Formed from the ashes of stoner rock icons Kyuss, Queens of the Stone Age reunited the group’s singer/guitarist Josh Homme, drummer Alfredo Hernandez, and bassist Nick Oliveri along with new guitarist/keyboardist Dave Catching. The project’s origins date back to Homme, who in the wake of Kyuss‘ 1995 demise relocated to Seattle to tour with the Screaming Trees; he soon began working with a revolving lineup of musicians including the Trees‘ Van Conner,Soundgarden‘s Matt Cameron, and Dinosaur Jr.‘s Mike Johnson, recording a series of 7″s originally issued under the name Gamma Ray. After rechristening the group Queens of the Stone Age, Hommerecruited Hernandez to begin work on their self-titled debut LP, issued in late 1998 on Loosegroove; after the album was completed,Oliveri left the Dwarves to rejoin his former bandmates, with the subsequent addition of Catching rounding out the roster. In addition to extensive touring, Homme put together a series of albums for the indie label Man’s Ruin; the various volumes of the Desert Sessions feature Homme‘s collaborations with a loose-knit, revolving-door lineup of likeminded musicians, some from bands like Soundgarden,Fu Manchu, and Monster Magnet.

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In the late ’80s, Kravitz relocated back to New York City, where one of his roommates turned out to be actress Lisa Bonet (who played the part of Denise Huxtable on The Cosby Show); they eventually got married. During this time, Kravitz wisely discarded his Prince-like approach and looked back to such ’60s/’70s classic rockers as Led Zeppelin, Jimi Hendrix, Stevie Wonder, Curtis Mayfield, Bob Marley, and the Beatles for inspiration. Kravitz found a kindred spirit in engineer Henry Hirsch (who would stick by Kravitz throughout his career). With a back-to-basics approach, his style was quite refreshing in the humorously gaudy late ’80s. He inked a recording contract with Virgin Records and issued his debut release, Let Love Rule, in 1989. Kravitz’s debut proved to be a surprise hit due to the success of the title track, which became a hit single and oft-aired video. A few critics were quick to assume that Kravitz’s retro look and sound were simply a shtick to get the public’s attention, but come the ’90s, it had become integrated into the mainstream (both musically and fashion-wise), proving that Kravitz was a bit of a trendsetter. It was around this time that Kravitz penned a major hit single, not for himself but for Madonna, who went to number one with the sultry track “Justify My Love.”

What should have been a time of happiness for Kravitz quickly turned sour as he and Bonet divorced by the early ’90s. Kravitz’s heartbreak was very evident in his sophomore effort, Mama Said, which was even stronger than its predecessor, highlighted by the Led Zep-like funk rocker “Always on the Run” (a collaboration with Guns N’ Roses guitarist Slash), as well as the mega hit with the Curtis Mayfield-esque soul ballad “It Ain’t Over ‘Til It’s Over,” which confirmed that Kravitz’s success was no fluke. But the best was yet to come for Kravitz. His third release overall, 1993’s Are You Gonna Go My Way, is often considered to be the finest album front to back of his entire career, and with good reason: Every single song was a winner, including the up-tempo anthemic title track, which turned out to be one of MTV’s most played videos for that year. The album was a massive hit and Kravitz became an arena headliner stateside, as well as being featured on countless magazine covers.

Despite an almost two-year gap between albums, Kravitz’s fourth release, Circus, came off sounding unfocused and was a major letdown compared to his stellar previous few releases. Perhaps sensing that he needed to stir things up musically, Kravitz dabbled with electronics and trip-hop loops for his next album, 1998’s 5. Although not a huge hit right off the bat, the album proved to have an incredibly long chart life, spawning the biggest hit of Kravitz’s career, “Fly Away,” almost a year after its original release. With the single’s success, Virgin decided to cash in on the album’s sudden rebirth by reissuing it around the same time with a pair of extra added bonus tracks, one of which became another sizeable hit single, a remake of the Guess Who‘s “American Woman” (which was used in the hit 1999 comedy movie Austin Powers: The Spy Who Shagged Me). Kravitz’s first best-of set, the 15-track Greatest Hits, was issued as a stopgap release in 2000, while his sixh studio release overall, Lenny, was issued a year later. Baptism followed in 2004. After starting a residential, commercial, and product design company called Kravitz Design, he recorded a funky version of John Lennon‘s “Cold Turkey” for Amnesty International’s 2007 benefit compilation Instant Karma. Before the end of the year it was announced that Kravitz would return in 2008 with a new album, It Is Time for a Love Revolution. The album arrived in February, accompanied by a brief tour.

www.lennykravitz.com

Ladytron toured throughout the continent before beginning work on their debut EP, Commodore Rock, which was released in the summer of 2000, providing their fans another foray into the noisy world of early-’80s sound. The studio full-length 604 followed a year later, and gained many positive reviews. 2002 saw the release of Light & Magicand the mix album Softcore Jukebox. The group returned in the summer of 2005 with the Sugar single, which heralded the rock edge of Ladytron’s third album, Witching Hour. Extended Play, which featured remixes of Witching Hour‘s singles, arrived the

www.ladytron.com

www.janesaddiction.com

www.gomeztheband.com

Vig is a native of Viroqua, WI, who learned to play piano as a child and drums as a teenager. He attended the University of Wisconsin briefly before pursuing a career in music instead. The first band he joined after leaving college was Spooner, who he played drums with. Also in Spooner was Erikson, who sang and played guitar with the band. Marker was a native of New York who moved to Wisconsin to attend college. He became a fan of Spooner and began recording their songs. Vig left Spooner shortly afterwards, but he kept in touch with the band. After a few years, Spooner became Firetown and Vigplayed drums in the new outfit.

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A brashly melodic indie rock outfit from Glasgow, the Fratellis feature vocalist/guitarist Jon Fratelli, drummer Mince Fratelli, and bassist Barry Fratelli. The witty trio played its first show in early 2005, maintaining that the band’s moniker was merely an homage toBarry‘s original surname (however, other rumors suggest that the Fratellis borrowed it from the nemesis family featured in Steven Spielberg‘s film The Goonies). Such trivia only added to the Fratellis’ growing appeal upon their performance debut, and the band’s limited-edition self-titled EP arrived in April 2006. Although few copies were pressed, the record received a helpful boost from Zane Lowe’s Radio One program, which put the acoustic-driven track “Creepin Up the Backstairs” into regular rotation. Televised appearances on Later with Jools Holland and Top of the Popsfollowed during the early summer, while the group’s second single, “Henrietta”, earned the Fratellis their first U.K. Top 20 hit. “Chelsea Dagger” began climbing the U.K. Top 40 that August, and the debut album Costello Music finally arrived in September. Although the album failed to chart in most countries (even an American iPod commercial featuring the track “Flathead” failed to spark much interest across the pond), Costello Music enjoyed a great deal of success at home, earning the bandmates a BRIT Award and peaking at number two in their native U.K. The band then returned to the British charts in 2008 with “Mistress Mabel,” a track from their polished sophomore effort Here We Stand.

www.thefratellis.com

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The following year the group signed to XL and re-recorded “Danger! High Voltage,” this time adding backing vocals from the White Stripes‘ Jack White. After the re-release of the single in 2003, Electric Six issued their full-length debut album, Fire, later that spring. Just a few weeks after the album’s release, Disco, Rock and Roll Indian, and Surge Joebot left the band and were replaced byFrank Lloyd Bonaventure, the Colonel, and 661453Johnny Na$hinal. In 2004, the band got a new record deal with Rushmore, a British Warner Bros. imprint, and lost Bonaventure and M., whose bass and drum duties were filled by John R. Dequindre and Percussion World, respectively. The second Electric Six album, Señor Smoke, arrived in the U.K. early in 2005. It took another year for the album to be released stateside, on Metropolis Records. Switzerland arrived in fall of 2006 and I Shall Exterminate Everything Around Me That Restricts Me from Being the Master followed in October of 2007. Early in 2008,Valentine embarked on his American Troubadour solo tour, which included stops in Hamtramck, MI, and Portland, OR; that spring, Electric Six recorded their fifth album, Flashy, in the Colonel‘s studio. Metropolis released Flashy that fall, followed by Sexy Trash, a thirty track album of demos and previously unreleased material, and two new studio albums, Kill (2009) and Zodiac (2010).

www.electricsix.com