being two hands with black X's on the back.[3][42] The mark soon became associated with the Straight Edge lifestyle.[3] Later bands have used the X symbol on album covers and other paraphernalia in a variety of ways. The cover of No Apologies by Judge shows two crossed gavels in the X symbol.[43] Other objects that have been used include shovels, baseball bats, and hockey sticks.[43] A variation involving a trio of Xs, XXX, is often used in show flyers and tattoos. This can be used to show that an adherent is extremely straight edge.[3] Also, it can be ironic based on the fact that three X's was popularized in cartoons and television shows to signify alcohol or poison. Historically, moonshiners used an "X" to notate how many times a particular batch of moonshine ran through the still adding additional irony. [44] The term is sometimes abbreviated by including an X with the abbreviation of the term "straight edge" to give sXe.[45] By analogy, hardcore punk is sometimes abbreviated to hXc.[46] New Jersey Hardcore Punk (sometimes called NJHC, NJHXC or Jerseycore) refers to hardcore punk and metalcore music created in New Jersey and to the subculture associated with that music. Contents [hide] 1 Evolution from punk rock 2 1980-1985 - The first wave 3 1986-1990 - The second wave 4 1991-1999 - The third wave 5 National and international recognition 6 See also 7 References [edit] Evolution from punk rock New Jersey had many early punk bands, circa 1975 - 1979, including The Misfits. Many of these fledgeling early punk bands heard many sounds in the early 80's when hardcore punk originators like Black Flag, Bad Brains, and Minor Threat toured and gained national exposure. Misfits - formed 1977 in Lodi *Worldwide [edit] 1980-1985 - The first wave New Jersey had developed several regional, overlapping hardcore punk scenes by 1981-'82. Proximity to New York City and Philadelphia had long tended to draw punk and hardcore bands away from New Jersey, with historic examples including Bergen County bands such as the Misfits . Adrenalin OD was one of the more important early hardcore punk bands to identify primarily with New Jersey. During this period several New Jersey-based record labels specializing in hardcore punk were formed and began releasing albums. Two of the most influential were Mutha Records from West Long Branch, Buy Our Records of Union County. The Undead - formed 1980 in New Milford Adrenalin O.D. - formed 1981 in Elmwood Park Hogan's Heroes - formed 1984 in Toms River *Worldwide[1] [edit] 1986-1990 - The second wave During the mid and late 1980s, hardcore bands started to experiment with their sounds, taking their cues from other national scenes. Some would imitate the crossover thrash/skate punk of Suicidal Tendencies, while others would incorporate more melodic sounds similar to the early emo scene developing in Washington, D.C. Still others would draw influence from the nearby New York hardcore scene, including the youth crew movement. Mucky Pup - formed 1986 in Bergenfield Turning Point - formed 1988 in Moorestown Rorschach - formed 1989 Dog Eat Dog - formed 1990 in Bergen County Lifetime - formed 1990 in New Brunswick [edit] 1991-1999 - The third wave During the mid and late 1990s, regional scenes within NJ started to develop as the NJHC separated into 3 distinct scenes with its own bands, ideology and sound. The northern NJHC scene was centered and concentrated around The Pipeline in Newark and minor amounts at Studio One, a heavy metal pop dance club. The central NJ scene centered around Asbury Park (Fast Lane), The Brighton Bar in Long Branch, and at The Stone Pony. The South Jersey scene centered around areas of Philadelphia, and southern New Jersey. Mouthpiece - formed 1991 in Mercer County NJ Bloodline - formed 1992 in Elizabeth *Worldwide Fury of Five - formed 1994 in Asbury Park *Worldwide E.Town Concrete - formed 1995 in Elizabeth *Worldwide [edit] National and international recognition By 1994 some first and second wave worldwide bands were releasing material with American, European and Japanese labels drawing even more attention to the NJHC scene. As these scenes started to grow and gain popularity, so did the bands that emerged from these scenes. Alternatively, some first and second generation NJHC bands signed to larger national labels and became internationally recognized. In 1995 Dog Eat Dog were voted Breakthrough Artists of the Year at the MTV Europe Music Awards. This drew international attention to the NJHC scene. By 1996, third generation bands were pushing NJHC further through extensive touring, recording and their outspokenness of the NJHC scene. Metalcore is a broad fusion genre of extreme metal and hardcore punk. The name is an amalgam of the names of the two genres, distinguished by its emphasis on breakdowns,[1] which are slow, intense passages that are conducive to moshing.[2] Pioneering bands, such as Hogan's Heroes,[3][4] Earth Crisis, and Integrity,[5][4] lean more toward punk, whereas latter bands—Killswitch Engage, Underoath, All That Remains, Trivium, As I Lay Dying, Bullet for My Valentine and The Devil Wears Prada—lean toward metal.[6] Sepultura, who has been credited to "laying the foundation" for the genre,[7] and Pantera,[8] who influenced Trivium, Atreyu, Bleeding Through and Unearth, have been influential in the development of metalcore. Contents [hide] 1 History 1.1 Precursors 1.2 Metallic hardcore (1990s) 1.3 Commercial success (2000s to present) 2 Characteristics 2.1 Vocals 2.2 Instrumentation 2.3 Ideologies 3 Subgenres 3.1 Melodic metalcore 3.2 Mathcore 3.3 Deathcore 4 References 5 Bibliography History Precursors Main articles: Hardcore punk and Crossover thrash Black Flag[9] and Bad Brains,[10] among the originators of hardcore, admired and emulated Black Sabbath. British street punk groups such as Discharge and The Exploited also took inspiration from heavy metal.[11] The Misfits put out the Earth A.D. album, becoming a crucial influence on thrash.[12] Nonetheless, punk and metal cultures and music remained separate through the first half of the 1980s. Cross-pollination between metal and hardcore eventually birthed the crossover thrash scene, which gestated at a Berkeley club called Ruthie's, in 1984.[13] The term "metalcore" was originally used to refer to these crossover groups.[14] Hardcore punk groups Corrosion of Conformity,[15] Dirty Rotten Imbeciles and Suicidal Tendencies[16] played alongside thrash metal groups like Metallica and Slayer. This scene influenced the skinhead wing of New York hardcore, which also began in 1984, and included groups such as Cro-Mags, Murphy's Law, Agnostic Front[17] and Warzone.[18] The Cro-Mags were among the most influential of these bands, drawing equally from Bad Brains, Motörhead and Black Sabbath.[19] Cro-Mags also embraced straight edge and, surprisingly enough, Krishna consciousness.[20] Other New York metal-influenced straight edge groups include Crumbsuckers who formed in 1982. 1985 saw the development of the hardcore breakdown, an amalgamation of Bad Brains' reggae and metal backgrounds,[2] which encouraged moshing. Agnostic Front's 1986 album Cause for Alarm, a collaboration with Peter Steele, was a watershed in the intertwining of hardcore and metal.[21] During this time, thrash metal groups began to borrow a great deal from hardcore punk, and in 1987 Metallica paid tribute to Discharge and Misfits.[22] Metallic hardcore (1990s) Converge are a metalcore group formed in 1990. Between 1989 and 1995, a new wave of hardcore bands emerged.[6] These included Merauder, All Out War,[23] Integrity,[24] Biohazard, Earth Crisis,[24][25] Converge,[25] Shai Hulud,[26][27][28] Starkweather, Judge,[25] Strife,[24] Rorschach,[29] Vision of Disorder[29] and Hatebreed.[24][29] Integrity drew influence primarily from the Japanese hardcore band GISM and the metal of Slayer, with more subtle elements of Septic Death, Samhain, Motörhead and Joy Division,[30] while Earth Crisis, Converge and Hatebreed[31] borrowed from death metal.[32] Earth Crisis's 1995 album Destroy the Machines were particularly influential.[33] In guitarist Scott Crouse's words, It was a very mixed reaction. I'm often quoted as saying that Earth Crisis was the first hardcore band with a metal sound. Of course we weren't the first, but I think we definitely took it to another level. We heard a lot of, 'These guys are trying to be Pantera,' which we all took as a great compliment![33] Biohazard, Coalesce[34] and Overcast were also important early hardcore metal groups. [35][36] As journalist Lars Gotrich writes, "Along with key records by Dillinger Escape Plan and Botch, Give Them Rope is an underground milestone that helped pioneer what was soon called 'metalcore'. At the risk of sounding too reductive — too late! — metalcore was the natural progression where extreme metal and hardcore met, but with spiraling time signatures that somehow felt more aggressive."[37] Shai Hulud's Hearts Once Nourished with Hope and Compassion became especially influential in the latter part of the decade.[26][27][28] Commercial success (2000s to present) Killswitch Engage are considered one of the breakthrough bands to bring metalcore to the spotlight. In the early-2000s, metalcore emerged as its own genre, with several independent metal labels, including Century Media and Metal Blade, signing metalcore bands. By 2004, Killswitch Engage's The End of Heartache[38] and Shadows Fall's The War Within[39] debuted at numbers 21 and 20, respectively, on the Billboard album chart. All That Remains' single "Two Weeks" peaked at number 9 at the Mainstream Rock Tracks chart in the U.S. The song peaked on the Modern Rock Tracks chart at number 38. In 2007, the song "Nothing Left" by As I Lay Dying was nominated for a Grammy award in the "Best Metal Performance" category. An Ocean Between Us (the album that included "Nothing Left") itself was a commercial success, debuting at number 8 on the "Billboard 200". Welsh metalcore band Bullet for My Valentine's second album, Scream Aim Fire, went straight to number 4 on the Billboard 200,[40] later surpassing this in 2010 with their third album Fever, which debuted at number 3 selling more than 71,000 copies in its first week in the U.S. and more than 21,000 in the UK. Underoath's fifth album Define the Great Line, released in 2006, peaked at number 2 on the Billboard 200 charts, selling 98,000 copies in its first week.[41] The Devil Wears Prada has achieved much commercial success with their album, With Roots Above and Branches Below, peaking at number 11 on the Billboard 200 upon its release.[42] Trivium has met with very strong success, making top 25 positions on the charts in several countries, including the U.S., and top 10 positions in both Australia and the UK, even making Gold status in the UK. Hatebreed, God Forbid, and As I Lay Dying have also charted.[43][44][45] Underoath's album Lost in the Sound of Separation reached number 8 on the Billboard 200 and sold 56,000 copies in its first week of sales in the U.S. alone,[46] with Killswitch Engage's self-titled fifth album reaching number 7 on the Billboard 200 and selling 58,000 copies.[47] Another recent success is the album Reckless & Relentless by British band Asking Alexandria, reaching up to now number 9 on the Billboard 200, selling 31,000 in its first week. The 2011 album Dead Throne by The Devil Wears Prada debuted at number 9 on the Billboard 200, selling 32,400 in its first week.[48] However, the majority of metalcore bands are underground. Characteristics Vocals The vocalizing technique in metalcore is generally screamed vocals, particularly common among many 1990s metalcore groups. Today many metalcore bands combine screamed vocals throughout with the use of clean vocals usually during the bridge or chorus of a song. Instrumentation Heavy guitar riffs, double bass drumming, and breakdowns are common in metalcore. Drop guitar tunings are used extremely often, earlier bands usually used either Drop D, C# or C tunings. More recently certain bands have been known to tune as low as Drop G1 and even F#1. Drummers typically use a lot of double bass technique and general drumming styles across the board. Blast beats are also heard at times. Ideologies Metalcore emerged from youth crew hardcore punk subculture, with many of the groups adhering to straight edge beliefs (abstention from drugs and alcohol), although Integrity was a notable exception.[6] Converge was notable for their focus on personal anguish and experiences of failed romantic love.[49][50] Dwid Hellion, frontman of Integrity, advocated the "Holy Terror Church of Final Judgment", an apocalyptic belief system related to Gnosticism and Catharism.[51] Several members of contemporary metalcore bands are Christians, including Zao,[52] The Devil Wears Prada, As I Lay Dying,[53] Killswitch Engage, August Burns Red, Texas in July, Oh, Sleeper and Underoath.[54][55] Subgenres Melodic metalcore The early-2000s included a wave of metalcore bands who placed significantly greater emphasis on melody. These bands tend to fuse melodic death metal, hardcore punk and sometimes emo.[56] Melodic metalcore bands include Trivium, All That Remains,[57] Atreyu,[56][58][59] Bullet for My Valentine,[60] Bury Tomorrow,[61] Darkest Hour,[58] Eighteen Visions,[58] Killswitch Engage[56][62] and Poison the Well.[58] These groups took major influence, cues, and writing styles from Swedish melodic death metal bands, particularly At the Gates,[58] Arch Enemy, In Flames and Soilwork.[63] Melodic metalcore frequently makes use of clean vocals.[62][64][65] Some of these groups, such as Shadows Fall, have voiced an affection for '80s glam metal.[66] Melodic metalcore groups have been described as "embrac[ing] '80s metal clichés", such as "inordinate amounts of smoke machines, rippin' solos, [and] three bass drums."[59] Mathcore Main article: Mathcore Mathcore began with the mid-'90s work of Converge,[67] Botch[68][69] and The Dillinger Escape Plan.[70] The term mathcore is suggested by analogy with math rock. Mathcore is characterized by speed, technical riffing, and unusual time signatures.[71][72] Bands such as Fear Before incorporate metalcore standards along with odd time signatures and progressive elements.[73] Deathcore Main article: Deathcore Deathcore is an amalgamation of metalcore/hardcore punk and death metal.[74][75][76] Deathcore is defined by breakdowns, blast beats and death metal riffs.[77][78] Bands may also incorporate guitar solos and melodic riffs similar to those in metalcore.[74] New York-based death metal group Suffocation is credited as one of the main influences for the emergence of deathcore.[79] New Jersey's own 97a is a fierce, thrashy hardcore punk band that plays at A.D.D speeds. From 1994-2001 these guys owned the scene, ripping up every single show they played. The band's energy is unbelievable and their songwriting is filled with passion and intelligence. Pissed off, down-your-throat, in-your-face, thrash punk magic! Below is everything I could find from them except for a 7 Seconds cover, which was their latest release. Snag All Of This! It's Insane!!! DIG! -For Fans Of: Coke Bust, Capitalist Casualties & Floorpunch Society's Running On Empty LP (1999) Download It's In Our Power 7" (1998) Download Abandoned Future 12" EP (1997) Download Growing Stronger Compilation 7" (1997) (97a Track Only) Download Punk Uprisings Vol. 2 Comp. CD/LP (1997) (97a Track Only) Download Better Off Dead 7" (1996) Download Terror At WMFU 7" (1995) Download Demo Tape (1994) Download 1993: 97a plays twice, as more of a project than an actual band. 1994: With Chris on bass and vocals, Todd on guitar, and Glen on drums, 97a set out with a serious lineup and a simple goal; to create a fast and thrashy hardcore band with intelligent lyrics that would stand the test of time. By November, enough songs were written to hastily record a seven song demo which would come out in December. 1995: Chris handed his bass duties over to Clint in January and the band became a 4-piece. A month later, the band played the legendary 'Pat Duncan Radio Show' on WFMU-FM which also led to band's first slab of vinyl, the 'Terror at WFMU' ep. This 7"ep was limited to 500 copies and released with the incredible help of Vibrator Records from Japan, as a 'split label' release with Teamwork Records. 1996: During this time, 97a played shows and wrote most of what would become the 'Better Off Dead' ep, which was recorded in February. By November, the band had recorded eight more tracks, seven of which were put on the 'Abandoned Future' 12"/CD-ep in June of the following year. (The other song was put on the Growing Stronger 7" compilation ep.) 1997: The band releases the 'Abandoned Future' 12"/CD-ep on Teamwork in the United States, and Coalition in Europe to favorable reviews everywhere. This 12"/CD-ep also includes a remixed and remastered version of the entire 'Better off Dead' recordings. Around this same time, Chris, Todd, and Glen recorded 'Always There' for the 'Punk Uprisings' CD compilation on Go Kart records. The guys also played a bunch of shows and had a pair of successful tours (with a fill-in bassist from Albany's infamous Monster X) through the Mid-Atlantic states in September and December. 1998: The (now controversial) 'It's in our power.' single was recorded in the spring, and then released on the Fourth of July. It was limited to just 1000 copies and sold out quickly. Later in the year, the band started working on recording songs for the upcoming '>>society's running on empty...' 12"/CD. 1999: 97a finished up recording on '>>society's running on empty...', which was released in June. Two months later Chris, Todd, Clint, (new drummer and old friend) Derik, and (roadie) Kris Too Far, brought the 97a summer tour machine coast to coast across America. This was a memorable time for all who were involved. It was also at this time that Derik came up with the idea of putting together a tour diary 'zine, which came out a few months later. 2000: 97a covers "Fuck your AmeriKa" on the 7SECONDS 'Fight the world, not each other!' tribute compilation, which was released by Reflections Records of The Netherlands. (This track was recorded during the '>>society's running on empty...' sessions.) 2001: Eventually all things come to an end, and after about eight years of playing and recording, it seemed time to call it quits. The band reached most of it's goals and maybe even reached a couple more! On September 23rd, 97a played their last show and a flag flew over the Capitol building in Washington, DC to commemorate the day. Chris and Todd also put together a 24 page 'zine documenting the history of the band, which was given out to everyone at the show. 2006: Glen gets in touch with Todd and Chris about creating a another small burst of chaos and disorder. Long story short.........phone calls are made, emails exchanged, long distance drives conquered, etc. With a few practices under their belts, the guys (along with veteran roadie, Kris) are ready to write the next chapter! The end was not the end... Member Since: August 10, 2005 Members: Chris Kelly - Fallen prophet, new messiah. Todd A. - Deprogramming and dismantling. G.K. - Percussive libertine. Kris - Gun totin' patriot and roadie. Record Label: Teamwork Records The Misfits are an American rock band often recognized as the progenitors of the horror punk subgenre, blending punk rock and other musical influences with horror film themes and imagery. Founded in 1977 in Lodi, New Jersey by singer and songwriter Glenn Danzig, the group had a fluctuating lineup during its first six years with Danzig and bassist Jerry Only as the only consistent members. During this time they released several EPs and singles and, with Only's brother Doyle as guitarist, the albums Walk Among Us (1982) and Earth A.D./Wolfs Blood (1983), both considered touchstones of the early-1980s hardcore punk movement. The Misfits disbanded in 1983 and Danzig went on to form Samhain and then the eponymously-named Danzig. Several albums of reissued and previously unreleased material were issued after the group's dissolution, and their music became influential to punk rock, heavy metal, and alternative rock music of the late 1990s and early 2000s. After a series of legal battles with Danzig, Only and Doyle regained the rights to record and perform as the Misfits. They formed a new version of the band in 1995 with singer Michale Graves and drummer Dr. Chud. This incarnation of the Misfits had a sound much more rooted in heavy metal, and released the albums American Psycho (1997) and Famous Monsters (1999) before dissolving in 2000. Jerry Only then took over lead vocals and recruited former Black Flag guitarist Dez Cadena and former Ramones drummer Marky Ramone for a Misfits 25th Anniversary tour. This lineup released an album of cover songs entitled Project 1950 and toured for several years. In 2005 Ramone was replaced by Robo, who had played with Black Flag in the early 1980s and had also previously been the Misfits' drummer from 1982 to 1983. This lineup released a single titled "Land of the Dead" in 2009. The Misfits' current lineup of Only, Cadena, and drummer Eric "Chupacabra" Arce released a new album titled The Devil's Rain in October 2011. Contents [hide] 1 History 1.1 1977–1978: Formation and Static Age 1.2 1978–1981: Singles and early tours 1.3 1982–1983: Albums and dissolution 1.4 1984–1995: New projects and legal battles 1.5 1995–2000: Reformation and new lineup 1.6 2001–2008: 25th Anniversary and all-star lineup 1.7 2009–present: Recent activity 2 Style 3 Legacy 4 Discography 5 Filmography 6 Members 6.1 Current members 6.2 Former members 7 See also 8 References 9 Notes 10 External links [edit] History [edit] 1977–1978: Formation and Static Age The Misfits were formed in January 1977 in Lodi, New Jersey by Glenn Danzig, who had previous experience performing in local bands. Naming the band after actress Marilyn Monroe's final film The Misfits (1961), Danzig recruited guitarist Jimmy Battle, bassist Diane DiPiazza, and drummer Manny Martínez to fill out the lineup while Danzig himself sang and played the electric piano. Both Battle and DiPiazza left the band after a month of practices. Martínez recommended his friend Jerry Caiafa to Danzig as a replacement, as Caiafa had recently received a bass guitar as a Christmas gift. Caiafa was accepted into the band despite having only been practicing his instrument for two months. He and Danzig would remain the only consistent members of the Misfits until the group disbanded in 1983. The trio of Danzig, Martínez, and Caiafa rehearsed for three months without a guitarist, using Danzig's electric piano to provide the songs' rhythm. They recorded the band's first single, "Cough/Cool", which they released through their own label Blank Records in August 1977. Caiafa's surname was misspelled on the record's sleeve, prompting him to insist that in the future he be credited as "Jerry, only Jerry". "Jerry Only" quickly became his pseudonym, which he would continue to use for the rest of his career. The band played their first two performances at CBGB in New York City, followed by other local performances over the following two months. In August 1977 guitarist Frank Licata joined the band under the pseudonym Franché Coma. The addition of a permanent guitar player allowed Danzig to phase out the electric piano and focus on singing, and pushed the band's sound in a punk rock direction. Danzig and Only ejected Martínez from the band in December, judging him to be unreliable, and replaced him with "Mr. Jim" Catania. The band found themselves with a recording opportunity when Mercury Records wished to use the name Blank Records for one of its subdivisions and offered Danzig thirty hours of free studio time in exchange for the trademark to the name. Danzig accepted, and in January 1978 the Misfits entered a New York recording studio to record their first album. Seventeen songs were recorded, fourteen of which were mixed for the proposed Static Age album. However, the band were unable to find a record label interested in releasing the album. Instead they released four of the songs in June 1978 as the "Bullet" single on their new label Plan 9 Records, named after the 1959 science fiction horror film Plan 9 from Outer Space. Static Age would not be released in its entirety until 1997. [edit] 1978–1981: Singles and early tours The Misfits' skull logo first appeared on the "Horror Business" single, based on a poster for The Crimson Ghost. It has been used frequently on the band's releases and merchandise ever since. Following the Static Age sessions the Misfits began a shift in songwriting and appearance, with Danzig writing more songs inspired by B horror and science fiction films. He painted skeletal patterns on his performance clothing, while Only began applying dark makeup around his eyes and styling his hair in a long point hanging from his forehead between his eyes and down to his chin, a style that became known as a "devilock" and which both Danzig and Only's brother Doyle would eventually adopt. This new style and musical direction would later be described as the subgenre "horror punk". The band performed more frequently and went on short tours in support of the "Bullet" single. While in Canada in October 1978 Franché Coma quit the band because he did not enjoy touring, and guitarist Rick Riley filled in temporarily to finish the tour. Jim Catania also quit following the tour, citing a distaste for the horror direction in which the band was heading. Within two months the pair were replaced by drummer Joey Poole, under the pseudonym Joey Image, and guitarist Bobby Steele. The new lineup of Danzig, Only, Image, and Steele began performing in December 1978 and continued to evolve the horror elements of the band. They released the "Horror Business" single in June 1979, the cover of which featured a skeletal figure inspired by a poster for the 1946 film serial The Crimson Ghost. The figure became a mascot for the band, and its skull image would serve as the Misfits' logo for the rest of their career. The band also launched a fan club named the "Fiend Club" which Danzig operated in a do-it-yourself fashion from his mother's basement in Lodi, silkscreening t-shirts, assembling records, mailing merchandise catalogs, booking shows for the band, and answering fan mail. In June 1979 the Misfits performed as openers for The Damned in New York City. Only spoke with singer Dave Vanian about the possibility of the Misfits touring the United Kingdom with The Damned. That November the band released the "Night of the Living Dead" single and flew to England to tour with The Damned. Upon arriving there, however, they learned that Vanian had not taken his conversation with Only seriously and had not planned on having the Misfits on the tour. Vanian attempted to arrange for the Misfits to take part in the tour, but the band members were unhappy with the situation and left the tour after only two shows. Image then quit the band and flew back to the United States. With their return flight not scheduled until late December, the remaining band members stayed in London. Only spent time with Sid Vicious' mother Anne Ritchie, whom he had befriended after Vicious' death in February 1979. Danzig and Steele got into a fight with skinheads while waiting to see The Jam, were arrested, and spent two nights in jail in Brixton; this experience inspired the later song "London Dungeon". Upon their return to the United States the Misfits released the Beware EP in January 1980, then took a four-month break before adding Joseph McGuckin as their new drummer under the pseudonym Arthur Googy. During this time Only's younger brother Paul Caiafa, a longtime fan of the band who went by the nickname Doyle, began learning to play guitar with help from Danzig and Only. The Misfits began working on an album which they planned to release through their Plan 9 label, recording twelve songs in a studio in August 1980. Doyle practiced with the band and recorded his own guitar tracks for the songs, and Only began persuading Danzig that Doyle would fit into the band better than Steele. That October Steele was ejected from the band in favor of the sixteen-year-old Doyle. Steele went on to form The Undead, while Doyle made his debut with the Misfits at their annual Halloween performance at Irving Plaza in New York City. After several more performances the band took another hiatus for six months. After reconvening, the band selected three of the twelve songs from their August 1980 album sessions and released them as 3 Hits from Hell in April 1981. Throughout the rest of 1981 they continued to record tracks for a full-length album, to be titled Walk Among Us. They had planned to release it through Plan 9 but instead accepted an offer from Slash Records, deciding to rework the album before its release. In October 1981 they released two more tracks from the August 1980 sessions as the "Halloween" single. On November 20 they recorded a performance at On Broadway in San Francisco. Black Flag were also performing that night at the Mabuhay Gardens downstairs from On Broadway, and Black Flag singer Henry Rollins, a longtime fan of the band, came up to watch the Misfits' soundcheck. He stayed to watch the band's set and sang guest vocals on "We Are 138". The two bands crossed paths again on Christmas in Lodi, where Black Flag wound up playing as the opening band for the Necros and the Misfits. [edit] 1982–1983: Albums and dissolution Doyle performing with the Misfits at the 9:30 Club in Washington, D.C. in 1983. Walk Among Us was released in March 1982 through Ruby and Slash Records. It was the first full-length Misfits album to be properly released, and the only album to be released while the early incarnation of the band was still active. A national tour in support of the album followed, and the band's performances began to grow more intense and violent. Danzig and Googy clashed frequently during the tour, and after a heated argument at a McDonald's restaurant Danzig kicked Googy out of the band, delaying their plans to record their next EP. They offered the vacant drummer position to their friend Eerie Von, who had served as their occasional roadie and photographer, but he had already committed to drumming for Rosemary's Babies. Henry Rollins recommended former Black Flag drummer Robo, who flew to New Jersey to join the Misfits in July 1982. Doyle graduated from high school and he and Only began working full-time at their father's machine shop, earning money to purchase new instruments, fund the band's tours, and press records, while Danzig ran the Fiend Club and continued writing new songs. In September 1982 the Misfits embarked on a national tour, with the Necros as their opening act. During the tour they stopped at a studio to record the instrumental tracks for their next EP. They were arrested in New Orleans on charges of grave robbing while attempting to locate the grave of voodoo practitioner Marie Laveau, but bailed themselves out of jail and skipped their court date in order to drive to their next performance in Florida. Following the tour they released seven songs from the November 1981 performance in San Francisco in limited numbers only to members of the Fiend Club as the Evilive EP. By this time Danzig was growing increasingly dissatisfied with the Misfits and had begun writings songs for a new band project. In June 1983 he confided to Henry Rollins that he planned to quit the group.[1] In July 1983 the Misfits finished recording their EP, and Danzig decided to record two more songs that he had intended for his new project, turning it into a full album. Earth A.D./Wolfs Blood demonstrated the increased influence of hardcore punk and heavy metal on the band, though they would break up just two months before it was released. After a series of arguments with Danzig, Robo left the band in August and Danzig became further disenchanted, beginning to audition musicians for his next project. On October 29, 1983, the Misfits played their annual Halloween performance at Greystone Hall in Detroit with the Necros. Danzig had selected Brian Damage, formerly of Genocide and Verbal Abuse, as the band's new drummer. However, Damage became drunk before the show and could not play properly. After several songs Doyle escorted him off the stage and Todd Swalla of the Necros filled in for the remainder of the performance. Tensions came to a head and Danzig announced to the audience that it would be the band's final show. Upon returning to Lodi the band members went their separate ways. [edit] 1984–1995: New projects and legal battles Following the breakup of the Misfits, Danzig launched his new band Samhain, moving away from punk rock and towards more experimental heavy metal with a grim atmosphere. Several Misfits songs were re-recorded for Samhain albums, including "Horror Business" (as "Horror Biz"), "All Hell Breaks Loose" (as "All Hell"), "Halloween II", "Death Comes Ripping", and "London Dungeon". In 1987 the band signed to a major record label and Danzig replaced most of the rhythm section, renaming the group Danzig. He continues to front Danzig, who have released nine albums ranging in style from blues-rock-influenced heavy metal to industrial rock, and has also released two solo albums. Jerry Only and Doyle, meanwhile, moved to Vernon, New Jersey to work at their father's machine parts factory full-time. Only had married and had a daughter and became more serious about his Christian faith, regretting some of the things he had done with the Misfits. In 1987 he and Doyle formed the short-lived Kryst the Conqueror, a Christian heavy metal band with barbarian imagery. Though the Misfits had not gained significant popularity during their seven years of activity, public interest in the band increased in the years following their breakup. The success of Danzig's post-Misfits' work led to interest in his past work, and several high-profile rock bands professed fondness for the Misfits. Most notably, Metallica covered the Misfits songs "Last Caress" and "Green Hell" on The $5.98 E.P.: Garage Days Re-Revisited (1987), and Guns N' Roses covered "Attitude" on "The Spaghetti Incident?" (1993). Several albums of reissued and previously unreleased Misfits material were issued between 1985 and 1987, the first being the compilation album Legacy of Brutality (1985) which included many of the songs from the unreleased Static Age album. Danzig overdubbed many of the album's instrument tracks in order to avoid having to pay royalties to the other former band members. Misfits, more commonly referred to as Collection I, followed in 1986. The Evilive EP was reissued as a full album in 1987 with five additional tracks. Only contacted Danzig about receiving a portion of the royalties from these albums' sales, beginning a legal battle that lasted several years and involved other past members of the band. All of the Misfits material had been credited to Danzig, and though Only later conceded that Danzig had written nearly all of the lyrics and most of the music, he contended that he and Doyle "wrote 25% or maybe 30% of the music"[2] and deserved compensation. Danzig, however, insisted that he had written all of the songs in their entirety and that the other members' creative input had been minimal. Eventually Only ceased his pursuit of songwriting credits and sought the rights to use the Misfits name and imagery. In 1995 the parties reached an out-of-court settlement that allowed Only and Doyle to record and perform as the Misfits, sharing merchandising rights with Danzig. Collection II, a third compilation of Misfits songs, was released later that year. [edit] 1995–2000: Reformation and new lineup Only and Doyle immediately set about reforming the Misfits, bringing in drummer David Calabrese, aka "Dr. Chud", who had worked with them in Kryst the Conqueror. Glenn Danzig rejected their offer to return as the band's lead singer. Dave Vanian of The Damned was also approached but declined. The band then held open auditions for a new vocalist. Nineteen-year-old singer Michael Emanuel had recently recorded a demo tape in hopes of starting a music career, and the owner of the recording studio suggested that he audition for the Misfits. Being unfamiliar with the band, Emanuel listened to Collection I on a walkman to learn the lyrics and melodies while working his job as a greenskeeper. He impressed the band with his audition and was accepted as the new lead singer under the pseudonym Michale Graves, while Doyle adopted the new stage name "Doyle Wolfgang von Frankenstein". The new lineup made an appearance in the 1995 film Animal Room. In 1996 the Misfits Box Set was released, containing nearly all of the band's Danzig-era material recorded from 1977 to 1983 (with the exception of Walk Among Us). The set included the complete fourteen-song Static Age album, released for the first time in its entirety, as well as the overdubbed and alternate versions of songs that had previously been released on Legacy of Brutality, Collection I, and Collection II. Static Age was also released as a separate album the following year, including all seventeen tracks that had been recorded during the January 1978 sessions. The release of the box set and Static Age made the Misfits' complete early catalog widely available for the first time. A tribute album was also released in 1997 entitled Violent World, featuring numerous punk rock and hardcore bands covering songs from the Glenn Danzig era. Another tribute album, Hell on Earth, was released in 2000 featuring death metal, hard rock, and gothic rock acts. The new incarnation of the Misfits released their debut album American Psycho in 1997 and filmed music videos for the songs "American Psycho" and "Dig Up Her Bones". The band toured Europe and North America in support of the album and appeared as characters in World Championship Wrestling. Graves took a hiatus from the band during 1998, during which Myke Hideous of The Empire Hideous filled in as singer during tours of South America and Europe. After Graves' return the band signed to Roadrunner Records, releasing Famous Monsters in October 1999 and filming a music video for the single "Scream!" They made additional film appearances in Big Money Hustlas (2000), Bruiser (2000), and Campfire Stories (2001) and continued to tour, but tensions between the band members began to grow. During a performance at the House of Blues in Orlando, Florida on October 25, 2000, Graves and Chud both quit the band and walked offstage. The two later released an album under the name Graves before splitting up; Graves went on to sing for Gotham Road and then launched a solo career, while Chud formed Dr. Chud's X-Ward. Meanwhile, Doyle took an indefinite hiatus from performing as he divorced, remarried, had a fourth child, and dealt with tendinitis in his elbow. [edit] 2001–2008: 25th Anniversary and all-star lineup After the departure of the other band members, bassist Jerry Only took over as singer and recruited veteran punk rock musicians to continue the band. As the sole remaining member of the Misfits, Jerry Only took over lead vocal duties in addition to playing bass guitar and recruited veteran musicians Dez Cadena, former guitarist of Black Flag, and Marky Ramone, former drummer of the Ramones, for a Misfits 25th Anniversary Tour which lasted intermittently for nearly three years. Former Black Flag and Misfits drummer Robo filled in for Ramone during some stretches of the tour. Only released Cuts from the Crypt in 2001, a compilation of demos and rarities covering the band's period with Graves and Chud from 1995 to 2001. This fulfilled the band's contractual obligations to Roadrunner Records, whom Only had grown dissatisfied with. Also in 2001 Caroline Records announced that they would release recordings from the Misfits' August 1980 album sessions as 12 Hits from Hell. However, both Only and Glenn Danzig abruptly called off production of the album, citing concerns with the mixing, mastering, layout, and packaging. Only and longtime collaborator John Cafiero soon launched their own label, Misfits Records, and released a split single featuring the Misfits and Japanese horror punk band Balzac. The Only/Cadena/Ramone lineup of the Misfits released the covers album Project 1950 in 2003, performing renditions of classic rock and roll songs from the 1950s and 1960s. The album featured guest appearances from Ronnie Spector, Jimmy Destri, Ed Manion, and John Cafiero. The band toured intermittently in support of the album until 2005, when Ramone left the band and was replaced by Robo. They booked a full European tour that year, but problems with Robo's visa led to the cancellation of all dates in the United Kingdom. A rescheduled UK tour followed in September. Doyle joined Danzig onstage during tours from 2004 to 2006 for half-hour sets of early Misfits songs. Doyle had meanwhile reunited with Glenn Danzig, joining Danzig onstage during performances in December 2004 to play guitar for 30-minute sets of old Misfits songs midway through the band's setlist. It was the first time the two had performed together in over twenty years, and the first time Doyle had performed since his hiatus. Danzig called the performances "the closest thing to a Misfits reunion anyone is ever going to see".[3] These sets featuring Doyle continued through Danzig's 2005 "Blackest of the Black" tour and 2006 Australian tour. Glenn Danzig had announced his intention to retire from touring following these, though he later contradicted this by announcing a Danzig 20th anniversary tour in 2008.[4] In 2007 he produced Doyle's new project Gorgeous Frankenstein. Doyle later indicated that plans had been in place for the Misfits to reunite with Glenn Danzig beginning in 2002, but that Jerry Only and his manager had "put a fuckin' monkey wrench in it."[5] [edit] 2009–present: Recent activity In 2009 and 2010 the Misfits performed an extended 30th anniversary world tour. A new single, "Land of the Dead" was released October 27, 2009, marking the band's first release of new studio material in six years and the only release by the lineup of Only, Cadena, and Robo.[6] Robo was dismissed from the band in 2010, with Only explaining that ongoing problems with his Colombian passport inhibited the band's ability to tour consistently.[7][8] He was replaced by Eric "Chupacabra" Arce of Murphy's Law, who had previously filled in with the band for tours in 2000 and 2001.[7] The current lineup released a new album, The Devil's Rain, recorded with producer Ed Stasium and titled after the 1975 film starring William Shatner.[7][8][9] The album was released on October 4, 2011.[10] During the latter quarter of 2011, former vocalist Danzig and guitarist Doyle performed Misfits songs on four different occasions as part of the Danzig Legacy tour. The first of the four shows, which took place on October 7 in Chicago, saw a sold-out crowd.[11] In 2013 the band will release their third live album, Dead Alive! [edit] Style Each incarnation of the Misfits has made use of horror film and science fiction film-inspired themes and imagery, with makeup, clothing, artwork, and lyrics drawn from B movies and television serials, many from the 1960s and 1970s. Musically the band are often recognized as the progenitors of the horror punk subgenre and have drawn from punk rock, heavy metal, and 1950s rock and roll and rockabilly to inform their style. Rolling Stone describes them as "the archetypal horror-punk band of the late 1970s and early '80s",[12] and they are considered icons in punk music and culture.[13][14] The early incarnations of the Misfits are associated with the hardcore punk movement of the early 1980s, though American Hardcore author Steven Blush notes that "though crucial to the rise of hardcore, [they] were in fact in a league of their own...The Misfits delivered a hyper-yet-melodic assault based in 50/60s-style rock, taking the Buddy Holly/Gene Vincent foundation and making it nuclear."[15] Jon DeRosa of Pitchfork Media describes how the band's sound was different from the punk rock coming out of New York at the time: "New York punk was just punk, simple and static. When Glenn started the Misfits, he mutated the punk sound and image into something darker and more sinister, a punk-metal hybrid that later found bloom in the quiet, boring suburbs of Oslo and the boggy backwaters surrounding Tampa. Punk belonged to the media/celebrity hubs of London and New York. Ghoul rock was for the kids in the suburbs where nothing ever happens."[16] Andy Weller of the Necros recalls the band's transition from traditional punk rock in the late 1970s to hardcore in the early 1980s: "[Y]ou could hear it on the records. It went from this Ramones-type stuff, to nine months later, where they put out records that were so fast it's unreal."[17] By the recording of Earth A.D./Wolfs Blood the band were playing faster, more aggressive material. According to Blush, "The Misfits' strengths as a hardcore group lay in non-[hardcore] attributes–melodic songs and larger-than-life-aura–but by the time of Earth A.D. Glenn was writing hyperspeed blasts that sounded very standard."[18] "Dig Up Her Bones" Sorry, your browser either has JavaScript disabled or does not have any supported player. You can download the clip or download a player to play the clip in your browser. "Dig Up Her Bones", the single from American Psycho (1996), demonstrating the band's stylistic shift towards heavy metal in the 1990s. -------------------------------------------------------------------------------- Problems listening to this file? See media help. The new version of the Misfits launched by Jerry Only and Doyle in the 1990s had a style that was much more heavy metal than punk, an outgrowth of the brothers' experience with their short-lived Christian metal act Kryst the Conqueror. Reviewing American Psycho, Stephen Erlewine of Allmusic called the new incarnation "a kitschy goth-punk outfit that relies more on metal than hardcore",[19] while Rolling Stone remarked that the band's new style blended "some old-style punk, a little metal and an occasional all-out thrasher."[20] Greg Prato, reviewing the 2001 album Cuts from the Crypt, noted that "the latter

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