Nickelback

“Canada’s Nickelback started life as a cover band in Hanna, 215 kilometers northeast of Calgary. Eventually, they tired of playing other people’s songs, and singer/guitarist Chad Kroeger put together a collection of original songs, borrowed money from his stepfather, and went to Vancouver to record the band in a friend’s studio. Based on the results, Kroeger’s bassist brother, Mike, guitarist Ryan Peake, and drummer Ryan Vikedal all relocated to Vancouver in 1996; that same year, they recorded and released the EP Hesher and full-length Curb independently, then embarked on a series of cross-country tours.

In late 1998, the bandmembers started managing themselves, with Chad handling all the radio tracking, brother Mike Kroeger the distribution, and Ryan Vikedal all the bookings. A second LP, The State, was released independently in January 2000 during a period when Canadian content requirements were increased and local rock radio began desperately seeking out homegrown product. What they found was Nickelback’s single “Leader of Men.” The band toured ceaselessly for The State and 200 shows later, Nickelback had gone from virtual unknowns to playing in front of over a million people alongside the likes of Creed, 3 Doors Down, Fuel, and more. The band’s post-grunge commercial appeal wasn’t lost on the record industry, and The State was snapped up by Roadrunner in the U.S. and EMI in Canada. It eventually sold an impressive 500,000 copies.

Many of the songs that comprised the third album, Silver Side Up, were written even before The State was released in America and road-tested in front of eager audiences on cross-country treks. The other significant change was Chad Kroeger’s conscious decision to write his lyrics in a more direct manner, rather than the metaphorical lyrics of previous releases. “Too Bad” pertained to the father who was never around when Chad and his brother were growing up; “Never Again” was a song inspired by broken homes; and “How You Remind Me,” the first single from the album, was written at rehearsals shortly before the band went into the studio.

To record the album, Nickelback worked with producer Rick Parashar (Pearl Jam, Temple of the Dog) at the same studio they used for The State, Vancouver’s Green House. The combination of the band’s growing popularity and the quality of the songs sent Silver Side Up into the sales charts around the world, spearheaded by the hit single “How You Remind Me.” (It was only the second time in history since the Guess Who’s “American Woman” that a Canadian band had been number one on both the Canadian and U.S. rock charts at the same time.) After Nickelback’s initial mainstream exposure, Kroeger produced Vancouver natives Default and collaborated with Saliva singer Josey Scott for the Spiderman soundtrack.

The more polished The Long Road arrived in 2003. The single “Someday” shot to number seven on the Billboard charts, and the album sold five million copies worldwide and was supported by another successful international tour. In February of 2005 it was announced that Ryan Vikedal had left the band, but Vikedal claimed in an interview he was pushed out for not being “the type of drummer” the band required. A month later it was announced that former 3 Doors Down drummer Daniel Adair was his replacement, and that Nickelback was jamming at Kroeger’s studio in Vancouver in preparation for their next album. ZZ Top’s Billy Gibbons and the late Dimebag Darrell from Pantera were guests on the chart-topping All the Right Reasons, which saw release in October of 2005.”

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Kenny G

“Kenny G has long been the musician many jazz listeners love to hate. A phenomenally successful instrumentalist whose recordings make the pop charts, Kenny G’s sound has been a staple on adult contemporary and smooth jazz radio stations since the mid-’80s, making him a household name. Kenny G is a fine player with an attractive sound (influenced a bit by Grover Washington, Jr.) who often caresses melodies, putting a lot of emotion into his solos. Because he does not improvise much (sticking mostly to predictable melody statements), his music largely falls outside of jazz. However, because he is listed at the top of “contemporary jazz” charts and is identified with jazz in the minds of the mass public, he is classified as jazz.

Kenny Gorelick started playing professionally with Barry White’s Love Unlimited Orchestra in 1976. He recorded with Cold, Bold & Together (a Seattle-based funk group) and freelanced locally. After graduating from the University of Washington, Kenny G worked with Jeff Lorber Fusion, making two albums with the group. Soon he was signed to Arista, recording his debut as a leader in 1982. His fourth album, Duotones (which included the very popular “Songbird”), made him into a star. Soon he was in demand for guest appearances on recordings of such famous singers as Aretha Franklin, Whitney Houston, and Natalie Cole. Kenny G’s own records have sold remarkably well, particularly Breathless, which has easily topped eight million copies in the U.S.; his total album sales top 30 million copies. 1994’s holiday album Miracles and 1996’s Moment continued the momentum of his massive commercial success. He also recorded his own version of the Celine Dion/Titanic smash “My Heart Will Go On” in 1998, but the following year he released Classics in the Key of G, a collection of jazz standards like “‘Round Midnight” and “Body & Soul,” possibly to reclaim some jazz credibility.

Faith: A Holiday Album was released that same year, followed up by a limited edition re-release of the 1997 Greatest Hits disc. 2002 found Kenny G dipping into tropical territory with Paradise, which featured guest appearances by Brian McKnight and Chanté Moore. This was followed by a music video collection, another holiday album, entitled Wishes, and, in 2003, a second greatest-hits collection, Ultimate Kenny G. Perhaps in a bid to shake up his discography a bit, in 2004 Kenny G released At Last…The Duets Album, which featured “duets” with LeAnn Rimes and Chaka Khan. Two years later, smooth jazz’s king of the soprano sax returned to a purely instrumental approach on the brassy, big-band-inspired albums Holiday Collection and I’m in the Mood for Love. 2006 was also the year the artist was dubbed the best golfer in music by Golf Digest, beating out Vince Gill for the number one spot. In 2008, Kenny G released the Latin-inspired Rhythm and Romance.”

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Juvenile

“New Orleans-based gangsta rapper Juvenile was born Terius Gray. After beginning his performing career while in his teens, he released a 1995 album on Warlock titled Being Myself. He eventually crossed paths with Cash Money label owners Ronald “Suga Slim” and Brian “Baby” Williams, who issued 1996’s Solja Rags; the album became a major underground hit, and set the stage for the release of 1998’s 400 Degreez. In 1999, with Juvenile’s popularity growing, Solja Rags was reissued nationally, and Warlock jumped on the bandwagon with a remixed version of Being Myself. The year ended with the release of a new studio effort, Tha G-Code, followed by Project English two years later in 2001. In 2002 he left Cash Money and formed his own collective, the UTP Playas (Uptown Project Playas), with whom he recorded a posse album, The Compilation. The album went nowhere and a year later he was back on Cash Money and releasing Juve the Great, which featured the chart-topping hit “Slow Motion.” The 2005 “Noila Clap” single from the UTP Playas was another big track, and Juvenile was ready once again to shop for a new label. As he was signing a new contract with Asylum, his Slidell, LA, home was destroyed by Hurricane Katrina. The hurricane and its grim aftermath were hot topics on his chart-topping 2006 album Reality Check.”

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Limp Bizkit

“The rap-metal outfit Limp Bizkit was formed in Florida in 1994 by vocalist Fred Durst and his friend, bassist Sam Rivers. Rivers’ cousin John Otto soon joined on drums, and guitarist Wes Borland completed the original foursome (later supplemented by DJ Lethal). After Korn played the Jacksonville area in 1995, bassist Fieldy got several tattoos from Durst (a tattoo artist) and the two became friends. The next time Korn were in the area, they picked up Limp Bizkit’s demo tape and were so impressed that they passed it on to their producer, Ross Robinson. Thanks mostly to word-of-mouth publicity, the band was chosen to tour with House of Pain and the Deftones. The label contracts came pouring in, and after signing with Flip/Interscope, Limp Bizkit released their debut album, Three Dollar Bill Y’All. By mid-1998, Limp Bizkit had become one of the more hyped bands in the burgeoning rap-metal scene, helped as well by more touring action — this time with Faith No More and later, Primus — as well as an appearance on MTV’s Spring Break ‘98 fashion show. The biggest break, however, was a spot on that summer’s Family Values Tour, which greatly raised the group’s profile.

Limp Bizkit’s much-anticipated second album, Significant Other, was released in June 1999, and it and the accompanying video for “Nookie” made the group superstars. Significant Other debuted at number one and had sold over four million copies by year’s end, also helping push Three Dollar Bill Y’All past the platinum mark. Durst, meanwhile, was tapped for a position as a senior vice president at Interscope Records in early July. However, in the midst of this massive success, controversy dogged the band following that summer’s performance at Woodstock ‘99. In the wake of the riots and sexual assaults that proved to be the festival’s unfortunate legacy, Durst was heavily criticized for egging on the already rowdy crowd and inciting them to “break stuff.” Not only was at least one mosh-pit rape reported during the group’s set (in addition to numerous other injuries), but the ensuing chaos forced festival organizers to pull the plug in the middle of their show. Even though Limp Bizkit’s performance took place the day before the infamous festival-closing riots, the band was raked over the coals in the media, who blamed them for touching off the spark that inflamed a potentially volatile atmosphere. Undaunted, Limp Bizkit headlined that year’s Family Values Tour, with the newly controversial Durst grabbing headlines for periodic clashes with Bizkit’s tourmates. During the Napster flap of 2000, Durst became one of the most outspoken advocates of online music trading; that summer, Limp Bizkit embarked on a free, Napster-sponsored tour. All of this set the stage for the October release of the band’s third album, Chocolate Starfish and the Hot Dog Flavored Water. Wes Borland left the band soon after, necessitating a long search for a replacement guitarist of comparable value; finally, after going almost three years without a new album, the band released a disappointing record, Results May Vary. Borland returned after its release, and the band issued The Unquestionable Truth, Pt. 1 in 2005, and album that was roundly ignored even if it was marginally better than its predecessor. The Bizkit then released Greatest Hitz, a 17-track career survey that included all the hits from their heyday.”

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Keith Urban

“Born in New Zealand, Keith Urban learned to play guitar as a six-year-old in Australia, after a young woman asked to place an ad in his dad’s shop window offering guitar lessons. His parents made a deal with her that they would advertise in return for lessons for their young son. The boy had natural ability. By the time he was eight, Urban was winning talent shows. He also was involved in a youth acting company that required him to sing, dance, and memorize lines, all of which led to the ease on-stage, which would serve him well in his music career.

With his father deeply interested in American culture and country music, it was also natural that Urban would gravitate toward country music early on, when he was influenced by the singing of Glen Campbell, Dolly Parton, and Don Williams, and the songwriting of Jimmy Webb (”Galveston”). Urban added his own dimension to those influences when he discovered Dire Straits, and became interested in the guitar playing of Mark Knopfler and Fleetwood Mac’s Lindsey Buckingham, embarking on in-depth study and endless practice of their techniques.

At the start of the ’90s, Australian country music was primed for a revolution. Keith Urban — young, brash, blonde, rock-ish — was part of that revolution. His first album saw him win several major awards. Throughout his rise Urban always had his eye on Nashville in the U.S.A. That’s where the music in his heart was born and still lived. Almost from the beginning he made periodical pilgrimages to Nashville, forging valuable career bridges. In 1997 Urban decided to base himself in Nashville. With his Australian bandmate, drummer Peter Clarke, he formed the three-piece band the Ranch. Their original bass player soon returned to Australia, but West Virginian Jerry Flowers quickly fit in.

Their live shows, featuring Urban’s standout lead guitar playing, led to a record deal with Capitol Nashville and a management contract with I.R.S. Records founder/Police manager Miles Copeland. The group’s debut album, The Ranch, was released to critical acclaim in 1997. Critics raved about the album’s unique take on country music and Urban’s guitar playing. Other artists also took notice, and when the Ranch disbanded, other artists called on Urban to add some of his fleet-fingered magic to their records. Garth Brooks asked Urban to play on Double Live. The Dixie Chicks invited him to play on their second album. Matt Rollings, one of Nashville’s top musicians, hired Urban as a session player on an album he was producing, and the two immediately clicked.

Impressed by Rollings’ knowledge of Nashville’s session players, Urban asked him to produce his next record, another solo album. His tour in support of that album included opening for such major acts as Dwight Yoakam, Faith Hill, and Tim McGraw, as well as headlining his own shows. Ten years on he was doing to Nashville what he’d done to Tamworth, Australia’s country music capital, with a string of successful records that included Golden Road, In the Ranch, and Be Here. The result was American country hits for “It’s a Love Thing” and “Your Everything” and a Grammy Award nomination for Best Country Instrumental Performance for “Rollercoaster.” In 2005, he released an anthology (Days Go By) as well as a live DVD (Livin’ Right Now).

The next year, Urban continued to attract media attention with his highly publicized engagement and June marriage to fellow Australian Nicole Kidman, plus his voluntary entry into a rehabilitation center for alcohol abuse in October. He postponed all his upcoming promotional appearances, but his album Love, Pain & the Whole Crazy Thing was released that November as scheduled.”

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Staind

“It has been said that first impressions last a lifetime. Luckily for Staind, some only last for about 45 minutes. After a volatile disagreement with Limp Bizkit’s Fred Durst over some of Staind’s early cover art, it seemed their big break had walked out the door. Fortunately, by the time Durst had witnessed Staind’s intense live show, he was ready to exchange phone numbers.

Staind’s story began in the New England area when vocalist Aaron Lewis and guitarist Mike Mushok met at a Christmas party in 1993. Mushok was able to bring drummer Jon Wysocki into the fold, and Lewis’ connection with a bass player (who later left) completed the early lineup. Establishing themselves took time, and extensive touring of the Northeast with other established metal acts helped them sell over 2,000 copies of their self-released debut in just over a year. They were primed for their big break, and on October 23, 1997, the hard work paid off.

At a show in Hartford, CT, Staind was all set to open for Limp Bizkit when Bizkit singer Durst raised a stink over cover art on Staind’s self-released CD. After a heated conversation over whether or not Staind were Satan worshipers, Durst forcefully returned the disc to the band, and walked away. But 45 minutes later Durst was back, not to further the argument, but to make sure he kept in contact with Staind. Blown away by their live show, Durst exchanged phone numbers, and loved their demo tape when they gave it to him. He convinced them to travel to Jacksonville, FL, to work on the new songs.

After reworking the new material and a successful live show, Durst contacted the head of Flip Records and arranged a meeting for Staind with the label. While in Los Angeles, a three-song sampler was recorded, and by the time February rolled around in 1998, the band had a record deal. After playing the Vans Warped Tour, they began work on their first album, Dysfunction. The album was produced by Terry Date (Deftones, Pantera, Soundgarden) and was released April 13, 1999. A tour with Kid Rock followed that spring and later the band reunited with good friends Limp Bizkit for a summer tour. Their follow-up, Break the Cycle, enjoyed a prolonged visit at the number one spot on U.S. charts in 2001. Smash hits like “It’s Been a While,” “Fade,” “For You,” and “Epiphany” catapulted Staind into the mainstream, leaving their 2002 DVD MTV Unplugged to go gold. Staind released 14 Shades of Grey in spring 2003, and after a two-year break returned with the chart-topping Chapter V, named to include their self-released debut in the Staind canon. A Singles and Videos compilation arrived in 2006, followed by the all new studio album Illusion Of Progress in 2008.”

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Shakira

“After achieving superstardom throughout Latin America, Colombian-born Shakira became Latin pop’s biggest female crossover artist since Jennifer Lopez broke down the doors to English-language success. Noted for her aggressive, rock-influenced approach, Shakira maintained an extraordinary degree of creative control over her music, especially for a female artist; she wrote or co-wrote nearly all of her own material, and in the process gained a reputation as one of Latin music’s most ambitiously poetic lyricists. When she released her first English material in late 2001, she became an instant pop sensation, thanks to her quirky poetic sense and a sexy video image built on her hip-shaking belly dance moves.

Shakira Mebarak (full name: Shakira Isabel Mebarak Ripoll) was born February 2, 1977, in Barranquilla, Colombia, into a poor family. Her mother was a native Colombian and her father was of Lebanese descent, and so as a child Shakira soaked up music from both cultures; she also listened heavily to English-language rock & roll, listing her favorite bands in later interviews as Led Zeppelin, the Beatles, the Police, the Cure, and Nirvana. Shakira wrote her first song at age eight, began entering (and winning) talent competitions at age ten, and started learning the guitar at age 11; one story runs that around this age, she was kicked out of her school choir for singing too forcefully. In 1990, at age 13, Shakira moved to Bogotá in hopes of pursuing a modeling career, but wound up signing a record deal with Sony’s Colombian division instead. Her 1991 debut album, Magia (Magic), was comprised of songs she’d written over the past five or six years, including some of her earliest efforts. Although it didn’t break internationally, the record started to make a name for her in her home country. Dissatisfied with the pop inclinations of the follow-up, 1993’s Peligro (Danger), Shakira changed direction for a time, joining the cast of the Colombian soap opera El Oasis in 1994.

When Shakira returned to recording in 1995, she asserted more control over the direction of her music, and worked more rock & roll rhythms — as well as occasional Arabic tinges — into her Latin pop material. The first results were Pies Descalzos (Bare Feet), which was initially released in 1995; a slow seller at first, the album gradually caught on thanks to “Estoy Aqui,” which became a hit all over Latin America, as well as Spain. After that breakthrough, Pies Descalzos just kept spinning off singles: “Dónde Estás Corazón?,” “Antología,” “Pienso en Ti,” “Un Poco de Amor,” “Se Quiere, Se Mata.” The album hit number one in eight different countries and eventually went platinum in the U.S. as well; Shakira toured for nearly two years promoting it (she finally left El Oasis in 1997).

Seeking to build on her success, Shakira signed Emilio Estefan — Gloria’s husband and a highly successful music-biz insider — as her manager and producer. The move paid off when her follow-up album, 1998’s Dónde Están los Ladrones? (Where Are the Thieves?), became an even bigger worldwide hit than its predecessor. What was more, it cracked the lucrative U.S. market wide open, spending 11 weeks at number one on Billboard’s Latin album chart and producing two U.S. number ones (on the Latin chart) with “Ciega, Sordomuda” and “Tu.” The album’s signature track, however, was the worldwide hit “Ojos Así,” her most explicit nod yet to the Arabic music she’d picked up from her father (not to mention its latent belly dancing connotations). Dónde Están los Ladrones? was also the most effective presentation yet of Shakira’s strong-willed persona; her self-analysis made her even more popular among female fans, while her anger over love gone wrong drew comparisons to Alanis Morissette.

When Gloria Estefan offered to translate “Ojos Así” into English, the prospect of a crossover suddenly seemed tangible, and Shakira decided that the most effective way to maintain control over her material was to learn English well enough to write in it herself. In the meantime, she set the stage for her crossover bid with a performance on MTV Unplugged, the channel’s first Spanish-language broadcast. MTV Unplugged was released as an album in early 2000, and topped the Latin charts for two weeks on its way to becoming her third straight platinum album; it also won a Grammy for Best Latin Pop Album. At the inaugural Latin Grammy Awards ceremony in 2000, Shakira delivered a much-discussed, show-stopping performance of “Ojos Así” and took home Unplugged-related trophies for Best Female Pop Vocal (”Ojos Así”) and Best Female Rock Vocal (”Octavo Dia”).

Mainstream pop stardom beckoned. Shakira dyed her long brown hair blonde, romanced Antonio de la Rua (son of the former president of Argentina), and went to work on her first (mostly) English-language album, Laundry Service. The single/video “Whenever, Wherever” was released in advance of the album in late 2001, and made her a star in the English-speaking world almost overnight. Laundry Service entered the American pop charts at number three, and “Whenever, Wherever” climbed into the Top Ten of the singles chart, peaking at number six. The follow-up, “Underneath Your Clothes,” also hit the Top Ten, halting at number nine; less than a year after its release, Laundry Service had gone triple platinum. Reviews of Laundry Service were divided as to the effectiveness of Shakira’s English lyrics, but nearly all agreed on her unique poetic imagery.

Extensive touring to support Laundry Service led to a long break for the singer, so a remix collection (2002’s Laundry Service: Washed and Dried) and a live album (2004’s Live & Off the Record) appeared in lieu of a new album. Revitalized, Shakira began the writing process for her next release and soon had 60 songs ready to go, some in English, some in Spanish. Twenty of the songs were selected and divided up by language to make two different albums. Both appeared in 2005 and both hit the Top Ten, with the Spanish-language album Fijacion Oral, Vol. 1 leading the way in June with a number four placing and the English-language album, Oral Fixation, Vol. 2, following in November at number five. As sales of Oral Fixation began to slow in early 2006, Epic reissued the album in March with a bonus track, “Hip Don’t Lie.” The newly recorded song went on to top the Billboard Hot 100 chart in June, becoming one of the summer’s biggest hits and reviving sales of Oral Fixation as well as Shakira’s entire back catalog.”

by Steve Huey

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DJ Tiesto

“Highly regarded by both DJ Magazine and ultra-loyal fans, DJ Tiësto, due in part to his legendary six-hour, energetic live sets, has been elevated to mythical status as one of the world’s foremost trance DJs. A native of Breda, Netherlands (born Tijs Verwest on January 17, 1969), Tiësto first starting playing out at a well-known club in his hometown called the Sprock. Discovered there by the GM of Rotterdam-based Basic Beat Recordings, Tiësto released his first of five mix CDs as a part of the label’s Forbidden Paradise series.

Coupled by quick success and his accelerated work ethic, Tiësto soon partnered with Arny Bink and, in late 1997, started Black Hole Recordings as a private label for his productions and mixes which became the birthplace for both his Space Age and revered Magik series (volume seven hit during the summer of 2001). In addition to these acclaimed series, Black Hole also brought the world the first mix compilations from artists such as Ferry Corsten, Johan Gielen, and Armin Van Buuren, and introduced yet another prized series called In Trance We Trust.

Relentless global touring ensued and, in three short years, the world outside Holland took notice with Nettwerk finally signing him to a stateside deal. Summerbreeze marked Tiësto’s U.S. debut, a mix album that showcased his remix of Delerium’s “Silence” (featuring Sarah McLachlan), an epic 11 1/2 minute tour de force of throbbing beats cascading within a swirl of sweeping synthesized sounds, all of which cocooned round McLachlan’s majestically angelic voice; a call from heaven heard from shore to shore to shore. Aside from reverberating throughout dance clubs everywhere, the remix was massive, spending four weeks in the Top Ten in the U.K., peaking at number three on the Billboard dance charts, and continues to remain one of the most influential tracks of the progressive dance era.

With this swell of immediate notoriety, he instantly became one of the most sought after producers/remixers and catapulted a stylized musical fashion, that of weaving threads of ethereal female vocals deep within the ebbs and flows of a tidal wave of pulsating electronic rhythms. As this anointed purveyor of exuberant layered soundscapes, Tiësto has churned out female-fueled remixes that span the gamut, including tracks by Chicane, Leigh Nash of Sixpence None the Richer (on Delerium “Innocente”), and Faithless. And there’s more to come. A thorough sonic search in MP3 land unearths several tasty treats of re-workings of SuReal “You Take My Breath Away,” Kosheen on their club smash “Hide U,” Dave Matthews Band “The Space Between,” and a blistering exploration on the theme from A Clockwork Orange.

Clockwork it seems to be as Tiësto’s star continues to shine bright. November 2001 saw the release of In My Memory (Nettwerk), his first artist album that mixes original compositions-turned club anthems (”Flight 643″) with more commercial fare, as evidenced on the title track with vocals by Mandalay’s Nicola Hitchcock. April 2002 kept his catalog expanding with the release of the third installment of Tiësto’s hypnotically elegant, Ibiza-influenced, and aptly named mix compilation entitled In Search of Sunrise. His 2004 album Parade of the Athletes was the soundtrack to the opening ceremony of that year’s Olympics and recalled the work of Jean Michel Jarre and Giorgio Moroder. Elements of Life from 2007 featured a guest appearance from BT along with numerous guest vocalists.”

by Robert Evanoff

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Finger Eleven

“The members of alternative metal outfit Finger Eleven grew up in Burlington, Ontario, and came together in high school as a funk-styled band named Rainbow Butt Monkeys. Originally comprised of Scott Anderson (vocals), Sean Anderson (bass), Rob Gommerman (drums), and James Black and Rick Jackett on guitars, they won a rock band search contest on local radio and used the prize money to record their first album, 1995’s Letters from Chutney. Gommerman left the band soon after, making way for drummer Rich Beddoe. Now named Finger Eleven, the quintet released Tip on Mercury Records in Canada, which marked the band’s turn to a heavier sound. It was re-released by the New York City-based label Wind-Up Records in September 1998. The album made minor waves on Much Music, videos for “Above” and “Tip” increasing their profile at home, but it would still be several years before U.S. audiences really paid attention to the band. The Greyest of Blue Skies appeared in the summer of 2000, followed three years later by Finger Eleven’s self-titled third album. The latter record eventually went gold, driven by the success of their brooding Top 40 hit “One Thing.” After various rounds of touring, the guys got to work collectively writing their next album for Wind-Up. March 2007’s Them vs. You vs. Me featured much more varied instrumentation and influences — including dance, funk, and country — than just the chugging metallic guitars of Finger Eleven’s past efforts. The band subsequently hit the road in support with U.S. shows alongside Evanescence and Chevelle.”

by Roxanne Blanford

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Outkast

“OutKast’s blend of gritty Southern soul, fluid raps, and the rolling G-funk of their Organized Noize production crew epitomized the Atlanta wing of hip-hop’s rising force, the Dirty South, during the late ’90s. Along with Goodie Mob, OutKast took Southern hip-hop in bold, innovative new directions: less reliance on aggression, more positivity and melody, thicker arrangements, and intricate lyrics. After Dré and Big Boi hit number one on the rap charts with their first single, “Player’s Ball,” the duo embarked on a run of platinum albums spiked with several hit singles, enjoying numerous critical accolades in addition to their commercial success.

André Benjamin (Dré) and Antwan Patton (Big Boi) attended the same high school in the Atlanta borough of East Point, and several lyrical battles made each gain respect for the other’s skills. They formed OutKast and were pursued by Organized Noize Productions, hitmakers for TLC and Xscape. Signed to the local LaFace label just after high school, OutKast recorded and released “Player’s Ball,” then watched the single rise to number one on the rap charts. It slipped from the top spot only after six weeks, was certified gold, and created a buzz for a full-length release. That album, Southernplayalisticadillacmuzik, hit the Top 20 in 1994 and was certified platinum by the end of the year. Dré and Big Boi also won Best New Rap Group of the Year at the 1995 Source Awards.

OutKast returned with a new album in 1996, releasing ATLiens that August; it hit number two and went platinum with help from the gold-selling single “Elevators (Me & You)” (number 12 pop, number one rap), as well as the Top 40 title track. Aquemini followed in 1998, also hitting number two and going double platinum. There were no huge hit singles this time around, but critics lavishly praised the album’s unified, progressive vision, hailing it as a great leap forward and including it on many year-end polls. Unfortunately, in a somewhat bizarre turn of events, OutKast was sued over the album’s lead single, “Rosa Parks,” by none other than the civil rights pioneer herself, who claimed that the group had unlawfully appropriated her name to promote their music, also objecting to some of the song’s language. The initial court decision dismissed the suit in late 1999.

Dré modified his name to André 3000 before the group issued its hotly anticipated fourth album, Stankonia, in late 2000. Riding the momentum of uniformly excellent reviews and the stellar singles “B.O.B.” and “Ms. Jackson,” Stankonia debuted at number two and went triple platinum in just a few months; meanwhile, “Ms. Jackson” became their first number one pop single the following February. 2003’s Speakerboxxx/The Love Below, a double album, debuted at number one and spawned a pair of number one singles: the Dré-fronted “Hey Ya” and the Big Boi-fronted “The Way You Move.” Three years later, as breakup rumors continued to swirl, they returned with the feature film Idlewild and an accompanying soundtrack. ”

by John Bush

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