Photo: Bob Berg/Getty Images
Dissecting the Chambers: Wu-Tang Clan’s Debut Opus Turns 25
Throw it back to 1993 as we examine how Kung-Fu, street philosophy, Pro Tools, and creative competition shaped a pivotal piece of hip-hop history on 'Enter The Wu-Tang (36 Chambers)'
"From the slums of Shaolin, Wu-Tang Clan strikes again. The RZA, the GZA, Ol’ Dirty Bastard, Inspectah Deck, Raekwon the Chef, U-God, Ghostface Killah, and the Method Man…"
Depending on which hip-hop purist you consult, the year 1989 is often regarded by most as the year that the Golden Age of hip-hop truly kicked off. By 1993, every corner of the culture was occupied by new talent experimenting in the hopes of reinventing a constantly evolving wheel. It was the year that Snoop Dogg (then Doggy Dogg), Onyx, Mobb Deep, Fat Joe, Digable Planets, The Roots, and many other burgeoning legends would drop their debut albums, along with classic collectives like Black Moon and Souls of Mischief.
Artists like A Tribe Called Quest, Queen Latifah, Tupac Shakur, Cypress Hill, Run-D.M.C., and Naughty By Nature were seasoned by this point—on their second and third albums—toying with the idea of penetrating the impenetrable mainstream. Think “Electric Relaxation,” “U.N.I.T.Y.,” “I Get Around,” “Insane In the Brain,” “Down With the King,” and “Hip Hop Hooray,” respectively. We wouldn’t meet Nas until the following year, Jay Z until two years after that, right before we would lose Shakur and the Notorious B.I.G. in fatal shootings within six months of each other in 1996 and 1997. We could call 1993 the calm before the storm, though the year was far from timid.
Right before the year closed out, a super posse from Staten Island hit the scene with a vengeance. In one breath they were masked, referencing Kung Fu flicks and nods to textbook academics turned street philosophies. In the next, they were dressed for New York City’s frigid elements, detailing hardships with poise, yet punctuating their pain with pure threatening bars. They were the mighty Wu-Tang Clan, and they were "nuthing ta F' wit."
Their collective debut album Enter The Wu-Tang: 36 Chambers was far from a novice introduction. Members like the GZA already had some entry level success back in ’91 under the name Prince Rakeem with his cheeky single “Ooh I Love You Rakeem.” RZA was perfecting the first layer of his production aesthetic, while other members had already been toying with lyricism for years and street life that would later birth the album’s intimately epochal bars.
Recording the album was like the Hunger Games. Years back, I spoke with Masta Killa—who only appears on the track “Da Mystery of Chessboxin’”—and explained it was a matter of who jumped in the box and brought the best bars. The winners showed up on the track. His cleanup verse is arguably the stuff of legend, but his other more experienced counterparts at the time ended up with the stronger presence.
Sonically, the album was purposefully cinematic. In my interview with RZA for Playboy, he explains that intention, thanks to new technology:
One thing about the album that a lot of people don’t know is that Pro Tools was new. We were able to take that album after all the songs was recorded, and I was able to stitch it together like a movie. And it was only because I was able to go to a Pro Tools studio—I think it was called Magic Studio or something like that down in SoHo/Chinatown border. Because I was able to do that, I was able to take any sound, stitch any Kung-Fu sample to the song, and put the sword slices over the words. I was able to do that in a poignant time where maybe a lot of producers wasn’t thinking like a movie editor would think. Pro Tools gave me that ability.
Track-by-track, the project rewrites hip-hop history in its own unique way.
The deepest album cuts are arguably the first four tracks “Bring Da Ruckus,” “Shame On a N*a,” “Clan In Da Front,” and “Wu-Tang: 7th Chamber”: all rooted in boom-bap, volleying between knockin’ beats, menacing horns, and precise record scratches. The result is a collection of tracks that all demanded head nods. The album closes in a similar way as it begins, with “Wu-Tang 7th Chamber, Pt. 2/Conclusion.”
But the in-between is the heart of the project. “Can It Be All So Simple,” “C.R.E.A.M.,” and “Tearz” all utilize soul samples in a way that had previously never been done before, creating a trifecta of tracks that detail everything from the harsh realities of coming up poor to losing loved ones to violence and AIDS. The soul in the production is used for an added layer of emotional emphasis.
“That was the first attempt to show, like, the emotional flow of an emcee,” RZA told me of “Tearz,” as the Wendy Rene (“After Laughter (Comes Tears)”) sample assists in what RZA calls a “gut-gripping sound.”
Other songs like the aforementioned “Da Mystery of Chessboxin’,” “Wu-Tang Clan Ain’t Nuthing ta F’ Wit,” and “Protect Ya Neck” are all threatening in their own rights, challenging opponents either lyrically or physically with flecks of Kung Fu. The intro to the album’s biggest single “Method Man,” makes light of those threats, despite being titled “Torture.”
All of these pieces formed the perfect puzzle, set to the backdrop of 1993. Harnessing the power of the street life that Mobb Deep was first learning to perfect, coupled with the aggression of Onyx, the soulfulness of A Tribe Called Quest, the humor of Snoop Doggy Dogg, mixed with unintentional commercial appeal, Wu-Tang Clan created the album that embodied that era. By the next year (and the ones thereafter), everything would change. The Clan would begin their solo runs, only to reunite for Wu-Tang Forever in 1997, which earned a nomination for Best Rap Album for the 40th GRAMMY Awards. And as for the rest of hip-hop, well, those “same damn ‘Lo sweaters” would be traded for shiny suits before the turn of the century.
Enter the Wu-Tang: 36 Chambers was a period piece that played out like a movie, plotlines, action scenes, and all. And it’s one that true fans would still pay admission to witness, even 25 years later.
Photos: Larry Busacca/Getty Images; Kevin Winter/Getty Images for The Recording Academy; Brian Ach/Getty Images for Something in the Water; Kimberly White/Getty Images for Hennessy; Michael Ochs Archives/Getty Images; Bob Berg/Getty Images; Michael Ochs Archives/Getty Images; Ron Galella, Ltd./Ron Galella Collection via Getty Images
A Guide To New York Hip-Hop: Unpacking The Sound Of Rap's Birthplace From The Bronx To Staten Island
The culture and art of hip-hop would not exist if not for NYC. Take a trip through Brooklyn, Queens, Manhattan, the Bronx and Staten Island to learn how hip-hop developed sonically by the borough.
New York is indisputably the birthplace of hip-hop, but which of the city's five boroughs has dominated the genre continues to be a spirited debate among its scholars and natives.
The "Boogie Down" Bronx is the origin point of hip-hop history. It’s here Clive Campbell a.k.a. DJ Kool Herc threw a rec room party in 1973 that put hip-hop as we know it in motion. The city's northernmost borough is the home of groundbreaking artists from OGs Grandmaster Flash and Slick Rick, to contemporary stars including Cardi B.
Manhattan also plays a role in hip-hop’s evolution as a playground where rappers intermingled with punks, rockers and the thriving art scene throughout the ‘70s and ‘80s. Elements of each of these developing artforms culminating in the music of the Beastie Boys. And because he is so often referred to as a West Coast rapper, it’s easy to forget Tupac Shakur was born in Manhattan.
Staten Island is, of course, home to the one and only Wu-Tang Clan and its diverse cosmology. Even the suburbs can boast major contributions — Long Island is the home of Public Enemy and Erik B & Rakim; head north of the Bronx to Westchester County, and you'll enter the home of the late rapper DMX.
What’s clear when we look at each borough, is that the culture and art of hip-hop would not exist if not for New York. Without the contributions,style and unique cultures of neighborhoods within Brooklyn, Queens, Manhattan and Staten, the artform would not have developed into the juggernaut it is today. Press play on the Amazon Music playlist below — or visit Spotify, Pandora and Apple Music — to take an auditory tour of the best of the boroughs.
To celebrate the 50th anniversary of hip-hop, hop on the train and travel from borough to borough for its unique history and sounds.
As you examine the breadth of NYC hip-hop, you’ll find artists with a deep and complex relationship with the city. Biz Markie, for example, was born in one area of the city, raised in another, and claimed membership to a crew for a whole other borough. His story, and that of others who deserve many flowers, demonstrate that while hip-hop can be dissected by region and subway line, it’s the Big Apple's density, multiculturalism, an urban innovation that has made it arguably one of America's greatest art forms.
Mass immigration from Puerto Rico and the Dominican Republic in the 1950s made the Bronx the first majority Black and Latino borough in NYC by the mid-'70s. It’s not a coincidence that the Bronx was also woefully unserved by the city government, resulting in bleak economic conditions.
"Kids with little or no resources created something out of nothing," the Funky Four Plus One’s MC Sha Rock told ABC News said of hip-hop's origins. "No matter what was going on around us in New York City at the time, we looked forward to the park jams."
These jams featured breakdancing, DJs mixing, and MCing — all key elements of hip-hop that emerged from house parties and underground venues into a city-wide consciousness. "Hip-hop wasn't called hip-hop in the ‘70s, was called 'going to the jams,'" Sha Rock continued.
A few years before the park jams took off, DJ Kool Herc’s August 1973 rec room party put hip-hop as we know it on the map. Herc took classic records and popular hits, broke down the beats, and invited MCs to chime in over them invoking the Jamaican style of delivery, talking or chanting, usually in a monotone melody, over a rhythm known as "toasting" in reggae.
In 1975, the Bronx Boys Rocking Crew (or TBB) fostered another element of hip-hop when they organized late night tagging sessions. These young graffiti artists brought the color and life of their borough to the rest of the city, as painted subway trains provided moving canvases and controversy.
By the time the park jams were happening, some graffiti crews had expanded into competitive dance. With moves drawn from martial arts, gymnastics, and modern dance, "breaking, popping, and locking" would see b-boys and b-girls become as important as music to hip-hop as an art form. Breaking as an art has continued to flourish and will soon be an Olympic sport.
The borough would go on to boast Kool Keith, KRS One, Big Pun, Fat Joe, and Cardi B, among many others, as acts who have innovated the Bronx’s place in hip-hop culture. The borough is now home to the Universal Hip-Hop Museum and will host events at Sedgwick and a 50 Years of Hip-Hop concert at Yankee Stadium.
In 1990, Brooklyn was New York’s Blackest neighborhood, with 73.1 percent of its Black residents native born. The previous decade had seen Brooklyn rappers rise to prominence in hip-hop, by the end of the 1990s the world’s ear was tuned into Brooklyn.
Known for his use of three turntables, Cutmaster DC's early tracks "Brooklyn's in the House" and "Brooklyn Rocks the Best" were the first to mention Brooklyn as a force in hip-hop music. These early '80s tracks also featured DC's pioneering technique of cutting breaks over Roland TR-909 beats, a marked moment for hip-hop's technical advancement.
Combining speed, style and humor, few would influence hip-hop's syncopation and cadence like Big Daddy Kane. In their 2012 list of The Greatest Hip-Hop Songs of All Time Rolling Stone called Kane "a master wordsmith of rap's late-golden age and a huge influence on a generation of MCs." Within a few years Brooklyn flow would be redefined by the slow deliberative annunciation of the Notorious B.I.G., whose delivery would become one of the most interpolated in rap history.
The styles of both would be emulated and refined by a young Brooklyn rapper named Shawn Carter. The artist later known as Jay-Z attended George Westinghouse High School in downtown Brooklyn, where his classmates included Busta Rhymes, Biggie and DMX — all of whom would play a critical part in the evolution of rap’s delivery styles.
The borough wasn’t only a boys club. MC Lyte, Foxy Brown, and new rappers like Young MA continue to put Brooklyn on the musical map.
The largest Borough by area, Queens boasts the Guiness World Record for most languages spoken and gained the nickname "The World’s Borough" for its diverse population. Whereas Bronx hip-hop was derived from Black American and Caribbean cultures, Queen’s hip-hop samples the world. While the 1970s saw the Bronx give birth to hip-hop, the 1980s saw the eastern borough of Queens mature the art form.
Queen’s hip-hop history has roots in two specific areas: the Queenborough Projects and Hollis. The Queensboro Projects, a.k.a. "The Bridge," were one of the few unsegregated projects in New York. It was also home to Marley Marl, who accidentally discovered sampling while working on a Captain Rock record as a studio intern in the early ‘80s.
"I was actually trying to get a riff off of a record. I made a mistake and got the snare in there before the sound came," he recounted to NPR. "The snare sounded better than the snare that I had from the drum machine when I was popping it…I was like, "Hold up!" This will enable me to take any kick and a snare from any record that people love and make my own beat." Marls’ use of the 808 pulse to trigger different samplers was revolutionary, and he would become a pioneer for his ability to blend sampled and 808 drum sounds.
Marl’s contribution would extend beyond the technical. As a member of the Juice Crew, he brought the voice of 14-year-old Roxanne Shanté to the world. She created a new lane for women in rap as well as the blueprint for the diss track on the seminal "Roxanne's Revenge."
About a half hour east on the F Train in Hollis, Queens, brothers Joseph and Russel Simmons (a DJ and promoter respectively) founded Run-D.M.C. with friends Darryl Mc Daniels and Jason Mizell. Run-D.M.C.'s sound featured a synchronized, aggressive delivery over simple but memorable rock hooks and beats. Later, the group established Def Jam Records, the label that would prove rap could sell millions of records to Top 40 audiences and bring rap to the mainstream as the first rappers to be featured on MTV.
As valuable as the musical contributions of Run-D.M.C are, they are equally vital to the development of fashion as an element of hip-hop. Street style, as it would come to be known, is born in Queens: Kangol hats, unlaced Addias, Carzal frames, and thick gold chains are now as synonymous with hip-hop as beats and samples. Today, fashion is so central to hip-hop, and vice versa, that New York's FIT Museum recently held an expansive exhibit on hip-hop style.”
Complex proclaimed Nas’ Illmatic "set off a seismic shift in rap geopolitics" and added that the 1994 record "galvanized Queensbridge hip-hop and by extension East Coast rap as a whole." His introspective and poetic approach to writing is credited for bringing the best out of his contemporaries and inspiring next generation rappers like Killer Mike and Kendrick Lamar, challenging them to meet his lyrical bar.
Though "The Fly Borough" is the most densely populated, the majority of its hip-hop history is concentrated in the northern Manhattan neighborhood of Harlem.
Home of the legendary Apollo Theater, the neighborhood was well rooted in Black music when World War II vet Bobby Robinson opened Bobby’s Records in 1946 — one of Harlems’ few Black owned businesses at the time. The record store would evolve as would Robinson’s involvement in music. He would become a producer and label head whose 1970 imprint Enjoy Records released music by hip-hop's earliest innovators, including Grandmaster Flash, the Treacherous Three, and Doug E. Fresh. The label would also feature Master Don, whose signature use of a "Funk Box" percussion synthesizer and its crispy digital hi hat is still heard in trap music today.
Harlem was also home to Dapper Dan, the first designer to "borrow" designer goods and modify them with hip-hop flair. His boutique operated from 1982-1992 and was essential to the merging of luxury brands and hip-hop culture. Although brands like Gucci first sued for copyright infringement, they eventually saw the value of hip-hop's branding power on high end fashion sales. In 2018, Dapper Dan and Gucci collaborated on a capsule collection.
Also during this ‘80s culture boom, three high schoolers from Manhattan applied the ethos of punk rock to the emerging street sounds of hip-hop.
The Beastie Boys began by pirating rap, self-admittingly "Rhyming and Stealing" for their 1986 Def Jam debut License to Ill, and went on to forge a new lane for the medium. They broke all the rules of sampling and production with their seminal Paul’s Boutique, which Rolling Stone noted is often dubbed "The Sargent Pepper of hip-hop" and lauded for its layer sampling technique. In their ranking of Paul’s Boutique Consequence of Sound wrote, "Paul’s Boutique sat at a finish line waiting for the rest of the world to catch up."
While the outer Boroughs would enjoy most of the attention musically throughout the '90s and 2000s, the 2010s would see Harlem again centered in hip-hop with the arrival of young rappers like Azealia Banks and the ASAP Mob collective.
RZA, GZA, Method Man, Raekwon, Ghostface Killah, Inspectah Deck, U-God, Masta Killa, and Ol’ Dirty Bastard and later Cappadonna would find success as both a group and as solo artists. infiltrating the "big six" 1990s major record labels by design. You can also hear the influence of RZA on modern acts like El Michels Affair, which draws inspiration from Wu-Tang's melodic take on instrumentation and released two albums of instrumental soul covers of Wu-Tang Clan songs.
Their impact would go far beyond music however. Hip-hop biographer Will Ashon recounted Wu’s influence on fashion, noting that the group were part of a trend of simplification.
"Their whole modus operandi was to present themselves as real and unmanufactured, so their clothing choices had to reflect this. The rawness and directness of the music was supposed to be echoed in the rawness and directness of their clothing. They were a big part of the early 1990s move towards baggy and oversized clothes. Huge combat trousers or sweatpants, Timberland boots, hoodies, puffas, do-rags, gold fronts and so on. A ‘street soldier’ look."
As you’d expect, Wu’s presence looms large over future Staten Island artists, including G4 Boys and Killarmy. New artists like Cleotrapa, a spicy, no-holds-barred femme rapper, also counts Wu-Tang as an influence and is helping define Staten’s next chapter.
The history of the intersection of New York City and hip-hop culture is as big and diverse as the city itself. We could only touch on a handful of artists and creators in this piece, but the topic has been explored at length in books like Cant Stop Wont Stop by Jeff Chang and The Come Up: An Oral History of the Rise of Hip-Hop. Documentaries on hip-hop can be found on almost all streaming platforms Netflix’s notable Hip-Hop Evolution and Ladies First: The Story of Women in Hip-Hop.
Photo: Rachel Kupfer
A Guide To Modern Funk For The Dance Floor: L'Imperatrice, Shiro Schwarz, Franc Moody, Say She She & Moniquea
James Brown changed the sound of popular music when he found the power of the one and unleashed the funk with "Papa's Got a Brand New Bag." Today, funk lives on in many forms, including these exciting bands from across the world.
It's rare that a genre can be traced back to a single artist or group, but for funk, that was James Brown. The Godfather of Soul coined the phrase and style of playing known as "on the one," where the first downbeat is emphasized, instead of the typical second and fourth beats in pop, soul and other styles. As David Cheal eloquently explains, playing on the one "left space for phrases and riffs, often syncopated around the beat, creating an intricate, interlocking grid which could go on and on." You know a funky bassline when you hear it; its fat chords beg your body to get up and groove.
Brown's 1965 classic, "Papa's Got a Brand New Bag," became one of the first funk hits, and has been endlessly sampled and covered over the years, along with his other groovy tracks. Of course, many other funk acts followed in the '60s, and the genre thrived in the '70s and '80s as the disco craze came and went, and the originators of hip-hop and house music created new music from funk and disco's strong, flexible bones built for dancing.
Legendary funk bassist Bootsy Collins learned the power of the one from playing in Brown's band, and brought it to George Clinton, who created P-funk, an expansive, Afrofuturistic, psychedelic exploration of funk with his various bands and projects, including Parliament-Funkadelic. Both Collins and Clinton remain active and funkin', and have offered their timeless grooves to collabs with younger artists, including Kali Uchis, Silk Sonic, and Omar Apollo; and Kendrick Lamar, Flying Lotus, and Thundercat, respectively.
In the 1980s, electro-funk was born when artists like Afrika Bambaataa, Man Parrish, and Egyptian Lover began making futuristic beats with the Roland TR-808 drum machine — often with robotic vocals distorted through a talk box. A key distinguishing factor of electro-funk is a de-emphasis on vocals, with more phrases than choruses and verses. The sound influenced contemporaneous hip-hop, funk and electronica, along with acts around the globe, while current acts like Chromeo, DJ Stingray, and even Egyptian Lover himself keep electro-funk alive and well.
Today, funk lives in many places, with its heavy bass and syncopated grooves finding way into many nooks and crannies of music. There's nu-disco and boogie funk, nodding back to disco bands with soaring vocals and dance floor-designed instrumentation. G-funk continues to influence Los Angeles hip-hop, with innovative artists like Dam-Funk and Channel Tres bringing the funk and G-funk, into electro territory. Funk and disco-centered '70s revival is definitely having a moment, with acts like Ghost Funk Orchestra and Parcels, while its sparkly sprinklings can be heard in pop from Dua Lipa, Doja Cat, and, in full "Soul Train" character, Silk Sonic. There are also acts making dreamy, atmospheric music with a solid dose of funk, such as Khruangbin’s global sonic collage.
There are many bands that play heavily with funk, creating lush grooves designed to get you moving. Read on for a taste of five current modern funk and nu-disco artists making band-led uptempo funk built for the dance floor. Be sure to press play on the Spotify playlist above, and check out GRAMMY.com's playlist on Apple Music, Amazon Music and Pandora.
Say She She
Aptly self-described as "discodelic soul," Brooklyn-based seven-piece Say She She make dreamy, operatic funk, led by singer-songwriters Nya Gazelle Brown, Piya Malik and Sabrina Mileo Cunningham. Their '70s girl group-inspired vocal harmonies echo, sooth and enchant as they cover poignant topics with feminist flair.
While they’ve been active in the New York scene for a few years, they’ve gained wider acclaim for the irresistible music they began releasing this year, including their debut album, Prism. Their 2022 debut single "Forget Me Not" is an ode to ground-breaking New York art collective Guerilla Girls, and "Norma" is their protest anthem in response to the news that Roe vs. Wade could be (and was) overturned. The band name is a nod to funk legend Nile Rodgers, from the "Le freak, c'est chi" exclamation in Chic's legendary tune "Le Freak."
Moniquea's unique voice oozes confidence, yet invites you in to dance with her to the super funky boogie rhythms. The Pasadena, California artist was raised on funk music; her mom was in a cover band that would play classics like Aretha Franklin’s "Get It Right" and Gladys Knight’s "Love Overboard." Moniquea released her first boogie funk track at 20 and, in 2011, met local producer XL Middelton — a bonafide purveyor of funk. She's been a star artist on his MoFunk Records ever since, and they've collabed on countless tracks, channeling West Coast energy with a heavy dose of G-funk, sunny lyrics and upbeat, roller disco-ready rhythms.
Her latest release is an upbeat nod to classic West Coast funk, produced by Middleton, and follows her February 2022 groovy, collab-filled album, On Repeat.
Shiro Schwarz is a Mexico City-based duo, consisting of Pammela Rojas and Rafael Marfil, who helped establish a modern funk scene in the richly creative Mexican metropolis. On "Electrify" — originally released in 2016 on Fat Beats Records and reissued in 2021 by MoFunk — Shiro Schwarz's vocals playfully contrast each other, floating over an insistent, upbeat bassline and an '80s throwback electro-funk rhythm with synth flourishes.
Their music manages to be both nostalgic and futuristic — and impossible to sit still to. 2021 single "Be Kind" is sweet, mellow and groovy, perfect chic lounge funk. Shiro Schwarz’s latest track, the joyfully nostalgic "Hey DJ," is a collab with funkstress Saucy Lady and U-Key.
L'Impératrice (the empress in French) are a six-piece Parisian group serving an infectiously joyful blend of French pop, nu-disco, funk and psychedelia. Flore Benguigui's vocals are light and dreamy, yet commanding of your attention, while lyrics have a feminist touch.
During their energetic live sets, L'Impératrice members Charles de Boisseguin and Hagni Gwon (keys), David Gaugué (bass), Achille Trocellier (guitar), and Tom Daveau (drums) deliver extended instrumental jam sessions to expand and connect their music. Gaugué emphasizes the thick funky bass, and Benguigui jumps around the stage while sounding like an angel. L’Impératrice’s latest album, 2021’s Tako Tsubo, is a sunny, playful French disco journey.
Franc Moody's bio fittingly describes their music as "a soul funk and cosmic disco sound." The London outfit was birthed by friends Ned Franc and Jon Moody in the early 2010s, when they were living together and throwing parties in North London's warehouse scene. In 2017, the group grew to six members, including singer and multi-instrumentalist Amber-Simone.
Their music feels at home with other electro-pop bands like fellow Londoners Jungle and Aussie act Parcels. While much of it is upbeat and euphoric, Franc Moody also dips into the more chilled, dreamy realm, such as the vibey, sultry title track from their recently released Into the Ether.
Photo: Steven Sebring
Living Legends: Billy Idol On Survival, Revival & Breaking Out Of The Cage
"One foot in the past and one foot into the future," Billy Idol says, describing his decade-spanning career in rock. "We’ve got the best of all possible worlds because that has been the modus operandi of Billy Idol."
Living Legends is a series that spotlights icons in music still going strong today. This week, GRAMMY.com spoke with Billy Idol about his latest EP, Cage, and continuing to rock through decades of changing tastes.
Billy Idol is a true rock 'n' roll survivor who has persevered through cultural shifts and personal struggles. While some may think of Idol solely for "Rebel Yell" and "White Wedding," the singer's musical influences span genres and many of his tunes are less turbo-charged than his '80s hits would belie.
Idol first made a splash in the latter half of the '70s with the British punk band Generation X. In the '80s, he went on to a solo career combining rock, pop, and punk into a distinct sound that transformed him and his musical partner, guitarist Steve Stevens, into icons. They have racked up multiple GRAMMY nominations, in addition to one gold, one double platinum, and four platinum albums thanks to hits like "Cradle Of Love," "Flesh For Fantasy," and "Eyes Without A Face."
But, unlike many legacy artists, Idol is anything but a relic. Billy continues to produce vital Idol music by collaborating with producers and songwriters — including Miley Cyrus — who share his forward-thinking vision. He will play a five-show Vegas residency in November, and filmmaker Jonas Akerlund is working on a documentary about Idol’s life.
His latest release is Cage, the second in a trilogy of annual four-song EPs. The title track is a classic Billy Idol banger expressing the desire to free himself from personal constraints and live a better life. Other tracks on Cage incorporate metallic riffing and funky R&B grooves.
Idol continues to reckon with his demons — they both grappled with addiction during the '80s — and the singer is open about those struggles on the record and the page. (Idol's 2014 memoir Dancing With Myself, details a 1990 motorcycle accident that nearly claimed a leg, and how becoming a father steered him to reject hard drugs. "Bitter Taste," from his last EP, The Roadside, reflects on surviving the accident.)
Although Idol and Stevens split in the late '80s — the skilled guitarist fronted Steve Stevens & The Atomic Playboys, and collaborated with Michael Jackson, Rick Ocasek, Vince Neil, and Harold Faltermeyer (on the GRAMMY-winning "Top Gun Anthem") — their common history and shared musical bond has been undeniable. The duo reunited in 2001 for an episode of "VH1 Storytellers" and have been back in the saddle for two decades. Their union remains one of the strongest collaborations in rock 'n roll history.
While there is recognizable personnel and a distinguishable sound throughout a lot of his work, Billy Idol has always pushed himself to try different things. Idol discusses his musical journey, his desire to constantly move forward, and the strong connection that he shares with Stevens.
Steve has said that you like to mix up a variety of styles, yet everyone assumes you're the "Rebel Yell"/"White Wedding" guy. But if they really listen to your catalog, it's vastly different.
Yeah, that's right. With someone like Steve Stevens, and then back in the day Keith Forsey producing... [Before that] Generation X actually did move around inside punk rock. We didn't stay doing just the Ramones two-minute music. We actually did a seven-minute song. [Laughs]. We did always mix things up.
Then when I got into my solo career, that was the fun of it. With someone like Steve, I knew what he could do. I could see whatever we needed to do, we could nail it. The world was my oyster musically.
"Cage" is a classic-sounding Billy Idol rocker, then "Running From The Ghost" is almost metal, like what the Devil's Playground album was like back in the mid-2000s. "Miss Nobody" comes out of nowhere with this pop/R&B flavor. What inspired that?
We really hadn't done anything like that since something like "Flesh For Fantasy" [which] had a bit of an R&B thing about it. Back in the early days of Billy Idol, "Hot In The City" and "Mony Mony" had girls [singing] on the backgrounds.
We always had a bit of R&B really, so it was actually fun to revisit that. We just hadn't done anything really quite like that for a long time. That was one of the reasons to work with someone like Sam Hollander [for the song "Rita Hayworth"] on The Roadside. We knew we could go [with him] into an R&B world, and he's a great songwriter and producer. That's the fun of music really, trying out these things and seeing if you can make them stick.
I listen to new music by veteran artists and debate that with some people. I'm sure you have those fans that want their nostalgia, and then there are some people who will embrace the newer stuff. Do you find it’s a challenge to reach people with new songs?
Obviously, what we're looking for is, how do we somehow have one foot in the past and one foot into the future? We’ve got the best of all possible worlds because that has been the modus operandi of Billy Idol.
You want to do things that are true to you, and you don't just want to try and do things that you're seeing there in the charts today. I think that we're achieving it with things like "Running From The Ghost" and "Cage" on this new EP. I think we’re managing to do both in a way.
Obviously, "Running From The Ghost" is about addiction, all the stuff that you went through, and in "Cage" you’re talking about freeing yourself from a lot of personal shackles. Was there any one moment in your life that made you really thought I have to not let this weigh me down anymore?
I mean, things like the motorcycle accident I had, that was a bit of a wake up call way back. It was 32 years ago. But there were things like that, years ago, that gradually made me think about what I was doing with my life. I didn't want to ruin it, really. I didn't want to throw it away, and it made [me] be less cavalier.
I had to say to myself, about the drugs and stuff, that I've been there and I've done it. There’s no point in carrying on doing it. You couldn't get any higher. You didn't want to throw your life away casually, and I was close to doing that. It took me a bit of time, but then gradually I was able to get control of myself to a certain extent [with] drugs and everything. And I think Steve's done the same thing. We're on a similar path really, which has been great because we're in the same boat in terms of lyrics and stuff.
So a lot of things like that were wake up calls. Even having grandchildren and just watching my daughter enlarging her family and everything; it just makes you really positive about things and want to show a positive side to how you're feeling, about where you're going. We've lived with the demons so long, we've found a way to live with them. We found a way to be at peace with our demons, in a way. Maybe not completely, but certainly to where we’re enjoying what we do and excited about it.
[When writing] "Running From The Ghost" it was easy to go, what was the ghost for us? At one point, we were very drug addicted in the '80s. And Steve in particular is super sober [now]. I mean, I still vape pot and stuff. I don’t know how he’s doing it, but it’s incredible. All I want to be able to do is have a couple of glasses of wine at a restaurant or something. I can do that now.
I think working with people that are super talented, you just feel confident. That is a big reason why you open up and express yourself more because you feel comfortable with what's around you.
Did you watch Danny Boyle's recent Sex Pistols mini-series?
I did, yes.
You had a couple of cameos; well, an actor who portrayed you did. How did you react to it? How accurate do you think it was in portraying that particular time period?
I love Jonesy’s book, I thought his book was incredible. It's probably one of the best bio books really. It was incredible and so open. I was looking forward to that a lot.
It was as if [the show] kind of stayed with Steve [Jones’ memoir] about halfway through, and then departed from it. [John] Lydon, for instance, was never someone I ever saw acting out; he's more like that today. I never saw him do something like jump up in the room and run around going crazy. The only time I saw him ever do that was when they signed the recording deal with Virgin in front of Buckingham Palace. Whereas Sid Vicious was always acting out; he was always doing something in a horrible way or shouting at someone. I don't remember John being like that. I remember him being much more introverted.
But then I watched interviews with some of the actors about coming to grips with the parts they were playing. And they were saying, we knew punk rock happened but just didn't know any of the details. So I thought well, there you go. If ["Pistol" is] informing a lot of people who wouldn't know anything about punk rock, maybe that's what's good about it.
Maybe down the road John Lydon will get the chance to do John's version of the Pistols story. Maybe someone will go a lot deeper into it and it won't be so surface. But maybe you needed this just to get people back in the flow.
We had punk and metal over here in the States, but it feels like England it was legitimately more dangerous. British society was much more rigid.
It never went [as] mega in America. It went big in England. It exploded when the Pistols did that interview with [TV host Bill] Grundy, that lorry truck driver put his boot through his own TV, and all the national papers had "the filth and the fury" [headlines].
We went from being unknown to being known overnight. We waited a year, Generation X. We even told them [record labels] no for nine months to a year. Every record company wanted their own punk rock group. So it went really mega in England, and it affected the whole country – the style, the fashions, everything. I mean, the Ramones were massive in England. Devo had a No. 1 song [in England] with "Satisfaction" in '77. Actually, Devo was as big as or bigger than the Pistols.
You were ahead of the pop-punk thing that happened in the late '90s, and a lot of it became tongue-in-cheek by then. It didn't have the same sense of rebelliousness as the original movement. It was more pop.
It had become a style. There was a famous book in England called Revolt Into Style — and that's what had happened, a revolt that turned into style which then they were able to duplicate in their own way. Even recently, Billie Joe [Armstrong] did his own version of "Gimme Some Truth," the Lennon song we covered way back in 1977.
When we initially were making [punk] music, it hadn't become accepted yet. It was still dangerous and turned into a style that people were used to. We were still breaking barriers.
You have a band called Generation Sex with Steve Jones and Paul Cook. I assume you all have an easier time playing Pistols and Gen X songs together now and not worrying about getting spit on like back in the '70s?
Yeah, definitely. When I got to America I told the group I was putting it together, "No one spits at the audience."
We had five years of being spat on [in the UK], and it was revolting. And they spat at you if they liked you. If they didn't like it they smashed your gear up. One night, I remember I saw blood on my T-shirt, and I think Joe Strummer got meningitis when spit went in his mouth.
You had to go through a lot to become successful, it wasn't like you just kind of got up there and did a couple of gigs. I don't think some young rock bands really get that today.
With punk going so mega in England, we definitely got a leg up. We still had a lot of work to get where we got to, and rightly so because you find out that you need to do that. A lot of groups in the old days would be together three to five years before they ever made a record, and that time is really important. In a way, what was great about punk rock for me was it was very much a learning period. I really learned a lot [about] recording music and being in a group and even writing songs.
Then when I came to America, it was a flow, really. I also really started to know what I wanted Billy Idol to be. It took me a little bit, but I kind of knew what I wanted Billy Idol to be. And even that took a while to let it marinate.
You and Miley Cyrus have developed a good working relationship in the last several years. How do you think her fans have responded to you, and your fans have responded to her?
I think they're into it. It's more the record company that she had didn't really get "Night Crawling"— it was one of the best songs on Plastic Hearts, and I don't think they understood that. They wanted to go with Dua Lipa, they wanted to go with the modern, young acts, and I don't think they realized that that song was resonating with her fans. Which is a shame really because, with Andrew Watt producing, it's a hit song.
But at the same time, I enjoyed doing it. It came out really good and it's very Billy Idol. In fact, I think it’s more Billy Idol than Miley Cyrus. I think it shows you where Andrew Watt was. He was excited about doing a Billy Idol track. She's fun to work with. She’s a really great person and she works at her singing — I watched her rehearsing for the Super Bowl performance she gave. She rehearsed all Saturday morning, all Saturday afternoon, and Sunday morning and it was that afternoon. I have to admire her fortitude. She really cares.
I remember when you went on "Viva La Bam" back in 2005 and decided to give Bam Margera’s Lamborghini a new sunroof by taking a power saw to it. Did he own that car? Was that a rental?
I think it was his car.
Did he get over it later on?
He loved it. [Laughs] He’s got a wacky sense of humor. He’s fantastic, actually. I’m really sorry to see what he's been going through just lately. He's going through a lot, and I wish him the best. He's a fantastic person, and it's a shame that he's struggling so much with his addictions. I know what it's like. It's not easy.
Musically, what is the synergy like with you guys during the past 10 years, doing Kings and Queens of the Underground and this new stuff? What is your working relationship like now in this more sober, older, mature version of you two as opposed to what it was like back in the '80s?
In lots of ways it’s not so different because we always wrote the songs together, we always talked about what we're going to do together. It was just that we were getting high at the same time.We're just not getting [that way now] but we're doing all the same things.
We're still talking about things, still [planning] things:What are we going to do next? How are we going to find new people to work with? We want to find new producers. Let's be a little bit more timely about putting stuff out.That part of our relationship is the same, you know what I mean? That never got affected. We just happened to be overloading in the '80s.
The relationship’s… matured and it's carrying on being fruitful, and I think that's pretty amazing. Really, most people don't get to this place. Usually, they hate each other by now. [Laughs] We also give each other space. We're not stopping each other doing things outside of what we’re working on together. All of that enables us to carry on working together. I love and admire him. I respect him. He's been fantastic. I mean, just standing there on stage with him is always a treat. And he’s got an immensely great sense of humor. I think that's another reason why we can hang together after all this time because we've got the sense of humor to enable us to go forward.
There's a lot of fan reaction videos online, and I noticed a lot of younger women like "Rebel Yell" because, unlike a lot of other '80s alpha male rock tunes, you're talking about satisfying your lover.
It was about my girlfriend at the time, Perri Lister. It was about how great I thought she was, how much I was in love with her, and how great women are, how powerful they are.
It was a bit of a feminist anthem in a weird way. It was all about how relationships can free you and add a lot to your life. It was a cry of love, nothing to do with the Civil War or anything like that. Perri was a big part of my life, a big part of being Billy Idol. I wanted to write about it. I'm glad that's the effect.
Is there something you hope people get out of the songs you've been doing over the last 10 years? Do you find yourself putting out a message that keeps repeating?
Well, I suppose, if anything, is that you can come to terms with your life, you can keep a hold of it. You can work your dreams into reality in a way and, look, a million years later, still be enjoying it.
The only reason I'm singing about getting out of the cage is because I kicked out of the cage years ago. I joined Generation X when I said to my parents, "I'm leaving university, and I'm joining a punk rock group." And they didn't even know what a punk rock group was. Years ago, I’d write things for myself that put me on this path, so that maybe in 2022 I could sing something like "Cage" and be owning this territory and really having a good time. This is the life I wanted.
The original UK punk movement challenged societal norms. Despite all the craziness going on throughout the world, it seems like a lot of modern rock bands are afraid to do what you guys were doing. Do you think we'll see a shift in that?
Yeah. Art usually reacts to things, so I would think eventually there will be a massive reaction to the pop music that’s taken over — the middle of the road music, and then this kind of right wing politics. There will be a massive reaction if there's not already one. I don’t know where it will come from exactly. You never know who's gonna do [it].
Graphic: The Recording Academy
Hear All Of The Best Country Solo Performance Nominees For The 2023 GRAMMY Awards
The 2023 GRAMMY Award nominees for Best Country Solo Performance highlight country music's newcomers and veterans, featuring hits from Kelsea Ballerini, Zach Bryan, Miranda Lambert, Maren Morris and Willie Nelson.
Country music's evolution is well represented in the 2023 GRAMMY nominees for Best Country Solo Performance. From crossover pop hooks to red-dirt outlaw roots, the genre's most celebrated elements are on full display — thanks to rising stars, leading ladies and country icons.
Longtime hitmaker Miranda Lambert delivered a soulful performance on the rootsy ballad "In His Arms," an arrangement as sparing as the windswept west Texas highlands where she co-wrote the song. Viral newcomer Zach Bryan dug into similar organic territory on the Oklahoma side of the Red River for "Something in the Orange," his voice accompanied with little more than an acoustic guitar.
Two of country's 2010s breakout stars are clearly still shining, too, as Maren Morris and Kelsea Ballerini both received Best Country Solo Performance GRAMMY nods. Morris channeled the determination that drove her leap-of-faith move from Texas to Nashville for the playful clap-along "Circles Around This Town," while Ballerini brought poppy hooks with a country edge on the infectiously upbeat "HEARTFIRST."
Rounding out the category is the one and only Willie Nelson, who paid tribute to his late friend Billy Joe Shaver with a cover of "Live Forever" — a fitting sentiment for the 89-year-old legend, who is approaching his eighth decade in the business.
As the excitement builds for the 2023 GRAMMYs on Feb. 5, 2023, let's take a closer look at this year's nominees for Best Country Solo Performance.
Kelsea Ballerini — "HEARTFIRST"
In the tradition of Shania Twain, Faith Hill and Carrie Underwood, Kelsea Ballerini represents Nashville's sunnier side — and her single "HEARTFIRST" is a slice of bright, uptempo, confectionary country-pop for the ages.
Ballerini sings about leaning into a carefree crush with her heart on her sleeve, pushing aside her reservations and taking a risk on love at first sight. The scene plays out in a bar room and a back seat, as she sweeps nimbly through the verses and into a shimmering chorus, when the narrator decides she's ready to "wake up in your T-shirt."
There are enough steel guitar licks to let you know you're listening to a country song, but the story and melody are universal. "HEARTFIRST" is Ballerini's third GRAMMY nod, but first in the Best Country Solo Performance category.
Zach Bryan — "Something In The Orange"
Zach Bryan blew into Music City seemingly from nowhere in 2017, when his original song "Heading South" — recorded on an iPhone — went viral. Then an active officer in the U.S. Navy, the Oklahoma native chased his muse through music during his downtime, striking a chord with country music fans on stark songs led by his acoustic guitar and affecting vocals.
After his honorable discharge in 2021, Bryan began his music career in earnest, and in 2022 released "Something in the Orange," a haunting ballad that stakes a convincing claim to the territory between Tyler Childers and Jason Isbell in both sonics and songwriting. Slashing slide guitar drives home the song's heartbreak, as Bryan pines for a lover whose tail lights have long since vanished over the horizon.
"Something In The Orange" marks Bryan's first-ever GRAMMY nomination.
Miranda Lambert — "In His Arms"
Miranda Lambert is the rare, chart-topping contemporary country artist who does more than pay lip service to the genre's rural American roots. "In His Arms" originally surfaced on 2021's The Marfa Tapes, a casual recording Lambert made with Jack Ingram and Jon Randall in Marfa, Texas — a tiny arts enclave in the middle of the west Texas high desert.
In this proper studio version — recorded for her 2022 album, Palomino — Lambert retains the structure and organic feel of the mostly acoustic song; light percussion and soothing atmospherics keep her emotive vocals front and center. A native Texan herself, Lambert sounds fully at home on "In His Arms."
Lambert is the only Best Country Solo Performance nominee who is nominated in all four Country Field categories in 2023. To date, Miranda Lambert has won 3 GRAMMYs and received 27 nominations overall.
Maren Morris — "Circles Around This Town"
When Maren Morris found herself uninspired and dealing with writer's block, she went back to what inspired her to move to Nashville nearly a decade ago — and out came "Circles Around This Town," the lead single from her 2022 album Humble Quest.
Written in one of her first in-person songwriting sessions since the pandemic, Morris has called "Circles Around This Town" her "most autobiographical song" to date; she even recreated her own teenage bedroom for the song's video. As she looks back to her Texas beginnings and the life she left for Nashville, Morris' voice soars over anthemic, yet easygoing production.
Morris last won a GRAMMY for Best Country Solo Performance in 2017, when her song "My Church" earned the singer her first GRAMMY. To date, Maren Morris has won one GRAMMY and received 17 nominations overall.
Willie Nelson — "Live Forever"
Country music icon Willie Nelson is no stranger to the GRAMMYs, and this year he aims to add to his collection of 10 gramophones. He earned another three nominations for 2023 — bringing his career total to 56 — including a Best Country Solo Performance nod for "Live Forever."
Nelson's performance of "Live Forever," the lead track of the 2022 tribute album Live Forever: A Tribute to Billy Joe Shaver, is a faithful rendition of Shaver's signature song. Still, Nelson puts his own twist on the tune, recruiting Lucinda Williams for backing vocals and echoing the melody with the inimitable tone of his nylon-string Martin guitar.
Shaver, an outlaw country pioneer who passed in 2020 at 81 years old, never had any hits of his own during his lifetime. But plenty of his songs were still heard, thanks to stars like Elvis Presley, Kris Kristofferson and Waylon Jennings. Nelson was a longtime friend and frequent collaborator of Shaver's — and now has a GRAMMY nom to show for it.