Bone Thugs N Harmony, Too Short
Event on 2012-06-09 20:00:00

Supporting Acts: Konnekted

Bone Thugs N Harmony

They sold more than 15 million records. They recorded with The Notorious B.I.G. They recorded with 2Pac. They won a Grammy. They redirected hip-hop's sonic direction. Only one rap group has these impressive feats on its extensive resume: Bone thugs-n-harmony. Simply put, the Cleveland quartet is one of the most important groups in hip-hop history; breaking down doors for other Midwestern rappers; launching their successful Mo Thugs record company and introducing mind-splitting, rapid-fire rapping and angelic harmonies with melodic production to the genre. With their newest and most intense album to date, "Thug World Order," Krayzie Bone, Wish Bone, Layzie Bone and Bizzy Bone come full circle with an idea they've been cultivating since their formative years in Ohio. "It's basically what we've been trying to organize ever since we came out," Krayzie says of the mission for the group's new album. "We wanted to have a following of a whole lot of thugs and if you listen to what is going on in the industry today, that's all people are talking about and claiming to be, thugs. You haven't heard nothing about gangsters. We were trying to create a Thug World Order that we'd be running. We aren't finished with it yet." The group's latest musical masterpiece, "Get Up & Get It," features R&B sensation 3LW on its heavenly hook. As has been the case with several other Bone singles, "Get Up & Get It" will have listeners striving to get the best out of their lives, regardless of how bleak things may look. "It's going to inspire everybody," Wish says. "If you are looking at yourself in a messed up situation and you want it to be better, if you listen to this song, it will motivate you to want to do something." Adds Krayzie: "It's one of those songs where you wake up, hear it and you want to get up and get outside because you think you're missing something." Throughout the group's tumultuous career, which has been marked by the AIDS-related death of mentor Eazy-E and well-publicized feuds with their recording home, Ruthless Records, Bone has remained strong and focused on its mission to deliver strong, positive messages to its fans, which number in the millions. On the stirring, gorgeous "If I Fall," the group pulls on emotions like no other rap outfit can. Wish, in particular, stresses that giving up is not acceptable, that each of us is blessed in our own way and that God can help with any problem we may encounter. "It's nothing that we plan to do, write a song that's going to touch people to the heart," Wish explains. "We just heard the beat and that's what came out. It's a beautiful song and it's something that people can feel." As the members of Bone know all too well, life sometimes brings stressful situations that cause people to test their faith. They address such trying times on "Home," which features a well-placed sample from Phil Collins' "Take Me Home". Much like Collins' music, Bone hopes people use this song as an escape, something fans can use to ease whatever stressors are causing them strife. "Sometimes things drain you," Krayzie says. "You get tired of the bullshit, of arguing, of being tired of shit that you shouldn't even be fighting for. Sometimes you just want to get away, go home and just chill, disappear." "There was a time when we were back up in Cleveland in our Mo Thugs office," Krayzie recalls. "This was something that Cleveland people weren't used to, young, black dudes our age pulling up in the hood in new Mercedes-Benzes. We had houses and an office in a white neighborhood. Of course the police, by not knowing what business we're in, they're going to get on us. They had Mo Thugs Records up under investigation, but we were all about the music. That's one of the reasons we had to bounce from Cleveland. It was hot. We couldn't trust anybody. People down there tried to set us up. We didn't want to get back into that bullshit no more." But the drama Bone endured wasn't limited to people who wondered about their line of business. Each of the Bone members has endured stressful and painful encounters with women fraudulently claiming a member of the multi-platinum rap group impregnated them. Bone addresses the situation head-on with "Not My Baby," one of "Thug World Order's" most searing selections. "When we were young, everybody wanted a piece of us," Wish says. "They'd never seen it like we did it when we made it in Cleveland. We were some damn fools. You get more and more girls and every girl we ran into was like, "Oh, I'm pregnant. They wanted money but we came to find out they were lying." Even when the truth was known, the women didn't even apologize for putting the rappers through the legal wringer. They were like, "Oh well. Thank you for the money you were paying," Krayzie says. "We had to say something on that because we love the ladies and everything, but there should be something out there to protect the fellas. Once we go into court on that, it's over." Even with all this hometown drama, Bone still has love for its city. With "Cleveland Is The City," the group shows its loyalty and gives its hometown major love. "You can't ever forget where you come from," Wish says. "Sometimes people where you come from believe that you have forgotten. It's just a little reminder that we're appreciative and that we love where we come from. We're never going to forget that." With its heartfelt lyrics and varied subject matter, "Thug World Order" makes bold creative statements. The same can be said for the collection's crushing beats, which were handled by LT Hutton, DJ U-Neek and the Platinum Brothers. The anger nearly palpable on each song's lyrics also comes through on the album's music, which has a menacing, intimidating feel. Once the producers heard the lyrical direction Bone was pursuing, they created dark soundscapes to match the words flowing from each of the Bone's mouths. Although Bone thugs-n-harmony has been releasing albums for nearly a decade, they still sound hungry and driven on "Thug World Order." Whereas other rap crews home in on a signature sound or outlook, Bone has consistently updated and refined its approach since releasing the independent album "Faces Of Death" in the early 1990s. Since then, their albums— 1994's "Creepin' On Ah Come Up" EP, 1995's "E. 1999 Eternal," 1997's "The Art of War" and 2000's "BTNHResurrection"— have earned them critical acclaim, millions of record sales and have inspired a throng of imitators. They also picked up a Grammy for their breakthrough hit, " Tha Crossroads," along the way. Krayzie, Layzie and Bizzy have all released critically acclaimed solo albums and the entire crew will appear in "Ghetto Cowboy," a film named after a song from one of the crew's three successful Mo Thugs compilations. Bizzy and Layzie have established themselves as actors in well-received independent films and upcoming solo albums from each group member, as well as additional Mo Thugs compilations, are also in the works. Now, with "Thug World Order" ready, Bone thugs-n-harmony is set to change the game once again, reminding the world where rap got its "Thug" fascination and delivering some of the most advanced music the genre has to offer. "We're just getting a handle on this whole "Thug" persona going through the game," Wish says. That's us and if you aren't part of our "Thug World Order‚" you shouldn't be screaming "Thug". Watch your mouths…Bone is coming. Again.

Too Short

Born in Los Angeles, but an Oakland resident by the age of 14, Too Short was the first West Coast rap star, recording three albums on his own before he made his major-label debut with 1988's gold album Born to Mack; his next four all went platinum. Anticipating much of the later gangsta phenomenon, he restricted his lyrical themes to tales of sexual prowess and physical violence, with the occasional social message track to mix things up. After the release of Gettin' It (Album Number Ten) in 1996, Too Short decided to retire, his status assured as one of the most successful solo rappers of the 1980s and early '90s, although that decision would prove short-lived. Born Todd Shaw on April 28, 1966, Too Short grew up in L.A.'s South Central; soon after his family moved to Oakland in the early '80s, he began selling tapes out of the back of his car. Signed to the local label 75 Girls, in 1983 he released his first proper album, Don't Stop Rappin'. Three albums followed in the next two years, after which Too Short formed his own Dangerous Music label with friend Freddy B. He recorded Born to Mack in 1986, and sold more than 50,000 copies just by riding around the region. New York's Jive Records picked up on the buzz from across the country, and provided a national deal for the album one year later. With virtually no radio airplay, Born to Mack went gold and its follow-up, Life Is…Too Short, achieved platinum sales by 1989. The immense success of Too Short during 1988-1989 made him much more viable for radio airplay, and "The Ghetto" — from 1990's Short Dog's in the House — made number 12 on the R&B charts, even enjoying a brief stay just outside the pop Top 40. He continued his hit track record with 1992's Shorty the Pimp and 1993's Get in Where You Fit In, both of which went platinum. By the time of 1995's Cocktails, however, Too Short began to be drowned out by a glut of similar-sounding West Coasters, and though Gettin' It (Album Number Ten) became his fifth platinum album, by late 1996 he decided to retire. Just three years later, however, he returned with the aptly titled Can't Stay Away, which debuted in the Top Ten and went gold. A series of follow-ups surfaced subsequently. In 2006 his high-profile album Blow the Whistle arrived with producers Jazze Pha and Lil Jon contributing. John Bush, Rovi

at Ventura Theater
26 South Chestnut Street
Ventura, United States

Rockstar Mayhem Energy Festival, Slipknot, Slayer, Anthrax
Event on 2012-07-04 13:30:00

Slipknot

This highly provocative, Des Moines, Iowa, USA-based alternative metal outfit, whose shock rock values are masked by their anonymous stage wear of matching jump suits and horror masks, was founded by Shawn Crahan (percussion) and Paul Grey (bass). The early line-up of Slipknot released the independently recorded and distributed Mate. Feed. Kill. Repeat in 1996. Although the band was struggling to make ends meet, their big break arrived when they were signed to leading metal label Roadrunner Records. The band, comprising nine members, subsequently adopted a lucky number to wear on their jump suits. Alongside Crahan (number 6) and Grey (number 2), was number 8 Corey Taylor (vocals), number 7 Mick Thompson (guitar), number 5 Craig Jones (samples), number 4 James Root (guitar), number 3 Chris Fehn (percussion), number 1 Joey Jordison (drums), and number 0 Sid Wilson (DJ). They recorded their self-titled second album at Indigo Ranch Studios in Los Angeles, California. The production work of Ross Robinson was a marked improvement on their messy debut, but failed to disguise the sub-Korn metal of tracks such as "Eyeless" and "Wait And Bleed". The bestselling Iowa confirmed Slipknot's remarkable popularity on the contemporary metal scene, with the band inspiring rabid devotion from their predominantly teenage fanbase (affectionately known as "maggots"). During a hiatus in band activities during 2002, various members of Slipknot embarked on outside projects, including Taylor and Root's Stone Sour, and Jordison's Murderdolls.

Slayer

"We definitely made our own road and there's not too many people driving down our road. Nobody's doing it." Coming from anyone else, this might sound like an idle boast. When guitarist Kerry King of Slayer says it; it's a simple statement of fact. Almost 20 years after Slayer first started blending the heavy riffs of metal with the anger and violence of punk, the next chapter in the Slayer story will be written with the release of GOD HATES US ALL. It's been three years since Slayer last released a record, 1998's DIABOLUS IN MUSICA, but it's not like the guys have been lounging around poolside, sipping mai-tais and waiting for the royalty checks to roll in. "We started working on this record after we got done with a long touring cycle, but prior to Ozzfest '99," says guitarist Jeff Hanneman. "And like every three or four months, something would come up to sidetrack us so we couldn't finish it. We'd have to take a break and learn stuff for Ozzfest and come back, work for a few months, go in and do a WCW song for a month ('Here Comes The Pain'), go out on the Tattoo the Earth tour, last summer. Then we'd work for a few more months until we were asked to do a song — "Bloodline" for the 'Dracula 2000' soundtrack, and that was the last break. Then we got our shit together, went up to Vancouver and made a record." Recorded at The Warehouse, a Vancouver studio owned by Bryan Adams, certain alterations had to be made in converting Slayer's new environs from a studio owned by a lightweight Canadian pop singer to something suitable for four men recording a 12-14-song album titled GOD HATES US ALL. Slight alterations, like a chalked-out crime-scene-style drawing of a body on the floor. Candles. Dimmed lights. Incense. Porn-covered walls. All the little amenities that make a house a home. "We had two banner flags that were of middle fingers," says singer/bassist Tom Araya. "As you walked into the first door of the studio, there was a Misfits' skull that said, Eat a bag. The next door you opened, there was a white flag with a middle finger pointed up right in your face. You'd open the door to the mixing room, there's another middle finger. That was basically the attitude of Slayer in the studio. We had a red devil head on one of the speakers. We had a skull on another. That_s the kind of shit we put up. Spooky stuff that makes you feel at home." Slayer picked Matt Hyde to produce GOD HATES US ALL, after his stellar work on "Bloodline" for the 'Dracula 2000' soundtrack. "He had a handle on every aspect of the recording. He likes the band, he likes the music," says King. "He knew what we were trying to achieve, rather than just us telling him. He knew what was going on. I tell people he's God, might as well bring in the cross and nail him up to it because he's the fucking best." As intense a record as Slayer has recorded, God Hates Us All found King and Hanneman stripping the songwriting down to the essentials, trimming the fat and keeping the fury. "I didn't write the usual Dungeons and Dragons shit, looking in the synonym finder for words I have no idea what they mean anyway, " King says by way of explanation. "This is a lot more how I talk, a lot more street. A lot of the topics are things people can relate to and they_ll hear the street-style version, so I think they_ll get more out of it." You'd have to be deaf, dumb or dead to miss the message of songs like "Threshold" or "Exile", which crackle with the unchecked wrath Slayer, fans have come to count on. "Threshold" is about reaching your limit in any given aspect, with a person in a situation where you're about to break. You're about to blow-up," says King. 'Exile' is pretty much about a person–everybody's got one–who is like the anti-them — you just hate with every ounce of your fucking being. It_s called "Exile" because you want them away from you. You want to kill yourself so you don't have to deal with them anymore." King and Hanneman toyed with new guitar tunings on the album, taking the plunge down to Drop B a couple times and hauling out a seven-string axe for the first time in Slayer history. "A lot of people you see in Guitar World say, "I'm not Steve Vai, I have no reason to play a seven-string," says King. "That's like telling a drummer to play a single kick drum, trying to tell him he doesn't need a double-bass kick. It doesn't make sense. Or they cop out saying, 'I'm not that good.' You don't have to be good to make up a seven-string riff." Slayer records begin with the drums, and Paul Bostaph, timekeeper for half of Slayer's nearly 20 years as a band, says there's a simple rule he follows in setting the brutal pace. "Rick Rubin once said the perfect take is the one that felt like it was going to fall apart but never did. I thought that was one of the wisest things I've ever heard and I always try to go for that." During breaks from recording, Slayer hits the town, patronizing local bars like the Shark Club and the Cobalt Club and watching nearly every hockey game the hometown Vancouver Canucks played. Singer Tom Araya spent his off-hours reading true crime novels with cheery titles along the lines of "Happy Like Murderers'" to help him inhabit the minds of murderous priests ("God Send Death") and a fallen angel pushing drugs ("Cast Down"). "I use those books to spark my imagination, to go into the role playing that I need in order to sound convincing. I need to sing and make it sound like I'm actually going to do these things I'm saying. They help out a lot with the screaming." Let other bands break-up, try to "find their sound" or record albums with symphonies. In the fickle, ever-changing world of music, Slayer remains a sure thing. "I think I'm a fan first and foremost," says King. "The difference between me and the people watching our show is that I learned how to play guitar. For some reason, I know how to make up riffs for Slayer and I get the opportunity to do that, so I'm like the superfan. It's what I'm into. If I was going to start a new band today, I'd want it to be just like this one."

Anthrax

Anthrax is Joey Belladonna – vocals Charlie Benante – drums Frank Bello – bass Rob Caggiano – guitars Scott Ian – guitars TV has soap operas, literature has Shakespeare, and metal – well, metal has Anthrax, that fire-breathing, thrash-spitting, multi-headed beast of a band that – 30 years since the day Scott Ian and then-bassist Danny Lilker searched a biology textbook for the disease that would become their moniker – smiles back at you with a monstrous, upturned middle finger and refuses to fucking die. But then, if you have an inkling about heavy metal, you'll have heard of their meteoric rise in the 80s alongside the likes of Slayer, Megadeth, and a little band that once crashed on Anthrax's studio floor known as Metallica. You'll know all about their game-changing, crossover hit with Public Enemy on Bring The Noise in 1991. You'll have listened to generations of bands that owe everything to their signature stomp and crushing riffs. And in more recent times, you'll have witnessed an almost irrational will to survive in defiance of monumental odds. And that, true believers, is the story of one of the most doggedly heroic bands in metaldom on the cusp of their greatest release to date. The road has not been easy. Rewind to 2005. Hot on the heels of 2003's rapturously received We've Come For You All, a unanimously praised, end-to-end scorcher spearheaded by vocalist John Bush, Anthrax shocked the metal world with the announcement that singer Joey Belladonna would be re-joining the band for a classic, 80s-era reunion that would sweep them around the world on a wave of head-banging nostalgia, but more importantly, reconnecting the band as friends and as the brutal thrash machine that gave the world Among The Living. Once that tour finished, Anthrax returned to discover that John Bush had moved on, and they would need to recruit yet another singer for the recording of their follow-up to WCFYA, the album that would become Worship Music, their tenth studio album. The band worked with one singer for a period of time, but in 2009, they were still without the right vocalist. "There was no way I was going to let anything derail my life's work," says Scott Ian. "We've been through more drama than most bands experience in a lifetime. Granted, we didn't have to deal with somebody dying or some tragic situation but at the same time we really did face an uncertain future. For lack of a better way to explain it, I am a tenacious prick, and if I want something to happen I will make it so. It's always been like that. It touches on the 30th anniversary. I think back to July 18, 1981. Danny Lilker and I were friends and I always said to him, 'when White Heat [Lilker's band at the time] break up, we're forming Anthrax,' and he was like, 'we're not breaking up.' I've always been like that, and with such an amazing record to put out, there's no way I was going to let anything screw that up." Refusing to accept their predicament, the remaining members rallied themselves in a spine-tingling gesture of conviction and self-belief for what would become the single greatest metal event of the 21st century, the first-ever performance of The Big 4. According to Charlie Benante, getting the band's proverbial excrement together for that gig was just the motivation that Anthrax needed to spit out the blood and get back on their feet. "The genesis of this whole Big 4 idea – and you could say the idea of getting Joey back in the band full time – was at the Rock and Roll Hall of Fame," Benante continues. "It was me, Lars, and Scott talking at the bar, bullshitting, and Lars just blurted it out. It was such a surreal moment, we weren't sure if he was taking the piss out of us and all of a sudden it just happened. It made us really say 'we need to step this up and get this thing going.' It was because of that that we were pushed into this direction. Metallica gave us the kick in the ass that we needed." "Joey was the band's vocalist from '85 to '92, the time period when 'The Big Four' started," added Scott, "so we felt he had to be the guy to represent us on these Big Four shows, and he had to be the guy on the new record." Rob Caggiano picks up the story – "So Charlie called Joey, they started talking and Joey expressed an interest. Then we all met with him in New York and while the vibe was really good, none of us really knew what to expect. Then we did the first Big 4 show with Joey, I think that's when we all knew that this was right. The vibe was amazing, he sounds better than he's ever sounded, including the reunion tour." Reuniting with Joey Belladonna for a whirlwind, globe-stomping tour that would see Anthrax playing shoulder to shoulder with Slayer, Megadeth and old pals Metallica, the explosive success of The Big 4 would suddenly beg the question of what would happen next, and more to the point: who would sing on Worship Music, and how would Anthrax approach the follow-up to We've Come For You All? It wasn't easy, but – from the ferocious attack of "Earth on Hell" to the red-blooded might of "Fight'em 'Til You Can't," the results have been nothing less than horn-conjuring. "The majority of this record was about 55% done before we even had a singer in mind," explains Charlie. "It was me, Scott and Frankie in our rehearsal room, the same way we wrote Spreading the Disease – with no singer in mind. But I'll never forget the day I first heard Joey singing, I got goosebumps, I got excited – all I could think of in my mind was 'how will he sing this song' and it was just amazing to me. Every time I heard the next song I would be like, 'this rules.'" "The process leading up to it was painful but I think being in Anthrax is painful," says bassist Frank Bello with a laugh. "I think everything happens for a reason and to listen to this record now, this is the reason it had to happen that way, and I am loving Joey's voice. I'm listening and I'm thinking 'you know I can't tell you when he sang better.' I'm not gonna kiss his ass that much but I really think the guy just doesn't age. He weirds me out because he just goes out there and sings like a bird, amazingly, with power. He came into a hard situation. He really rose to it. When Joey came in it was like the icing on the cake for me. " Joey agrees: "It's not easy to throw someone in there and try to wash away what you've done and how you've done it," says Joey. "I feel honored, but I also feel like I've done a lot to be there, I wasn't just saying 'oh I've got a chance again.' I just thought I'd be who I was without being like 'can I be like someone else?' I just went in and sang with the best intentions. I just did whatever came from my heart to the best of my abilities, and it worked." And that is an understatement. Co-produced by Rob Caggiano and Jay Ruston (both Grammy-nominated producers), the album takes its name from one of Charlie's late-night bouts of insomnia where, while flipping through TV channels he stumbled upon a religious-themed infomercial entitled "Worship Music." A fitting sentiment for an undeniable masterwork of skewering melodies powered by herculean riffage and a tunefulness that bespeaks Anthrax's utter supremacy as songwriters. From the haunting, ethereal tones of "Worship" – an atmospheric piece composed by Charlie himself – to the punch-in-the-face assault of opening track "Earth On Hell," the results are positively badass. But that isn't to say Worship Music is without its deeper subtexts. "The song "In the End" has a melancholy feel to it," says Charlie. "It has nothing to do with the band, but two people who had a lot to do with our band, Dimebag and Ronnie James Dio. They were both heroes and huge influences on us. Darrell played on the last three Anthrax records, a sixth member if you will, and Ronnie was always a champion for us, taking us on tour, just being so amazing to us always. It had to be made, and it was very cathartic." "It's just an epic piece of music," adds Scott. "Of course in the back of my mind I was thinking, 'if somehow I could get this in the lyrics without it being completely cornball, that song would just lend itself to expressing the feelings and emotions about how we felt about what those guys meant to us — Did we ever tell you how much we loved you tearing my head off tearing my face off ripping my heart out." I meant that in a good way. The first time I ever heard Ronnie James Dio, my world was fucked forever." Of course, Worship Music also features a far more obvious musical tribute about Anthrax's greatest inspiration, Judas Priest, mysteriously entitled… "Judas Priest." "We wrote it right at the time the announcement came that they were retiring," says Scott. "I just got so bummed out about it, almost the same way I felt with Ronnie dying or Darrell getting killed, it was a similar emotion, like: 'is this what it's like now, I'm just going to see my heroes go?' It kind of depressed me. The thought of a world without Judas Priest is just weird, so I remember talking to Charlie and we agreed we should just write a song called 'Judas Priest.' It was such an overtly, metal song, and that in of itself is the tribute." Alongside the colossal crescendo of "Crawl" and the irresistible catchiness of "The Devil You Know," Worship Music is a record of mass destruction to be released upon the world, and to the delight of fans everywhere it already began when, in July, the Anthrax.com was updated with new artwork by universally acclaimed comic artist Alex Ross and an offering of "Fight'em 'Til You Can't" as a free download that swept across the internet like a thrash metal hurricane. "Basically, we made our fans wait so long so it was like 'why make our fans pay for it?" says Charlie. "They've waited so long, so here's a gift.'" "'Fight'em 'Til You Can't' is about humans fighting the Cylons," adds Scott, referring to the title's relationship to a famous line in the recently re-imagined space epic "Battlestar Galactica." "My take is more Zombie-oriented than Cylon oriented, but I think you could absolutely read it as Anthrax fighting until we can't. I'm sure that was in the back of my mind. As much as I like the idea of it just being a fun-filled Zombie killing romp, that emotional thread pretty much runs through everything I'm doing lyrically, you can't keep me down, I'm gonna do what I'm gonna do." Given that this year Anthrax celebrates its 30th anniversary of fighting the good fight, Scott's sentiment is a poignant one. So how does it feel to be releasing a new record over three decades since you began? "It freaks me out actually, that that much time has gone by," says Charlie. "In my mind I still feel like the same person from back then, but if we were to do this ten years ago, I would be more concerned about staying relevant and this time I could care less about staying relevant. It's about doing what I think our fans enjoy. "I truly can't put it into any kind of context because we're just so busy, you know? We're sitting here with this setup of a record in the middle of playing shows with so much going on, so I guess I could say nothing is changed, things are exactly the same as when we're working toward the next thing and that's maybe somehow some way we've always been able to move forward, always looking forward and never stopping – it's never been that way with Anthrax, even just this constant struggle to find band members who would commit to rehearsing for four nights a week and having to fire them, it was constantly moving forward until we recorded Fistful of Metal, well we've gotta go on tour and sell t-shirts, and we've gotta get rid of Neil Turbin, and then we found Joey… In 2011 my day is still filled with what's happening with Anthrax, and I love this new record and how it represents our whole career in Anthrax. I can't wait for people to hear it." ***** Over the past 30 years, Anthrax has achieved sales in excess of 10-million. The band has also received multiple Gold and Platinum albums, multiple Grammy nominations, and a host of other accolades from the media, industry and fans.

at Idaho Center
16200 Idaho Center Boulevard
Nampa, United States

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