artists

The Smiths

The Smiths

The Smiths were the definitive British indie rock band of the '80s, marking the end of synth-driven new wave and the beginning of the guitar rock that dominated English rock into the '90s. Sonically, the group was indebted to the British Invasion, crafting ringing, melodic three-minute pop singles, even for their album tracks. But their scope was far broader than that of a revivalist band. The group's core members, vocalist Morrissey and guitarist Johnny Marr, were obsessive rock fans inspired by the D.I.Y. ethics of punk, but they also had a fondness for girl groups, pop, and rockabilly. Morrissey and Marr also represented one of the strangest teams of collaborators in rock history. Marr was the rock traditionalist, looking like an elegant version of Keith Richards during the Smiths' heyday and meticulously layering his guitar tracks in the studio. Morrissey, on the other hand, broke from rock tradition by singing in a keening, self-absorbed croon, embracing the forlorn, romantic poetry of Oscar Wilde, publicly declaring his celibacy, and making no secret of his disgust for most of his peers. While it eventually led to the Smiths' early demise, the friction between Morrissey and Marr resulted in a flurry of singles and albums over the course of three years that provided the blueprint for British guitar rock in the following decade. Before forming the Smiths in 1982, Johnny Marr (born John Maher, October 31, 1963; guitar) had played in a variety of Manchester-based rock & roll bands, including Sister Ray, Freaky Part, White Dice, and Paris Valentinos. On occasion, Marr had come close to a record contract -- one of his bands won a competition Stiff Records held to have Nick Lowe "produce your band" -- but he never quite made the leap. Though Morrissey (born Steven Patrick Morrissey, May 22, 1959; vocals) had sung for a few weeks with the Nosebleeds and auditioned for Slaughter & the Dogs, he had primarily contented himself to being a passionate, vocal fan of both music and film. During his teens, he wrote the Melody Maker frequently, often getting his letters published. He had written the biography/tribute James Dean Isn't Dead, which was published by the local Manchester publishing house Babylon Books in the late '70s, as well as another book on the New York Dolls; he was also the president of the English New York Dolls fan club. Morrissey met Marr, who was then looking for a lyricist, through mutual friends in the spring of 1982. The pair began writing songs, eventually recording some demos with the Fall's drummer, Simon Wolstencroft. By the fall, the duo had settled on the name the Smiths and recruited Marr's schoolmate Andy Rourke as their bassist and Mike Joyce as their drummer. The Smiths made their live debut late in 1982, and by the spring of 1983, the group had earned a small but loyal following in their hometown of Manchester and had begun to make inroads in London. Rejecting a record deal with the Mancunian Factory Records, the band signed with Rough Trade for a one-off single, "Hand in Glove." With its veiled references to homosexuality and its ringing riffs, "Hand in Glove" became an underground sensation in the U.K., topping the independent charts and earning the praise of the U.K. music weeklies. Soon, Morrissey's performances became notorious as he appeared on-stage wearing a hearing aid and with gladioli stuffed in his back pockets. His interviews were becoming famous for his forthright, often contrary opinions, which helped the band become a media sensation. By the time of the group's second single, "This Charming Man," in late 1983, the Smiths had already been the subject of controversy over "Reel Around the Fountain," a song that had been aired on a BBC radio session and was alleged to condone child abuse. It was the first time that Morrissey's detached, literary, and ironic lyrics were misinterpreted and it wouldn't be the last. "This Charming Man" reached number 25 on the British charts in December of 1983, setting the stage for "What Difference Does It Make"'s peak of number 12 in February. The Smiths' rise to the upper reaches of the British charts was swift, and the passion of their fans, as well as the U.K. music press, indicated that the group had put an end to the synth-powered new wave that dominated Britain in the early '80s. After rejecting their initial stab at a first album, they released their debut, The Smiths, in the spring of 1984 to strong reviews and sales -- it peaked at number two. A few months later, the group backed '60s pop vocalist Sandie Shaw -- who Morrissey had publicly praised in an article -- on a version of "Hand in Glove" that was released and reached the Top 40. "Heaven Knows I'm Miserable Now" reached number ten, becoming their highest-charting single amid a storm of controversy about its B-side, "Suffer Little Children," which was about the notorious Moors Murders. More controversy appeared when Morrissey denounced the hunger-relief efforts of Band Aid, but the group's popularity was not affected. Though the Smiths had become the most popular new rock & roll group in Britain, the group failed to make it outside of underground and college radio in the U.S., partially because they never launched a full-scale tour. At the end of the year, "William It Was Really Nothing" became a Top 20 hit and Hatful of Hollow, a collection of B-sides, BBC sessions, and non-LP singles, went to the Top Ten, followed shortly by "How Soon Is Now," which peaked at number 24. Meat Is Murder, the band's second proper studio album, entered the British charts at number one in February of 1985, despite some criticism that it was weaker than The Smiths. Around the time of the release of Meat Is Murder, Morrissey's interviews were becoming increasingly political as he trashed the Thatcher administration and campaigned for vegetarianism; he even claimed that the Smiths were all vegetarians, and he forbade the remaining members to be photographed eating meat, even though they were still carnivores. Marr, for his part, was delving deeply into the rock & roll lifestyle and looked increasingly like a cross between Keith Richards and Brian Jones. By the time the non-LP "Shakespeare's Sister" reached number 26 in the spring of 1985, the Smiths had spawned a rash of soundalike bands, including James, who opened for the group on their spring 1985 tour, most of whom Morrissey supported. However, all of the media attention on the Smiths launched a mild backlash later in 1985, when "That Joke Isn't Funny Anymore" was pulled from Meat Is Murder and failed to reach the Top 40. "The Boy with the Thorn in His Side" revived the band's fortunes in the fall of 1985, and their third album, The Queen Is Dead, confirmed their popularity upon its release in the spring of 1986. Greeted with enthusiastic reviews and peaking at number two on the U.K. charts, The Queen Is Dead also expanded their cult following in the U.S., cracking the Top 100. Shortly before the album was completed, former Aztec Camera guitarist Craig Gannon became the band's rhythm guitarist, and he played with the band throughout their 1986 international tour, including a botched American tour. The non-LP "Panic," which was criticized as racist by some observers for its repeated refrain of "Burn down the disco...hang the DJ," reached number 11 late in the summer. A few months after its release, Marr was seriously injured in a car crash. During his recuperation, Gannon was fired from the band, as was Rourke, who was suffering from heroin addiction. Though Rourke was later reinstated, Gannon was never replaced. The Smiths may have been at the height of their popularity in early 1987, with the non-LP singles "Shoplifters of the World" and "Sheila Take a Bow" reaching number 11 and ten respectively, and the singles and B-sides compilation The World Won't Listen (revamped for U.S. release as Louder Than Bombs later in 1987) debuting at number two, but Marr was growing increasingly disenchanted with the band and the music industry. Over the course of the year, Morrissey and Marr became increasingly irritated with each other. The singer wished that Marr would stop playing with other artists like Bryan Ferry and Billy Bragg, while the guitarist was frustrated with Morrissey's devotion to '60s pop and his hesitancy to explore new musical directions. A few weeks before the fall release of Strangeways, Here We Come, Marr announced that he was leaving the Smiths. Morrissey disbanded the group shortly afterward and began a solo career, signing with Parlophone in the U.K. and staying with the Smiths' U.S. label, Reprise. Marr played as a sideman with a variety of artists, eventually forming Electronic with New Order frontman Bernard Sumner. Rourke retired from recording and Joyce became a member of the reunited Buzzcocks in 1991. Rank, a live album recorded on the Queen Is Dead tour, was released in the fall of 1988. It debuted at number two in the U.K. A widely criticized, two-part The Best of the Smiths compilation was released in 1992; the praised Singles compilation was released in 1995. Joyce and Rourke sued Morrissey and Marr in 1991, claiming they received only ten percent of the group's earnings while the songwriters received 40 percent. Rourke eventually settled out of court, but Joyce won his case in late 1996. ~ Stephen Thomas Erlewine

Milli Vanilli

Milli Vanilli

Milli Vanilli was one of the most popular music groups in the late 80s and early 90s. Their first album <a href="spotify:album:6s8bfXrXEqaFFmAi02m7k4" data-name="All Or Nothing">All Or Nothing</a> sold over 8 million copies worldwide and all of the singles released from the album made it into Billboard Hot 100&#39;s Top 5: "<a href="spotify:track:0C7dYeCLF6ukChtW64UNge" data-name="Girl You Know It&#39;s True">Girl You Know It&#39;s True</a>", "<a href="spotify:track:2dThEJP9S344qzNhePcSzj" data-name="I&#39;m Gonna Miss You">I&#39;m Gonna Miss You</a>", "<a href="spotify:track:0UUpyDCYzkziXJ1TM4awHM" data-name="Blame It on the Rain">Blame It on the Rain</a>" and "<a href="spotify:track:3t4EJY6cTsb6FyP1EQzajK" data-name="Baby Don&#39;t Forget My Number">Baby Don&#39;t Forget My Number</a>". In 1990, the group was awarded a Grammy award for "Best New Artist", which was later revoked after it became clear to the world that Rob Pilatus and <a href="spotify:artist:3B4HXaua0Fyin642wUE4si" data-name="Fab Morvan">Fab Morvan</a> - the face of the project - never really sang in it. The group was put together by music producer Frank Farian, also behind other groups such as <a href="spotify:artist:54R6Y0I7jGUCveDTtI21nb" data-name="Boney M.">Boney M.</a>, <a href="spotify:artist:488v7rQzthLNK22r0UvMie" data-name="La Bouche">La Bouche</a> and <a href="spotify:artist:2tUGlReCZRMoRgl0IS79i3" data-name="No Mercy">No Mercy</a> and used vocals from singers Brad Howell, John Davis, Jodie Rocco, Linda Rocco and Charles Shaw. "Milli Vanilli", is a feature-length documentary directed by Luke Korem and streaming on Paramount+. Also on Paramount+ premiering May 1, 2024, are new and remastered episodes of VH1&#39;s ‘Behind the Music’. Milli Vanilli started it all in 1997 as the pilot episode. We were also episode #9. "Girl You Know It&#39;s True", major motion picture starring Tijan Njie & Elan Ben Ali cast as Rob Pilatus & Fab Morvan & <a href="spotify:artist:43Zi7TKiuRqCwBng7Mv2c0" data-name="Matthias Schweighöfer">Matthias Schweighöfer</a> as Frank Farian. Available on Amazon Prime. Monsters: The Lyle/ Erik Menendez Story. The brothers were convicted of the brutal 1989 murders of their parents in Beverly Hills. This series has brought a whole new generation of listeners to the music of Milli Vanilli.

Lana Del Rey

Artist

Crowded House

Artist

Jeff Buckley

Artist

Mac DeMarco

Mac DeMarco

Mac DeMarco is a Canadian self-produced multi-instrumentalist, songwriter, and recording artist. Raised in Edmonton, Alberta, and currently residing in Los Angeles, California.

KISS

KISS

Rooted in the campy theatrics of <a href="spotify:artist:3EhbVgyfGd7HkpsagwL9GS">Alice Cooper</a> and the sleazy hard rock of glam rockers <a href="spotify:artist:0WhGV9lzljq2QKJ8ipw6jx">the New York Dolls</a>, Kiss became a favorite of American teenagers in the '70s. Most kids were infatuated with the look of Kiss, not their music. Decked out in outrageously flamboyant costumes and makeup, the band fashioned a captivating stage show featuring dry ice, smoke bombs, elaborate lighting, blood spitting, and fire breathing that captured the imaginations of thousands of kids. But Kiss' music shouldn't be dismissed -- it is a commercially potent mix of anthemic, fist-pounding hard rock driven by sleek hooks and ballads powered by loud guitars, earworm melodies, and sweeping strings. It's a sound that laid the groundwork for both arena rock and the pop-metal that dominated rock in the late '80s. In 1983 the band went unmasked, resulting in the platinum-selling LP of the same name, but re-applied the makeup ten years later. Since then, the Rock & Roll Hall of Famers have remained a potent live draw and have sold over 75 million records worldwide, with highlights arriving via influential efforts like Alive!, Destroyer, Rock and Roll Over, Love Gun, Dynasty, and Lick It Up. Kiss was the brainchild of <a href="spotify:artist:5gAbCaW9OmfIqqZGLpKb3f">Gene Simmons</a> (bass, vocals) and <a href="spotify:artist:5W0GCoUUwU3SF6qpJanlug">Paul Stanley</a> (rhythm guitar, vocals), former members of the New York-based hard rock band <a href="spotify:artist:4mnC6BVhObGZnXtQm4hjzH">Wicked Lester</a>; the duo brought in drummer <a href="spotify:artist:5DWj9QLyCN9dyQydd1P9QG">Peter Criss</a> through his ad in Rolling Stone, while guitarist <a href="spotify:artist:62olK5zZHSgFUXGDykgBL8">Ace Frehley</a> responded to an advertisement in The Village Voice. Even at their first Manhattan concert in 1973, the group's approach was theatrical, and Flipside producer Bill Aucoin offered the band a management deal after the show. Two weeks later, they were signed to Neil Bogart's fledgling record label, <a href="spotify:search:label%3A%22Casablanca%22">Casablanca</a>. Kiss released their self-titled debut in February of 1974; it peaked at number 87 on the U.S. charts. By April of 1975, the group had released three albums and had been touring America constantly, building up a sizable fan base. Culled from those numerous concerts, Alive! (released in the fall of 1975) made the band rock & roll superstars; it climbed into the Top Ten and its accompanying single, "Rock 'N' Roll All Nite," made it to number 12. Their follow-up, Destroyer, was released in March of 1976 and became the group's first platinum album; it also featured their first Top Ten single, <a href="spotify:artist:5DWj9QLyCN9dyQydd1P9QG">Peter Criss</a>' power ballad "Beth." Kiss mania was in full swing; thousands of pieces of merchandise hit the marketplace (including pinball machines, makeup and masks, and board games), and the group had two comic books released by Marvel as well as a live-action TV movie, Kiss Meet the Phantom of the Park. A 1977 Gallup poll named Kiss the most popular band in America. They were never seen in public without their makeup, and their popularity was growing by leaps and bounds; the membership of the Kiss Army, the band's fan club, was in the six figures. Even such enormous popularity had its limits, though, and the band reached them in 1978, when all four members released solo albums on the same day in October. <a href="spotify:artist:5gAbCaW9OmfIqqZGLpKb3f">Simmons</a>' record was the most successful, reaching number 22 on the charts, yet all of them made it into the Top 50. Dynasty, released in 1979, continued their streak of platinum albums, yet it was their last record with the original lineup -- <a href="spotify:artist:5DWj9QLyCN9dyQydd1P9QG">Criss</a> left in 1980. Kiss Unmasked, released in the summer of 1980, was recorded with session drummer <a href="spotify:artist:5xeqgtq9Fkg7XBHuPEm9pf">Anton Fig</a>; <a href="spotify:artist:5DWj9QLyCN9dyQydd1P9QG">Criss</a>' true replacement, <a href="spotify:artist:7vwL5Cm5W4dhdH7lswEfSx">Eric Carr</a>, joined the band in time for their 1980 world tour. Kiss Unmasked was their first record since Destroyer to fail to go platinum, and 1981's Music from the Elder, their first album recorded with <a href="spotify:artist:7vwL5Cm5W4dhdH7lswEfSx">Carr</a>, didn't even go gold -- it couldn't climb past number 75 on the charts. <a href="spotify:artist:62olK5zZHSgFUXGDykgBL8">Ace Frehley</a> left the band after its release; he was replaced by <a href="spotify:artist:3uBH6ZCj6xlrjHG41YepTn">Vinnie Vincent</a> in 1982. <a href="spotify:artist:3uBH6ZCj6xlrjHG41YepTn">Vincent</a>'s first album with the group, 1982's Creatures of the Night, fared better than Music from the Elder, yet it couldn't make it past number 45 on the charts. Sensing it was time for a change, Kiss dispensed with their makeup for 1983's Lick It Up. The publicity worked, as the album became their first platinum record in four years. Animalize, released the following year, was just as successful, and the group essentially recaptured their niche. <a href="spotify:artist:3uBH6ZCj6xlrjHG41YepTn">Vincent</a> left after Animalize and was replaced by Mark St. John, although St. John was soon taken ill with Reiter's Syndrome and left the band. <a href="spotify:artist:30TJoJIn79ZTDn7J93ymi8">Bruce Kulick</a> became Kiss' new lead guitarist in 1984. For the rest of the decade, Kiss turned out a series of best-selling albums, culminating in the early 1990 hit ballad "Forever," which was their biggest single since "Beth." Kiss was scheduled to record a new album with their old producer, Bob Ezrin, in 1990 when <a href="spotify:artist:7vwL5Cm5W4dhdH7lswEfSx">Eric Carr</a> became severely ill with cancer; he died in November of 1991 at the age of 41. Kiss replaced him with <a href="spotify:artist:7zEEexBlaAamW68arysqIZ">Eric Singer</a> and recorded Revenge (1992), their first album since 1989; it was a Top Ten hit and went gold. Kiss followed it with the release of Alive III the following year; it performed respectably but wasn't up to the standards of their two previous live records. In 1996, the original lineup of Kiss -- featuring <a href="spotify:artist:5gAbCaW9OmfIqqZGLpKb3f">Simmons</a>, <a href="spotify:artist:5W0GCoUUwU3SF6qpJanlug">Stanley</a>, <a href="spotify:artist:62olK5zZHSgFUXGDykgBL8">Frehley</a>, and <a href="spotify:artist:5DWj9QLyCN9dyQydd1P9QG">Criss</a> -- reunited to perform an international tour, complete with their notorious makeup and special effects. The tour was one of the most successful of 1996, and in 1998 the reunited group issued Psycho Circus. While the ensuing tour in support of Psycho Circus was a success, sales of Kiss' reunion album weren't as stellar as anticipated. Reminiscent of the band's unfocused late-'70s period, few tracks on Psycho Circus featured all four members playing together (most tracks were supplemented with session musicians), as the band seemed more interested in flooding the marketplace with merchandise yet again instead of making the music their top priority. With rumors running rampant that the Psycho Circus Tour would be their last, the quartet announced in the spring of 2000 that they would be launching a U.S. farewell tour in the summer, which became one of the year's top concert draws. But on the eve of a Japanese and Australian tour in early 2001, <a href="spotify:artist:5DWj9QLyCN9dyQydd1P9QG">Peter Criss</a> suddenly left the band once again, supposedly discontent with his salary. Taking his place was previous Kiss drummer <a href="spotify:artist:7zEEexBlaAamW68arysqIZ">Eric Singer</a>, who in a controversial move for some longtime fans, donned <a href="spotify:artist:5DWj9QLyCN9dyQydd1P9QG">Criss</a>' cat-man makeup (since <a href="spotify:artist:5gAbCaW9OmfIqqZGLpKb3f">Simmons</a> and <a href="spotify:artist:5W0GCoUUwU3SF6qpJanlug">Stanley</a> own both <a href="spotify:artist:62olK5zZHSgFUXGDykgBL8">Frehley</a> and <a href="spotify:artist:5DWj9QLyCN9dyQydd1P9QG">Criss</a>' makeup designs, there was no threat of a lawsuit) as the farewell tour continued. With the band scheduled to call it a day (supposedly) by late 2001, a mammoth career-encompassing box set was set for release later in the year, while the summer saw perhaps the most over-the-top piece of Kiss merchandise yet: the "Kiss Kasket," a real coffin fans could buy for $4,000. The group was relatively quiet throughout the rest of the year, but 2002 started with a bang as <a href="spotify:artist:5gAbCaW9OmfIqqZGLpKb3f">Gene Simmons</a> turned in an entertaining and controversial interview on NPR where he criticized the organization and berated host Terry Gross with sexual comments and condescending answers. He was promoting his autobiography at the time, which also caused dissent in the Kiss camp because of inflammatory remarks made about <a href="spotify:artist:62olK5zZHSgFUXGDykgBL8">Ace Frehley</a>. <a href="spotify:artist:62olK5zZHSgFUXGDykgBL8">Frehley</a> subsequently declined to appear at an American Bandstand anniversary show; his place was taken by a wig-wearing Tommy Thayer, and <a href="spotify:artist:5gAbCaW9OmfIqqZGLpKb3f">Simmons</a> was quick to dismiss the performance as another in a long series of money-oriented decisions. The band kept touring the globe with no new album in stores, but in 2008 they returned to the studio, re-recorded their hits, and released Jigoku-Retsuden aka KISSology or Kiss Klassics (the release was initially exclusive to Japan). In spring of 2009, the band began recording their first studio album in 11 years and released Sonic Boom in October. Produced by <a href="spotify:artist:5W0GCoUUwU3SF6qpJanlug">Paul Stanley</a> and Greg Collins, the album was exclusively distributed in North America by Wal-Mart. In 2012, the band's 20th studio album, Monster, surfaced, rewriting the cowbell-heavy party rock of their '70s heyday and adding some nods to the sinister metal of 1992's Revenge. In 2014, after 15 years of eligibility, Kiss was inducted into the Rock & Roll Hall of Fame. The following year they released a collaborative single with the Japanese idol group <a href="spotify:artist:3Zl0EsuYV23OgNw6WqGelN">Momoiro Clover Z</a>. In 2017, a career-spanning single-disc best-of, Kissworld, was released to coincide with a massive world tour of the same name. The tour, which the band announced would be their final jaunt, was eventually renamed the "End of the Road" tour, and in true Kiss fashion, it was still going strong in 2021. ~ Stephen Thomas Erlewine & Greg Prato, Rovi

David Bowie

David Bowie

Everyone has a David Bowie that they fell in love with first—the otherworldly outsider Ziggy Stardust, the electronic adventurer, the wild-eyed glam pioneer, the enigmatic storyteller. But it was Bowie's ability to reinvent himself so vividly that captivated us again and again. Driven by boundless imagination, David Bowie was a multifaceted music icon, a social provocateur, a force in fashion, and a gifted actor whose unique personas and perspectives traveled with him through the decades. From the moment his homesick astronaut captured the spotlight in the late ‘60s to his exploratory, jazz-influenced <i>Blackstar</i> almost 50 years later, he excelled and innovated with turns in pop, glam, punk, soul, hard rock, and electronic music. And even though Bowie released vital albums throughout his life—and will forever embody the most artful edge of rock ’n’ roll—he was more than just the music he made. Bowie's fearlessness inspired us to celebrate the complexity and beauty of being completely ourselves.

Freddie Mercury

Freddie Mercury

Combining an outrageously flamboyant stage persona with an immense talent for writing catchy and complex songs -- in addition to possessing one of the greatest voices in modern music -- vocalist Freddie Mercury remains one of rock’s all-time greatest entertainers. Alongside <a href="spotify:artist:1dfeR4HaWDbWqFHLkxsg1d">Queen</a> bandmates guitarist <a href="spotify:artist:2NcbLU1bW55eahD0UgD7U3">Brian May</a>, bassist <a href="spotify:artist:6KrRVxAW7yvCYrO1ALqPG5">John Deacon</a>, and drummer <a href="spotify:artist:2PZEd7yktruWruOqORRChA">Roger Taylor</a>, Mercury initially emerged as one of the most indelible rock artists of the 1970s. Working at first largely within the hard rock genre, Mercury embraced a wide array of sounds with <a href="spotify:artist:1dfeR4HaWDbWqFHLkxsg1d">Queen</a> ranging from classical to music hall, from glitter to prog rock, eventually even making influential forays into funk and disco as the band progressed into the '80s. Mercury's albums with <a href="spotify:artist:1dfeR4HaWDbWqFHLkxsg1d">Queen</a> are considered classics and spawned a large number of hits including "Killer Queen," "Bohemian Rhapsody," "We Are the Champions/We Will Rock You," and "Another One Bites the Dust." He continued this artistic exploration away from <a href="spotify:artist:1dfeR4HaWDbWqFHLkxsg1d">Queen</a>, working with <a href="spotify:artist:6jU2Tt13MmXYk0ZBv1KmfO">Giorgio Moroder</a> on the 1979 single "Love Kills" and further delving into synth-based pop on his only proper solo album, 1985's Mr. Bad Guy. He also paired with opera diva <a href="spotify:artist:6oGu0NZWy8gJ18wggybFqH">Montserrat Caballe</a> for their 1988 orchestral album Barcelona. Whether on his own or with <a href="spotify:artist:1dfeR4HaWDbWqFHLkxsg1d">Queen</a>, Mercury's immense talent, unmistakable passion, and outsized persona continues to endure long after his death from AIDS in 1991. Born Farrokh Bulsara on September 5, 1946, in Zanzibar to parents from the Parsi community in India (his father worked as a high court cashier for the British government), young Mercury was nicknamed Freddie by fellow classmates while attending an English boarding school, and embraced the moniker. He soon discovered his love for art and music, both subjects that he explored voraciously (he began taking piano lessons around this time), putting his newly found piano talent to use as he played in rock & roll bands with friends. Due to political upheaval in Zanzibar, Mercury and his family fled Zanzibar for England in 1964. There, he enrolled in the Ealing College of Art and fell under the spell of guitar wizard <a href="spotify:artist:776Uo845nYHJpNaStv1Ds4">Jimi Hendrix</a>. It was while attending Ealing that he befriended a fellow aspiring musician, bassist <a href="spotify:artist:6EtRaGeodP9stdGz92vPtB">Tim Staffell</a>, who was a member of a local band called Smile. Mercury soon began attending Smile's rehearsals and struck up a friendship with the group's other members, guitarist <a href="spotify:artist:2NcbLU1bW55eahD0UgD7U3">Brian May</a> and drummer <a href="spotify:artist:2PZEd7yktruWruOqORRChA">Roger Taylor</a>. Inspired by his new friends, he began playing in bands himself (such as Ibex, Wreckage, and Sour Milk Sea, among others), but instead of just playing piano as he did back in Zanzibar, he began singing. To pay the bills, he opened up a stall on Piccadilly Circus with <a href="spotify:artist:4X3dUbGsTpVH6EbxtWnj6T">Taylor</a>, selling clothing geared toward fellow rock musicians. By 1970, he had become frustrated that his music career had yet to blossom, and when he heard that <a href="spotify:artist:6EtRaGeodP9stdGz92vPtB">Staffell</a> had left Smile, he promptly took his place, finally uniting musically with <a href="spotify:artist:45Z2ShPqr2p9ZgfkYhZUgq">May</a> and <a href="spotify:artist:4X3dUbGsTpVH6EbxtWnj6T">Taylor</a>. Inspired by the heavy rock of <a href="spotify:artist:36QJpDe2go2KgaRleHCDTp">Led Zeppelin</a>/<a href="spotify:artist:776Uo845nYHJpNaStv1Ds4">Hendrix</a> as well as the vocal harmonies of <a href="spotify:artist:3WrFJ7ztbogyGnTHbHJFl2">the Beatles</a> and the over the top look of the burgeoning glam rock movement (<a href="spotify:artist:0oSGxfWSnnOXhD2fKuz2Gy">David Bowie</a> and <a href="spotify:artist:3dBVyJ7JuOMt4GE9607Qin">T. Rex</a>), the new group decided to mix up all these influences in one big melting pot, resulting in the formation of <a href="spotify:artist:1dfeR4HaWDbWqFHLkxsg1d">Queen</a>. Sensing that it was only natural that a soon-to-be rock star should have an equally grand name, Bulsara adopted a new last name, becoming Freddie Mercury. The new band honed their sound throughout the early '70s (ultimately signing with <a href="spotify:search:label%3A%22EMI%22">EMI</a> in England and <a href="spotify:search:label%3A%22Elektra%22">Elektra</a> in the U.S.), and after going through a succession of bassists, finally found a permanent member, <a href="spotify:artist:6KrRVxAW7yvCYrO1ALqPG5">John Deacon</a>, just prior to the recording of their first album. But just before the release of <a href="spotify:artist:1dfeR4HaWDbWqFHLkxsg1d">Queen</a>'s self-titled debut in 1973, Mercury issued the solo single "I Can Hear Music"/"Going Back" (with his <a href="spotify:artist:1dfeR4HaWDbWqFHLkxsg1d">Queen</a> bandmates backing him) under the pseudonym Larry Lurex. The single sank from view shortly after release, while <a href="spotify:artist:1dfeR4HaWDbWqFHLkxsg1d">Queen</a>'s debut fared little better. It was during an early <a href="spotify:artist:1dfeR4HaWDbWqFHLkxsg1d">Queen</a> show that Mercury's microphone stand accidentally snapped in half, and instead of replacing it, he carried on with the damaged stand, which ultimately became an on-stage trademark for the singer. Dressed in outrageous Zandra Rhodes-designed threads, dolled up in makeup and eyeliner, and wearing black nail polish on his right hand, he instantly stood out from the rest of the then-current rock pack. Although there was speculation about his sexuality throughout his career, Mercury refused to confirm or deny that he was bisexual during his lifetime. Slowly but surely, <a href="spotify:artist:1dfeR4HaWDbWqFHLkxsg1d">Queen</a> built up an enormous and dedicated worldwide following due to their bombastic stage show and such hit releases as 1974's Queen II and Sheer Heart Attack, but it was the Mercury-penned "Bohemian Rhapsody" off 1975's breakthrough A Night at the Opera that solidified <a href="spotify:artist:1dfeR4HaWDbWqFHLkxsg1d">Queen</a> as one of rock's top bands. Further hit albums followed: 1976's A Day at the Races, 1977's News of the World, 1978's Jazz, and 1979's Live Killers, during which Mercury penned such hit songs (and eventual rock radio staples) as "Killer Queen," "Somebody to Love," "We Are the Champions," "Don't Stop Me Now," and "Crazy Little Thing Called Love." By the late '70s, he had become one of rock's leading frontmen as his image changed from his early glam rock look to one that was met with some consternation from fans: he cut his hair short and grew a mustache. In addition to his work with <a href="spotify:artist:1dfeR4HaWDbWqFHLkxsg1d">Queen</a>, Mercury fulfilled a longtime dream by performing with the Royal Ballet in October of 1979. The '80s would prove to be puzzling time for <a href="spotify:artist:1dfeR4HaWDbWqFHLkxsg1d">Queen</a>, as they kicked off the new decade with their biggest album yet, The Game -- scoring one of 1980's biggest hits, the dancefloor anthem "Another One Bites the Dust" -- and most successful tour. But instead of treating the successful musical experiment as a brief detour, <a href="spotify:artist:1dfeR4HaWDbWqFHLkxsg1d">Queen</a> decided to explore dance music more thoroughly on their follow-up, Hot Space, resulting in their worst-selling release since Queen II. While <a href="spotify:artist:1dfeR4HaWDbWqFHLkxsg1d">Queen</a> were quickly able to recapture their following everywhere in the world on the strength of such solid releases as 1984's The Works and 1986's A Kind of Magic (and a show-stopping performance at the mammoth Live Aid benefit concert in 1985), the band's popularity in the U.S. dwindled considerably. It was while on hiatus from <a href="spotify:artist:1dfeR4HaWDbWqFHLkxsg1d">Queen</a> that Mercury issued his first solo album in 1985, Mr. Bad Guy, a more pop-oriented album than his previous work, it featured the driving synth anthem "I Was Born to Love You" and the ballad "Made in Heaven;" both of which were later reworked by <a href="spotify:artist:1dfeR4HaWDbWqFHLkxsg1d">Queen</a>. By the late '80s, Mercury had also been diagnosed with AIDS, but decided to keep his condition under wraps as he focused on recording further albums with <a href="spotify:artist:1dfeR4HaWDbWqFHLkxsg1d">Queen</a> (1989's The Miracle and 1991's Innuendo), as well as issuing sporadic solo singles ("The Great Pretender," "Time") and an opera-meets-pop album with <a href="spotify:artist:6oGu0NZWy8gJ18wggybFqH">Montserrat Caballé</a> entitled Barcelona. But by 1991, Mercury's battle with AIDS had taken a turn for the worse, and on November 24, 1991 (just one day after deciding to go public with his ailment), Mercury died at his home in London. On April 20, 1992, the surviving members of <a href="spotify:artist:1dfeR4HaWDbWqFHLkxsg1d">Queen</a> organized a star-studded tribute concert for Mercury at Wembley Stadium (with all proceeds going to the newly founded AIDS benefit group The Mercury Phoenix Trust) featuring such <a href="spotify:artist:1dfeR4HaWDbWqFHLkxsg1d">Queen</a>/Mercury admirers as <a href="spotify:artist:3PhoLpVuITZKcymswpck5b">Elton John</a>, <a href="spotify:artist:3qm84nBOXUEQ2vnTfUTTFC">Guns N' Roses</a>, <a href="spotify:artist:5GtMEZEeFFsuHY8ad4kOxv">Seal</a>, <a href="spotify:artist:2ye2Wgw4gimLv2eAKyk1NB">Metallica</a>, <a href="spotify:artist:0oSGxfWSnnOXhD2fKuz2Gy">David Bowie</a>, <a href="spotify:artist:1OwarW4LEHnoep20ixRA0y">Robert Plant</a>, <a href="spotify:artist:5odf7hjI7hyvAw66tmxhGF">Roger Daltrey</a>, <a href="spotify:artist:19ra5tSw0tWufvUp8GotLo">George Michael</a>, and <a href="spotify:artist:3lQpSzdPxoF1FYk7ilbe37">Liza Minnelli</a>, among others. Shortly thereafter, <a href="spotify:artist:1dfeR4HaWDbWqFHLkxsg1d">Queen</a> regained their footing in the U.S. when <a href="spotify:search:label%3A%22Hollywood+Records%22">Hollywood Records</a> reissued their entire catalog and "Bohemian Rhapsody" (and two compilations: Classic Queen and Greatest Hits) rocketed up the charts due to the song's inclusion in the movie Wayne's World. Up until his death, Mercury continued to write music with <a href="spotify:artist:1dfeR4HaWDbWqFHLkxsg1d">Queen</a>, and surviving bandmembers completed several unfinished tracks for the 1995 posthumous release Made in Heaven. The '90s also saw the arrival of a few Mercury solo compilations: in 1992 the U.K. received The Freddie Mercury Album while the U.S. got The Great Pretender (both included mostly similar track listings) and a year later, the six-track Remixes was issued in Europe only. In 2000, a mammoth ten-CD/two-DVD box set was unveiled, titled The Solo Collection, collecting all of his solo tracks and promotional videos as well as rarities. Also released at the same time was the three-CD box set Freddie Mercury Solo and the DVD Video Collection, which included highlights from the bigger set. The more economical single-disc collection Very Best of Freddie Mercury Solo: Lover of Life, Singer of Songs appeared in 2006. In 2016, the double-disc collection Messenger of the Gods: The Singles brought together all of Mercury's solo A- and B-side singles. In 2018, actor Rami Malek portrayed Mercury in the <a href="spotify:artist:1dfeR4HaWDbWqFHLkxsg1d">Queen</a> biopic Bohemian Rhapsody. In the wake of the film's success (it took home four Academy Awards), <a href="spotify:search:label%3A%22Virgin%2FEMI%22">Virgin/EMI</a> and <a href="spotify:search:label%3A%22Hollywood+Records%22">Hollywood Records</a> compiled the singer's solo work on the 2019 box set Never Boring. ~ Greg Prato, Rovi

Pixies

Pixies

Pixies have been acclaimed as the most influential, pioneering band of the late 80s alt/rock movement, having served as a major influence for artists like Nirvana, Pearl Jam, Radiohead, the Strokes, Weezer, and many more. And today, a whole new generation of music fans has been discovering and embracing the band’s “loudquietloud” signature sound. Quirky, catchy melodies have always been Pixies’ calling card; seven genre-defining studio albums, including the Gold-certified Surfer Rosa, and the iconic Platinum Doolittle, considered one of the all-time, quintessential alt/rock albums. Sell-out crowds all over the globe, Pixies’ live shows are unadulterated magic, simultaneously electrifying and lo-fi. Seventy-five minutes of the band playing anything they want, in whatever order they want, the classics and the new gems. And no two Pixies shows are ever the same. 2024 is a momentous year for Pixies. 35 years since Doolittle catapulted the band into the UK Top Ten, and 20 years since their celebrated reformation at Coachella, Pixies are deep into their second act. Bigger than ever, playing to fans spanning multiple generations, and in the midst of their most creative purple patch. Black Francis, Joey Santiago, David Lovering and British bassist Emma Richardson are as busy as ever.