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Take The Power Back: How Rage Against The Machine's Debut LP Created Rap-Rock With A Message
Zack De La Rocha, Tim Commerford, Brad Wilk, Tom Morello, Brielpoort, Deinze, Belgium of Rage Against The Machine

Photo: Gie Knaeps/Getty Images

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Take The Power Back: How Rage Against The Machine's Debut LP Created Rap-Rock With A Message

Released in 1992, 'Rage Against The Machine' pushed the boundaries of contemporary music into previously uncharted territory. GRAMMY.com looks back at Rage's debut record to examine how it created the blueprint for rap-rock that had something to say.

GRAMMYs/Nov 7, 2022 - 02:38 pm

Music is an ever-evolving art form, but  by the '90s, it seemed as if there wasn’t much more ground left to explore. Even in the underground, some young people felt limited by the virtually endless selection of R&B, rap, pop, rock, country, punk, and metal curated by the likes of MTV and BET.  Yet it was only a matter of time before someone asked: What would happen if we combined some of those genres?  One band that dared to answer was Rage Against the Machine.

Nov. 3 marked the 30th anniversary of the release of Rage Against the Machine’s self-titled debut — a muscular type of riff-heavy hybrid rock that pushed the boundaries of contemporary music into previously uncharted territory.  Owing as much to hip-hop as it does to ‘70s metal and punk music from the mid- to late ‘80s, the Los Angeles four-piece blended rap-inspired vocals and driving guitar riffs with a unique approach to songwriting that took listeners by surprise.

Collaborations between well-known rap and rock groups — including  Run DMC and Aerosmith, Public Enemy and Anthrax, and The 2 Live Crew and Mötley Crüe — had already explored the synergy that existed between the two genres, but those were all one-time efforts. Until Rage Against the Machine came along, few other bands had made fusing the two styles a bedrock of their musical ambition. The final product became so popular that it established a blueprint that other bands like Limp Bizkit would follow, leading to a glut of rap-rock bands in the late ‘90s and early 2000s. But what set Rage Against the Machine apart from the bands that followed is that it had something to say.

Before the first note of the record sounded, the album art for Rage Against The Machine set the tone for what was to come, telling listeners as much about the band’s outlook as the music would.  The album cover features the jarring yet iconic image of the Buddhist monk Thích Quảng Đức in the midst of self-immolation, his final act of protest against religious persecution. This photograph told listeners as much about the band’s outlook as the music would. The result was a one-two punch of politically-charged music that pleased critics and won over fans of both rap and rock music.

Rage Against the Machine’s politics have always been just as important as its music — perhaps even more so — and the album addresses systemic racism, police brutality, media manipulation, cultural exploitation, and subjugation. But what, exactly, was the machine that the band was intent on raging against? In a 1993 interview, guitarist Tom Morello described the proverbial machine as, "anything from the police on the streets of Los Angeles who can pull motorists from their cars and beat them to a pulp and get away with it to the overall international state capitalist machinery that tries to make you a mindless cog, and not think critically, and never confront the system." 

What the band was singing about wasn’t necessarily new at the time, but who it was singing to certainly was. Instead of preaching to those who had already felt the sting of injustice, the band took its message straight to middle America. The music spoke directly to the nation’s mainstream youth and, ultimately, "elitist white America,"  showcasing Generation X’s distinct sense of cynicism tempered with hope.

Vocalist Zack de la Rocha embodied the disenfranchised, releasing a torrent of internalized frustration on each track. But rather than offering catharsis, his lyrics enjoined the listener to share in his rage, to take action against the systemic issues that plague society. Songs like "Township Rebellion" reminded them that it was well within the realm of possibility to change the power structure: "Why stand on a silent platform? Fight the war! F— the norm!" But Rage Against the Machine didn’t want a passive audience — it wanted its fans to get involved. To help make that aim a reality, the album’s liner notes provided information on progressive causes that fans could learn about on their own.

The album was released near the beginning of the Clinton presidency, which was widely regarded as a time of relative peace, prosperity, and growth in America; and, for some listeners, this made Rage Against the Machine’s message seem out of touch with the zeitgeist. Because the band was shining a light on topics that weren’t frequently covered in the news at the time, the music was sometimes written off as being little more than "complaint rock."  It would take some time before the band’s message would come into sharper focus.

The entirety of the band’s studio output was released before the Bush presidency, 9/11, the wars in Iraq and Afghanistan, Occupy Wall Street, the Obama presidency, the rise of the Tea Party and the Alt-Right, the Trump presidency, the unrest in Charlottesville, and the highly-publicized deaths of many Black Americans like George Floyd at the hands of law enforcement. Even after the passage of so many years — and so many world-altering events — the band’s message can be carried effortlessly to the present day. In light of the recently publicized (though long-known) findings that a racist element lurks in American law enforcement agencies, for example, the meaning behind the line in the song "Killing in the Name" becomes clear: "Some of those that work forces are the same that burn crosses."

In a 2020 online conversation, Morello expounded on that sentiment: "Race is a very, very difficult thing to discuss in America. Racism in this country is as American as apple pie and baseball. It is interwoven with the DNA of this country, and that’s why, when you criticize racism, people think you’re criticizing America — because you are!"

Ultimately, the band’s music is a continuing reminder that, for as much as society has changed, there are certain elements within it that have remained stubbornly fixed. As the highly-influential Texas State Board of Education considers redefining American slavery as "involuntary relocation," and as the debate over teaching critical race theory in schools continues, fans are reminded of songs like "Take the Power Back" that critique the American educational system’s cultural bearings: "The present curriculum, I put my fist in ‘em/Eurocentric, every last one of ‘em."

While it is still unclear whether Rage Against The Machine's  leftist ideology ever created any political converts, it is clear that the band’s music won over more than a few right-wing fans. Even conservative stalwarts like former Speaker of the House and Republican vice presidential candidate, Paul Ryan, was noted as being a fan of the band’s music. While he didn’t agree with the band’s message — and the band didn’t agree with his fandom — the music’s impact is undeniable. Even now, many long-time conservative fans are just beginning to realize how misaligned the band is with their own worldview. This is largely due to the fact that some fans were willing to take the music at face value while abandoning the message entirely. For others, the "rage" part was always evident, but the parameters of "the machine" are still up for debate.

This dichotomy was no more apparent than in 2020, when Trump supporters draped in pro-police flags and MAGA paraphernalia took to the streets of Philadelphia to protest President Joe Biden’s victory while singing along to "Killing in the Name." Despite the song’s sharp critique of the police, the group of Trump followers chanted "F— you! I won’t do what you tell me!" along with the song’s crescendo.

Even though the song’s meaning had been repurposed, it remains a testament to the Rage’s longevity and to the emotion that its music can evoke. Instances like this also make it clear that, for some, the band’s music has come to symbolize a more universal sense of resistance or rebellion rather than an alignment with a particular set of political beliefs. This type of selective listening, where the music is isolated from the message, may have blunted the impact of the band’s activism to some degree, but it also allowed their message to spread far and wide.

Despite the band’s zeal, Rage couldn’t always shake the perceived hypocrisy of being revolutionary while also having access to all of the trappings of capitalism and rock stardom. This incongruity led some to ask if it was even possible to rage against the machine while simultaneously fueling it. Both de la Rocha and Morello have stated that they saw this approach as a means to inspire others to think critically about American society and global politics. The band has developed a reputation for putting its money where its mouth is, playing benefit shows and donating concert revenue to causes that are meaningful to its members. During its finally-realized 2022 reunion tour, Rage donated $1,000,000 of the proceeds from its residency at Madison Square Garden to select charities.

Since the album’s release, it has consistently appeared on many critics’ best-of lists; and the same songs that originally captivated Gen X are now garnering the attention of younger generations. In some ways, these new fans seem to relate to the band’s message in a more immediate way, relating to the music through the lens of the past decade's social change and political unrest. Contemporary artists like Denzel Curry, Brass Against and Machine Gun Kelly have also carried the message forward by covering Rage Against the Machine songs and introducing the band to new audiences.

Thirty years later, the machine still exists, but so does the band that is determined to undermine it. Rather than directly inciting a revolution, Rage has contributed to its soundtrack.  While many other bands from that era are now considered to be a thing of the past, Rage Against the Machine has stuck by its principles and remained a vital part of the current music landscape.

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Let Freedom Ring With The March On Washington GRAMMY Playlist

Celebrate the 50th Anniversary of the March on Washington with a song

GRAMMYs/Dec 3, 2014 - 05:06 am

On Aug. 28, 1963, Dr. Martin Luther King Jr. stood on the steps of the Lincoln Memorial in Washington, D.C., and declared in his landmark "I Have A Dream" speech, "Now is the time to lift our nation from the quicksands of racial injustice to the solid rock of brotherhood."

In 2012 The Recording Academy recognized King's speech for its historical significance by inducting the recording into the GRAMMY Hall Of Fame. Delivered before 250,000 people, "I Have A Dream" culminated the March on Washington for Jobs and Freedom, a rally organized by a coalition of civil rights organizations that called for the passage of meaningful civil rights legislation and a program to provide jobs, among other demands.

Several artists have used music to call for a solid rock of brotherhood and sisterly love over the years. GRAMMY winners Bob Dylan; Peter, Paul & Mary; and Mahalia Jackson were among the performers who stood beside King at the March on Washington and dared to dream of a better America. On Aug. 28 President Barack Obama — joined by fellow GRAMMY winners such as LeAnn Rimes and BeBe Winans and former Presidents Jimmy Carter and Bill Clinton — will deliver his own speech at the Let Freedom Ring Commemoration and Call to Action bell-ringing ceremony at the Lincoln Memorial, commemorating the 50th anniversary of the March on Washington.

As bells toll throughout the country, we encourage you to let freedom ring by marching to the beat of our March on Washington 50th anniversary GRAMMY playlist.

"Blowin' In The Wind"
Peter, Paul & Mary, Best Performance By A Vocal Group, Best Folk Recording, 1963; GRAMMY Hall Of Fame, inducted 2003

Peter, Paul & Mary's cover of Bob Dylan's popular protest song was one of two songs performed by the trio at the March on Washington. The two-time GRAMMY-winning track fittingly asked marchers, "How many roads must a man walk down/Before you call him a man?" The answer, of course, was blowin' in the wind.

"A Change Is Gonna Come"
Sam Cooke, GRAMMY Hall Of Fame, inducted 2000

Considered one of the defining anthems of the civil rights movement, "A Change Is Gonna Come" was released in 1964 by R&B singer Cooke as a response to Dylan's "Blowin' In The Wind." Cooke's harrowing track was voted No. 12 on Rolling Stone's 500 Greatest Songs of All Time list and epitomizes the hope and change King called for 50 years ago.                   

"Ohio"
Crosby, Stills, Nash & Young, GRAMMY Hall Of Fame, inducted 2009

Although written by Canadian Neil Young, "Ohio" spoke to the outrage many felt over the Kent State shootings in Kent, Ohio, in 1970. The song openly questioned the deaths of four unarmed students who were killed by the Ohio National Guard during a campus Vietnam War protest.   

"Get Up, Stand Up"
Bob Marley & The Wailers, GRAMMY Hall Of Fame, inducted 1999

Written by Bob Marley and Peter Tosh, this classic reggae tune was featured on the Wailers' 1973 album Burnin'. The group's signature call to action demanded people "get up, stand up/Stand up for your rights." In 1999 the track was the first reggae song to be inducted into the GRAMMY Hall Of Fame.

"Born In The U.S.A."
Bruce Springsteen, Record Of The Year nominee, 1985

Though often misinterpreted as a patriotic anthem, "Born In The U.S.A." actually speaks to the desperate flip side of the American dream encountered by some Vietnam War veterans. Still, the album of the same name garnered a GRAMMY nomination for Album Of The Year, spawned no less than seven Top 10 hits and was inducted into the GRAMMY Hall Of Fame in 2012.

"Fight The Power"
Public Enemy, Best Rap Performance nominee, 1989  

It might take a nation of millions to hold back listeners of Public Enemy's confrontational and controversial hit "Fight The Power." Chosen by director Spike Lee as the musical theme for his 1989 film Do The Right Thing, the track calls out everyone from Elvis to the American government, imploring people to "fight the powers that be."                         

"Guerrilla Radio"
Rage Against The Machine, Best Hard Rock Performance, 2000

Featured on Rage Against The Machine's 1999 GRAMMY-nominated album The Battle Of Los Angeles, "Guerrilla Radio" is the band's call to cut off the lights, turn up the radio and tune out those they describe as "vultures who thirst for blood and oil."

"Revolution 1"
The Beatles, The Beatles, GRAMMY Hall Of Fame, inducted 2000

A year before John Lennon and Yoko Ono famously held a two-week bed-in for peace in 1969, the Beatles released this Lennon/McCartney penned tune featured on The Beatles ("The White Album"). The song spoke to Lennon's skepticism about some of the radical tactics used to protest the Vietnam War, offering the tongue-in-cheek guarantee that everything was "gonna be alright."

"War"
Edwin Starr, Best R&B Vocal Performance, Male nominee, 1970

Written by Barrett Strong and Norman Whitfield in protest of the Vietnam War, "War" was originally recorded by the Temptations. Starr's version of this classic track helped him achieve legendary status on the soul circuit. His cover was intense and direct, simply stating: "I said, war, good gawd ya'll/What is it good for?/Absolutely nothing!"  

"The Times They Are A-Changin'"      
Bob Dylan, GRAMMY Hall Of Fame, inducted 2013

After the release of "Blowin' In The Wind," Dylan provided another anthemic protest song with "The Times They Are A-Changin'." Since its release in 1964, the song has been covered by artists such as the Beach Boys, Joan Baez, Phil Collins, Billy Joel, and Nina Simone, among others, during both challenging and ever-changing times.

"What The World Needs Now Is Love"
Jackie DeShannon, GRAMMY Hall Of Fame, inducted 2008

After all the protests, marches and calls for change have quieted down, arguably no song should be cranked up as loud as DeShannon's 1965 hit "What The World Needs Now Is Love." Per DeShannon: All we need "is love, sweet love/No, not just for some, but for everyone."

Know a song that changed the world? Let us know in the comments.

5 Essential Nu-Metal Albums: How Slipknot, Korn, Deftones & Others Showcased Adolescent Rage With A Dramatic Flair
Slipknot performs during opening night of the Ozzfest 2001 in Chicago

Photo: Scott Gries/ImageDirect

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5 Essential Nu-Metal Albums: How Slipknot, Korn, Deftones & Others Showcased Adolescent Rage With A Dramatic Flair

While nu-metal is sometimes remembered as a throw-away genre, many of its elements were groundbreaking at the time. GRAMMY.com collected the essential albums that best define nu-metal's aggression and innovation.

GRAMMYs/Nov 23, 2022 - 03:46 pm

Around the turn of the millennium, adolescent rage was personified by an anarchic blend of rap and rock, which gave birth to a new genre: nu-metal. The genre was severely theatrical, melding the brash, guitar-forward instrumentation and screaming lyricism of metal with rap’s poetic delivery and drum machines.

Nu-metal took cues from early '90s alternative scenes where thrash-inspired bands such as Faith No More, Nine Inch Nails, Primus and Ministry mixed industrial, electronic, and metal music to create a dark, moody sound. Nu-metal took this further, often employing slow tempos, down-tuned guitars, and distorted string instruments. Groups such as Cypress Hill, Korn and Linkin Park featured a DJ and incorporated rapping.

While nu-metal was ripe for a wide variety of expression, the genre generally promoted individualism, breaking with tradition, and political anarchy. Its lyrics combined hip-hop's political history and metal's brutal aggression to create a sound that resonated with disaffected, sometimes isolated —  a clear deviation away from the proto-masculine themes of 1980s metal. Singers like Korn's Jonathan Davis expanded upon pervasive post-9/11 pessimism, tackling complex subjects like child abuse, suicidal thoughts, and depression. Other groups adopted imagery from horror icons H. R. Geiger (whose work inspired Alien) and Spawn comic creator Todd McFarlane.

Unlike metal in the '80s or grunge in the '90s, nu-metal was not dominated by caucasian men. Nu-metal's experimental incorporation of rap widened the genre's audience, bringing in Black and brown fans who might not otherwise listen to rock. Female-fronted bands like Evanescence, Kitty, and In This Moment were pivotal to the genre’s dominance of festival circuits and merchandise, appealing to both sexes with strong female singers  whose intensity and aggression matched that of their male counterparts. Deftones — who fused Chicano sartorial aesthetics and lowrider iconography with goth culture — along with Fear Factory, P.O.D., and Rage Against the Machine, were fronted by Latinos. All System of Down members are of Armenian descent.

Nu-metal was as much a look as it was a musical genre, uniting fans in spiked hair, Adidas jumpsuits, and JNCO jeans. The fashion sense, ideology, and in-your-face aggression of the genre’s musicality were personified by an intense commitment to the act. The members of Korn wore dreadlocks, black nail polish, unkempt facial hair, and baggy clothes. Slipknot took it one step further, donning disturbing yet mesmerizing masks, each one invoking the historical plague masks, horror icons, and at times, the darkness members felt inside them. 

While nu-metal is sometimes remembered as a throw-away genre during a low point in alternative music — due in part to the legal issues and problematic public perception of nu-metal acts like Marilyn Manson, Limp Bizkit, and Kid Rock —  many of its elements were groundbreaking at the time. Nu-metal groups including Korn and Slipknot, who released a new album this year, continue to resonate with listeners. GRAMMY.com collected the essential albums that best define nu-metal's aggression and innovation.

Korn - Korn (1994)

Nu-metal was formed and led by Korn, who was at the forefront of the genre’s move to mainstream music in the 1990s. Over 14 studio albums, the band solidified the brash musicality of their signature sound — often melding rap/rock lyricism of bands like Cypress Hill with lyrics about alienation and loneliness. James "Munky" Shaffer and Brian "Head" Welchplayed seven-string guitars through a bevy of pedals, incorporating funk-laden bass lines that distinguished the California group from metal bands of the previous decade.

These experimental leanings were evident from the band’s self-titled debut album, released six years before the genre broke into the mainstream. The album's cover laid the groundwork for what awaited listeners, an album filled with disturbing lyrics on childhood abuse and real-life boogie men. A little girl sits on a swing, motionless, peering up at a monstrous figure we only see by the outline of his shadow. From the moment Davis scream, "Are you reaaaddyyyy!!" on the opening track, "Blind," like it or not, you are on an 11-track crash course towards existential hell.

Rage Against the Machine - Evil Empire (1996)

Of all the nu-metal bands that leaned on hip-hop’s legacy, Rage Against the Machine did so with the most authenticity and reverence. (Frontman Zach de la Rocha was well regarded within hip-hop circles, often being asked to tour and collaborate with acts like KRS-One, Chuck D, the Roots, and Saul Williams.) RATM was also one of the most political bands of the era, whose far-left, militaristic lyrics railed against capitalism, colonialism, military intervention abroad, and class warfare —  all socio-political issues in the daily headlines during the late '90s and early 2000s.

Evil Empire was made during a period of vicious infighting among the group, which had just wrapped three years of touring on the success of their debut album. What culminated was an album motivated by the band’s distinct multicultural backgrounds and stubborn, idealistic stances on sound and theme. Songs like "People of the Sun," "Bulls on Parade" and "Down Rodeo" were liberation songs for the underclasses and oppressed. Its liner notes thanked writers and cultural critics Toni Morrison, James Baldwin, Abbie Hoffman, and Norman Mailer. 

With Evil Empire, RATM solidified itself as a band for the people and cut one of the great musical manifestos in the process. The populist political advocacy the band pursued in the early '90s was a precursor to contemporary American sentiment where many are overwhelmed by student loan debt, low-paying jobs, inequity and housing instability.

Deftones - White Pony (2000)

On their third release, Deftones embraced the anti-traditionalist mentality of the genre to make an anti-nu-metal album. White Pony tracks like "Adrenaline" and "Around the Fur" were a tonal shift away from the genre’s darkness, favoring melody and romanticism.

Musically, the album had more in common with shoegaze than hip-hop or rap. The guitars were tuned lower than on "Around the Fur," and the album’s only single, "Change (In the House of Flies)," sounded more like the Cure or Depeche Mode than Linkin Park or Limp Bizkit. Moreno sings in a sensual, reverb-drenched wail and adds a soft layer to tracks like "Feiticiera" and "Knife Prty." The album is ethereal and dream-like, thanks to the band stacking effect petals and creating a multi-textured sound. Rather than stand in defiance to nu-metal, White Pony characterizes how diverse and broad the genre’s influences are. 

Slipknot - Iowa (2001)

As macabre as the members of Slipknot looked in their straight-jacket jumpsuits and torture-porn masks, their music was even more brutal. Slipknot embodied the pain many teenagers felt from school bullying and conservative values and encapsulated it by turning into a nightmarish group of nine mask-wearing maniacs delivering musical filth.

Their sophomore album, Iowa, was named after the band's birthplace while delivering their career's heaviest and darkest album. P"When we did ‘Iowa,’ we hated each other. We hated the world; the world hated us. Hate is the optimum word when describing the ethos of Slipknot," percussionist Shawn Crahan recalled

Hate also fueled Slipknot's lyrical content and stage presence. This is never more apparent than on the album’s second track, "People=Shit," which is a spiritual successor to philosopher Jean-Paul Sartre’s infamous line, "Hell is other people" in his 1944 play, "No Exit." Alternative Press described the album as "like having a plastic bag taped over your head for an hour while Satan uses your [privates] as a speedbag." 

System of a Down - Toxicity (2001)

After 9/11, America was searching for a place to project its sense of anger, sadness, and fragility. Mosques were attacked. Middle Easterners were profiled at airports. Out of this xenophobic muck, System of a Down emerged as a voice against the warmongering of the Afghanistan and Iraq Wars. "Toxicity" was released mere days after 9/11, but it presupposed the feelings of American interventionism that would permeate our country’s news cycle for the next two decades.

Musically, the album mined influences from pro-rock, funk, jazz, hip-hop, and alternative metal, to create a sound that was impossible to define. The band used Middle Eastern instruments like sitar, as well as banjos and pianos to create ballads on love, spirituality, police brutality, and third-world politics. Serj Tankian’s vocals resembled the stream-of-consciousness, automatic writing of Beat poets one minute and then the balladry of Leonard Cohen in the next. 

System of a Down were similar to RATM in their incorporation of hip-hop’s political poetry, but   they spun this influence so far that the connective tissue is almost impossible to trace. SOAD was louder and more abrasive than other bands with hip-hop influences, but they could turn melodic at the stop of a dime, creating a flippant, surreal journey into a psychedelic symphony that showed the breadth of nu-metals expression. 

Take The Power Back: How Rage Against The Machine's Debut LP Created Rap-Rock With A Message

Rage Against The Machine Plot Reunion Tour, Will Reportedly Play Coachella 2020

Zach DeLaRocha and Tom Morello

Photo: Robert Gauthier/Los Angeles Times via Getty Images

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Rage Against The Machine Plot Reunion Tour, Will Reportedly Play Coachella 2020

The famed alt-metal band haven't played together since their 2011 L.A. Rising show at the Los Angeles Coliseum

GRAMMYs/Nov 1, 2019 - 10:47 pm

Rage Against The Machine, the politically charged rock band known for anthems like "Killing In The Name," has announced a series of reunion dates to reportedly conclude at 2020 Coachella.

"Yes...it's true...2020..." the band confrimed via Twitter. The GRAMMY-winning band, which formed in the early '90s, last reunited during their 2011 L.A. Rising performance in Los Angeles. Their last album was 2000's Renegades.

This time around, RATM will skip Los Angeles and launch their comeback in El Paso, Texas on March 26 then head to La Cruces, N.M., Phoenix and end with performances at both weekends of Coachella 2020, April 10 and 17.

Since their split in 2000, guitarist Tom Morello, bassist Tim Commerford and drummer Brad Wilk formed Prophets of Rage with Chuck D and DJ Lord (Public Enemy), as well as B-Real (Cypress Hill). Frontman Zach DeLaRocha worked on his own projects, including One Day As A Lion with Jon Theodore. The band first reunited at Coachella in 2007 and joins groups like Mazzy Star and Outkast to have chosen the Indio, Calif. fest as their reunion ground.

Earlier this week, emo rock band My Chemical Romance announced their own reunion date in December of this year. 

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Rage Against The Machine Announce 40-Date World Tour

Rage Against The Machine 

Photo: Tim Mosenfelder/Getty Images

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Rage Against The Machine Announce 40-Date World Tour

The North American tour dates will include the previously announced sets at Coachella and Firefly Music Festival

GRAMMYs/Feb 11, 2020 - 04:23 am

Rage Against The Machine are hitting the road for the first time in roughly a decade. The GRAMMY-winning "Guerilla Radio" band has announced a 40-date tour that will take them all over the U.S., including Chicago, Detroit and Oakland, Calif, as well as cities in Canada and Europe.

The tour will launch in El Paso, Texas on March 26 and end in Vienna, Austria on Sept. 12. Run the Jewels will support the band on tour, except for the date in Chicago. The North American tour dates are an addition to the previously announced sets at Coachella and Firefly Music Festival. The band, which disbanded in 2000, announced a series of reunion performance dates late last year. 

All proceeds of the first three tour dates in border towns will go to immigrant rights organizations. Some proceeds from other shows will go to charities throughout the year.

Tickets go on sale Thursday, Feb. 13. 

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