2011 was a big year for Primus. Following their 2001 hiatus to persue other projects, there have been sporadic reunions, but nothing long-term. In September 2011, they released ‘Green Naugahyde’, their first full studio album in a decade. Not only that, but the band also visited the UK and various other European territories for the first time since the ‘Antipop’ tour.
Every show in Europe was sold out. At the two UK shows (London and Manchester), Les Claypool, Ler Lalonde and original Primus drummer Jay Lane were given a heroes welcome. Unsurprisingly, UK shows for the first quarter of 2012 were announced almost immediately.
At the end of 2011, Primus appeared at the Brazilian SWU Festival. The set was filmed by a professional crew for a TV broadcast. If you weren’t lucky enough to catch any of the ‘Green Naugahyde’ shows, hopefully this will provide a small consolation.
Throughout the second half of 2011, the build-up to the release of Korn’s tenth studio album was loaded with tension. The band’s previous three albums ‘See You On The Other Side’, ‘Untitled’ and ‘Korn III: Remember Who You Are’ had not equalled the sales figures of Korn’s earlier works. Each of those albums, too, had experienced a decline in sales figures compared to its immediate predecessor.
For that tenth album, entitled ‘The Path of Totality’, the nu-metal heroes looked to other influences and collaborators, teaming up with a bunch of dubstep producers to lend the Korn sound a much-needed new slant. Fans were sceptical, the press intrigued. As far as collaborations are concerned, it’s certainly more accessible than the Lou Reed & Metallica animal. Even long-time metal haters NME conceded ‘The Path To Totality’ was an artistic success.
‘The Path To Totality’ was released in the UK on Monday December 5th and one day later in the US. Below, you can enjoy the full 90 minute show from the Hollywood Palladium, celebrating the launch of the album.
After the release of their self-titled album in 1995 Alice In Chains effectively retired from live performance. After choosing not to tour the album, rumours circulated that all was not well within the band. Alice In Chains made only one more live appearance with original frontman Layne Staley, for MTV’s Unplugged show.
The first phase of the band’s career ground to a halt. Chief songwriter/guitarist Jerry Cantrell and vocalist Layne Staley drifted apart. In April 2002, Layne Staley was found dead. Only a couple of weeks before, in an interview, Cantrell had said he hadn’t ruled out working with Staley again… It was a bittersweet time: Cantrell’s second album ‘Degradation Trip’ was completed, ready for a June release. It sounded more like Alice In Chains than his first, with the spirit of the recently deceased Staley cutting through various tracks, especially ‘Bargain Basement Howard Hughes’.
In 2005, the almost unthinkable happened. Jerry Cantrell teamed up with his old Alice In Chains bandmates, bassist Mike Inez and drummer Sean Kinney and resurrected the Alice In Chains name. After a benefit show with guest vocalists, they drafted in Cantrell’s buddy William DuVall and played sporadic live shows, to enthusiastic audiences.
…And in 2009, the band released ‘Black Gives Way To Blue’, a new studio album featuring DuVall as a permanent band member. Some fans were skeptical, claiming Layne was vital to Alice In Chains. These fans missed something almost as vital: Layne Staley’s input to 2005’s ‘Alice In Chains’ album was bordering on minimal. Not only had Cantrell taken on the mantle of being the band’s principal song writer, he also stepped up his vocal contributions, having a hefty presence on huge chunks of the release. If Alice In Chains were anything at all by the time of their hiatus, it was Jerry Cantrell’s show. If he wanted to write new songs and keep the spirit of AIC alive, then there shouldn’t be any reason why not. …Especially when, as with ‘Bargain Basement Howard Hughes’ some of the new songs almost sounded as if Layne was still present.
In November 2011, they performed a set at the Maquinaria Festival in Chile featuring a host of classic tracks from their back catalogue alongside a couple of numbers from the still recent ‘Black Gives Way To Blue’. Despite the band having returned to the recording studio in the summer, the set contained no new material. The complete show was filmed professionally and can be enjoyed below.
It’s competition time at REAL GONE! Thanks to the generosity of David Pattillo, Wylie Wirth and their friend Popa2unes, we have a signed copy of ‘Resurrection’, the debut release by garage blues band The Dead Exs CD to give away. (Read a review of the album here)
All you have to do to win is complete the following sentence – “I deserve a signed Dead Exs CD because…” – and send your entry to us via the contact form (link at the top of the site).
The competition closes on November 1st. Funniest/most bizarre entry will be the lucky recipient of the CD.
In a poll conducted by Rolling Stone Magazine, Starship’s 1985 #1 smash ‘We Built This City’ was named the worst song of the decade.
The top ten chart of supposed duds ran as follows:
1 – Starship – ‘We Built This City’
2 – Europe – ‘The Final Countdown’
3 – Chris De Burgh – ‘Lady In Red’
4 – Wham! – ‘Wake Me Up Before You Go-Go’
5 – Men Without Hats – ‘The Safety Dance’
6 – Falco – ‘Rock Me Amadeus’
7 – Bobby McFerrin – ‘Don’t Worry Be Happy’
8 – Toni Basil – ‘Mickey’
9 – Taco – ‘Puttin’ On The Ritz’
10 – Rick Astley – ‘Never Gonna Give You Up’
Okay, Chris De Burgh’s ‘Lady In Red’ is sickly and a few of the other nominees are hopelessly disposable, but are these ten tracks really the worst of the decade? At REAL GONE, we disagree. The 80s threw up so much bad music, Starship and Europe shouldn’t even qualify.
