There was something unnervingly charismatic and appallingly attractive about the song. And without Rob Zombie, the world a duller place.ġ993 was Type O Negative’s year, the time when their gothic doom approach reaped its greatest reward, and Christian Woman encapsulated their identity and their confrontational nature. Without this song, the history of heavy metal would have been very different. It has become the defining moment for White Zombie – its combination of metal, industrial, jungle and punk propelling the band into becoming one of the most celebrated metal acts. The band managed to grab the classic metal approach of Sabbath and Metallica, shake it up and give it a renewed sense of purpose in the grunge-dominated jungle.įrom Beavis And Butthead to horror movies, Thunder Kiss ’65 as established itself firmly in our consciousness. This was prog metal for the massesĪt a time when something fresh was needed to boost the heaviest end of the musical spectrum, along comes metal’s brightest new guitar star, Dimebag Darrell – a man who virtually re-invented the riff with this strutting, heavy-as-lead groove. Pull Me Under proved it was possible to be complex and progressive musically, while having a powerful melody at its heart. Yet the New York quintet actually succeeded in giving the genre some much needed credibility. The whole idea of progressive rock was in the doldrums and utterly debunked by the time Dream Theater came on the scene. They gave metal back its voice of conscience, and budding guitarists a new hero in the form of Tom Morello. Rage Against The Machine were a socio-political irritation, a band who were prepared to expose the ills and hypocrisy of the era, while matching this with some of the most intense music of the 90s – and KITN (with its syncopated riff and repeated profanity) illustrates it perfectly. But never was it so virulently and powerfully pursued as here. Rage Against The Machine - Killing In The Name (1992)Īlthough the seeds were sown in the previous decade by Aerosmith and Run-DMC, the concept of rap-metal came into its own later in the 1990s. It’s the embodiment of stoner rock – a heavyweight blues base topped with a real psychedelic distortion. And they were never better than on Thumb. While there was a stoner sound before Kyuss – and others like Queens Of The Stone Age would subsequently take this further – there’s little doubt that this was the band that defined what ‘stoner metal’ was all about. Their songs certainly got darker post- Nevermind, but …Pissings is as metallic as Nirvana ever got. Lyrically it’s about a confused individual finding his way in a harsh world, which is reflected by Cobain’s jagged, fucked-up, fuzzed-up guitar. Territorial Pissings reflects the fact that the trio’s punk roots were as firm as ever. But its value doesn’t lie just in songs like Smells Like Teen Spirit and Come As You Are. Nobody can argue about Nevermind’s place as one of the most important albums of all time – metal or otherwise. This is dance music for those who love Killing Joke and Suicide. Jesus Built My Hot Rod encapsulates everything that made Ministry so special – the driving, forceful refrain, the heady samples, the slanted vocals from Al Jourgensen – all wrapped up in high-speed humour. Whatever happens, happens.’ Little did Mark know, if he would have had publishing on ‘Something in the Way’ on Nevermind, he would have had a lot of money.The band that began as a virtual disco outfit have come to be lauded as one of the most important industrial metal names of them all. So, instead of getting paid, they just did this thing where, ‘Hey man, I added a lyric on your song and you added a lyric on my song. “But Kurt had played on some of Mark’s solo stuff, The Winding Sheet. “Mark said he wrote some lyrics on ‘Something in the Way’ with Kurt on Nevermind,” Oliveri told author Greg Prato. Therefore Lanegan - who often struggled to make ends meet while coping with drug addiction - didn’t receive what would have been massive royalties for the sales of Nirvana’s mega-selling album Nevermind. ![]() In the new biographical oral history, Lanegan, the singer’s former Queens of the Stone Age bandmate Nick Oliveri revealed that Mark helped write lyrics for Nirvana’s stark masterpiece “Something in the Way,” but went uncredited. ![]() It turns out their collaborative efforts apparently went both ways. Cobain performed on Lanegan’s debut solo album, and anecdotes from Lanegan’s memoir illustrated just how tight the two grunge artists were. The late Screaming Trees singer Mark Lanegan was close friends with Kurt Cobain during the latter’s lifetime.
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