Retro-rock visionaries Monster Magnet spent much of the 1990s struggling against the prejudices imposed upon image and sound by alternative rock fashion nazis. In fact, it wasn't until that movement's late-'90s decline that the band's dogged persistence finally paid off, when their fourth album, Powertrip, catapulted to gold sales status on the... [+] Read More

Retro-rock visionaries Monster Magnet spent much of the 1990s struggling against the prejudices imposed upon image and sound by alternative rock fashion nazis. In fact, it wasn't until that movement's late-'90s decline that the band's dogged persistence finally paid off, when their fourth album, Powertrip, catapulted to gold sales status on the strength of its massive hard rock hit, "Space Lord." In the meantime, Monster Magnet had managed to become one of the most successful and influential bands associated with the so-called underground "stoner rock" scene. And yet, their influences span much further than that scene's foundations in '70s hard rock and metal, delving into space rock, psychedelia, and beyond.

New Jersey native Dave Wyndorf was already a rock & roll veteran by the time he formed Monster Magnet in 1989, having cut his teeth with little-known punk band Shrapnel (also featuring future punk producer Daniel Rey on guitars) in the late '70s before retiring from music altogether. But, after teaching himself guitar, Wyndorf began assembling Monster Magnet with a handful of fellow New Jersey natives, vocalist Tim Cronin, guitarist John McBain, bassist Joe Callandra, and drummer Jon Kleiman. Fusing their metal, punk, space rock, and psychedelic influences, the band developed a sludgy, feedback-heavy hard rock sound that helped them stand out from the era's burgeoning retro-rock movement -- also counting the Black Crowes, White Zombie, and many others. After releasing a self-titled six-song EP through Germany's Glitterhouse Records, Wyndorf assumed all vocal responsibilities, while Cronin retreated to a behind the scenes "conceptual consultant" position -- much like that of John Sinclair for the MC5.

In the meantime, Monster Magnet had signed with independent label Caroline Records in 1992, and recorded their first full-length album: the very impressive, uniquely dark psychedelic masterpiece Spine of God. The productive sessions also yielded a number of extensive space rock jams that would later be issued as the Tab album in 1993. A video for first single "Medicine" and a support tour with the fast-rising Soundgarden also helped attract powerhouse A&M Records, but even as they prepared to sign with the label, Wyndorf had a serious falling-out with guitarist McBain, who was soon replaced by Ed Mundell. Despite the last-minute change, 1993's Superjudge proved to be a stellar major-label debut -- although it did see the band sacrificing some of their rampant feedback in exchange for more clearly defined, muscular metal riffs. Unfortunately, the group's retro-rock image had become highly unfashionable at the time, arriving at the height of the post-Nirvana alternative boom, and the album sold poorly. Under mounting pressure to deliver a more commercial follow-up, Monster Magnet delivered a decidedly sleeker -- though no less space rock-drenched -- effort in 1995's Dopes to Infinity. This yielded a Top Ten rock single in "Negasonic Teenage Warhead" and was supported by extensive touring with C.O.C., among others, but the album sold only slightly better than its predecessor.

Finding himself mentally and physically exhausted in the aftermath, Wyndorf exiled himself to Las Vegas to begin composing the tracks that would shape 1998's breakthrough release, Powertrip. By far the group's most straightforward hard rock album, Powertrip channeled all of Sin City's vice, greed, and sex into its hedonistic but surprisingly accessible tracks, and first single "Space Lord" went on to dominate rock radio that summer, driving the album over the gold sales plateau. With new rhythm guitarist Phil Caivano in tow, Monster Magnet then embarked on a marathon two-year world tour, both as a headliner and as support to the likes of Aerosmith, Metallica, and Megadeth. By the year 2000, the band had contributed the track "Silver Future" to the Heavy Metal 2000 soundtrack and completed work on their fifth album, God Says No, released in Europe in October. But their new American record label, Interscope (which had swallowed A&M in a hostile takeover the year before) inexplicably fussed and messed with the album before finally releasing it domestically in April 2001. Precious momentum and sales were therefore lost to an influx of import copies of God Says No -- according to most seasoned fans, already a "difficult," overtly commercial album to begin with -- and Monster Magnet soon found themselves rudely dropped.

Following this unforeseen setback, Wyndorf watched as various bandmembers pursued side projects. Ed Mundell recorded a number of well-received albums with his power trio the Atomic **** while Tim Cronin and Jon Kleiman collaborated on the Ribeye Brothers and Gallery of Mites. But, Monster Magnet duly reunited for a short North American tour in early 2002 and, a year later, a new deal with the German SPV label was announced. Recorded in late 2003, the group's sixth full-length album, 2004's Monolithic Baby!, would be recorded with a new rhythm section, these being bassist Jim Baglino and drummer Bob Pantella. ~ Ed Rivadavia, All Music Guide [-] Hide

Biohazard was one of the first bands to regularly incorporate elements of both hip-hop and hardcore metal into their sound; since their lyrical fare dealt with the harshness of urban life and the resulting anger and frustration, which both genres of music have been known to address, the connection only made sense, especially in light of... [+] Read More

Biohazard was one of the first bands to regularly incorporate elements of both hip-hop and hardcore metal into their sound; since their lyrical fare dealt with the harshness of urban life and the resulting anger and frustration, which both genres of music have been known to address, the connection only made sense, especially in light of Anthrax's highly effective collaboration with Public Enemy on 1991's "Bring the Noise." When Biohazard formed in 1988 in Brooklyn, NY, their sound was much closer to the former band than the latter; their original lineup consisted of guitarist/vocalist Billy Graziadei, bassist/vocalist Evan Seinfeld, guitarist Bobby Hambel, and drummer Danny Schuler. They began opening for local hardcore and thrash bands and gradually built a large following through their outraged sense of injustice, political awareness, and constant touring. A self-titled debut was released in 1990 on the Maze label, but by 1992, Biohazard's fan base was strong enough to secure a deal with Roadrunner Records.

Their subsequent breakthrough album, Urban Discipline, built on the groundwork laid by "Bring the Noise," laying rhythmically shouted vocals over heavy, hip-hop-influenced beats and guitar riffs recalling both hardcore and thrash. The hardcore rap group Onyx recorded an alternate version of their hit single "Slam" with Biohazard backing them, and the two groups worked together again on the Judgment Night soundtrack, contributing the title song. 1994's State of the World Address solidified both their reputation for intensity and their musical hybrid, but Hambel then left the band, reducing them to a trio for 1996's Mata Leao, which some found the group's most seamless rap/metal fusion yet. Hambel was eventually replaced by ex-Helmet guitarist Rob Echevarria, and in 1997, Biohazard released the live album No Holds Barred, which showcased the in-concert ferocity for which the group had become revered.

Biohazard next signed to Mercury Records and released New World Disorder in 1999. The guys left the label following its merger with Universal and harkened back to their D.I.Y. days with a tour of Europe and Japan without label or managerial support. The rarities collection Tales from the B-Side followed in 2001, along with their next full-length, Uncivilization. Guitarist Leo Curley exited the group following the album's relase. Kill or Be Killed appeared two years later and featured new axeman Carmine Vincent (ex-Nucleus), who had previously roadied for the band. Means to an End, Biohazard's eighth and final album, was issued in August 2005 on SPV. Graziadei went on to form Suicide City with ex-members of Groovenics and Kittie. Meanwhile, Seinfeld appeared on the 2006 VH1 reality show Supergroup with Ted Nugent, Sebastian Bach, Scott Ian, and Jason Bonham. ~ Steve Huey, All Music Guide [-] Hide

Willfully abrasive and atonal, the Jesus Lizard emerged in the early '90s as a leading noise rock band in the American independent underground. During the first part of the decade, the band turned out a series of independent records filled with scathing, disembowelling, guitar-driven pseudo-industrial noise, all of which received positive... [+] Read More

Willfully abrasive and atonal, the Jesus Lizard emerged in the early '90s as a leading noise rock band in the American independent underground. During the first part of the decade, the band turned out a series of independent records filled with scathing, disembowelling, guitar-driven pseudo-industrial noise, all of which received positive reviews in underground music publications and heavy college-radio play. By the mid-'90s, the group's following had grown large enough to convince a major label, Capitol Records, to sign the band.

The Jesus Lizard was formed by Duane Denison (guitar), David Yow (vocals), and David Sims (bass), the latter two being former members of the Austin-based post-hardcore noise group Scratch Acid. After Scratch Acid disbanded, Sims joined Rapeman, an abrasive indie rock group led by Steve Albini. The recording and performing schedule of Rapeman was rather erratic, so Sims formed the Jesus Lizard with Yow and Denison in 1987. Originally, the group performed with a drum machine, much like Albini's previous band, Big Black. Albini produced the group's debut EP, Pure, which was released on Touch & Go in 1989; the producer would work on every Jesus Lizard release on Touch & Go.

The Jesus Lizard added a human drummer, Mac McNeilly, in late 1989 and he appeared on the band's first full-length album, 1990's Head. The following year, the group released its second album, Goat, which received positive reviews from mainstream music publications such as Spin. By the time of the release of Goat, the band had cultivated a large cult following among the American indie rock underground, based on both their records and their notoriously reckless, occasionally violent and vulgar, live performances.

In 1992, the Jesus Lizard released a split single with Nirvana ("Puss" [Jesus Lizard]/"Oh the Guilt" [Nirvana]), who had just broken into the rock & roll mainstream with their second album, Nevermind. That same year, the band released its third album, Liar. In 1993, the group was relatively quiet, releasing only the "Lash" single.

Early in 1994, the Jesus Lizard released a one-shot album on Giant Records called Show, their first appearance on a major label. The fact that the Jesus Lizard released a record on a major label caused tension between the band and their longtime producer, Steve Albini, who was notorious for his indie-centric beliefs. Although he produced Down, the group's final Touch & Go album, he severed ties with the band by the time the record was released in the fall of 1994.

In 1995, the Jesus Lizard signed with Capitol Records and the band toured with Lollapalooza 1995. At one of the shows on the tour, David Yow was arrested for exposing himself on-stage. Later in 1995, the group recorded their major-label debut. The resulting album, Shot, was released on Capitol in the spring of 1996. Blue followed in 1998; in mid-1999, the Jesus Lizard disbanded. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Soundgarden made a place for heavy metal in alternative rock. Their fellow Seattle rockers Green River may have spearheaded the grunge sound, but they relied on noise rock in the vein of the Stooges. Similarly, Jane's Addiction were too fascinated with prog rock and performance art to appeal to a wide array of metal fans. Soundgarden, however,... [+] Read More

Soundgarden made a place for heavy metal in alternative rock. Their fellow Seattle rockers Green River may have spearheaded the grunge sound, but they relied on noise rock in the vein of the Stooges. Similarly, Jane's Addiction were too fascinated with prog rock and performance art to appeal to a wide array of metal fans. Soundgarden, however, developed directly out of the grandiose blues-rock of Led Zeppelin and the sludgy, slow riffs of Black Sabbath. Which isn't to say they were a straight-ahead metal band. Soundgarden borrowed the D.I.Y. aesthetics of punk, melding their guitar-driven sound with an intelligence and ironic sense of humor that was indebted to the American underground of the mid-'80s. Furthermore, the band rarely limited itself to simple, pounding riffs, often making detours into psychedelia. But the group's key sonic signatures -- the gutsy wail of vocalist Chris Cornell and the winding riffs of guitarist Kim Thayil -- were what brought them out of the underground. Not only were they one of the first groups to record for the legendary Seattle indie Sub Pop, but they were the first grunge band to sign to a major label. In fact, most critics expected Soundgarden to be the band that broke down the doors for alternative rock, not Nirvana. However, the group didn't experience an across-the-boards success until 1994, when Superunknown became a number one hit.

For a band so heavily identified with the Seattle scene, its ironic that two of its founding members were from the Midwest. Kim Thayil (guitar), Hiro Yamamoto (bass), and Bruce Pavitt were all friends in Illinois who decided to head to Olympia, WA, to attend college after high school graduation in 1981. Though none of the three completed college, all of them became involved in the Washington underground music scene. Pavitt was the only one who didn't play -- he founded a fanzine that later became the Sub Pop record label. Yamamoto played in several cover bands before forming a band in 1984 with his roommate Chris Cornell (vocals), a Seattle native who had previously played drums in several bands. Thayil soon joined the duo and the group named itself Soundgarden after a local Seattle sculpture. Scott Sundquist originally was the band's drummer, but he was replaced by Matt Cameron in 1986. Over the next two years, Soundgarden gradually built up a devoted cult following through their club performances.

Pavitt signed Soundgarden to his fledgling Sub Pop label in the summer of 1987, releasing the single "Hunted Down" before the EP Screaming Life appeared later in the year. Screaming Life and the group's second EP, 1988's FOPP, became underground hits and earned the attention of several major labels. The band decided to sign to SST instead of a major, releasing Ultramega OK by the end of 1988. Ultramega OK received strong reviews among alternative and metal publications, and the group decided to make the leap to a major for its next album, 1989's Louder Than Love. Released on A&M Records, Louder Than Love became a word-of-mouth hit, earning positive reviews from mainstream publications, peaking at 108 on the charts, and earning a Grammy nomination. Following the album's fall 1989 release, Yamamoto left the band to return to school. Jason Everman, a former guitarist for Nirvana, briefly played with the band before Ben Shepherd joined in early 1990.

Soundgarden's third album, 1991's Badmotorfinger, was heavily anticipated by many industry observers as a potential breakout hit. Though it was a significant hit, reaching number 39 on the album charts, its success was overshadowed by the surprise success of Nirvana's Nevermind, which was released the same month as Badmotorfinger. Prior to Nevermind, Soundgarden had been marketed by A&M as a metal band, and the group had agreed to support Guns n' Roses on the fall 1991 Lose Your Illusion tour. While the tour did help sales, Soundgarden benefited primarily from the grunge explosion, whose media attention helped turn the band into stars. The band was also helped by the Top Ten success of Temple of the Dog, a tribute to deceased Mother Love Bone singer Andrew Wood that Cornell and Cameron recorded with members of Pearl Jam. By the spring release of 1994's Superunknown, Soundgarden's following had grown considerably, which meant that the album debuted at number one upon its release. (A year before its release, Shepherd and Cameron released an eponymous album by their side project, Hater.) Superunknown became one of the most popular records of 1994, generating a genuine crossover hit with "Black Hole Sun," selling over three million copies and earning two Grammies. Soundgarden returned in 1996 with Down on the Upside, which entered the charts at number two. Despite the record's strong initial sales, it failed to generate a big hit, and was hurt by grunge's fading popularity. Soundgarden retained a sizable audience -- the album did go platinum, and they were co-headliners on the sixth Lollapalooza -- but they didn't replicate the blockbuster success of Superunknown. After completing an American tour following Lollapalooza that was plagued by rumors of internal fighting, Soundgarden announced that they were breaking up on April 9, 1997, to pursue other interests. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

The Melvins were the first post-punk band to revel in the slow, sludgy sounds of Black Sabbath. Their music is oppressively slow and heavy, only without any of the silly mystical lyrics or the indulgent guitar solos -- it's just one massive, oozing pile of dark slime. The Melvins' first record was released in 1987; they've released several... [+] Read More

The Melvins were the first post-punk band to revel in the slow, sludgy sounds of Black Sabbath. Their music is oppressively slow and heavy, only without any of the silly mystical lyrics or the indulgent guitar solos -- it's just one massive, oozing pile of dark slime. The Melvins' first record was released in 1987; they've released several albums since then, but it wasn't until 1993 that they went to a major label, thanks to their protégé, Kurt Cobain. While the Melvins can be dull and repetitious, their place in rock history is interesting, even if it is just a minor footnote. The band formed in Aberdeen, WA, the same town that produced Nirvana's Cobain and Krist Novoselic. For Nirvana and many other Seattle-area bands, the Melvins' sludge was inspirational; the younger bands took the Sabbath-styled heaviness of the Melvins, while adding an equally important pop song structure, which the group tended to lack. While all of their disciples became famous after Nirvana broke big in 1991 (including Mudhoney, who featured former Melvin bassist Matt Lukin), the Melvins only expanded their cult slightly. They did earn a major-label contract with Atlantic, but after releasing three records for the label, they were dropped in late 1996 and the group returned to indie status, landing with Amphetamine Reptile for 1998's Alive at the F*cker Club. The late '90s/early 21st century saw a flurry of releases by the band: The Maggot, The Bootlicker, The Crybaby, Electroretard, The Colossus of Destiny, Hostile Ambient Takeover, Pigs of the Roman Empire, and Houdini Live 2005: A Live History of Gluttony and Lust, all of which (except for the fourth one) were issued on Mike Patton's Ipecac label. In addition to their Melvin activities, singer/guitarist Buzz Osborne joined Patton (and former Slayer drummer Dave Lombardo and Mr. Bungle bassist Trevor Dunn) for the experimental outfit Fantômas, resulting in a pair of releases (1999's self-titled debut and 2001's The Director's Cut), while the Melvins' latest bassist, Kevin Rutmanis, joined Patton in another side project, Tomahawk. ~ Stephen Thomas Erlewine & Greg Prato, All Music Guide [-] Hide

Soundgarden's finest hour, Superunknown is a sprawling, 70-minute magnum opus that pushes beyond any previous boundaries. Soundgarden had always loved replicating Led Zeppelin and Black Sabbath riffs, but Superunknown's debt is more to mid-period Zep's layered arrangements and sweeping epics. Their earlier punk influences are rarely detectable,... [+] Read More

Soundgarden's finest hour, Superunknown is a sprawling, 70-minute magnum opus that pushes beyond any previous boundaries. Soundgarden had always loved replicating Led Zeppelin and Black Sabbath riffs, but Superunknown's debt is more to mid-period Zep's layered arrangements and sweeping epics. Their earlier punk influences are rarely detectable, replaced by surprisingly effective appropriations of pop and psychedelia. Badmotorfinger boasted more than its fair share of indelible riffs, but here the main hooks reside mostly in Chris Cornell's vocals; accordingly, he's mixed right up front, floating over the band instead of cutting through it. The rest of the production is just as crisp, with the band achieving a huge, robust sound that makes even the heaviest songs sound deceptively bright. But the most important reason Superunknown is such a rich listen is twofold: the band's embrace of psychedelia, and their rapidly progressing mastery of songcraft. Soundgarden had always been a little mind-bending, but the full-on experiments with psychedelia give them a much wider sonic palette, paving the way for less metallic sounds and instruments, more detailed arrangements, and a bridge into pop (which made the eerie ballad "Black Hole Sun" an inescapable hit). That blossoming melodic skill is apparent on most of the record, not just the poppier songs and Cornell-penned hits; though a couple of drummer Matt Cameron's contributions are pretty undistinguished, they're easy to overlook, given the overall consistency. The focused songwriting allows the band to stretch material out for grander effect, without sinking into the pointlessly drawn-out muck that cluttered their early records. The dissonance and odd time signatures are still in force, though not as jarring or immediately obvious, which means that the album reveals more subtleties with each listen. It's obvious that Superunknown was consciously styled as a masterwork, and it fulfills every ambition. ~ Steve Huey, All Music Guide [-] Hide

Released to massive European acclaim, Machine Head's full-length debut, Burn My Eyes, successfully bridges the gap between second-generation Bay Area thrash (Testament, Death Angel, etc.) and the modern-day Pantera school of hard knocks. Produced by underground stalwart Colin Richardson, Burn My Eyes is a bone-shattering exercise in brutality... [+] Read More

Released to massive European acclaim, Machine Head's full-length debut, Burn My Eyes, successfully bridges the gap between second-generation Bay Area thrash (Testament, Death Angel, etc.) and the modern-day Pantera school of hard knocks. Produced by underground stalwart Colin Richardson, Burn My Eyes is a bone-shattering exercise in brutality that gives Pantera's classic, Vulgar Display of Power, a good run for its money. A veteran of the Bay Area thrash scene, guitarist/vocalist Robb Flynn emerges as Machine Head's anchor. As guitar player of the riff-heavy yet vocally challenged band Vio-Lence, Flynn had already distinguished himself as a riff-making machine on tracks like "Serial Killer" and "Kill on Command." Interestingly, with the release of Burn My Eyes, every effort was made to cover up Flynn's involvement with his ex-bandmates. Looking back at it, it's easy to understand why. Because of the quick word of mouth in the underground metal community, comparisons to his ex-bandmates would have limited the impact of the record, possibly thwarting its merits. If Vio-Lence held promise, Machine Head was a different proposition all together. Anthems like "Davidian" and "Take My Scars" are monstrous slabs of metal that, by far, eclipse anything Flynn had previously done. Nevertheless, Burn My Eyes is a classic debut and one that helped launch a huge European groundswell for the band that would result in a tour as Slayer's support act. A few months later, the Head would return and headline the very same venues in which they'd opened for Slayer. ~ John Franck, All Music Guide [-] Hide

The aptly titled Cleansing offers a cleansing of Prong's sound, tightening up their trademark drilling guitars while adding some slight techno and industrial touches, which only heightens the tension. Thankfully, none of this compromises the band, but only strengthens their already muscular metallic roar. In fact, it helps makes Cleansing their... [+] Read More

The aptly titled Cleansing offers a cleansing of Prong's sound, tightening up their trademark drilling guitars while adding some slight techno and industrial touches, which only heightens the tension. Thankfully, none of this compromises the band, but only strengthens their already muscular metallic roar. In fact, it helps makes Cleansing their most varied and best record yet. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

The early to mid-'90s proved the Melvins' golden age, and the three principal albums from that period -- Stoner Witch provides the centerpiece -- are virtually unassailable in their range, depth, power, and experimental courage. Picking up on the basic framework of Houdini, Stoner Witch resolves into an ear-catching workup of classic rock... [+] Read More

The early to mid-'90s proved the Melvins' golden age, and the three principal albums from that period -- Stoner Witch provides the centerpiece -- are virtually unassailable in their range, depth, power, and experimental courage. Picking up on the basic framework of Houdini, Stoner Witch resolves into an ear-catching workup of classic rock themes, tempered, of course, with a fairly judicious sampling of acid-trip detours. Where Houdini resided more in an expansive -- though lugubriously heavy -- metal vein, refining the techniques built up through the band's early struggles, Stoner Witch truly showcases the band at the apex of their wide-ranging creative abilities. The melodies -- yes, melodies -- work seamlessly with the ubiquitous chugging riffs; Buzzo's vocals, often reminiscent of a David Thomas (Pere Ubu) after a few weeks of no-nonsense boot camp, are sometimes quiet and reflective, and more often than not, positively Stentorian. And naturally, drummer Dale Crover's percussion and pounding behind the kit is astonishing, powerful, and daring. The album opens with the distorted thud of "Skweetis," the amps and cymbals washing well into red-line territory before yielding to a three-count of heavy-duty classic rock with "Queen," "Sweet Willy Rollbar," and "Revolve." From that point on, there is a deliberate sea-change, beginning with the faux-lounge tweaking of "Goose Freight Train," the nearly unlistenable Merzbow-noise of "Magic Pig Detective," and ultimately the hammer-down hardcore of "June Bug" sandwiched between two ambient tracks: "Shevil" and the album closer, "Lividity." ~ Patrick Kennedy, All Music Guide [-] Hide

When Alice in Chains' debut album, Facelift, was released in 1990, about a year before Nirvana's Nevermind, the thriving Seattle scene barely registered on the national musical radar outside of underground circles (although Soundgarden's major-label debut, Louder Than Love, was also released that year and brought them a Grammy nomination). That... [+] Read More

When Alice in Chains' debut album, Facelift, was released in 1990, about a year before Nirvana's Nevermind, the thriving Seattle scene barely registered on the national musical radar outside of underground circles (although Soundgarden's major-label debut, Louder Than Love, was also released that year and brought them a Grammy nomination). That started to change when MTV jumped all over the video for "Man in the Box," giving the group a crucial boost and helping to pave the way for grunge's popular explosion toward the end of 1991. Although their dominant influences -- Black Sabbath, the Stooges -- were hardly unique on the Seattle scene, Alice in Chains were arguably the most metallic of grunge bands, which gave them a definite appeal outside the underground; all the same, the group's sinister, brooding, suffocating sound resembled little else gaining wide exposure on the 1990 hard rock scene. Neither hedonistic nor especially technically accomplished, Alice in Chains' songs were mostly slow, oppressive dirges with a sense of melody that was undeniable, yet which crept along over the murky sludge of the band's instrumental attack in a way that hardly fit accepted notions of what made hard rock catchy and accessible. Although some parts of Facelift sink into turgid, ponderous bombast (particularly over the erratic second half), and the lyrics are sometimes immature, the overall effect is fresh, exciting, and powerful. While Alice in Chains would go on to do better and more consistent work, Facelift was one of the most important records in establishing an audience for grunge and alternative rock among hard rock and heavy metal listeners, and with its platinum sales certification, it also made Alice in Chains the first Seattle band to break through to a wider, less exclusively underground audience. ~ Steve Huey, All Music Guide [-] Hide