Incubus Biography

Incubus has remained an ever-changing and developing band throughout their history, evolving their sound and lyrical content through each of their four full-length albums, various EPs, soundtrack work and home DVDs. It is this kinetic approach that has allowed them to survive throughout their 12-year career.

2003 has been an eventful year for the band and brought about several changes, including the replacement of founding member Dirk Lance with bass player Ben Kenney, former guitarist of the funk, hip-hop group The Roots. After taking a much-needed break following more than two years of promoting Morning View, Incubus has been writing new material for their much-anticipated follow-up album. They plan to debut new songs for audiences across the country this summer when they head out on the legendary Lollapalooza tour as one of the mainstage artists.

Incubus' major label debut landed in 1997 with Enjoy Incubus, an EP consisting of six revamped demos following their signing at Immortal/Epic Records. Later that year, with the release of S.C.I.E.N.C.E., Incubus hit the road in support of their first full-length album; something the band would continue to do virtually non-stop for the next six years. Their third album, Make Yourself, was released in October 1999 and became a catalyst for propelling Incubus into the mainstream music scene by spawning numerous hit singles. "Pardon Me", "Stellar" and "Drive" all settled in the top three spots on Billboard's Modern Rock chart in 2000 and 2001. In the summer of 2000, Incubus graduated to the main stage at the annual OzzFest tour, which exposed them to massive audiences. Following up with another coveted slot on Moby's eclectic Area: One Tour, their consistent touring coupled with the huge success of Make Yourself, made Incubus a household name. In October 2001 the group released their highly anticipated fourth album, Morning View.

Morning View brought Incubus their most significant success to date, going platinum in just 10 weeks while Make Yourself continued to climb, selling over two million copies. The momentum steadily gained around Morning View with the help of the lead single "Wish You Were Here," making it to the #2 spot on Billboard's Modern Rock chart.

Following the hectic pace of the last few years, the band decided to take some well-deserved time off at the end of 2002. During their break, Mike and Jose needed an outlet for their creativity and formed a funk-jazz infused side project, Time-Lapse Consortium, also featuring Incubus bassist Ben Kenney, Neal Evans (Soulive), Suzie Katayama and an 11-piece orchestra. The band has only played on two special occasions; one club appearance at the Roxy Theatre in Los Angeles in January and a live television stint this past April on Jimmy Kimmel Live, a late night television show.

With Lollapalooza beginning, Incubus is ready to do what they love most. return to the stage to play their new material and begin a new journey with their fans.

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Hoobastank Biography

Band Members:
Dan Guitar
Doug Vocals
Chris Drums
Markku Bass

"What if I don't want to hear the things you say? Where were you when I was needy yesterday?" -Too Little Too Late

Put a band together with influences like Faith No More, Tool, and Fishbone, let each member add unique influences ranging from Phish to Guns n Roses to Trance music. Enter Hoobastank.

Flash back to July of 1998 and enoughmoney saved up to self release the first album They Sure Don't Make Basketball Shorts Like They Used To, spreading the Hoobastank sound across Southern California, throughout the United States, and as far as the UK, Brazil, Russia, and Israel.

Even further back to the summer of 1994 when Dan and Doug and Markku started writing music together, and then to early 1995 when Chris answered the right newspaper ad to complete the quartet. Forward a bit to the summer of 1995. The Roxy in Los Angeles. The first show: the lights, the adrenaline and the fans. The fans like you that have enabled Hoobastank to consistently sell out local shows, to play up and down California and Arizona, and to play venues as large as the Palace and even the Universal Amphitheatre.

And then look to what is almost yesterday. A band that has matured and grown enough to get signed to Island/Defjam Records and be picked up by the booking agency CAA, and then to tomorrow: a new album that will set new standards for and a tour that will bring the energetic Hoobastank sound even closer to you.

It has all led up to this, and this is only the beginning...

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Creed Biography

source:sing365.com

It's not easy to find a success story as genuine as Creed’s in popular culture these days, with all the carefully scripted rises to glory and the falls that inevitably follow careers built on hype. If any late-'90s band can claim to have ascended strictly on its own merits, it's Creed, a Florida-bred foursome that went from zero to sixty (or, more accurately, zero to nearly 4x Platinum) by virtue of a combination of finger-on-the-pulse songs and powerful live performances, rather than a raft of hype.

"With My Own Prison, I knew we had the talent to get a record deal and I knew we had songs good enough to get played on the radio, but I never had any expectations of reaching this many people," says Creed's dynamic frontman, Scott Stapp. "But when I think back, I can remember that Mark Tremonti definitely did. The very first time we went into a meeting at Wind-up, he said he'd be totally disappointed if the album didn't go triple platinum." Tremonti didn't have to suffer any pangs of regret. Creed was the first band in history to have four Number One Rock Radio singles from a debut album -- a feat even more impressive in these days of love-'em-and-leave-'em, one-hit wonders.

On the strength of their singles, including the crushing title track and the more pensive "What's This Life For," Creed topped countless year-end charts and was recognized as the Rock Artist of the Year at Billboard’s 1998 Music Awards. Their debut album was also the #1-selling Hard Music album for 1998 on SoundScan’s Hard Music chart. Now, with the release of their second album, Human Clay, Creed is poised to up the ante yet again. "We're the type of band that functions really well under pressure, and there was definitely a pressure to try to top ourselves this time," says Stapp. "Not so much what we sell, because we don't really care about that. We wanted to make a really great record.

The band’s goal has always been to make records that are solid from start to finish; records that take you through an entire range of emotions." Those sentiments come across loud and clear during stretches of Human Clay. On "What If," Stapp's baritone turns fierce when addressing those he feels have judged him unfairly over the years -- a pitch that's matched by the searing guitar lines that Tremonti turns out. The intensity comes through in more subtle ways as well, as in the plaintive tone of the album’s first single, "Higher," which finds Stapp seeking refuge from the rigors of the outside world, as his bandmates erect a majestic wall of riffs to ring his discourse. Throughout Human Clay, the entire band sounds to be on a quest to explore different sonic territories, ranging from the Led Zeppelin-styled eastern modalities of the album’s first track "Are You Ready?" to the lush balladry of "Wash Away Those Years." While Stapp grants that the band's increased resources had some impact on the structure

of Human Clay - the first album was recorded for a mere $6,000 -- it's clear that Creed's evolution is far more than just a matter of dollars and cents.

For Human Clay, Creed once again turned to longtime friend and producer John Kurzweg to ensure that they captured the anthemic guitars, dramatic vocals and bold lyrics that made Creed's brawny-yet-intimate sound a radio staple for two solid years. Together with Kurzweg, the band recorded the new album in a studio they constructed in a house just outside of Tallahassee. On Human Clay, Stapp contemplates how responsibilities, choices and actions impact people. The album’s songs explore fears of growing up and letting go of youth ("Never Die") conscience ("Faceless Man") and betrayal ("Beautiful") among other topics. Creed challenges their listeners to think without preaching or pretending to have all the answers. Balancing Human Clay’s hard rock sensibilities is "With Arms Wide Open," a deeply personal song that Stapp wrote when he learned he was going to become a father. "I think my songwriting is very direct and understandable," says Stapp. "People can relate to that, so that's something I didn't want to

move away from.

At the same time, we're a little bit older and more mature now and we’ve been through a lot in the past two years, so we were looking to put things across in a way that reflected that." In many ways, Creed has been evolving gradually since the band played its first dates together four years ago. After high school, teenage acquaintances Stapp and fellow songwriter Tremonti took different routes, but both ended up in Tallahassee, where they recruited bassist Brian Marshall and drummer Scott Phillips to form Creed. Within a few months, they had meshed their wide-ranging influences to create the band’s rich musical texture. Creed’s reputation for dynamic, passionate live performances has led to consistently sold-out shows. During the past two years the band has played to more than two million fans worldwide, not including the huge crowd who witnessed their awesome performance at Woodstock ’99.

Creed gave fans something special to remember the festival by when they invited Robby Krieger, guitarist for The Doors, to join them during their performance on the main stage. When Stapp introduced Krieger, the crowd of approximately 200,000 erupted in cheers and shouted along to Doors favorites "Roadhouse Blues" and "Riders On The Storm." Krieger also stayed on to play slide guitar on Creed's "What's This Life For." "We were out on tour for a long time, and wherever we went, there were people telling me how much certain songs meant to them and how they felt so close to them," says Stapp. "That means more to me than any other kind of attention. It’s important to feel as if you're doing something worthwhile, and in this band, I feel like I am." It will only take a few listens to Human Clay to see that they are. DISCOGRAPHY Albums My Own Prison -- August 1997 Human Clay -- September 1999 Singles "My Own Prison" - August 1997 "Torn" - January 1998 "What’s This Life For" - May 1998 "One" - December 1998 "Hi

gher" - August 1999 Soundtracks "Bound & Tied" (from the Dead Man On Campus soundtrack) - August 1998 "I’m Eighteen" (from The Faculty soundtrack) - December 1998 - "Is this the End" (from the Scream 3 soundtrack) -January 2000

Just for the record Creed no longer has 4 band members, they don't have a bass gutair player, the members still there are: Scott Stapp(lead vocals), Mark Tremonti(gutarist), Scott Phillips(drummer)!!!!

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Foo Fighters Biography

While he was drumming with Nirvana, Dave Grohl was recording original songs at home that never received public release. Those tapes would become the foundation of the Foo Fighters, the band he formed in 1995, after the death of Kurt Cobain. Like Nirvana, the Foo Fighters melded loud, heavy guitars with pretty melodies and mixed punk sensibilities with a sharp sense of pop songwriting.

Dave Grohl began playing guitar and writing songs in his early teens, as well as performing with a variety of hardcore punk bands. In the late '80s, when he was still in his teens, he joined the Washington, D.C.-area hardcore band Scream as their drummer. During the final days of Scream, Grohl began recording his own material in the basement studio of his friend, Barrett Jones. Some of Grohl's songs appeared on Scream's final album, Fumble. After Scream's 1990 summer tour, Grohl joined Nirvana and moved to Seattle.

After Nirvana recorded Nevermind, Grohl went back to the D.C.-area and recorded a handful of tracks that would appear on Pocketwatch, a cassette released by Simple Machines. For most of 1992, he was busy with Nirvana, but when the band stayed off of the road, he recorded solo material with Jones, who had moved to Seattle. The pair kept recording throughout early 1993, when Grohl returned to Nirvana to record In Utero.

Grohl had toyed with the idea of releasing another independent cassette in the summer of 1993, but the plans never reached fruition. Following Kurt Cobain's suicide in 1994, the drummer kept quiet for several months. In the fall of 1994, booking time in a professional studio, Grohl and Jones recorded the album that became the Foo Fighters' debut album in a week. Boiling down his backlog of songs to about 15 tracks, Grohl played all of the instruments on the album. He made 100 copies of the tape, passing it out to friends and associates. In no time, Dave Grohl's solo project became the object of a fierce record-company bidding war.

Instead of embarking on a full-fledged solo career, Grohl decided to form a band. Through his wife he met Nate Mendel, the bassist for Sunny Day Real Estate. Shortly before the pair met, Jeremy Enigk, the leader of Sunny Day Real Estate, had converted to Christianity and quit the band, effectively ending the group's career. Not only did Mendel join Grohl's band, but so did Sunny Day's drummer, William Goldsmith; former Germs and Nirvana guitarist Pat Smear rounded out the lineup.

The band, named the Foo Fighters after a World War II secret force that allegedly researched UFOs, signed a contract with Capitol Records. The band's self-titled debut, consisting solely of Dave Grohl's solo recordings, was released on July 4, 1995. It was an instant success in America, as "This Is a Call" garnered heavy alternative and album rock airplay. By early 1996, the album was certified platinum in the U.S.

Throughout 1996, the Foo Fighters supported the album with an extensive tour, enjoying a crossover hit with "Big Me" that spring. Late in the year, the group began recording their second album with producer Gil Norton. During the sessions, William Goldsmith left the band due to creative tensions, leaving Grohl to drum on the majority of the album. Before the record's release in the spring of 1997, Goldsmith was replaced by Taylor Hawkins, who had previously drummed with Alanis Morissette. The Colour and the Shape, the Foo Fighters' second album and the first they recorded as a band, was issued in May of 1997.

Smear left the group in the wake of the album's completion, and was replaced by guitarist Franz Stahl, whose stay proved short-lived; 1999's There Is Nothing Left to Lose was recorded as a three-piece, with ex-No Use for a Name guitarist Chris Shiflett signing on soon after.

In the Summer of 2002, Foo Fighters headlined Reading festival in England and released the brilliant album One By One. They followed the release of this with their first UK arena tour, which sold out in many venues. They received massive airplay for the saingles All My Life and Times Like These lifted off the album. One by One was number one in the Uk album charts for one week. During the recording of the album, Dave Grohl decided to scrap the tracks they had allready layed down and left to drum for Queens Of The Stone Age's Songs for the deaf album. He performed several live shows with them before returning to Foo Fighters and re-recording the whole album in a few days. Dave described it as the rawest album yet, and the best in his opinion.

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Guitar Tabs " The Drugs Dont Work 1 " by The Verve

chords used:
C          Am         Em          F (barre)    G
|---3---|  |---0---|  |---0---|   |---1---|    |---3---|
|---1---|  |---1---|  |---0---|   |---1---|    |---3---|
|---0---|  |---2---|  |---0---|   |---2---|    |---0---|
|---2---|  |---2---|  |---2---|   |---3---|    |---0---|
|---3---|  |---0---|  |---2---|   |---3---|    |---2---|
|---X---|  |---X---|  |---0---|   |---1---|    |---3---|


INTRO

C   Am   Em   F   G   C


VERSE 1

        C
all this talk of gettin old
              Am
it's gettin me down my love
               Em
like a cat in a bag
          F
waiting to drown
    G        C
this time i'm coming down


VERSE 2

     C
and i hope you're thinkin of me
               Am
as you lay down on your side
                   Em
now the drugs don't work
                  F
they just make you worse
     G                  C
but i know i'll see your face again
                   Em
now the drugs don't work
                  F
they just make you worse
     G                  C
but i know i'll see your face again


VERSE 3

     C
but i know i'm on a losing streak
                   Am
cause i passed down my old street
                Em
and if you wanna show
                F
then just let me know
        G            C
and i'll sing in your ear again
                   Em
now the drugs don't work
                  F
they just make you worse
     G                  C
but i know i'll see your face again


CHORUS

          F         Em
cause baby ooooooooooh.....
         Am               G
if heaven calls, i'm coming too
             F        Em
just like you saaaaaaaaaid.......
            Am                   G
you leave my life, i'm better off dead


VERSE 4

        C
all this talk of gettin old
              Am
it's gettin me down my love
               Em
like a cat in a bag
          F
waiting to drown
    G        C
this time i'm coming down
                   Em
now the drugs don't work
                  F
they just make you worse
     G                  C
but i know i'll see your face again


CHORUS

           F      Em
cause baby ooooooooooh.....
         Am                G
if heaven calls, i'm coming too
             F     Em
just like you saaaaaaaaaid.....
            Am                   G
you leave my life, i'm better off dead


VERSE 5

                Em
but if you wanna show
                F
then just let me know
        G            C
and i'll sing in your ear again
                   Em
now the drugs don't work
                  F
they just make you worse
     G                  C
but i know i'll see your face again


BRIDGE

C
yeah i know i'll see your face again
C
yeah i know i'll see your face again
C
yeah i know i'll see your face again
C
yeah i know i'll see your face again


OUTRO

C
never comin down
C
i'm never comin down
C
no more, no more, no more, no more, no more......

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