311 was formed in 1990 in Omaha, Nebraska by five self-described "friends for life" (singer/guitarist Nick Hexum, singer S.A. Martinez, guitarist Tim Mahoney, drummer Chad Sexton and the bassist known only as P-Nut), whose common link was a passion for both music and life that eventually brought them together to make music with a positive... [+] Read More

311 was formed in 1990 in Omaha, Nebraska by five self-described "friends for life" (singer/guitarist Nick Hexum, singer S.A. Martinez, guitarist Tim Mahoney, drummer Chad Sexton and the bassist known only as P-Nut), whose common link was a passion for both music and life that eventually brought them together to make music with a positive message behind it. After gigging locally (and by all reports quickly conquering the local music scene there), the quintet moved to Los Angeles, where they signed with Capricorn Records in 1991.

Since that time, 311 have released several albums, including 1992's Music, 1993's Grassroots, and 1995's 311 (aka the "Blue" album), the latter reaching number 12 on the album chart, selling three million copies worldwide, and sporting the tracks "All Mixed Up" and "Down."

In 1996, following a non-stop year of touring, the band released Enlarged to Show Detail, a home video of live performances taken from amphitheater shows in Kansas City and Denver, as well behind-the-scenes looks at life on the road. That the video has been certified platinum in sales is strong testament to the unique relationship the band has with its fans. In 1997, Transistor, a double album of new songs on one CD, was released, and the group mounted its most ambitious tour yet, a worldwide stretch of concerts intended to enlarge the band's already large and loyal fan base. "When we first started the band, we were always sure something good was going to happen," says drummer Chad Sexton, "and we've never gone backwards in any way since." Live followed in 1998, and a year later, 311 returned with Soundsystem. The band jumped to Volcano for From Chaos, which appeared in summer 2001, and followed that with Evolver two years later. By now 311 had been together over ten years, and they celebrated with a Greatest Hits comp. Released in July 2004, it included all of their hit singles, a few new tracks, and the band's gracefully-reggaeing cover of the Cure's "Love Song," originally from the soundtrack to Adam Sandler and Drew Barrymore's 50 First Dates. 311 came back with new material in August 2005 with the Don't Tread on Me LP. ~ Cub Koda, All Music Guide [-] Hide

Nearly as much as Metallica or Megadeth, Anthrax was responsible for the emergence of speed and thrash metal. Combining the speed and fury of hardcore punk with the prominent guitars and vocals of heavy metal, they helped create a new subgenre of heavy metal on their early albums. Original guitarists Scott Ian and Dan Spitz were a formidable... [+] Read More

Nearly as much as Metallica or Megadeth, Anthrax was responsible for the emergence of speed and thrash metal. Combining the speed and fury of hardcore punk with the prominent guitars and vocals of heavy metal, they helped create a new subgenre of heavy metal on their early albums. Original guitarists Scott Ian and Dan Spitz were a formidable pair, spitting out lightning-fast riffs and solos that never seemed masturbatory. Unlike Metallica or Megadeth, they had the good sense to temper their often serious music with a healthy dose of humor and realism. After their first album, Fistful of Metal, singer Joey Belladonna and bassist Frank Bello joined the lineup. Belladonna helped take the band farther away from conventional metal clichés, and over the next five albums (with the exception of 1988's State of Euphoria, where the band sounded like they were in a creative straitjacket), Anthrax arguably became the leaders of speed metal. As the '80s became the '90s, they also began to increase their experiments with hip-hop, culminating in a tour with Public Enemy in 1991 and a joint re-recording of PE's classic "Bring the Noise." After their peak period of the late '80s, Anthrax kicked Belladonna out of the band in 1992 and replaced him with ex-Armored Saint vocalist John Bush -- a singer that was gruffer and deeper, fitting most metal conventions perfectly. Subsequently, their sound became less unique and their audience shrank slightly as a consequence, and after signing to Elektra for 1993's Sound of White Noise, the group left the label after just one more album, 1995's Stomp 442. At that point, Anthrax -- now a four-piece consisting of Ian, Bush, Bello, and drummer Charlie Benante -- built their own studio in Yonkers, NY, and after a three-year hiatus returned with their Ignition label debut The Threat Is Real, Vol. 8. 1999 saw the release of Anthrax's very first "hits" collection, titled Return of the Killer A's: The Best Of, also their first release for the Beyond label. The album included a cover of "Ball of Confusion," which featured a duet between current frontman Bush and former vocalist Belladonna. A proposed tour that was to include both vocalists was announced, but on the eve of its launch, Belladonna pulled out, reportedly for monetary reasons. The tour carried on, as Anthrax signed on to participate in a package tour during the summer of 2000 with Mötley Crüe and Megadeth, but left the tour after only playing a handful of dates. Anthrax appeared on the Twisted Sister tribute album Twisted Forever in 2001 (covering the track "Destroyer"), and began recording their next album the same year. In addition, guitarist Ian found time to regularly host the metal television program Rock Show on VH1, plus he appeared as part of the fictional metal band Titannica in the film Run, Ronnie, Run. VH1 programming heads eventually replaced Ian with Sebastian Bach, but the band was ready to head back into the studio anyway. New guitarist Rob Caggiano joined in the spring of 2002, just in time for the recording. A year later, Anthrax made their Sanctuary debut with We've Come for You All. The band's dynamic hadn't changed, and touring in support of that album was met with overwhelming success. The CD/DVD set Music of Mass Destruction: Live in Chicago, which arrived in spring 2004, celebrated Anthrax's two decades in the business. Then, in 2005, Anthrax's entire original lineup of Ian, Spitz, Belladonna, Benante, and Bello reunited for a tour and the CD/DVD retrospective Anhtrology: No Hit Wonders [1985-1991]. Anthrax also issued Alive 2, recorded during their summer 2005 reuninon tour. ~ Stephen Thomas Erlewine & Greg Prato, All Music Guide [-] Hide

One of many bands in the '90s to experiment with fusing the aggressive sounds of hip-hop and hardcore/heavy metal, Shootyz Groove boasts two official MCs (Sense and Season) heading a lineup that also originally featured guitarist Donny, bassist Spec, and drummer Dose. Shootyz Groove formed in the Bronx, NY, in 1992 and had a record deal within... [+] Read More

One of many bands in the '90s to experiment with fusing the aggressive sounds of hip-hop and hardcore/heavy metal, Shootyz Groove boasts two official MCs (Sense and Season) heading a lineup that also originally featured guitarist Donny, bassist Spec, and drummer Dose. Shootyz Groove formed in the Bronx, NY, in 1992 and had a record deal within two years, signing to Mercury. A live EP recorded in Queens, Respect, was released in 1994, and was followed later that year by their official debut, Jammin' in Vicious Environments (also known as J.I.V.E.). Shootyz Groove toured with acts covering both sides of their own musical spectrum, including Boogie Down Productions and Slayer. However, things did not continue so smoothly; bassist Spec left the band, and Shootyz Groove found itself off of Mercury. Undaunted, they released a difficult-to-find live album, Live J.I.V.E., in 1995, and got a new bass player in Paul "Freak Love" and, thanks to frequent touring, a new deal with Roadrunner Records. Their Roadrunner debut, Hipnosis, was released in 1997; moving to Reprise, the group resurfaced two years later with High Definition. ~ Steve Huey, All Music Guide [-] Hide

Rage Against the Machine earned acclaim from disenfranchised fans (and not insignificant derision from critics) for their bombastic, fiercely polemical music, which brewed sloganeering leftist rants against corporate America, cultural imperialism, and government oppression into a Molotov cocktail of punk, hip-hop, and thrash. Rage formed in Los... [+] Read More

Rage Against the Machine earned acclaim from disenfranchised fans (and not insignificant derision from critics) for their bombastic, fiercely polemical music, which brewed sloganeering leftist rants against corporate America, cultural imperialism, and government oppression into a Molotov cocktail of punk, hip-hop, and thrash. Rage formed in Los Angeles in the early '90s out of the wreckage of a number of local groups: vocalist Zack de la Rocha (the son of Chicano political artist Beto) emerged from the bands Headstance, Farside, and Inside Out; guitarist Tom Morello (the nephew of Jomo Kenyatta, the first Kenyan president) originated in Lock Up; and drummer Brad Wilk played with future Pearl Jam frontman Eddie Vedder. Rounded out by bassist Tim Bob (aka Tim C., born Tim Commerford), a childhood friend of de la Rocha's, Rage debuted in 1992 with a self-released, self-titled 12-song cassette featuring the song "Bullet in the Head," which became a hit when reissued as a single later in the year.

The tape won the band a deal with Epic, and their leap to the majors did not go unnoticed by detractors, who questioned the revolutionary integrity of Rage Against the Machine's decision to align itself with the label's parent company, media behemoth Sony. Undeterred, the quartet emerged in late 1992 with their eponymous official debut, which scored the hits "Killing in the Name" and "Bombtrack." After touring with Lollapalooza and declaring their support of groups like FAIR (Fairness and Accuracy in Reporting), Rock for Choice, and Refuse & Resist, Rage spent a reportedly tumultuous four years working on their follow-up; despite rumors of a breakup, they returned in 1996 with Evil Empire, which entered the U.S. album charts at number one and scored a hit single with "Bulls on Parade." During 1997, the group joined forces with hip-hop supergroup the Wu-Tang Clan for a summer tour and remained active in support of various leftist political causes, including a controversial 1999 benefit concert for death-row inmate Mumia Abu-Jamal. The Battle of Los Angeles followed later in 1999, also debuting at number one and going double platinum by the following summer. In early 2000, de la Rocha announced plans for a solo project, and the band performed an incendiary show outside the Democratic National Convention in August. The following month, bassist Commerford was arrested for disorderly conduct at MTV's Video Music Awards following his bizarre disruption of a Limp Bizkit acceptance speech, in which he climbed to the top of a 15-foot set piece and rocked back and forth.

Plans for a live album were announced shortly thereafter, but in October, de la Rocha abruptly announced his departure from the band, citing breakdowns in communication and group decision-making. Surprised but not angry, the remainder of Rage announced plans to continue with a new vocalist, while de la Rocha re-focused on his solo album, which was slated to include collaborations with acclaimed hip-hop artists including DJ Shadow and El-P of Company Flow. December 2000 saw the release of de la Rocha's final studio effort with the band, the Rick Rubin-produced Renegades; it featured nearly a dozen covers of hip-hop, rock, and punk artists like EPMD, Bruce Springsteen, Devo, the Rolling Stones, the MC5, and more. By 2001, Morello, Wilk, and Commerford had formed Audioslave with former Soundgarden frontman Chris Cornell, and the group released an eponymous album by the end of 2002. With a de la Rocha solo album still not announced, Epic finally released the long-promised concert album Live at the Grand Olympic Auditorium on CD and DVD in time for Christmas 2003. ~ Jason Ankeny, All Music Guide [-] Hide

One of the unlikeliest success stories in rock at the turn of the millennium, Detroit rap-rocker Kid Rock shot to superstardom with his fourth full-length album, 1998's Devil Without a Cause. What made it so shocking was that Rock had recorded his first demo a full decade before, been booted off major label Jive following his Beastie Boys-ish... [+] Read More

One of the unlikeliest success stories in rock at the turn of the millennium, Detroit rap-rocker Kid Rock shot to superstardom with his fourth full-length album, 1998's Devil Without a Cause. What made it so shocking was that Rock had recorded his first demo a full decade before, been booted off major label Jive following his Beastie Boys-ish 1990 debut, Grits Sandwiches for Breakfast, and toiled for most of the decade in obscurity, releasing albums to a small, devoted, mostly local fan base while earning his fair share of ridicule around his home state. Nevertheless, Rock persevered, and by the time rap-metal had begun to attract a substantial audience, he had perfected the outlandish, over the top white-trash persona that gave Devil Without a Cause such a distinctive personality and made it such an infectious party record.

Bob "Kid Rock" Ritchie (b. Robert James Ritchie, January 17, 1971) grew up in Romeo, MI, a small rural town north of the Detroit metro area. Finding small-town life stiflingly dull, Ritchie immersed himself in rap music, learned to breakdance, and began making the talent-show rounds in Detroit. Inspired by the Beastie Boys' Licensed to Ill -- white performers fusing rap and hard guitar rock -- Kid Rock recorded his first demos in 1988, and eventually scored an opening slot at a Boogie Down Productions gig. That performance, in turn, led to a contract with Jive Records, which issued Kid Rock's debut album, Grits Sandwiches for Breakfast, in 1990. Produced by Kid Rock, Too Short, and D-Nice, the album was heavily derivative of Licensed to Ill. Rock briefly became notorious when a New York college radio station aired the album's profanity-laced ode to oral sex, "Yodelin' in the Valley," and was fined over $20,000 (a judgment later rescinded). However, despite a tour with Too $hort and Ice Cube, Jive didn't see much of a future for Kid Rock and dropped him from their roster.

Moving to Brooklyn, Rock hooked up with the small Continuum label, and moved his brand of rap further into hard rock with The Polyfuze Method, released in 1993. Reviews were mixed, with some critics praising the record's humor and eclecticism while others dismissed it as awkward and forced. The EP Fire It Up followed in 1994, appearing on Rock's own Top Dog imprint (which was still distributed by Continuum). Rock eventually returned to the Detroit area and began work on another album; recorded on a shoestring budget, Early Mornin' Stoned Pimp was released in 1996. Although sometimes forced to sell bootleg dubs of his own records to pay the rent, Rock set about forming a full-fledged backing band, which he dubbed Twisted Brown Trucker. While its membership fluctuated early on, rapper Joe C. (b. Joseph Calleja) was one of the first to join; a longtime fan and frequent concert attendee, Calleja caught Rock's eye in 1994, partly because of his diminutive stature (due to a digestive condition known as celiac disease, which required both dialysis and extensive medication) and partly because of his encyclopedic knowledge of Rock's song lyrics. The rest of the lineup settled around mostly Detroit-area musicians: guitarists Kenny Olson and Jason Krause, keyboardist Jimmy Bones (b. Jimmy Trombly, he handles the basslines himself), drummer Stefanie Eulinberg, DJ/turntablist Uncle Kracker (b. Matt Shafer, who had been with Rock since the early '90s), and backing vocalists Misty Love and Shirley Hayden.

As rap-metal acts like Korn, Limp Bizkit, and Rage Against the Machine began to dominate the hard rock landscape, Atlantic Records decided to take a chance on signing Rock. Devil Without a Cause didn't do much upon its initial release in August 1998, but a big promotional push from the label and MTV helped make the album's second single and video, "Bawitdaba," a nationwide smash. The follow-up, "Cowboy," achieved similar success, and suddenly, after a decade of trying, Kid Rock was a superstar with a Top Five, seven-times-platinum album and a gig at Woodstock '99. While pondering how to follow up Devil, Rock acquired the rights to his indie-label recordings and remixed or re-recorded the best material for The History of Rock, which was released in the summer of 2000 and featured some new songs as well. Sadly, after being forced to take a break from touring a year earlier by his medical difficulties, Joe C. passed away in his sleep on November 16, 2000.

Even with a tragedy like this in his life, Rock continued work on his follow-up to Devil Without a Cause. The media focused more on his relationship with actress Pamela Anderson than his musical career, which many magazines were beginning to ridicule. His DJ, Uncle Kracker, had a successful solo career during the spring and summer of 2001, leaving Rock without one of his most frequent collaborators. Still, by the winter of that year he had completed work on Cocky and had released "Forever" to success on rock radio. In fall 2003, Kid Rock returned with a self-titled effort. A cover of Bad Company's "Feel Like Makin' Love" marked the first single. The cover art to his 2006 live album, Live Trucker, paid tribute to Bob Seger's Live Bullet. ~ Steve Huey, All Music Guide [-] Hide

Genius. Pure genius. Way before Rage Against the Machine, before Run-D.M.C.'s collaboration with Aerosmith, and before their infamous collaboration with Public Enemy, Anthrax take the credit -- or blame -- for being the pioneers of merging rap and metal. Released in 1987, their now-classic I'm the Man is a funny tribute/parody/attempt at hip-hop... [+] Read More

Genius. Pure genius. Way before Rage Against the Machine, before Run-D.M.C.'s collaboration with Aerosmith, and before their infamous collaboration with Public Enemy, Anthrax take the credit -- or blame -- for being the pioneers of merging rap and metal. Released in 1987, their now-classic I'm the Man is a funny tribute/parody/attempt at hip-hop that is not only pulled off successfully, but it's also the first release that showcases Anthrax's sense of humor -- the latter of which was also a first for the genre of speed metal. There are also three live tracks -- one of which is the title track -- as well as a "moshable" version of Black Sabbath's "Sabbath Bloody Sabbath" -- all of which are great but will probably be overlooked. Has it been mentioned that this EP is genius? ~ Mike DaRonco, All Music Guide [-] Hide

Southern California's (hed) pe attempt to fuse the area's two dominant musical styles, melodic punk and hip-hop, on their self-titled debut full-length. They're rhythmically looser and funkier than many similar rap-metal bands, although comparisons to Rage Against the Machine are still apt. There are some slow and/or unfocused moments on (hed)... [+] Read More

Southern California's (hed) pe attempt to fuse the area's two dominant musical styles, melodic punk and hip-hop, on their self-titled debut full-length. They're rhythmically looser and funkier than many similar rap-metal bands, although comparisons to Rage Against the Machine are still apt. There are some slow and/or unfocused moments on (hed) pe, but overall, its aggression will probably play well with late-'90s metal and punk fans. ~ Steve Huey, All Music Guide [-] Hide

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With their major-label debut, Three Dollar Bill Y'All, Limp Bizkit quickly rose to the top of the alt-metal subgenre known as "rapcore." Part of the reason the band stood out from their peers was their kinetic, frenzied energy. They might not have many original ideas -- they are largely an outgrowth of Korn, Faith No More, and the Red Hot Chili... [+] Read More

With their major-label debut, Three Dollar Bill Y'All, Limp Bizkit quickly rose to the top of the alt-metal subgenre known as "rapcore." Part of the reason the band stood out from their peers was their kinetic, frenzied energy. They might not have many original ideas -- they are largely an outgrowth of Korn, Faith No More, and the Red Hot Chili Peppers -- but they do the sound well. They have a powerful rhythm section and memorable hooks, most of which make up for the uneven songwriting. Then again, you're not looking for perfection on a debut -- you're looking for a promising sound, and on that front, Limp Bizkit deliver. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

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