#billgould

[aloneinthedark02-blog-blog]

Yes, i met all of them. And yes, they were amazing. <3 

[elenadivincenzo]

MC50 live at Alcatraz Milano | 50° of “Kick Out The Jams” 😍 11.21.18 | Milan (IT) ©️ elena di vincenzo www.elenadivincenzo.com Follow me and my pics 📸➡️ @misselenadv —- @mc50th @officialwaynekramer @kimthayil #marcusdurant @brendancanty #billgould #mc50 #waynekramer #kramer #kickoutthejams #kotj #mc5 #motorcity5 #allstarband #picoftheday #photography #fotografia #livemusic #elenadivincenzo #band #detroit #omg #rocktography (presso Alcatraz - Milano) https://www.instagram.com/p/BqfOkaJgDvL/?utm_source=ig_tumblr_share&igshid=1wh2po7j1kiab

[ghostcultmagazine]

Faith No More Book Coming Next Month

Faith No More, by Meg Loyal Photography Faith No More has been one of most influential bands of the last 30 years. Now a new book promises a level of insight and depth than ever before on the enigmatic artists. Small Victories: The True Story Of Faith No More is coming September 12th, Jawbone Press. The book was written by Adrian Harte, the blogger whose website, Faith No More 2.0 (www.newfaithnomore.com), has become the pre-eminent source for all things Faith No More. While not an official book from Faith No More itself, the 376-page offering features interviews with multiple band members, managers and key figures from the band’s 39-year history and has the full endorsement of the San Francisco-based group.

Faith No More bassist/leader Bill Gould comments: “When I first heard about this Faith No Moe biography, I didn’t know what to think. But I have to give credit where it is due. It’s a quality piece. The man has done his research, and it shows. It provided me with more than a few revelations… and I’m in the band.” About “Small Victories: The True Story of Faith No More” “Small Victories…” tells how such a heterogeneous group formed, flourished, and fractured, and how Faith No More helped redefine rock, metal and alternative music. The book chronicles the creative and personal tensions that defined and fueled the band, forensically examines the band’s beginnings in San Francisco’s post-punk wasteland, and charts the group’s ascent to MTV-era stardom. Based on meticulous research and hundreds of interviews, the book combines a fan’s passion with a reporter’s perspicacity. About Adrian Harte Adrian Harte is an experienced journalist and communications professional who works as a media intelligence manager for UEFA, the European football governing body. Since 2009 he has run newfaithnomore.com, through which he has become known and trusted by the band, their management and their fans. He lives in Aubonne, Switzerland. Order Small Victories: The True Story of Faith No More here:  Published by Jawbone Press Release date: Sept. 12, 2018 Format: 376pp paperback with 2x8pp color photo inserts ISBN 978-1-911-036-37-1 Price: $22.95 US Read the full article

[rantsofajerk]

Faith No More?

Those who’ve known me for any length of time undoubtedly know of my slightly unhealthy love of the rock band FAITH NO MORE.  To this day, posters hang on my walls, my computer and iPods are filled with their music and from many of the past & present members’ other bands, my closet houses numerous concert t-shirts (in high school, I was the kid with a different FNM shirt for every day of the week … literally), and, oh yeah, that tattoo.

So, what is it that drew me to this band, and how did they keep my interest for the vast majority of my life?  And for the uninitiated, who the hell are they?  … Where to start? 

Obviously, most folks (over the age of 30 or so) know them from their massive 1989 hit Epic and a handful of their less huge follow-up hits that history seems to have removed from the conversation--at least as far as American pop-culture’s amnesia-ridden memory is concerned.  But they had a handful of well known songs in the late ‘80s and on into the mid-’90s as well, not to mention, some of the greatest music videos ever.  And guess what, Kanye, they did it without auto-tune or filling their videos with sexy chicks (with the exception of “Easy” … see below).

This insanely creative, thought-provoking and groundbreaking band’s story has played out over the past 30+ years like a movie; numerous lineup changes, in-fighting and shit talking between band members, LOTS of shit talking about the record industry, about MTV (while being interviewed on MTV), and other bands--some while on high profile tours with or supporting said bands.  Never a dull moment, as a fan or just as an observer.  

There’s plenty of information out there on the interwebs and such to dig in deeper into their history if you want (and a fantastic book called The Real Story covering their beginning through the early-90s), but I’m just gonna focus on what they represent to me, someone who they have inspired in countless ways, and will attempt to let their music do most of the talking.  

The first ‘official’ version of the band was bassist Bill Gould, drummer Mike Bordin, keyboardist Roddy Bottum, guitarist Jim Martin, and vocalist Chuck Mosely.  They had their first kinda ‘hit’ in ‘87 with “We Care A Lot” from their amazing major label debut,  Introduce Yourself, but a couple years prior, the album We Care A Lot featured a few of my all-time favorite FNM tunes (”The Jungle,” “As The Worm Turns,” “Why Do You Bother?”).  Something about the unpolished production, the youthful, genuine rebellious aggression, the bleak cynicism and sarcasm of the lyrics, all of it still speaks to me to this day.  I’m sure it sounds dated to the young whipper-snappers, but fuck’m.  

Too many great songs on the Introduce Yourself album to mention individually, but it was a huge leap forward from the previous work.  The production was cleaner, everything and everyone sounded bigger and more confident, great shit.  Sounded like a band really coming into its own.  And due to their highly publicized dysfunction, was the last time we’d hear Chuck’s incredibly unique rapping/yelling/animal-noise cackling voice on an FNM record. 

I’d heard “We Care A Lot” on the radio here and there, but never really knew who the band was until MTV started shoving “Epic” down mine and everybody else’s throats.  For once, it was a force-feeding I appreciated, well, not only appreciated, was starving for.  Their first album with singer Mike Patton (The Real Thing) was another giant leap forward.  The songs were tighter, heavier, more diverse, and thanks in large part to the addition of Patton’s insane vocal range & fancy haircuts, much more digestible to the mainstream. 

“Epic” was everywhere, although the rap-meets-hard rock thing had been done many times before, there was something incredibly special about this song.  The power, the melody, the classical piano outro.  For its time, it was something that sounded totally fresh, and hit in a huge way.  And their performance on MTV music awards in 1990 was one of the greatest things I’ve ever seen.  Just watching Bordin beat the living shit out of his drum kit still makes my day.  Enjoy.

Of course, because of “Epic,” FNM gets blamed for the rise of the nu-metal scene that followed (Limp Biscuit, Korn, Slipknot, Linkin Park, etc.), but the reality is the rap/rock aspect was only a small part of what they did.  The Real Thing went in many different directions, from straight heavy metal (”Surprise! You’re Dead”) to smooth jazz (”Edge of the World”), to whatever the hell the title song could be called … I still can’t think of an appropriate description for that one, it’s just completely its own thing.  By the way, if I’ve typed something in bold, click on it … you’re welcome.

Anyhow, thirteen year-old me was hooked.  I played the hell out of The Real Thing for years, it was the first CD I ever bought (this was after playing the cassette so much that it had begun to warp).  Brilliant album, really expanded my own perception of what a rock band could pull off if they truly didn’t care about being ‘cool,’ an extremely rare trait in the ultra-glam/super shallow ‘80s hard rock scene.  The first time I saw them perform live was in summer of ‘91 at Day On The Green in Oakland Stadium (with Metallica, the about-to-be-super-famous-Soundgarden and the about-to-stop-being-famous Queensryche).

Then came the ultimate next level in bad-assery.  ANGEL DUST. 

From the first listen, it was like this album was made for me. Everything about it was the polar opposite of what I was anticipating, yet, somehow, it was perfect to my ears.  More innovative, heavier, darker, weirder, smarter, uglier, and prettier than anything they’d put out prior.  These guys weren’t just musicians, they were visionaries.  

Think of the balls it takes for a band, who had all the tools at the time to break into true superstardom following up a hit record, and rather than repeat what themselves and bask in the inevitable glory of guaranteed further pop success, they thumbed their collective noses at it all and released one of the most artistic and challenging collection of songs anyone has ever heard from a band at their level.  

And if “Midlife Crisis” (which WAS a hit, by the way) wasn’t out there enough, check out the next one, A Small Victory.  Sure, the horn samples are a little dated, who cares?  Great, melodic pop(ish) song, fantastic video.  Eat it. 

**Side note: my friends and I got side-swiped by a taxi right after we saw them at the Warfield in San Francisco in January of ‘93.  Awesome show, totally worth it.**

During the Angel Dust press onslaught, Roddy Bottum came out as gay, which probably doesn’t sound like such a big deal in 2015, but in 1992, that was HUGE.  For a guy in a famous hard rock band to publicly announce he was homosexual was probably seen as career suicide by their record company and managers, even more so than putting out an album as trippy as AD.  Shit, Rob Halford from Judas Priest didn’t even come out until ‘97 or so, no doubt Roddy helped him muster the courage.

After Angel Dust confused most of my friends and the world (mainstream was too distracted with Nirvana and the not-so-innovative grunge movement at the time), the band released the ultimate ‘fuck you’ to those who would still label them as a rap/metal band--their absolutely perfect cover of the Commodores’ “Easy.”  Although, it was pretty cliché to have a bunch of sexy chicks hanging out with the band in a hotel room in rock videos back in those days, can’t help but give them a pass, because damn, those chicks were HOT.

Then came the “Songs To Make Love To” easy listening EP (featuring “Easy”), which further alienated everyone who wanted so badly to label them a metal band.  But if “Das Schutzenfest” isn’t metal, I don’t know what is.

Then, at the height of their fame, they famously kicked out their iconic guitar player and continued creating music none of us saw coming.  For example, a super heavy duet with Somoan gangsta rappers, Boo-Yaa T.R.I.B.E.

Probably since Angel Dust was too interesting for the mainstream, their next album, King For A Day, Fool For A Lifetime was pretty much ignored in America at the time.  Sonically, it was definitely a lot to take in, not so much the difference in guitar styles (this time by all-around genius Trey Spruance, who played with Patton in Mr. Bungle for 15 years … that’s a story for another day), but it was the lack of Roddy Bottum’s keyboards that struck me as the biggest change. 

KFAD was as diverse and challenging as anything they’d released, peaks and valleys everywhere, chaotic, from psychotically violent to super mellow, a totally unique beast.  As schizophrenic as it is, there are plenty of cinematic moments, intriguing lyrics and dark humor sprinkled throughout, making it still feel somewhat like classic FNM, albeit a much more direct, stripped down version.  I’m personally most drawn to that album’s less aggressive tunes, like “Evidence” and “King For a Day.”  Those also happen to have some of the most prominent keyboards, so maybe that’s part of it.  I’ve always wondered what the album would have sounded like with more of Roddy’s input, but it is what it is, and lotsa folks think it’s the best album they ever made, so it’s all subjective.  And if we’re gonna talk unique and innovative, it closes with a reggae-meets-gospel tune that is just as tacky and brilliant as you’d imagine.

**Another side note: After their Warfield show in '95, spent a few hours in the ER after a friend got her knee busted when 50 psychos trampled her trying to get a drum stick Bordin threw in her direction.  I’d also acquired some pretty kick ass bruises and scrapes from the mosh-pit that night, including a sweet shiner from some dick’s combat boot after he repeatedly stomped on my back.  There’s a picture or two around here somewhere, I just don’t care enough to dig around right now.  Sorry.**

Then came Album of the Year, which featured yet another interesting guitarist, Jon Hudson.  Hudson’s sound was a little more reminiscent of Jim Martin’s than Spruance’s was, not sure if that was intentional or just how it ended up, but this one sounded a lot more like ‘classic’ FNM to my ears.  And although it had a familiar feel to it, they were still experimenting and pushing boundaries, uncompromising as ever.  There was hard rock, soul, electronica, surf, country, you name it.  All over the place as usual, but more mature-sounding and a little less abrasive to the senses than KFAD.  

The first single, “Last Cup Of Sorrow” definitely sounded like an extension of the Angel Dust-era to me, and “Ashes To Ashes” was a slick pop/rock-anthem kinda song--both were too weird for mainstream radio or MTV, of course.  But if you look at what was going on at that time (1997-98), it’s good that they didn’t fit in with any of that horse shit.  

One song in particular was way ahead of its time, and it may be my favorite FNM song to date.  Great video, too.

**Yet another side-note: Saw them at the Warfield again in ‘97.  No injuries to speak of.**

Then came the part that really hurt.  In 1998, Faith No More broke up.  

After throwing in the towel, Billy Gould started a record label, so did Patton (who also started countless new musical projects, including Fantomas,  Tomahawk, Peeping Tom, Mondo Cane), Roddy continued with his side-band Imperial Teen and did some film scoring, Bordin played in Ozzy Osbourne’s band for years, as well as a few other rock and metal bands.  

They collectively released a ton of great music during those post-FNM years, so it wasn’t as if my withdrawals weren’t somewhat tolerable, but still, to those of us who were truly moved by the Faith No More’s music--their attitude, what they stood for, all of it--we always secretly hoped they’d find a way to kiss and make up.  The music stood the test of time like very few other bands of the era, in fact, Angel Dust is now deservedly recognized as the progressive masterpiece some of us always knew it was.  Over the next decade, this odd little cult band had somehow grown much more popular after they broke up than during the years they were together.  How often do you see that happen?

**Another ‘nother side note:  When I was first writing the ‘script’ (a term I use extremely loosely) for my film DAY JOB, I didn’t put much thought into naming any of the characters. I’d just call them whatever their purpose in the story was (technician, roommate, stripper, etc.).  When it came time to shoot the thing, I had to quickly think up some names the actors could call each other by, and, yes, this is super geeky of me, I named most of the male characters after members of FNM.  Little easter eggs to look for if you ever see it.  On a related note, the majority of the music in the soundtrack is off Mike Patton’s Ipecac Recordings label.**

Then, seemingly out of thin air, THIS happened in 2009 (ironically, at the world’s most famous heavy metal festival).

During the reunion tour that followed, I was lucky enough to catch three of their shows in 2010, two in SF and one in Hollywood (I drove from SF to Hollywood and back the same day for that one, and was super fortunate to see them perform with Sparks.  Danny Carey from Tool almost jumped in on drums when Bordin left the stage to take a leak at one point, too .. like I said, never a dull moment).  And they were every bit as powerful, inspired, and energetic as ever, plus, nevermind that I never expected to see them performing together again, I got to witness the truly unimaginable: they reunited onstage with original singer CHUCK MOSELY for the first time since 1988.  It was the most entertaining train-wreck imaginable, totally unexpected gift for those of us who weren’t around in the Chuck days.  And I watched it from 20 feet away.  You are correct to be jealous. 

Speaking of things to be jealous of, I also attended their legendary Record Store Day mini-concert at Amoeba Records in SF last November.  You really wanna touch me now, don’t you?  Go ahead, get some.

Turns out the Gimp is an old high school friend’s partner, too.  Small world.

Anyway, been gushing long enough.  This wasn’t supposed to be a history of the band thing, but I guess it turned into that.  Tough shit.  I fucking love this band.  They represent all that is lacking in the vast majority of today’s popular music;  innovation, integrity, courage, a singular and unique voice, there’s an undeniable power in this type of uncompromising creativity.  In a strange way, speaking as an indie filmmaker, their music and attitude have inspired me more than any filmmaker ever could. Like I said before, these are more than just musicians.  They are artists.  Truly a dying breed.  And it’s starting to look as though the public may finally be ready to appreciate them.  

I’ll be seeing them twice in SF later this month at the Warfield (hopefully will come home with some new cuts & bruises to share with you) and they’ve got a new album coming out next month … you know, the album I’ve literally been waiting half my life to hear.  Other than the couple songs I’ve already heard, there’s no way to anticipate what wonderfully bizarre treats they have in store for my ears.  Can’t fucking wait. 

Thanks for indulging me, motherfuckers.