Black Sabbath has been so influential in the development of heavy metal rock music as to be a defining force in the style. The group took the blues-rock sound of late '60s acts like Cream, Blue Cheer, and Vanilla Fudge to its logical conclusion, slowing the tempo, accentuating the bass, and emphasizing screaming guitar solos and howled vocals full of lyrics expressing mental anguish and macabre fantasies. If their predecessors clearly came out of an electrified blues tradition, Black Sabbath took that tradition in a new direction, and in so doing helped give birth to a musical style that continued to attract millions of fans decades later.

The group was formed by four teenage friends from Aston, near Birmingham, England: Anthony "Tony" Iommi (b. Feb 19, 1948), guitar; William "Bill" Ward (b. May 5, 1948), drums; John "Ozzy" Osbourne (b. Dec 3, 1948), vocals; and Terence "Geezer" Butler (b. Jul 17, 1949), bass. They originally called their jazz-blues band Polka Tulk, later renaming themselves Earth, and they played extensively in Europe. In early 1969, they decided to change their name again when they found that they were being mistaken for another group called Earth. Butler had written a song that took its title from a novel by occult writer Dennis Wheatley, Black Sabbath, and the group adopted it as their name as well. As they attracted attention for their live performances, record labels showed interest, and they were signed to Phillips Records in 1969. In January 1970, the Phillips subsidiary Fontana released their debut single, "Evil Woman (Don't Play Your Games With Me)," a cover of a song that had just become a U.S. hit for Crow; it did not chart. The following month, a different Phillips subsidiary, Vertigo, released Black Sabbath's self-titled debut album, which reached the U.K. Top Ten. Though it was a less immediate success in the U.S. -- where the band's recordings were licensed to Warner Bros. Records and appeared in May 1970 -- the LP broke into the American charts in August, reaching the Top 40, remaining in the charts over a year, and selling a million copies.

Appearing at the start of the '70s, Black Sabbath embodied the Balkanization of popular music that followed the relatively homogenous second half of the 1960s. As exemplified by its most popular act, the Beatles, the 1960s suggested that many different aspects of popular music could be integrated into an eclectic style with a broad appeal. The Beatles were as likely to perform an acoustic ballad as a hard rocker or R&B-influenced tune. At the start of the 1970s, however, those styles began to become more discrete for new artists, with soft rockers like James Taylor and the Carpenters emerging to play only ballad material, and hard rockers like Led Zeppelin and Grand Funk Railroad taking a radically different course, while R&B music turned increasingly militant. The first wave of rock critics, which had come into existence with the Beatles, was dismayed with this development, and the new acts tended to be poorly reviewed despite their popularity. Black Sabbath, which took an even more extreme tack than the still blues- and folk-based Led Zeppelin, was lambasted by critics (and though they eventually made their peace with Zeppelin, they never did with Sabbath). But the band had discovered a new audience eager for its uncompromising approach.

Black Sabbath quickly followed its debut album with a second album, Paranoid, in September 1970. The title track, released as a single in advance of the LP, hit the Top Five in the U.K., and the album went to number one there. In the U.S., where the first album had just begun to sell, Paranoid was held up for release until January 1971, again preceded by the title track, which made the singles charts in November; the album broke into the Top Ten in March 1971 and remained in the charts over a year, eventually selling over four million copies, by far the band's best-selling effort. (Its sales were stimulated by the belated release of one of its tracks, "Iron Man," as a U.S. single in early 1972; the 45 got almost halfway up the charts, the band's best showing for an American single.)

Master of Reality, the third album, followed in August 1971, reaching the Top Ten on both sides of the Atlantic and selling over a million copies. Black Sabbath, Vol. 4 (September 1972) was another Top Ten million-seller. For Sabbath Bloody Sabbath (November 1973), the band brought in Yes keyboard player Rick Wakeman on one track, signaling a slight change in musical direction; it was Black Sabbath's fifth straight Top Ten hit and million-seller. In 1974, the group went through managerial disputes that idled them for an extended period. When they returned to action in July 1975 with their sixth album, Sabotage, they were welcomed back at home, but in the U.S. the musical climate had changed, making things more difficult for an album-oriented band with a heavy style, and though the LP reached the Top 20, it did not match previous sales levels. Black Sabbath's record labels quickly responded with a million-selling double-LP compilation, We Sold Our Soul for Rock 'n' Roll (December 1975), and the band contemplated a more pronounced change of musical style. This brought about disagreement, with guitarist Iommi wanting to add elements to the sound, including horns, and singer Osbourne resisting any variation in the formula. Technical Ecstasy (October 1976), which adopted some of Iommi's innovations, was another good -- but not great -- seller, and Osbourne's frustration eventually led to his quitting the band in November 1977. He was replaced for some live dates by former Savoy Brown singer Dave Walker, then returned in January 1978. Black Sabbath recorded its eighth album, Never Say Die! (September 1978), the title track becoming a U.K. Top 40 hit before the LP's release and "Hard Road" making the Top 40 afterwards. But the singles did not improve the album's commercial success, which was again modest, and Osbourne left Black Sabbath for a solo career, replaced in June 1979 by former Rainbow singer Ronnie James Dio (b. June 10, 1949). (Also during this period, keyboardist Geoff Nichols became a regular part of the band's performing and recording efforts, though he was not officially considered a band member until later.)

The new lineup took its time getting into the recording studio, not releasing its first effort until April 1980 with Heaven and Hell. The result was a commercial resurgence. In the U.S., the album was a million-seller; in Britain, it was a Top Ten hit that threw off two chart singles, "Neon Knights" and "Die Young." (At the same time, the band's former British record label issued a five-year old concert album, Black Sabbath Live at Last, that was quickly withdrawn, though not before making the U.K. Top Five, and reissued "Paranoid" as a single, getting it into the Top 20.) Meanwhile, drummer Bill Ward left Black Sabbath due to ill health and was replaced by Vinnie Appice. The lineup of Iommi, Butler, Dio, and Appice then recorded Mob Rules (November 1981), which was almost as successful as its predecessor: In the U.S., it went gold, and in the U.K. it reached the Top 20 and spawned two chart singles, the title track and "Turn up the Night." Next on the schedule was a concert album, but Iommi and Dio clashed over the mixing of it, and by the time Live Evil appeared in January 1983, Dio had left Black Sabbath, taking Appice with him.

The group reorganized by persuading original drummer Bill Ward to return and, in a move that surprised heavy metal fans, recruiting Ian Gillan (b. Aug. 19, 1945), former lead singer of Black Sabbath rivals Deep Purple. This lineup -- Iommi, Butler, Ward, and Gillan -- recorded Born Again, released in September 1983. Black Sabbath hit the road prior to the album's release, with drummer Bev Bevan (b. Nov 25, 1946) substituting for Ward, who would return to the band in the spring of 1984. The album was a Top Five hit in the U.K. but only made the Top 40 in the U.S. Gillan remained with Black Sabbath until March 1984, when he joined a Deep Purple reunion and was replaced by singer Dave Donato, who was in the band until October without being featured on any of its recordings.

Black Sabbath reunited with Ozzy Osbourne for its set at the Live Aid concert on July 13, 1985, but soon after the performance, bassist Geezer Butler left the band, and with that the group became guitarist Tony Iommi's vehicle, a fact emphasized by the next album, Seventh Star, released in January 1986 and credited to "Black Sabbath featuring Tony Iommi." On this release, the lineup was Iommi (guitar); another former Deep Purple singer, Glenn Hughes (b. Aug 21, 1952) (vocals); Dave Spitz (bass); Geoff Nichols (keyboards); and Eric Singer (drums). The album was a modest commercial success, but the new band began to fragment immediately, with Hughes replaced by singer Ray Gillen for the promotional tour in March 1986.

With Black Sabbath now consisting of Iommi and his employees, personnel changes were rapid. The Eternal Idol (November 1987), which failed to crack the U.K. Top 50 or the U.S. Top 100, featured a returning Bev Bevan, bassist Bob Daisley, and singer Tony Martin. Bevan and Daisley didn't stay long, and there were several replacements in the bass and drum positions over the next couple of years. Headless Cross (April 1989), the band's first album for I.R.S. Records, found veteran drummer Cozy Powell (b. Dec 29, 1947, d. Apr 5, 1998) and bassist Laurence Cottle joining Iommi and Martin. It marked a slight uptick in Black Sabbath's fortunes at home, with the title song managing a week in the singles charts. Shortly after its release, Cottle was replaced by bassist Neil Murray. With Geoff Nichols back on keyboards, this lineup made Tyr (August 1990), which charted in the Top 40 in the U.K. but became Black Sabbath's first regular album to miss the U.S. charts.

Iommi was able to reunite the 1979-1983 lineup of the band -- himself, Geezer Butler, Ronnie James Dio, and Vinnie Appice -- for Dehumanizer (June 1992), which brought Black Sabbath back into the American Top 50 for the first time in nine years, while in the U.K. the album spawned "TV Crimes," their first Top 40 hit in a decade. And on November 15, 1992, Iommi, Butler, and Appice backed Ozzy Osbourne as part of what was billed as the singer's final live appearance. Shortly after, it was announced that Osbourne would be rejoining Black Sabbath.

That didn't happen -- yet. Instead, Dio and Appice left again, and Iommi replaced them by bringing back Tony Martin and adding drummer Bob Rondinelli. Cross Purposes (February 1994) was a modest seller, and, with Iommi apparently maintaining a Rolodex of all former members from which to pick and choose, the next album, Forbidden (June 1995), featured returning musicians Cozy Powell, Geoff Nichols, and Neil Murray, along with Iommi and Martin. The disc spent only one week in the British charts, suggesting that Black Sabbath finally had exhausted its commercial appeal, at least as a record seller. With that, the group followed the lead of the Eagles and Fleetwood Mac, putting the most popular lineup of the band back together for a live album with a couple of new studio tracks on it. Recorded in the band's hometown of Birmingham, England, in December 1997, the two-CD set Reunion -- featuring all four of Black Sabbath's original members, Iommi, Osbourne, Butler, and Ward -- was released in October 1998. It charted only briefly in the U.K., but in the U.S. it just missed reaching the Top Ten and went platinum. The track "Iron Man" won Black Sabbath its first Grammy Award for Best Metal Performance. The band toured through the end of 1999, concluding their reunion tour on December 22, 1999, back in Birmingham. In February 2001, Black Sabbath announced that it would reunite once again to headline the sixth edition of Ozzfest, Osbourne's summer concert festival, playing 29 cities in the U.S. beginning in June. More surprisingly, the group also announced its intention to record a studio album of all-new material, the original lineup's first since 1978. By the end of the year, a failed recording session with producer Rick Rubin proved what an unreasonable idea this was, and the band laid dormant while Osbourne enjoyed scoring a hit TV series the following spring. ~ William Ruhlmann, All Music Guide

Black Rob

Bad Boy Records rapper Black Rob began his recording career appearing on albums like the Cru's Da Dirty 30 and collaborating with artists like L.O.X., Busta Rhymes, Lil' Kim, and Total before releasing his first album, Life Story, in early 2000. The debut featured the hit single "Whoa!" and appearances from L.O.X., Cheryl Riley, the Goodie Mob's Cee-Lo, and Carl Thomas. It wasn't until late 2004 that new Black Rob material appeared, most premiered on mixtapes by DJ Kayslay. In 2005 he released his sophomore album The Black Rob Report. ~ Heather Phares, All Music Guide

Black Rebel Motorcycle Club

The seed that became Black Rebel Motorcycle Club -- or B.R.M.C. for short -- was planted back in 1995, when Robert Turner and Peter Hayes met while attending high school in their hometown of San Francisco. They formed a solid friendship and camaraderie based on a mutual love of early-'90s U.K. bands like Ride and the Stone Roses and a few on the successful Creation Records label (the Jesus and Mary Chain, My Bloody Valentine). They ultimately decided to put their as-yet-unnamed project on hold, and joined other bands while still attempting to keep in touch with each other; frequently they would attend each other's gigs. In 1998, after both had fled their previous groups, they rejoined, this time adding new drummer Nick Jago. (Jago, originally from England, had finished art school to move to the States in 1996). They began performing live in November 1998. Originally calling themselves the Elements -- they quickly changed it after discovering many other bands had shared the same title -- they purloined their new name from the Marlon Brando-led biker gang who stormed into that dusty California hamlet in The Wild One.

By 1999, B.R.M.C. had recorded a polished 16-track demo CD that began making the rounds (they sold all 500 copies at their shows), and relocated to Los Angeles. Local Santa Monica-based KCRW (a well-known FM station that compiled and released yearly Rare on Air CD compilations) jumped on the band's demo first, giving them their initial airplay, but soon interest in the band spread across the Atlantic, where BBC Sheffield even named the demo their "Record of the Week." Oasis' Noel Gallagher heard it and wanted to sign the band to his new Brother Records imprint, telling MOJO magazine that they were his favorite new band, but after inking a lucrative Warner/Chappell publishing deal, they were fielding offers from interested major and indie labels, ultimately choosing to sign in March 2000 with Virgin Records. After a short U.S. tour with the Dandy Warhols, the band entered the studio and produced a self-titled debut, B.R.M.C., which was issued in March 2001. Two years later, the trio returned with a slicker edge; Take Them on, on Your Own appeared in September 2003. They severed ties with Virgin Records eight months later. A deal with RCA surfaced within months, and the acoustic, Americana-influenced Howl arrived in August of 2005. The band moved back to the loud rock & roll approach favored on their first two albums with 2007's Baby 81. ~ Bryan Thomas, All Music Guide

The Black Maria

Like a phoenix rising from the ashes of Grade, Zyon and New Day Rising, The Black Maria present their new album, Lead Us To Reason. While each member of the band has a long history of success in music -- The Black Maria has nothing to do with those stories. Rather it is a group vision, evolving in the process of invention, and is a story all its own. With evocative lyrics and a gorgeous, layered musical framework, their music defies category, walking the razor edge of genre toward their own precise statement. Forming in 2002, the band began writing and playing, polishing early demos and letting inspiration take its course. They named the band after the notorious police vans of the early 20th century. Their first show was in Toronto in 2003, with Piebald and Cave In and the band has played constantly since then, sharing stages with Queens Of The Stone Age, MxPx, The Distillers and Ted Leo and the Pharmacists.

The songwriting process has been a steady evolution since the band began. "To me, a song is never finished, it always takes a new direction every time it is performed -- recording the songs captured what we were feeling at that moment," Bishop commented.

Lyrically the album exudes passionate emotions, with anger and disillusionment at center stage. "I have always been an emotional writer," explained Chris, "I have never been scared to wear my heart on my sleeve. But I also love incorporating visual imagery into our songs."

Guitarist Kyle Bishop invited Victory Records owner Tony Brummel to see the band in 2004, and shortly afterward, The Black Maria signed with the label and started plans for recording. "Finding the correct producer for any project is always difficult. Our manager threw Mike Green on the table. He was young, had great focus, good clarity in his mixing and sound. He really convinced me of the value of pre-production." Bishop recalled. Green is best known for his work with Yellowcard and The Matches.

The Black Maria proves their versatility on the album, with delicate piano, harmonized vocals framing some of the harshest narrative on "The Lines We Cross". "Betrayal" comes up swinging, with anthemic choruses and tough guitar hooks offset by a dark, foreboding rhythm section and a tremolo-packed layer of guitar noise adding depth. "The Memento" enters on an eerie note, with a wavering organ that drops abruptly into space, supplanted by aggressive guitars, a wicked bass line and truly bitter lyrics.

With complex, unique music, incredible packaging becomes essential. Bishop called in Matt Mahurin, a fine artist and video maker who has worked with Tom Waits, Metallica, REM, U2 and Lou Reed to create the artwork. "I discovered him when I was in art school, and he inspired me beyond the realms of imagination. I asked our manager if he could track him down, and he called me during one of our photo shoots. I almost shit a brick. He loved the music, and liked my ideas, so Matt did the artwork in between showing his new film," Kyle said.

Zakk Wylde

Best known for his long stint in support of Ozzy Osbourne, guitarist Zakk Wylde was born and raised in New Jersey; although he began studying music at age eight, he soon quit, not returning to his lessons until his mid-teens. He formed his first band, Stone Henge, in 1984, followed by a series of appearances with a variety of bands throughout the Jersey Shore. In 1987, Wylde was introduced as Osbourne's new lead guitarist, making his recorded debut a year later on No Rest for the Wicked; he remained with Ozzy through a series of hit albums before forming his own power trio, Pride & Glory, in 1994. After one album the group disbanded, and Wylde (after flirting with joining Guns N' Roses) mounted a solo career with 1996's Book of Shadows; Sonic Brew followed three years later. He continued to work on his own material while Ozzy asked him to return to his band when his touring guitarist wasn't working out on the new material. Wylde obliged and managed to produce two more albums while still working on the Down to Earth album and the following tour. ~ Jason Ankeny, All Music Guide

The Black Keys

The two-man duo comprising the Black Keys, singer/guitarist Dan Auerbach and drummer Patrick Carney, were in their early twenties when their debut, The Big Come Up, was issued in 2002. From Akron, OH, they play close-to-the-bone, raw blues-rock, the only instrumentation being Auerbach's guitar, Carney's drums, and the occasional organ. Auerbach had a fine, mature, lived-in blues voice for one so young, and the group's material worked in funk, soul, and rock influences from the likes of Jimi Hendrix and James Brown that avoided undue repetition of the overdone chord progressions and stock riffs common to so many such acts. Before the year's end, the band inked a deal with Fat Possum. The Black Keys' second album, Thickfreakness, was recorded in 14 straight hours one day in 2002. To prepare for its April 2003 release, the duo was handpicked by Sleater-Kinney as their opening act for their winter tour of North America. Rubber Factory followed in 2004 and earned notices as one of the best records of the year. A live DVD arrived in 2005, followed by the Chulahoma EP and the full-length Magic Potion in 2006. ~ Richie Unterberger, All Music Guide

The Black Heart Procession

Formed in late 1997 in San Diego, the Black Heart Procession have been described as beautifully bleak and brooding indie rock with a dark side. Lyrically touching on the melancholy side of human nature, the five-piece band is appropriately named given its themes of isolation, depression, and heartache. The core members of Pall Jenkins and Tobias Nathaniel (Three Mile Pilot) also collaborate on-stage and in the studio with various musicians whose instruments include guitar, piano, percussion, and even saw. This uniqueness led to a 1998 record deal with Cargo Records, which released their first album, 1. The Black Heart Procession then toured the United States and Europe with A Minor Forest, and the group's follow-up, 2, was released through Touch & Go Records in 1999. The final piece to the trilogy, 3, arrived in 2000. Joe Plummer (the Magic Magicians, Modest Mouse) and violinist Matt Resovich (the Album Leaf) were added to the Black Heart Procession lineup for the recording of the group's fourth effort, 2002's Amore del Tropico. This cinematic songbook of love and deception was an exploration of lounge and blues, making it an epic set for the band. Two years later, the Black Heart Procession scaled back their usual sinister presentation for In the Fishtank, Vol. 11, a co-release with Dutch prog rockers Solbakken for KonKurrent's celebrated album series. Bassist Jimmy LaValle, who also plays with the Album Leaf, joined in 2005; the dramatic, torrid love affair that is The Spell followed in May 2006. The haunting set was recorded and produced at the Black Heart Procession's own SDRL studio in their hometown of San Diego. ~ Mike DaRonco & MacKenzie Wilson, All Music Guide

Black Eyed Peas

Positive messages and breakdancing are integral parts of hip-hop culture, but by 1990 those elements had been temporarily eclipsed by the tough gangsta image and bleak but compelling lyrics of West Coast groups like N.W.A. However, despite sharing a zip code, Black Eyed Peas' vision goes beyond the cracked-sidewalk vignettes and sampled gunfire of Los Angeles' gangsta style. The socially conscious group's earliest connections go back to high school, when will.i.am and apl.de.ap were part of Tribal Nation, a breakdancing crew. Eventually the pair focused more on music -- hip-hop, specifically -- and split off into their own as Atban Klann, their esoteric name an acronym for A Tribe Beyond a Nation. Eazy-E's Ruthless Records signed the group in 1992, but many in the Ruthless camp were puzzled by the group and the enthusiasm of Eazy, who had no problem reconciling his own gangsta style with the peace-minded breakdancing of Atban. Although an album was recorded, Ruthless shelved it, unsure how to market a group whose style wasn't dependent on violent braggadocio like N.W.A.

The death of Eazy-E in 1995 signaled the end of any further deals with Ruthless. Undaunted by the experience, will and apl recruited another dancer/MC, Taboo, and reappeared as Black Eyed Peas. BEP began playing shows around L.A., impressing hip-hop fans with their mike skills and dazzling them with their footwork as well. In 1998 their debut, Behind the Front, was released to critical acclaim -- not only for the trio of MCs, but for their live band and backing vocalist Kim Hill as well. Featuring guest appearances from Jurassic 5's Chali 2na, De La Soul, and Macy Gray, BEP's sophomore effort, Bridging the Gap, was released in 2000. The group's third album, 2003's Elephunk, featured a new member (Fergie, who replaced Kim Hill) and became their biggest hit yet, storming the Top 40 with three singles ("Where Is the Love?," "Hey Mama," "Let's Get It Started"). Two years later, the quartet returned with a heavily crossover date, Monkey Business, which pushed them into the stratosphere courtesy of the hit single "My Humps." ~ Wade Kergan, All Music Guide

The Black Dahlia Murder

Detroit's the Black Dahlia Murder actually sounds like they should live in Scandinavia, whence originates much of the frenetic brand of death and black metal that inspires them. Formed in January 2001, the group followed their six-song What a Horrible Night to Have a Curse demo with the four-track A Cold-Blooded Epitaph EP, which was released on their own Lovelost Records. With a number of acclaimed concerts appearances like the Milwaukee Metal Fest already under their belts, the group -- comprised of vocalist Trevor Strnad, guitarists Brian Eschbach and Jon Kemppainen, bassist David Lock, and drummer Cory Grady -- then signed with Metal Blade in 2003 and were soon recording their debut album, Unhallowed. ~ Ed Rivadavia, All Music Guide

The Black Crowes

At the time of their 1990 debut, the kind of rock & roll the Black Crowes specialize in was out of style. Only Guns N' Roses came close to approximating a vintage Stones-style raunch, but they were too angry and jagged to pull it off completely. The Black Crowes replicated that Stonesy swagger and Faces boogie perfectly. Vocalist Chris Robinson appropriated the sound and style of vintage Rod Stewart while guitarist Rich Robinson fused Keith Richards' lean attack with Ron Wood's messy rhythmic sense. At their best, the Black Crowes echo classic rock without slavishly imitating their influences.

The Robinson brothers originally formed the Black Crowes in Georgia in 1984. By the time of their 1990 debut, Shake Your Money Maker, the group comprised Chris Robinson (vocals), Rich Robinson (guitar), Johnny Colt (bass), Jeff Cease (guitar), and Steve Gorman (drums). "Jealous Again," the first single from Shake Your Money Maker, was a moderate hit but it was the band's cover of Otis Redding's "Hard to Handle" that made the group a multi-platinum success. "Hard to Handle" climbed its way into the Top 40, propelling the album into the Top Ten. The acoustic ballad "She Talks to Angels" became the band's second Top 40 hit in the spring of 1991. Shake Your Money Maker would eventually sell over three million copies.

The Black Crowes delivered their second album, The Southern Harmony and Musical Companion, in the spring of 1992. It entered the charts at number one, but it didn't have as many hit singles as the debut; none of the singles cracked the Top 40 and only "Remedy" and "Thorn in My Pride" made the Top 100. Nevertheless, the band established itself as a popular concert attraction that summer, selling out theaters across America. During 1992, the band added keyboardist Eddie Harsch as a permanent member. The Black Crowes' third album, Amorica, arrived in late 1994. Amorica debuted in the Top Ten, but none of the singles from the album made the charts; even though the record went gold, it slipped off the charts in early 1995.

Three Snakes and One Charm, the group's fourth album, was released in July 1996. The album entered the charts at number 15, but it quickly slipped out of the Top 50. Nevertheless, the album received the best reviews of any Crowes album since The Southern Harmony and Musical Companion. Guitarist Marc Ford was fired from the Black Crowes in August 1997; two years later, the group returned with By Your Side. In mid-2000, the band collaborated with Led Zeppelin guitarist Jimmy Page on the double-disc Live at the Greek, an eclectic mix of newly recorded Zeppelin covers and additional classic blues cuts. Greatest Hits 1990-1999: A Tribute to a Work in Progress, a 16-track best-of compilation, was also released in mid-2000.

The Don Was-produced Lions appeared in spring 2001, and a summer tour with Oasis -- the Tour of Brotherly Love -- followed in June. But all was apparently not well with the group, and in January 2002, the band announced that it was on hiatus. Drummer Steve Gorman was fired, and Chris Robinson announced his intentions for a solo career. In 2005, however, the group got back together for a show at San Francisco's Fillmore, a concert that was released in both CD and DVD form in 2006 as Freak 'N' Roll... Into the Fog. That same year, The Lost Crowes, which contained two previously unreleased albums, 1993's Tall, parts of which were seen in Amorica and other places, and the 1997 never-before-heard Band, came out. ~ Stephen Thomas Erlewine, All Music Guide

Black Box Recorder

Black Box Recorder included Auteurs main man Luke Haines, former Jesus and Mary Chain member John Moore, and vocalist Sarah Nixey. Like the Auteurs, Black Box Recorder's songs commented on the state of English affairs, both social and personal, often using character sketches that exposed the less-than-pleasant with sharp frankness and simplicity. Domesticity and childhood themes often ran through their albums. Coming together in 1998 as Haines kept his primary vehicle operable, the trio introduced themselves with their first single ("Child Psychology") being banned from U.K. radio for the line "Life is unfair/Kill yourself or get over it."

The full-length England Made Me followed later in the year, establishing Moore and Haines as a songwriting team that excelled at getting its points across with the least amount of instrumentation necessary. Raw and minimal but still perversely pop, Nixey's detached and fragile-yet-rich voice (usually kept up front in the mix) provided the ideal characteristics for their songs. Imagine a sober, somber, dub-influenced version of the Velvet Underground with an elegantly smooth Nico singing on top.

Jumping ship from Chrysalis to Nude for 2000's The Facts of Life, the first single from the album surprisingly went Top 20, providing Haines with the highest chart position of his career. Despite this, Haines made no bones about his disdain for Nude within a week of the chart placement, feeling that they dropped the ball after being handed it on a silver platter. Artistically, The Facts of Life was a superb follow-up, incorporating electronic elements without sounding anything like a trip-hop or Garbage-style dance-rock group. The Worst of Black Box Recorder, a collection of the trio's B-sides, came the following year.

After a lengthy break aided by Nude's downfall, as well as two solo releases from Haines, the group landed on One Little Indian for 2003's Passionoia. WIthout forsaking their knack for subversion, the group returned with their most ornate batch of songs yet, several of which were as poppy as anything recorded by Saint Etienne. Prior to the album's release, Nixey and Moore tied the knot. ~ Andy Kellman, All Music Guide

Björk

Björk first came to prominence as one of the lead vocalists of the avant-pop Icelandic sextet the Sugarcubes, but when she launched a solo career after the group's 1992 demise, she quickly eclipsed her old band's popularity. Instead of following in the Sugarcubes' arty guitar rock pretensions, Björk immersed herself in dance and club culture, working with many of the biggest names in the genre, including Nellee Hooper, Underworld, and Tricky. Debut, her first solo effort (except for an Icelandic-only smash released when she was just 11 years old), not only established her new artistic direction, but it became an international hit, making her one of the '90s most unlikely stars.

Though the title of Debut implied that it was Björk's first-ever solo project, she had actually been a professional vocalist since she was a child. When she was in elementary school in Reykjavik, she studied classical piano and, eventually, her teachers submitted a tape of her singing Tina Charles' "I Love to Love" to Iceland's Radio One. After "I Love to Love" was aired, a record label called Falkkin offered Björk a record contract. At the age of 11, her eponymous first album was released; the record contained covers of several pop songs, including the Beatles' "Fool on the Hill," and boasted artwork from her mother and guitar work from her stepfather. Björk became a hit within Iceland and was not released in any other country.

Björk's musical tastes were changed by the punk revolution of the late '70s; in 1979, she formed a post-punk group called Exodus and, in the following year, she sang in Jam 80. In 1981, Björk and Exodus bassist Jakob Magnusson formed Tappi Tikarrass, which released an EP, Bitid Fast I Vitid, on Spor later that year; it was followed by the full-length Miranda in 1983. Following Tappi Tikarrass, she formed the goth-tinged post-punk group KUKL with Einar Orn Benediktsson. KUKL released two albums, The Eye (1984) and Holidays in Europe (1986), on Crass Records before the band metamorphosed into the Sugarcubes in the summer of 1986.

The Sugarcubes became one of the rare Icelandic bands to break out of their native country when their debut album, Life's Too Good, became a British and American hit in 1988. For the next four years, the group maintained a successful cult following in the U.K. and the U.S. while they were stars within Iceland. During 1990, Björk recorded a set of jazz standards and originals with an Icelandic bebop group called Trio Gudmundar Ingolfssonar. The album, Gling-Gló, was released only in Iceland. By 1992, tensions between Björk and Einar had grown substantially, which resulted in the band splitting apart.

Following the breakup of the group, Björk moved to London, where she began pursuing a dance-oriented solo career. The previous year, she had sung on 808 State's "Ooops," which sparked her interest in club and house music. Björk struck up a working relationship with Nellee Hooper, a producer who had formerly worked with Soul II Soul and Massive Attack. The first result of their partnership was "Human Behaviour," which was released in June of 1993. "Human Behaviour" became a Top 40 hit in the U.K., setting the stage for the surprising number three debut of the full-length album, Debut. Throughout 1993, Björk had hit U.K. singles -- including "Venus as a Boy," "Big Time Sensuality," and the non-LP "Play Dead," a collaboration with David Arnold taken from the film Young Americans -- as well as modern rock radio hits in the U.S., and in both countries she earned rave reviews. At the end of the year, NME magazine named Debut the album of the year, while she won International Female Solo Artist and Newcomer at the BRIT Awards; Debut went gold in the U.S. and platinum in the U.K.

During 1994, Björk was relatively quiet as she recorded her second album with Nellee Hooper, Tricky, 808 State's Graham Massey, and Howie B of Mo' Wax Records; she also released a remix EP, co-wrote the title track for Madonna's Bedtime Stories, and performed on MTV Unplugged that same year. "Army of Me," the first single from Björk's forthcoming album, was released as a teaser single in the spring of 1995; it debuted at number ten in the U.K. and became a moderate alternative rock hit in the U.S. Post, her second album, was released in June of 1995 to positive reviews; it peaked at number two in the U.K. and number 32 in the U.S. Post matched its predecessor in terms of sales and praise, going gold in the U.S. and helping her earn her second BRIT Award for Best International Female Artist. Post yielded the British hit singles "Isobel" (number 23), "It's Oh So Quiet" (number four), and "Hyperballad" (number eight), yet her singles failed to make much headway on American radio or MTV. Late in 1996, Björk released Telegram, an album comprised of radical remixes of the entire Post album, in the U.K.; Telegram was released in America in January 1997.

Homogenic, her most experimental studio effort to date, followed later that same year and spawned many remix releases in the next few years to follow. In the spring of 2000, she was named Best Actress by jurors at the Cannes Film Festival for her work in Lars von Trier's Palme d'Or-winning Dancer in the Dark. Selmasongs, her score for the film, reunited Björk with her Homogenic collaborator Mark Bell and arrived in the fall of 2000, just in time for Dancer in the Dark's U.S. release. The full-length follow-up, Vespertine, was released one year later. She released a Greatest Hits collection and the Family Tree box set late in 2002. After performing a few dates in 2003, Björk geared up for a busy 2004, which included the release of her all-vocals and vocal samples-based album Medúlla and a performance of one of its songs, "Oceania," at the 2004 Summer Olympics in Athens, Greece. The soundtrack to Drawing Restraint 9, a film by multimedia artist Matthew Barney, arrived in 2005 and also featured contributions from Will Oldham. 2007's Volta returned to the more playful, percussive side of Björk's music and included collaborations with Timbaland, Toumani Diabaté, Antony Hegarty, and an all-female Icelandic choir. ~ Stephen Thomas Erlewine, All Music Guide

Bizarre

Part of Detroit's demented rap school along with Eminem, E-Sham, and a host of others. This artist is a cross between a twisted Biz Markie and a cast member of Night of the Living Dead, favoring warped horror-core and devilish themes in his music. His debut EP Attack of the Weirdoes received some notoriety in 1998, enough to land him a guest spot on Eminem's highly successful Marshall Mathers LP in 2000. Subsequently, Eminem inked Bizarre to a deal on his own record label. Bizarre joined Eminem's band D12 and appeared on their albums Devil's Night (2001) and D12 World (2004). In 2005 he broke out on his own with the solo album Hanni Cap Circus. Numerous tracks with fellow Detroit rapper King Gordy appeared on Bizarre's 2007 release Blue Cheese 'N' Coney Island. ~ Michael Di Bella, All Music Guide

Biz Markie

Biz Markie's inclination toward juvenile humor and his fondness for goofy, tuneless, half-sung choruses camouflaged his true talents as a freestyle rhymer. The Biz may not have been able to translate his wild rhyming talents to tape, but what he did record was worthwhile in its own way. With his silly humor and inventive, sample-laden productions, he proved that hip-hop could be funny and melodic, without sacrificing its street credibility. His distinctive style made his second album, The Biz Never Sleeps, a gold hit and its single, "Just a Friend," into a Top Ten pop single. While its success made Markie a semistar, it also cursed him. Not only was he consigned as a novelty act, but it brought enough attention that Gilbert O'Sullivan sued him over the unauthorized sample of "Alone Again (Naturally)" on Biz's 1991 album I Need a Haircut. The lawsuit severely cut into Markie's career, and 1993's All Samples Cleared! was the last record he released during the '90s. However, his reputation was restored somewhat in the mid-'90s as the Beastie Boys championed him and other alternative rap groups showed some debt to his wild, careening music.

A native of New York, Biz (born Marcel Hall) first came to prominence in the early '80s, when he began rapping at Manhattan nightclubs like the Funhouse and the Roxy. Biz met producer Marley Marl in 1985, and began working as a human beatbox for Marl-connected acts MC Shan and, later, Roxanne Shanté. He also recorded his first set of demos, and by 1988, had signed with Cold Chillin'. Later that year, he released his debut, Goin' Off, which became a word-of-mouth hit based on the underground hit singles "Vapors," "Pickin' Boogers," and "Make the Music With Your Mouth, Biz." A year later, he broke into the mainstream when "Just a Friend," a single featuring rapped verses and out-of-tune sang choruses, reached the pop Top Ten, and its accompanying album, The Biz Never Sleeps, went gold.

The Biz Never Sleeps put him near the top of the hip-hop world, but he fell from grace as quickly as he achieved it. Biz's third album, I Need a Haircut, was already shaping up to be a considerable sales disappointment when he was served a lawsuit from Gilbert O'Sullivan, who claimed that the album's "Alone Again" featured an unauthorized sample of his hit "Alone Again (Naturally)." O'Sullivan won the case in a ruling that drastically changed the rules of hip-hop. According to the ruling, Warner Bros., the parent company of Cold Chillin', had to pull I Need a Haircut from circulation, and all companies had to clear samples fully before releasing a hip-hop record. Biz countered with his 1993 album, All Samples Cleared!, but his career had already been hurt by the lawsuit, and the record bombed.

For the remainder of the decade, he kept a low profile, occasionally guesting on records by the Beastie Boys and filming a freestyle television commercial for MTV2 in 1996. The alliance with the Beasties raised his profile considerably, but Biz began DJing instead of continuing to record. Finally, in 2003, he released Weekend Warrior for Tommy Boy, though it was his appearance (and victory) in 2005 on VH1' s Celebrity Fit Club that brought him more attention than the actual record. ~ Stephen Thomas Erlewine, All Music Guide

David Bisbal

Pop singer David Bisbal rose to fame quickly after competing on Spain's Operation Triumph, a reality program similar to the U.K.'s Pop Idol. The five-month program pitted young hopefuls against one another in a series of singing contests; Bisbal eventually finished second overall and embarked on a successful concert tour with his fellow semifinalists. He issued his debut album in May 2003, and Corazon Latino and its single, "Ave Maria," went on to establish the young singer as Spain's newest pop star. In August of that year, Bisbal grabbed Best New Artist honors at the fourth annual Latin Grammys, held in Miami. ~ Johnny Loftus, All Music Guide

the Birthday Massacre

New wave revival outfit the Birthday Massacre formed in London, Ontario, in 2000 -- originally dubbed Imagica, the founding lineup was comprised of frontwoman Chibi, guitarists Rainbow and M. Falcore, bassist Aslan, keyboardist Dank, and percussionist O.E. After recording a seven-song demo session, Dank left Imagica and the remaining members relocated to Toronto, where a second demo release followed in mid-2001. Upon renaming itself the Birthday Massacre, the group released its debut LP, Nothing & Nowhere, in the summer of 2002. With the resignation of O.E., the lineup welcomed keyboardist Adm and percussionist Rhim prior to recording a follow-up EP, 2004's Violet. Adm quit the Birthday Massacre prior to an expanded European release of Violet on the German label Repo -- in 2005, the band signed to the Metropolis imprint to issue the disc in North America and the U.K., adding keyboardist O-en for a tour of Western Europe. ~ Jason Ankeny, All Music Guide

Birdman

When he's doing business, Cash Money Records CEO Bryan Williams uses his real name, but when he grabs the mic to spit Dirty South raps, Williams goes by the names Birdman or Baby. Williams formed Cash Money in 1991 with his brother Ronald "Slim" Williams. Releases by B.G., the Hot Boys, Juvenile, and many others built the Cash Money empire into a Dirty South powerhouse. Williams himself displayed his vocal skills on the Hot Boys albums, but it was with Cash Money's in-house producer, Mannie Fresh, that he really made his mark. The two formed the group Big Tymers in 1997 and made of series of albums that became Dirty South favorites. He broke out on his own with Baby aka the #1 Stunna in 2002. After the album's release, he oversaw an urban footwear collection for the Lugz company, narrated the video game Midnight Club 3: Dub Edition, and appeared in the 2005 movie Beauty Shop. Three years after his solo debut, Birdman released his second solo album, Fast Money. In 2006 he teamed with his "surrogate son," Lil Wayne, for Like Father, Like Son. ~ David Jeffries, All Music Guide

Bionic Jive

Biohazard

Biohazard was one of the first bands to regularly incorporate elements of both hip-hop and hardcore metal into their sound; since their lyrical fare dealt with the harshness of urban life and the resulting anger and frustration, which both genres of music have been known to address, the connection only made sense, especially in light of Anthrax's highly effective collaboration with Public Enemy on 1991's "Bring the Noise." When Biohazard formed in 1988 in Brooklyn, NY, their sound was much closer to the former band than the latter; their original lineup consisted of guitarist/vocalist Billy Graziadei, bassist/vocalist Evan Seinfeld, guitarist Bobby Hambel, and drummer Danny Schuler. They began opening for local hardcore and thrash bands and gradually built a large following through their outraged sense of injustice, political awareness, and constant touring. A self-titled debut was released in 1990 on the Maze label, but by 1992, Biohazard's fan base was strong enough to secure a deal with Roadrunner Records.

Their subsequent breakthrough album, Urban Discipline, built on the groundwork laid by "Bring the Noise," laying rhythmically shouted vocals over heavy, hip-hop-influenced beats and guitar riffs recalling both hardcore and thrash. The hardcore rap group Onyx recorded an alternate version of their hit single "Slam" with Biohazard backing them, and the two groups worked together again on the Judgment Night soundtrack, contributing the title song. 1994's State of the World Address solidified both their reputation for intensity and their musical hybrid, but Hambel then left the band, reducing them to a trio for 1996's Mata Leao, which some found the group's most seamless rap/metal fusion yet. Hambel was eventually replaced by ex-Helmet guitarist Rob Echevarria, and in 1997, Biohazard released the live album No Holds Barred, which showcased the in-concert ferocity for which the group had become revered.

Biohazard next signed to Mercury Records and released New World Disorder in 1999. The guys left the label following its merger with Universal and harkened back to their D.I.Y. days with a tour of Europe and Japan without label or managerial support. The rarities collection Tales from the B-Side followed in 2001, along with their next full-length, Uncivilization. Guitarist Leo Curley exited the group following the album's relase. Kill or Be Killed appeared two years later and featured new axeman Carmine Vincent (ex-Nucleus), who had previously roadied for the band. Means to an End, Biohazard's eighth and final album, was issued in August 2005 on SPV. Graziadei went on to form Suicide City with ex-members of Groovenics and Kittie. Meanwhile, Seinfeld appeared on the 2006 VH1 reality show Supergroup with Ted Nugent, Sebastian Bach, Scott Ian, and Jason Bonham. ~ Steve Huey, All Music Guide

Billy Talent

Punk revivalist quartet Billy Talent used to be known as Pezz back in their Streetsville, Ontario, high-school days. But by 1999, the quartet -- vocalist Ben Kowalewicz, guitarist Ian D'Sa, bassist Jon Gallant, and drummer Aaron Solowoniuk -- had adopted a new moniker and were making their way in Toronto with the self-released Watoosh! LP under their belt. The Try Honesty EP followed in 2001; it led to strong local buzz, exposure supporting larger touring acts, and an eventual demo deal with EMI. The band entered the studio in early 2003 with producer Gavin Brown and emerged with its eponymous debut in July, which was slated for a September release on Atlantic. Billy Talent got the word out during that summer with a slot on Lollapalooza and a series of dates with the Buzzcocks. Before they knew it, the band had not only garnered an impressive following, but also a slew of Juno (Best New Group, Group of the Year and Album of the Year) and MuchMusic (Best Video, Best Rock Video) Awards to their name. Billy Talent hit the studio in February 2005 to begin work on their sophomore offering. Submitting to fan requests, the group re-released Pezz's Watoosh! that September before the highly anticipated and explosive II appeared in June 2006. A handful of festivals and U.K. dates were played prior to spending the rest of the summer on the Warped Tour. ~ Johnny Loftus, All Music Guide

Billy Joel

Although Billy Joel never was a critic's favorite, the pianist emerged as one of the most popular singer/songwriters of the latter half of the '70s. Joel's music consistently demonstrates an affection for Beatlesque hooks and a flair for Tin Pan Alley and Broadway melodies. His fusion of two distinct eras made him a superstar in the late '70s and '80s, as he racked an impressive string of multi-platinum albums and hit singles.

Born in the Bronx, Joel was raised in the Long Island suburb of Hicksville, where he learned to play piano as a child. As he approached his adolescence, Joel started to rebel, joining teenage street gangs and boxing as welterweight. He fought a total of 22 fights as a teenager, and during one of the fights, he broke his nose. For the early years of his adolescence, he divided his time between studying piano and fighting. Upon seeing the Beatles on The Ed Sullivan Show in 1964, Joel decided to pursue a full-time musical career and set about finding a local Long Island band to join. Eventually, he found the Echoes, a group that specialized in British Invasion covers. The Echoes became a popular New York attraction, convincing him to quit high school to become a professional musician.

While still a member of the Echoes, Joel began playing recording sessions in 1965, when he was just 16 years old. Joel played piano on several recordings George "Shadow" Morton produced -- including the Shangri-Las' "Leader of the Pack" -- as well as several records released through Kama Sutra Productions. During this time, the Echoes started to play numerous late-night shows.

Later in 1965, the Echoes changed their name twice -- once to the Emeralds and finally to the Lost Souls. For two years, he played sessions and performed with the Lost Souls. In 1967, he left the band to join the Hassles, a local Long Island rock & roll band that had signed a contract with United Artists Records. Over the next year and a half, the Hassles released two albums and four singles, all of which failed commercially. In 1969, the Hassles broke up. Joel and the band's drummer, Jon Small, formed an organ and drums duo called Attila. In Attila, Joel played his organ through a variety of effects pedals, creating a heavy psychedelic hard rock album completely without guitars. On the cover of the band's eponymous album, both Joel and Small were dressed as barbarians; in an interview on the back of the album, Joel claimed to forget the name of his previous band and stated that he only "sweated" two things -- perfecting his sound and the war in Southeast Asia. Epic released Attila early in 1970 and it was an immediate bomb and the duo broke up. While the group was still together, Joel began a romance with Small's wife, Elizabeth; she would eventually leave the drummer to marry the pianist.

After Attila's embarrassing failure, Joel wrote rock criticism for a magazine called Changes and played on commercial jingles, including a Chubby Checker spot for Bachman Pretzels. However, Joel entered a severe bout of depression, culminating with him drinking a bottle of furniture polish in an attempt to end his life. Following his failed suicide attempt, Joel checked himself into Meadowbrook Hospital, where he received psychiatric treatment for depression.

Joel returned to playing music in 1971, signing a deal with Family Productions. Under the terms of the contract, Joel signed to the label, for life; the pianist was unaware of the clause at the time, but it would come back to haunt him -- Family Productions received royalties from every album Joel sold until the late '80s. Joel refashioned himself as a sensitive singer/songwriter for his debut album, Cold Spring Harbor, which was released in November of 1971. Due to an error in the mastering of the album, Cold Spring Harbor was released a couple of tape speeds too fast; the album remained in that bastardized form until 1984. Following the release of the album, Joel went on a small live tour, during which he would frequently delve into standup comedy. The tour received good reviews but Joel remained unhappy with the quality of his performance and, especially, the quality of the album. Furthermore, he lost a manager during this time and Family Productions were experiencing legal and financial difficulties, which prevented him from recording an immediate follow-up.

Early in 1972, he moved out to Los Angeles with his girlfriend Elizabeth. Joel adopted the name Bill Martin and spent half a year playing lounge piano at the Executive Room. Toward the end of the year, he began touring, playing various nightclubs across the country. At the beginning of 1973, Joel married Elizabeth Weber and she enrolled at UCLA's Graduate School of Management. Around the same time, a radio station began playing a live version of "Captain Jack" that was recorded at a Philadelphia radio broadcast. Soon, record companies were eagerly seeking to sign the pianist, and he eventually signed with Columbia Records. In order for Joel to sign with Columbia, the major label had to agree to pay Family Productions 25 cents for each album sold, plus display the Family and Remus logos on each record Joel released.

By the end of 1973, Billy Joel's first album for Columbia Records, Piano Man, had been released. The record slowly worked its way up the charts, peaking at number 27 in the spring of 1974. The title track -- culled from experiences he had while singing at the Executive Room -- became a Top 40 hit single. At the end of the summer, Joel assembled a touring band and undertook a national tour, opening for acts like the J. Geils Band and the Doobie Brothers. By the end of 1974, he had released his second album, Streetlife Serenade, which reached number 35 early in 1975. After its success, Joel signed a contract with James William Guercio and Larry Fitzgerald's management company, Caribou, and moved from California to New York. Through songs like "Say Goodbye to Hollywood" and "New York State of Mind," Joel celebrated the move his 1976 album Turnstiles. The sessions for Turnstiles were long and filled with tension, culminating with Joel firing the album's original producer, Guercio, and producing the album himself. Once he fired Guercio, Joel also left Caribou, and hired his wife as his new manager.

Turnstiles stalled on the charts, only reaching number 122. Joel's next album would prove to be the make-or-break point for his career, and the resulting album, The Stranger, catapulted him into superstardom. The Stranger was released in the fall of 1977. By the end of the year, it peaked at number two and had gone platinum, and within the course of a year, it would spawn the Top 40 singles "Just the Way You Are" -- which would win the 1978 Grammy for Record of the Year and Song of the Year -- "Movin' Out (Anthony's Song)," "She's Always a Woman," and "Only the Good Die Young." Over the next two decades, the album would sell over seven million copies. Joel followed The Stranger with 52nd Street, which was released in the fall of 1978. 52nd Street spent eight weeks at number one in the U.S., selling over two millions copies within the first month of its release. The album spawned the hit singles "My Life," "Big Shot," and "Honesty," and won the 1979 Grammy award for Album of the Year. Although he had become a genuine star, critics had not looked kindly to Joel's music, and the pianist became a vocal opponent of rock criticism in the late '70s. In one incident he denounced Los Angeles Herald Examiner critic Ken Tucker on-stage and then, as a form of protest, tore up the critic's reviews.

In the spring of 1980, Joel released Glass Houses, theoretically a harder-edged album that was a response to the punk and new wave movement. Glass Houses reached number one in America, where it stayed for six weeks; the album spawned the Top 40 singles "You May Be Right" (number seven), "It's Still Rock'n'Roll to Me" (number one), "Don't Ask Me Why" (number 19), and "Sometimes a Fantasy" (number 36) and won the 1980 Grammy for Best Rock Vocal Performance, Male. In the fall of 1981, Joel released Songs in the Attic, a live album that concentrated on material written and recorded before he became a star in 1977. The album's "Say Goodbye to Hollywood" and "She's Got a Way" became Top 40 hits.

Songs in the Attic bought Joel some time as he was completing an album he had designed as his bid to be taken seriously as a composer. Before the album was finished, he suffered a serious motorcycle accident in the spring of 1982. He broke his wrist in the accident -- it would take major surgery to repair the wound. In July of 1982, Joel divorced his wife, Elizabeth. His new album, The Nylon Curtain, was finally released in the fall. A concept album about baby boomers and their experiences, the album was a commercial disappointment, only selling a million copies, but it did earn him some of his better reviews, as well as spawning the Top 20 hits "Pressure" and "Allentown." Joel quickly followed the album in 1983 with the oldies pastiche An Innocent Man.

An Innocent Man restored Joel to his multi-platinum status, eventually selling over seven million copies and spawning the hit singles "Uptown Girl" (number three), "Tell Her About It" (number one), "An Innocent Man" (number ten), and "Keeping the Faith" (number 18). Several of the songs on the album were about model Christie Brinkley, who was engaged to Joel by the time the album was released. During 1983 and 1984, Joel became one of the first '70s stars to embrace MTV and music videos, shooting a number of clips for the album that were aired frequently on the network. Brinkley and Joel were married in the spring of 1985.

Joel released a double-album compilation, Greatest Hits, Vols. 1 & 2 in the summer of 1985. Two new songs -- the Top Ten "You're Only Human (Second Wind)" and the Top 40 "The Night Is Still Young" -- were added to the hits collection; the album itself peaked at number six and would eventually sell over ten million copies. In the summer of 1986, Joel returned with the Top Ten single "Modern Woman," which was taken from the soundtrack of Ruthless People. "Modern Woman" was also a teaser from his new album, The Bridge, which was released in August. The Bridge was another success for Joel, peaking at number seven, selling over two million copies, and spawning the Top 40 hits "A Matter of Trust" (number ten) and "This Is the Time" (number 18), as well as "Big Man on Mulberry Street," which was used as the basis for an episode of the popular Bruce Willis/Cybill Shepherd television series Moonlighting.

In the spring of 1987, Joel embarked on a major tour of the U.S.S.R., during which he had an on-stage temper tantrum and shoved a piano off the stage. His Leningrad concert was recorded and released in the fall of 1987 as the live double album Kohuept, which means concert in Russian. Joel was quiet for much of 1988, only appearing as the voice of Dodger in the Walt Disney animated feature Oliver and Company.

Joel fired his longtime manager and former brother-in-law Frank Weber in August of 1989, after an audit revealed that there were major discrepancies in Weber's accounting. Following Weber's dismissal, Joel sued Weber for 90 million dollars, claiming fraud and breach of fiduciary duty. Immediately after filing suit, Joel was hospitalized with kidney stones. All of this turmoil didn't prevent the release of his 12th studio album, Storm Front, in the fall of 1989. It was preceded by the single "We Didn't Start the Fire," whose lyrics were just a string of historical facts. The single became a huge hit, reaching number one and inspiring history students across America. Storm Front marked a significant change for Joel -- he fired his band, keeping only Liberty DeVito, and ceased his relationship with producer Phil Ramone, hiring Mick Jones of Foreigner to produce the album. Storm Front was another hit for Joel, reaching number one in the U.S. and selling over three million albums.

During 1990, Joel undertook a major U.S. tour, which ran well into 1991. In January, the court awarded Joel two million dollars in a partial judgment against Frank Weber, and in April, the court dismissed a 30 million dollar countersuit. At the end of the year, the National Academy of Recording Arts and Sciences honored Joel with a Grammy Living Legend award; that same year, Quincy Jones, Johnny Cash, and Aretha Franklin were also given the honor.

Following the Storm Front world tour, Joel spent the next few years quietly. In 1991, he was awarded an honorary doctorate by Fairfield University in Connecticut. In the summer of 1992, Joel filed a 90 million dollar lawsuit charging his former lawyer Allen Grubman of fraud, breach of contract, and malpractice; in October of 1993, the two parties settled their differences out of court. Joel returned in the summer of 1993 with River of Dreams, which entered the charts at number one and spawned the Top Ten title track. Following the River of Dreams tour, Joel divorced Christie Brinkley. In 1996, he gave a series of lectures at a variety of American colleges. He performed at the 1999 New Year's Eve Party in Times Square, and 2000 Years: The Millennium Concert, a live album of this concert, was released early the following year.

His next studio record, Fantasies & Delusions, arrived in 2001 and was his first album of his own classical compositions. A year later, Twyla Tharp choreographed and directed Movin' Out, a Broadway musical based on Joel's music. A new venture as a children's author began in 2004 with the release of his first book, Goodnight, My Angel: A Lullaby. The 54-year-old Joel married the 23-year-old Katie Lee that same year and was making tabloid headlines again in March of 2005 when he checked into the Betty Ford Clinic for treatment of alcohol abuse. He checked out in April, and in November his four-CD/one-DVD career retrospective My Lives was released. Live in Madison Square Garden NYC and the accompanying 12 Gardens Live arrived in 2006. ~ Stephen Thomas Erlewine, All Music Guide

Billy Idol

Along with Duran Duran, Billy Idol was one the first pop/rock artists to achieve massive success in the early '80s due to a then brand-new U.S. television network, MTV. Mixing his bad-boy good looks with an appealing blend of pop hooks, punk attitude, and a dance beats, Idol quickly rocketed to stardom, before hard living derailed his career and almost proved fatal. Born William Michael Albert Broad on November 30, 1955, in Middlesex, England, the youngster relocated with his family for a brief spell to New York, before returning back to England. After a stint at Sussex University only last a year, Broad found himself as part of a group of teen punk rockers who befriended and followed the Sex Pistols, known as "the Bromley Contingent" (a member of this colorful group of characters was Siouxsie Sioux, eventual leader of Siouxsie & the Banshees).

It wasn't long before Broad realized that he too could be the frontman of a punk band, and assumed the name Billy Idol shortly thereafter. After a stint playing guitar in a group called Chelsea didn't pan out (interestingly, the group featured future Clash guitarist Mick Jones and future Damned guitarist Brian James), Idol put down the guitar and picked up the mic, and recruited bassist Tony James, drummer John Towe, and guitarist Bob Andrews, forming Generation X in 1976. Named after a 1960s paperback book, the band signed a recording contract with Chrysalis shortly thereafter (Towe was replaced with new skinsman Mark Laff) -- resulting in such releases as 1978's self-titled debut, 1979's Valley of the Dolls, and 1981's Kiss Me Deadly -- before splitting up.

Disappointed with Generation X's demise, Idol relocated to New York City, where he pursued a career as a solo artist. Hooking up with Kiss manager Bill Aucoin, Idol issued the 1981 EP Don't Stop (comprised of a cover of Tommy James' '60s hit "Mony Mony" and a pair of remixed Generation X tracks), which helped the singer score another record deal with his former band's label, Chrysalis. Idol found the perfect collaborator and partner in guitarist/Johnny Thunders look-alike Steve Stevens, and issued a self-titled debut in July of 1982. A pair of eye-catching videos for the tracks "White Wedding" and "Dancing With Myself" (the latter a remake of a Generation X composition) scored major air time on MTV, with both clips focusing in on Idol's spiky, peroxide blonde hair and Elvis-like sneer. The debut eventually obtained gold certification, and set the stage perfectly for Idol's big commercial breakthrough, 1984's Rebel Yell.

Rebel Yell became the singer's best-selling album of his career (eventually going double platinum), spawning such big-time MTV/radio hits as the album's anthemic title track, "Eyes Without a Face," and "Flesh for Fantasy," establishing Idol as an arena headliner stateside. But with massive success came its many distractions, which prevented Idol from issuing a new studio album until three years after Rebel Yell. 1987's Whiplash Smile was another sizeable hit on the strength of such hits as "To Be a Lover" and "Sweet Sixteen," but failed to live up to the lofty expectations set by his previous releases. Stevens jumped ship shortly thereafter to launch his own band, Steve Stevens' Atomic Playboys (and eventually was a member of Mötley Crüe singer Vince Neil's solo band), leaving Idol to fend for himself.

An eight-track best-of set, Vital Idol, was issued later the same year, spawning one of the year's most heavily played MTV videos -- a live version of the previously recorded cover of "Mony Mony" -- which helped keep Idol in the spotlight. Idol spent the next few years working on his fourth studio release, but reappeared in the summer of 1989 as part of an all-star rendition of the Who's Tommy, with Idol playing the role of the sadistic character Cousin Kevin. Around the time of Idol's next release, 1990's Charmed Life, the singer was involved in a serious motorcycle accident (in which he almost lost his leg), forcing the singer to walk with a cane for a period of time; the video for the album's lead-off single, "Cradle of Love," featured the singer filmed from the waist up. The ploy worked, as the single (which was also used as the theme song in the failed Andrew "Dice" Clay movie, Ford Fairlane) was another smash hit, making Charmed Life the fourth Idol album in a row to achieve at least reach platinum sales.

Expectedly, several years passed before the release of Idol's next album, during which time he tried his hand at acting with a bit part in Oliver Stone's motion picture The Doors. By the time 1993's Cyberpunk surfaced, Idol had dropped his spiky peroxide hairstyle in place of dreadlocks, and experimented with techno beats. The move proved to be an unwise one, as the album tanked and sank from the charts. At the same time, Idol was knee deep in drug addiction, resulting in another close brush with death when he overdosed and had to be treated in a Los Angeles hospital in 1994. Not much was heard from Idol until 1998, when he made a cameo appearance (as himself) in the hit Adam Sandler/Drew Barrymore comedy The Wedding Singer, which resulted in renewed interest. Idol teamed up once again with Stevens, was the subject of a VH1: Behind the Music special (as well as a Storytellers episode for the channel, which was ultimately issued as a CD), and issued a more extensive Greatest Hits set in 2001; the latter of which sold 500,000 copies in the U.S. alone. Next up was his first studio album since Cyberpunk, Devil's Playground, released on Sanctuary in 2005. ~ Greg Prato, All Music Guide

Billy Corgan

As the guitarist/singer/head-songwriter for the Smashing Pumpkins, Billy Corgan was one of alt-rock's leaders and focal points for much of the '90s. Born on March 17, 1967, in Elk Grove, IL, Corgan's first true exposure to music came from his father, Bill Corgan, Sr., who was a blues guitarist. After his parents divorced at an early age, Corgan moved from one relative to the next, and by age 14, he began playing guitar himself (citing such hard rock bands as Cheap Trick and Van Halen as important early influences). In 1985, Corgan formed his first real band, a goth metal group called the Marked. After gigging around the Chicago area, the Marked soon relocated from Illinois to St. Petersburg, FL, in pursuit of greener musical pastures. However, the change of scenery did little to improve the group's fortunes, and so the Marked disbanded and Corgan moved back north, into his father's house in Chicago.

Working at a record store, Corgan began putting the pieces together for his next band, which would be the Smashing Pumpkins. He befriended guitarist James Iha and bassist D'Arcy, and the three started to play in bars and clubs around Chicago with a drum machine in place of a real drummer. But from the advice of a friend, Corgan checked out local jazz fusion drummer Jimmy Chamberlin, who immediately landed the gig with his powerful, John Bonham-esque drumming style (one of the quartet's first shows was opening for Jane's Addiction). Like the Marked, the Pumpkins merged a dark alternative sound with metal, but also gave it a psychedelic and experimental twist. Several independent singles led to a deal with Caroline Records, who issued their debut, Gish, in 1991. A woefully underrated guitarist, Corgan's wild, Jimi Hendrix-esque playing was an integral part of the early-Pumpkins sound.

With each subsequent album (1993's classic Siamese Dream, 1995's double-album Mellon Collie), the Pumpkins grew in popularity, until they were one of rock's top dogs by the mid- to late '90s. A very proficient songwriter, Corgan contributed Pumpkins songs to movie soundtracks (Singles, Lost Highway, Batman & Robin), supplied the musical score for such movies as Stigmata and Ransom, and produced albums for such other artists as Ric Ocasek, Hole, and Catherine. After the Pumpkins split in 2000, many assumed Corgan would automatically pursue a solo career, but shortly after playing several shows with New Order as a sideman/guitarist in the summer of 2001, Corgan announced his next project would be a new band. Called Zwan, the group featured Corgan joined by former bandmate Chamberlin on drums, as well as Matt Sweeney (from Chavez) on guitar and David Pajo (Papa M/Slint) on bass. Pajo soon moved over to guitar with the additional of bassist Paz Lenchantin (formerly of A Perfect Circle), and the quintet released their debut album, Mary Star of the Sea, in January 2003. However, by September Zwan had disbanded in a cloud of bandmember angst and frustrated ego, and Corgan announced that he would finally take the plunge as a solo artist. The following year found him popping up at Chicago-area spoken word nights, and in October 2004 he issued the poetry collection Blinking With Fists (Faber and Faber). At the same time he was working on the solo debut with collaborators Bjorn Thorsrud and Bon Harris (Nitzer Ebb). The ambitious, very personal Future Embrace appeared in June 2005. Guests on the album included drummer Chamberlin and the Cure's Robert Smith. ~ Greg Prato & Steve Bekkala, All Music Guide

Billy Bragg

Finding inspiration in the righteous anger of punk rock and the socially conscious folk tradition of Woody Guthrie and Bob Dylan, Billy Bragg was the leading figure of the anti-folk movement of the '80s. For most of the decade, Bragg bashed out songs alone on his electric guitar, singing about politics and love. While his lyrics were bitingly intelligent and clever, they were also warm and humane, filled with detail and wit. Even though his lyrics were carefully considered, Bragg never neglected to write melodies for songs that were strong and memorable. Throughout the '80s, he managed to chart consistently in Britain, yet he only gathered a cult following in America, which could be due to the fact that he sang about distinctly British subject matter, both politically and socially.

Bragg began performing in the late '70s with the punk group Riff Raff, which lasted only a matter of months. He then joined the British Army, yet he quickly bought himself out of his sojourn with 175 pounds. After leaving the Army, he began working at a record store; while he was working, he was writing songs that were firmly in the folk and punk protest tradition. Bragg began a British tour, playing whenever he had the chance to perform. Frequently he would open for bands with only a moment's notice; soon, he had built a sizable following, as evidenced by his first EP, Life's a Riot With Spy vs. Spy (1983), hitting number 30 on the U.K. independent charts. Brewing Up With Billy Bragg (1984), his first full-length album, climbed to number 16 in the charts.

During 1984, Bragg became a minor celebrity in Britain, as he appeared at leftist political rallies, strikes, and benefits across the country; he also helped form the "Red Wedge," a socialist musicians collective that also featured Paul Weller. In 1985, Kirsty MacColl took one of his songs, "New England," to number seven on the British singles chart. Featuring some subtle instrumental additions of piano and horns, 1986's Talking With the Taxman About Poetry reached the U.K. Top Ten.

Bragg's version of the Beatles' "She's Leaving Home," taken from the Sgt. Pepper Knew My Father tribute album, became his only number one single in 1988 -- as the double A-side with Wet Wet Wet's "With a Little Help From My Friends." That year, he also released the EP Help Save the Youth of America and the full-length Workers Playtime, which was produced by Joe Boyd (Fairport Convention, Nick Drake, R.E.M.). Boyd helped expand Bragg's sound, as the singer recorded with a full band for the first time. The following year, Bragg restarted the Utility record label as a way of featuring non-commercial new artists. The Internationale, released in 1990, was a collection of left-wing anthems, including a handful of Bragg originals. On 1991's Don't Try This at Home, he again worked with a full band, recording his most pop-oriented and accessible set of songs; the album featured the hit single, "Sexuality." Bragg took several years off after Don't Try This at Home, choosing to concentrate on fatherhood. He returned in 1996 with William Bloke.

In 1998, he teamed with the American alternative country band Wilco to record Mermaid Avenue, a collection of performances based on unreleased songs originally written by Woody Guthrie. Reaching to the Converted, a collection of rarities, followed a year later, and in mid-2000 Bragg and Wilco reunited for a second Mermaid Avenue set. While touring in support of Mermaid Avenue, Vol. 2, Bragg formed the Blokes in 1999 with Small Faces keyboardist Ian McLagan. Lu Edmonds (guitar), Ben Mandelson (lap steel guitar), Martyn Barker (drums), and Simon Edwards (bass) solidified the group while Bragg moved from London to rural Dorset in early 2001. One year later, the Blokes joined Bragg for England, Half English, his first solo effort since William Bloke. In 2004 he collaborated with Less Than Jake for "The Brightest Bulb Has Burned Out," a track included on the Rock Against Bush, Vol. 1 compilation. The two-CD Must I Paint You a Picture? The Essential Billy Bragg appeared in 2003 with initial copies featuring a third, bonus CD of collectibles and rarities. The Yep Roc label released the box set Volume 1 in 2006. The set included seven CDs and two DVDs of previously unavailable live footage. The label simultaneously reissued four titles from Bragg's early back catalog in expanded editions. ~ Stephen Thomas Erlewine, All Music Guide

Bill Clinton

Like him or hate him -- and there were few, it seemed, who did not energetically embrace one position or the other -- it's no surprise that Bill Clinton emerged as the 1990s' most inescapable figure in the public arena. Being president of the United States didn't hurt at all, of course, and his larger-than-life persona, in both his big dreams and goals and his notorious, gossip-worthy escapades, seemed tailor-made for being played out on TV screens and the Internet the world over. As a result, even his hobbies received high-level attention, and had it not been for the twist of fate that made him a global leader, his abilities on saxophone would never have received the notice it did.

Born William Jefferson Blythe IV in rural Arkansas in 1946, Clinton's father died shortly after his birth; he only took his stepfather's name some years later. Raised partially by his grandparents, his youth was that of many children, suffering in part from the effects of a stressful home life -- his stepfather was an alcoholic who could turn abusive -- but also with many bright spots, at home and in school. Besides his academic pursuits, he was involved in music, being the drum major in his high-school band. The saxophone turned out to be another great love, and it was this instrument that he came to be identified with over time. His pursuit was essentially that of the competent enthusiast, performed with love if not with any spectacular, noteworthy skill, but certainly a cut above most rank amateurs. He played with jazz combos and liked to perform jam sessions at political and fundraising events with whatever band happened to be there.

His increasing national notoriety -- initially prompted by an unintentionally hilarious nomination speech at the 1988 Democratic convention, so long and boring that its conclusion was greeted with cheers -- helped set the stage for his run for the presidency in 1992. Seen at first as a long shot, the campaign caught fire almost every step of the way, and assisted by H. Ross Perot's third-party drive, which splintered the conservative vote, he won the office. One of his more clever strategies, with the help of his campaign team, was to aim at younger voters via judicious TV appearances. The most successful of these turned out to be the one that brought his sax playing to a huge audience. Appearing on Arsenio Hall's popular late-night talk show, he punctuated his lengthy interview with Hall with a rendition of "Heartbreak Hotel" along with Hall's house band. As a musical performance it was merely fair, in keeping with his own admitted skills, but as a memorable public image, heightened by his sunglasses, it became a hallmark of his campaign and a discussion point for political scientists and media scholars since.

After the election, Clinton didn't make it a huge point to perform publicly on his chosen instrument -- given his political and personal struggles, he likely had other things on his mind. In 1994, though, with the help of a mostly Czech backing band, he did a brief performance at a political function later released as The Prez Blows, which received praise for its relaxed, entertaining vibe. Beyond that, as of 2001, other things kept Clinton busy, yet it's very likely he's still letting off steam every so often with a version of "Summertime," and there's no doubt that he's the world's most well-known sax musician -- at least, in terms of a hobby. ~ Ned Raggett, All Music Guide