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Lynyrd Skynyrd was the definitive Southern rock band, fusing the overdriven power of blues-rock with a rebellious Southern image and a hard rock swagger. Skynyrd never relied on the jazzy improvisations of the Allman Brothers. Instead, they were a hard-living, hard-driving rock & roll band -- they may have jammed endlessly on-stage, but their... [+] Read More

Lynyrd Skynyrd was the definitive Southern rock band, fusing the overdriven power of blues-rock with a rebellious Southern image and a hard rock swagger. Skynyrd never relied on the jazzy improvisations of the Allman Brothers. Instead, they were a hard-living, hard-driving rock & roll band -- they may have jammed endlessly on-stage, but their music remained firmly entrenched in blues, rock, and country. For many, Lynyrd Skynyrd's redneck image tended to obscure the songwriting skills of their leader, Ronnie Van Zant. Throughout the band's early records, Van Zant demonstrated a knack for lyrical detail and a down-to-earth honesty that had more in common with country than rock & roll. During the height of Skynyrd's popularity in the mid-'70s, however, Van Zant's talents were overshadowed by the group's gritty, greasy blues-rock. Sadly, it wasn't until he was killed in a tragic plane crash in 1977 along with two other bandmembers that many listeners began to realize his talents. Skynyrd split up after the plane crash, but they reunited a decade later, becoming a popular concert act during the early '90s.

While in high school in Jacksonville, FL, Ronnie Van Zant (vocals), Allen Collins (guitar), and Gary Rossington (guitar) formed My Backyard. Within a few months, the group added bassist Leon Wilkeson and keyboardist Billy Powell, and changed their name to Lynyrd Skynyrd, a mocking tribute to their gym teacher Leonard Skinner, who was notorious for punishing students with long hair. With drummer Bob Burns, Lynyrd Skynyrd began playing throughout the South. For the first few years, the group had little success, but producer Al Kooper signed the band to MCA after seeing them play at an Atlanta club called Funocchio's in 1972. Kooper produced the group's 1973 debut, Pronounced Leh-Nerd Skin-Nerd, which was recorded after former Strawberry Alarm Clock guitarist Ed King joined the band. The group became notorious for their triple-guitar attack, which was showcased on "Free Bird," a tribute to the recently deceased Duane Allman. "Free Bird" earned Lynyrd Skynyrd their first national exposure and it became one of the staples of album rock radio, still receiving airplay decades after its release.

"Free Bird" and an opening slot on the Who's 1973 Quadrophenia tour gave Lynyrd Skynyrd a devoted following, which helped their second album, 1974's Second Helping, become its breakthrough hit. Featuring the hit single "Sweet Home Alabama" -- a response to Neil Young's "Southern Man" -- Second Helping reached number 12 and went multi-platinum. At the end of the year, Artimus Pyle replaced drummer Burns and King left the band shortly afterward. The new sextet released Nuthin' Fancy in 1975, and it became the band's first Top Ten hit. The record was followed by the Tom Dowd-produced Gimme Back My Bullets in 1976, which failed to match the success of its two predecessors. However, the band retained their following through constant touring, which was documented on the double live album One More from the Road. Released in late 1976, the album featured the band's new guitarist, Steve Gaines, and a trio of female backup singers, and it became Skynyrd's second Top Ten album.

Lynyrd Skynyrd released their sixth album, Street Survivors, on October 17, 1977. Three days later, a privately chartered plane carrying the band between shows in Greenville, SC, and Baton Rouge, LA, crashed outside of Gillsburg, MS. Ronnie Van Zant, Steve Gaines, and his sister Cassie, one of the group's backing vocalists, died in the crash; the remaining members were injured. (The cause of the crash was either fuel shortage or a fault with the plane's mechanics.) The cover for Street Survivors had pictured the band surrounded in flames; after the crash, the cover was changed. In the wake of the tragedy, the album became one of the band's biggest hits. Lynyrd Skynyrd broke up after the crash, releasing a collection of early demos called Skynyrd's First and...Last in 1978; it had been scheduled for release before the crash. The double-album compilation Gold & Platinum was released in 1980.

Later in 1980, Rossington and Collins formed a new band that featured four surviving members. Two years later, Pyle formed the Artimus Pyle Band. Collins suffered a car crash in 1986 that killed his girlfriend and left him paralyzed; four years later, he died of respiratory failure. In 1987, Rossington, Powell, King, and Wilkeson reunited Lynyrd Skynyrd, adding vocalist Johnny Van Zant and guitarist Randall Hall. The band embarked on a reunion tour, which was captured on the 1988 double live album Southern by the Grace of God/Lynyrd Skynyrd Tribute Tour -- 1987. The re-formed Skynyrd began recording in 1991, and for the remainder of the decade, the band toured frequently, putting out albums occasionally. The reunited Skynyrd frequently switched drummers, but it had little effect on their sound.

During the '90s, Lynyrd Skynyrd were made honorary colonels in the Alabama State Militia, due to their classic rock staple "Sweet Home Alabama." During the mid-'90s, Van Zant, Rossington, Wilkeson, and Powell regrouped by adding two Southern rock veterans to Skynyrd's guitar stable: former Blackfoot frontman Rickey Medlocke and ex-Outlaw Hughie Thomasson. With ex-Damn Yankee Michael Cartellone bringing stability to the drum chair, the reconstituted band signed to CMC International for the 1997 album Twenty. This lineup went on to release Lyve from Steeltown in 1998, followed a year later by Edge of Forever. The seasonal effort Christmas Time Again was released in fall 2000. Although Wilkeson died one year later, Lynyrd Skynyrd regrouped and recorded Vicious Cycle for a 2003 release. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Mot�rhead's overwhelmingly loud and fast style of heavy metal was one of the most groundbreaking styles the genre had to offer in the late '70s. Though the group's leader, Lemmy Kilminster, had his roots in the hard-rocking space rock band Hawkwind, Mot�rhead didn't bother with his old group's progressive tendencies, choosing to amplify the... [+] Read More

Metallica was easily the best, most influential heavy metal band of the '80s, responsible for bringing the music back to Earth. Instead of playing the usual rock star games of metal stars of the early '80s, the band looked and talked like they were from the street. Metallica expanded the limits of thrash, using speed and volume not for their own... [+] Read More

Metallica was easily the best, most influential heavy metal band of the '80s, responsible for bringing the music back to Earth. Instead of playing the usual rock star games of metal stars of the early '80s, the band looked and talked like they were from the street. Metallica expanded the limits of thrash, using speed and volume not for their own sake, but to enhance their intricately structured compositions. The release of 1983's Kill 'Em All marked the beginning of the legitimization of heavy metal's underground, bringing new complexity and depth to thrash metal. With each album, the band's playing and writing improved; James Hetfield developed a signature rhythm playing that matched his growl, while lead guitarist Kirk Hammett became one of the most copied guitarists in metal. Lars Ulrich's thunderous, yet complex, drumming clicked in perfectly with Cliff Burton's innovative bass playing. After releasing their masterpiece Master of Puppets in 1986, tragedy struck the band when their tour bus crashed while traveling in Sweden, killing Burton. When the band decided to continue, Jason Newsted was chosen to replace Burton; two years later, the band released the conceptually ambitious ...And Justice for All, which hit the Top Ten without any radio play and very little support from MTV. But Metallica completely crossed over into the mainstream with 1991's Metallica, which found the band trading in their long compositions for more concise song structures; it resulted in a number one album that sold over seven million copies in the U.S. alone. The band launched a long, long tour which kept them on the road for nearly two years. By the '90s, Metallica had changed the rules for all heavy metal bands; they were the leaders of the genre, respected not only by headbangers, but by mainstream record buyers and critics. No other heavy metal band has ever been able to pull off such a trick. However, the group lost some members of their core audience with their long-awaited follow-up to Metallica, 1996's Load. For Load, the band decided to move toward alternative rock in terms of image -- they cut their hair and had their picture taken by Anton Corbijn. Although the album was a hit upon its summer release -- entering the charts at number one and selling three million copies within two months -- certain members of their audience complained about the shift in image, as well as the group's decision to headline the sixth Lollapalooza. Re-Load, which combined new material with songs left off of the Load record, appeared in 1997; despite poor reviews, it sold at a typically brisk pace through the next year. Garage Inc., a double-disc collection of B-sides, rarities, and newly recorded covers, followed in 1998. In 1999, Metallica continued their flood of product with S&M, documenting a live concert with the San Francisco Symphony; it debuted at number two, reconfirming their immense popularity.

The band spent most of 2000 embroiled in controversy by spearheading a legal assault on Napster, a file-sharing service that allowed users to download music files from each other's computers. Aggressively targeting copyright infringement of their own material, the band notoriously had over 300,000 users kicked off the service, creating a widespread debate over the availability of digital music that raged for most of the year. In January 2001, bassist Jason Newsted announced his amicable departure from the band. Shortly after the band appeared at the ESPN awards in April of the same year, Hetfield, Hammett, and Ulrich entered the recording studio to begin work on their next album, with producer Bob Rock lined up to handle bass duties for the sessions (with rumors of former Ozzy Osbourne/Alice in Chains bassist Mike Inez being considered for the vacated position). In July, Metallica surprisingly dropped their lawsuit against Napster, perhaps sensing that their controversial stance did more bad than good to their "band of the people" image. In late summer 2001, the band's recording sessions (and all other band-related matters) were put on hold as Hetfield entered an undisclosed rehab facility for alcoholism and other addictions. He completed treatment and rejoined the band and they headed back into the studio in 2002 to record St. Anger, released in mid-2003. The recording of St. Anger was capped with the search for a permanent replacement for Newstead. After a long audition process, former Ozzy Osbourne/Suicidal Tendencies bass player Robert Trujillo was selected and joined Metallica for their 2003/2004 world tour. The growing pains the band experienced during the recording process of St. Anger were captured in the celebrated documentary Some Kind of Monster which saw theatrical release in 2004. ~ Stephen Thomas Erlewine & Greg Prato

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The New York Dolls created punk rock before there was a term for it. Building on the Rolling Stones' dirty rock & roll, Mick Jagger's androgyny, girl group pop, the glam rock of David Bowie and T. Rex, and the Stooges' anarchic noise, the New York Dolls created a new form of hard rock that presaged both punk rock and heavy metal. Their... [+] Read More

The New York Dolls created punk rock before there was a term for it. Building on the Rolling Stones' dirty rock & roll, Mick Jagger's androgyny, girl group pop, the glam rock of David Bowie and T. Rex, and the Stooges' anarchic noise, the New York Dolls created a new form of hard rock that presaged both punk rock and heavy metal. Their drug-fueled, shambolic performances influenced a generation of musicians in New York and London, who all went on to form punk bands. And although they self-destructed quickly, the band's two albums remain two of the most popular cult records in rock & roll history.

All of the members of the New York Dolls played in New York bands before they formed in late 1971. Guitarists Johnny Thunders and Rick Rivets, bassist Arthur Kane, and drummer Billy Murcia were joined by vocalist David Johansen. Early in 1972, Rivets was replaced by Syl Sylvian and the group began playing regularly in lower Manhattan, particularly at the Mercer Arts Center. Within a few months, they had earned a dedicated cult following, but record companies were afraid of signing the band because of their cross-dressing and blatant vulgarity.

Late in 1972, the New York Dolls embarked on their first tour of England. During the tour, drummer Murcia died after mixing drugs and alcohol. He was replaced by Jerry Nolan. After Nolan joined the band, the Dolls finally secured a record contract with Mercury Records. Todd Rundgren -- whose sophisticated pop seemed at odds with the band's crash-and-burn rock & roll -- produced the band's eponymous debut, which appeared in the summer of 1973. The record received overwhelmingly positive reviews, but it didn't stir the interest of the general public; the album peaked at number 116 on the U.S. charts. The band's follow-up, Too Much Too Soon, was produced by the legendary girl group producer George "Shadow" Morton. Although the sound of the record was relatively streamlined, the album was another commercial failure, only reaching number 167 upon its early summer 1974 release.

Following the disappointing sales of their two albums, Mercury Records dropped the New York Dolls. No other record labels were interested in the band, so they decided to hire a new manager, the British Malcolm McLaren, who would soon become famous for managing the Sex Pistols. With the Dolls, McLaren began developing his skill for turning shock into invaluable publicity. Although he made it work for the Pistols just a year later, all of his strategies backfired for the Dolls. McLaren made the band dress completely in red leather and perform in front of the USSR's flag, all of which meant to symbolize the Dolls' alleged communist allegiance. The new approach only made record labels more reluctant to sign the band and members soon began leaving the group.

By the middle of 1975, Thunders and Nolan left the Dolls. The remaining members, Johansen and Sylvain, fired McLaren and assembled a new lineup of the band. For the next two years, the duo led a variety of different incarnations of the band, to no success. In 1977, Johansen and Sylvain decided to break up the band permanently. Over the next two decades, various outtakes collections, live albums, and compilations were released by a variety of labels and the New York Dolls' two original studio albums never went out of print.

Upon the Dolls' break up, David Johansen began a solo career that would eventually metamorphose into his lounge-singing alter ego Buster Poindexter in the mid-'80s. Syl Sylvain played with Johansen for two years before he left to pursue his own solo career. Johnny Thunders formed the Heartbreakers with Jerry Nolan after they left the group in 1975. Over the next decade, the Heartbreakers would perform sporadically and Thunders would record an occasional solo album. On April 23, 1991, Thunders -- who was one of the more notorious drug abusers in rock & roll history -- died of a heroin overdose. Nolan performed at a tribute concert for Thunders later in 1991; a few months later, he died of a stroke at the age of 40.

In 2004, former Smiths vocalist Morrissey -- who was once the president of a British New York Dolls fan club -- invited the surviving members of the New York Dolls to perform at the 2004 Meltown Festival, a music and cultural festival that was being curated that year by the singer. To the surprise of many, David Johansen, Syl Sylvain, and Arthur Kane agreed to the gig, with Steve Conte (from Johansen's solo band) standing in for Thunders and Gary Powell from the Libertines sitting in on drums. The group's set was well received by critics and fans (and was recorded for release on DVD and compact disc), which led to offers for other festival appearances, but only a few weeks after the Meltdown show, Kane checked himself into a Los Angeles hospital with what he though was a severe case of the flu. Kane's ailment was soon diagnosed as leukemia, and he died only a few hours later, on July 13, 2004, at age 55. With Sam Yaffa (of Hanoi Rocks) on bass, the remaining Dolls played a hometown tribute to their fallen brothers at Little Steven's International Underground Garage Festival in New York City on August 14, 2004, reuniting again in 2006 for the all-new CD/DVD One Day It Will Please Us to Remember Even This. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

AC/DC's mammoth power-chord roar became one of the most influential hard rock sounds of the '70s. In its own way, it was a reaction against the pompous art rock and lumbering arena rock of the early '70s. AC/DC's rock was minimalist -- no matter how huge and bludgeoning the guitar chords were, there was a clear sense of space and restraint.... [+] Read More

AC/DC's mammoth power-chord roar became one of the most influential hard rock sounds of the '70s. In its own way, it was a reaction against the pompous art rock and lumbering arena rock of the early '70s. AC/DC's rock was minimalist -- no matter how huge and bludgeoning the guitar chords were, there was a clear sense of space and restraint. Combined with Bon Scott's larynx-shredding vocals, the band spawned countless imitators over the next two decades.

AC/DC was formed in 1973 in Australia by guitarist Malcolm Young after his band, the Velvet Underground, collapsed (Young's band has no relation to the seminal American group). With his younger brother Angus as lead guitarist, the band played some gigs around Sydney. Angus was only 15-years-old at the time and his sister suggested that he should wear his school uniform on-stage; the look became the band's visual trademark. While still in Sydney, the original lineup (featuring singer Dave Evans) cut a single called "Can I Sit Next to You," with ex-Easybeats Harry Vanda and George Young (Malcolm and Angus' older brother) producing.

The band moved to Melbourne the following year, where drummer Phil Rudd (formerly of the Coloured Balls) and bassist Mark Evans joined the band. The band's chauffeur, Bon Scott, became their lead vocalist when their singer, Dave Evans, refused to go on-stage.

Previously, Scott had been vocalist for the Australian prog rock bands Fraternity and the Valentines. More importantly, he helped cement the group's image as brutes -- he had several convictions on minor criminal offenses and was rejected by the Australian Army for being "socially maladjusted." And AC/DC was socially maladjusted. Throughout their career they favored crude double entendres and violent imagery, all spiked with a mischievous sense of fun.

The group released two albums -- High Voltage and TNT -- in Australia in 1974 and 1975. Material from the two records comprised the 1976 release High Voltage in the U.S. and U.K.; the group also toured both countries. Dirty Deeds Done Dirt Cheap followed at the end of the year. Evans left the band at the beginning of 1977, with Cliff Williams taking his place. In the fall of 1977, AC/DC released Let There Be Rock, which became their first album to chart in the U.S.

Powerage, released in spring of 1978, expanded their audience even further, thanks in no small part to their dynamic live shows (which were captured on 1978's live If You Want Blood, You've Got It). What really broke the doors down for the band was the following year's Highway to Hell, which hit number 17 in the U.S. and number eight in the U.K., becoming the group's first million-seller.

AC/DC's train was derailed when Bon Scott died on February 20, 1980. The official coroner's report stated he had "drunk himself to death." In March, the band replaced Scott with Brian Johnson. The following month, the band recorded Back in Black, which would prove to be their biggest album, selling over ten million copies in the U.S. alone. For the next few years, the band was one of the largest rock bands in the world, with For Those About to Rock We Salute You topping the charts in the U.S. In 1982, Rudd left the band; he was replaced by Simon Wright.

After 1983's Flick of the Switch, the band's commercial standing began to slip; they were able to reverse their slide with 1990's The Razor's Edge, which spawned the hit "Thunderstruck." While not the commercial powerhouse they were during the late '70s and early '80s, the '90s saw them maintain their status as a top international concert draw. In the fall of 1995, their 16th album, Ballbreaker, was released. Produced by Rick Rubin, the album received some of the most positive reviews of AC/DC's career. Ballbreaker entered the American charts at number four and sold over a million copies in its first six months of release. Stiff Upper Lip followed in early 2000. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Though many bands have succeeded in earning the hatred of parents and media worldwide throughout the past few decades, arguably only such acts as Alice Cooper, Judas Priest, and Marilyn Manson have tied the controversial record of Ozzy Osbourne. The former Black Sabbath frontman has been ridiculed over his career, mostly due to rumors denouncing... [+] Read More

Though many bands have succeeded in earning the hatred of parents and media worldwide throughout the past few decades, arguably only such acts as Alice Cooper, Judas Priest, and Marilyn Manson have tied the controversial record of Ozzy Osbourne. The former Black Sabbath frontman has been ridiculed over his career, mostly due to rumors denouncing him as a psychopath and Satanist. Despite his outlandish reputation, however, one cannot deny that Osbourne has had an immeasurable effect on heavy metal. While he doesn't possess a great voice (it's thin and doesn't have much range), he makes up for it with his good ear and dramatic flair. As a showman, his instincts are nearly as impeccable; his live shows have been overwrought spectacles of gore and glitz that have endeared him to adolescents around the world. Indeed, Osbourne has managed to establish himself as an international superstar, capable of selling millions of records with each album and packing arenas across the globe, capturing new fans with each record.

John Michael Osbourne began his professional career in the late '60s, when he teamed up with guitarist Tony Iommi, bassist Geezer Butler, and drummer Bill Ward to form Black Sabbath. The band, made unique by their slow, gloomy melodies and themes, released their self-titled album in 1970, and would go on to release classic platinum records such as Paranoid and Master of Reality throughout the rest of the decade. After the 1978 album Never Say Die, Osbourne was fired from Black Sabbath, which led him to form his own solo project. With his new manager and wife, Sharon, Osbourne formed his own band, the Blizzard of Ozz, with guitarist Randy Rhoads, bassist Bob Daisley, and drummer Lee Kerslake. The group's self-titled first album was released in September 1980 in the U.K. and early 1981 in the U.S. Blizzard of Ozz had some of the same ingredients of Black Sabbath: The lyrics focused on the occult and the guitars were loud and heavy, yet the band was more technically proficient and capable of pulling off variations on standard metal formulas. Featuring the hit singles "Crazy Train" and "Mr. Crowley," Blizzard of Ozz reached number seven on the U.K. charts; it peaked at number 21 in the U.S., continuing to sell for over two years and becoming a huge success. Kerslake and Daisley would be replaced with Tommy Aldridge and Rudy Sarzo shortly before the subsequent November release of Diary of a Madman. This album, which included the drug ode "Flying High Again," charted at number 16 in the U.S. and became another huge seller. As the Diary tour went underway, sales for the album continued to improve as those of Black Sabbath waned. Osbourne had no trouble in attaining mass audiences, and his career seemed to have peaked. However, controversy soon erupted when he was accused of animal cruelty: During one performance, a bat was thrown on-stage by a fan and Osbourne bit its head off while supposedly thinking that it was fake. The show was canceled when he had to be rushed to the hospital for a rabies vaccination. Not long afterwards, Rhoads was killed in a bizarre plane accident, bringing the band's success to a screeching halt. Osbourne fell into a massive depression shortly after losing his best friend, and plans for his upcoming live album were soon changed. Instead of material recorded with Rhoads, 1982's Speak of the Devil featured live recordings of classic Black Sabbath material and was recorded with guitarist Brad Gillis. Osbourne was freed from his contract with Jet Records and showed up drunk at an Epic Records meeting with two doves, one of which he freed and the other of which he killed in the same manner as the bat; Osbourne was signed to the label. Jake E. Lee became Osbourne's new guitarist for the 1984 studio effort Bark at the Moon. While it didn't match the consistency of Blizzard of Ozz or Diary of a Madman, the record was equally successful, pushing the singer to embark on a tour with glam metal stalwarts M�tley Cr�e. Although Bark at the Moon opened up to rave reviews, 1986's Ultimate Sin received rather harsh criticism. The album, although containing the hit single "Shot in the Dark," would be regarded as Osbourne's worst studio effort by numerous critics, who claimed it was redundant and uninteresting; nonetheless, the album was another smash hit.

Also in 1986, Osbourne was accused of encouraging suicide among listeners via use of subliminal messages in his Blizzard of Ozz song "Suicide Solution," a song that he claimed was written in relation to the effects of alcohol abuse. Although the case was eventually dismissed, Osbourne once again earned a feared reputation. He pulled up his profile in 1987 with Tribute, a live album recorded in 1981 that was dedicated to the memory of Randy Rhoads. Lee soon left the band, and was replaced with Zakk Wylde for No Rest for the Wicked, which would be released in 1988. The record proved to be one of his strongest yet, highlighted by "Miracle Man," in which Osbourne ridiculed evangelist (and longtime foe) Jimmy Swaggart. Just Say Ozzy, a live EP taken from the subsequent tour, was released in 1990. After recording a new studio album in 1991, Osbourne found himself without the usual enthusiasm to perform, due to his increasing age and his desire to spend more time with his family. When No More Tears was released in the fall, it was confirmed that the following tour would be Osbourne's last before retirement. Following the tour, a live double album, Live & Loud, was released in 1993 to commemorate Osbourne's career, and it was now assumed that the singer's glory days were over.

However, the retirement was not to be -- Osbourne resurfaced in 1995 with Ozzmosis, which, despite mixed reviews, would sell three million copies within a year after its release. After the subsequent tour proved to be one of the best-selling of the summer, Osbourne created Ozzfest, a tour package that would feature himself along with many other metal bands. While there were only two performances in 1996, a live album was nonetheless released, simply titled The Ozzfest. 1997's tour package included such metal acts as Pantera, Marilyn Manson, and a Black Sabbath reunion from which only Bill Ward was absent. With the exception of Sarah McLachlan's Lilith Fair, Ozzfest 1997 was the most successful tour of the year and Osbourne released a compilation album, The Ozzman Cometh, in November. Shortly afterwards, Osbourne united the entire original lineup of Black Sabbath to record the live album Reunion, which was released in 1998. He also found time to duet alongside rapper Busta Rhymes for a re-make of the Sabbath classic "Iron Man," re-titled "This Means War," which was included on Rhymes' 1998 release Extinction Level Event (The Final World Front). Sabbath continued to tour well into 1999, as they again headlined the year's Ozzfest, which was billed as their supposed final tour. The same year, a grisly Ozzy action figure was shipped out to toy stores -- complete with tiny decapitated bats. Osbourne also finally began work on the follow-up to his 1995 lackluster solo release, Ozzmosis, which saw him joined by returning guitarist Wylde, plus former Faith No More drummer Mike Bordin and former Suicidal Tendencies/Infectious Grooves bassist Robert Trujillo. 2001 was greeted with the news that not only was Black Sabbath reuniting once again for the summer's edition of Ozzfest, but that the quartet was going to enter the recording studio in the fall with producer Rick Rubin to work on the original lineup's first all-new album since 1978's Never Say Die. Unfortunately, Epic Records caught word of Osbourne's plans and stopped both a post-Ozzfest tour with Disturbed and the album itself until he finished his solo record. Ozzy fans were given the double-disc Ozzfest: Second Stage Live to tide them over in the meantime -- the collection included tracks from most of the bands that participated in the 2000 festival, as well as tracks from Ozzfest's inaugural 1996 lineup. Finally, the new solo album, Down to Earth, appeared in the fall of 2001, followed by a few successful rock radio singles and a huge Christmas tour with co-headliner Rob Zombie. Meanwhile, inspired by an episode of MTV's Cribs starring his family, Osbourne and the network's producers took a chance on creating a reality show based around the infamous singer. Following his family around the house for several months at the end of 2001, the end result was The Osbournes, one of the most successful shows in the history of the network. The show, which was equal parts documentary and sitcom, reinvented Osbourne as a befuddled father with a razor sharp wit and a loving family. It also proved to also be a critical success, and Osbourne found himself invited to a White House dinner to promote his animal protection activism, something that only came to light after an episode of the show dedicated to the family's numerous pets. ~ Barry Weber & Greg Prato, All Music Guide [-] Hide

Albums

Tanx - US BONUS TRACKS
Artist: T. Rex
Released: 1973

By 1973's Tanx, the T. Rex hit-making machine was beginning to show some wear and tear, but Marc Bolan still had more than a few winners up his sleeve. It was also admirable that Bolan was attempting to broaden the T. Rex sound -- soulful backup singers and horns are heard throughout, a full two years before David Bowie used the same formula for... [+] Read More