who played family values tour 1998

Family Values Tour 1998

Information.

The Family Values Tour 1998 was a tour created and headlined by Korn . The 1998 tour was the first one to take place. It started on 22 September 1998 and ended on 31 October 1998.

The show on 8 October in Phoenix, AZ, had to be cancelled due to Jonathan Davis and Fred Durst catching a flu. The show was rescheduled for 12 October. This led to the Nampa, ID show on 13 October being cancelled because the Phoenix venue drew a larger audience.

Rammstein were supposed to tour with Fear Factory, but dropped off to do the Family Values tour instead. [1]

Other Artists

Other artists that participated in this tour were Korn , Limp Bizkit, Orgy, Ice Cube, Incubus and DJ Punk-Roc, who played between the sets of the bands.

Originally, Rob Zombie was supposed to tour instead of Rammstein , but due to high production costs per single show he was replaced by Rammstein . However, Korn's management claimed that Zombie did not want to tour along with a hip hop artist. [2] Zombie later stated that he had never even spoken to Korn, so he could not have said something like that. [3]

Because filming for the movie Next Friday had started, Ice Cube could no longer be a part of the tour and was replaced by the band Incubus for the remaining dates: from 26 to 31 October.

Rammstein crew

• Monitors: Achim Zell
• FOH: Michael Bauer
• ↑ FMQB, 11 September 1998
• ↑ CMJ, 10 August 1998
• ↑ https://web.archive.org/web/20071002064340/http://www.rollingstone.com/artists/robzombie/articles/story/5920282/family_feud

The inside story of Korn’s Family Values tour

Korn singer Jonathan Davis looks back on Family Values – the tour that took the nu metal revolution to the next level

Nu metal was already snowballing by 1998, but it would be the Family Values tour that took it to another level. The brainchild of scene leaders Korn, it hit the road in America in the Fall of 1998 and featured a stellar line-up that included stars-in-waiting Limp Bikzit, Teutonic controversy-magnets Rammstein, gangsta rap godfather Ice Cube and death-pop pretty boys Orgy. By the end of the year, it had established nu metal as a genre-mashing cultural force and a heavyweight commercial proposition. More than 20 years on, we sat down with Korn frontman Jonathan Davis to look back on the tour that took set the nu metal revolution ablaze.

Jonathan Davis (Korn): “This idea started super early. For years, we always wanted to do a festival and put something together that was new. We went back and forth with our management and figured out what we were going for and how to do it. It was fun to do.

“It was about showing what was going on at that time. We were at a turning point in heavy music and it felt huge and we wanted to put something on that showed what the fuck was going on. Everyone was given a full production so it felt like you were getting a headline show from all of the bands: Limp Bizkit with their big-ass spaceship, and we had the Korn Kage that put kids on the stage, rocking out with us. I think the cage was Fieldy’s idea and to this day, I still think it’s one of the coolest things we’ve ever done.

“It served its purpose in the way it exposed people to what was going on at that time and what we were doing in Korn. It blew everything up. It was the first time we ever played arenas and it seemed everyone who was on that tour – except for Cube, who was already huge – blew up and were playing bigger shows after. It was a stepping stone to all of our bands and that scene taking over for a couple of years.

“We were convinced we needed to have a hip hop act on there. We all listened to hip hop at that time and it was a big influence on us and the scene, and who better than Ice Cube? That was the shit. It was awesome. That guy is a legend and people had to respect that. I didn’t worry about the crowd not taking to him at all because he ripped it up every night and you can’t deny that. He was bringing old NWA into his set and the crowd loved it. The kids who liked us and Bizkit came from the same school of thought as us so having Ice Cube on there made total sense to everyone.

“We always tried to get Deftones on the tour but we could never figure it out. Other than that, it was the exact bill that we wanted to put on the road. Everyone hung out and it was a good time, but it was when I was dealing with anxiety for the first time so I spent a lot of time in my bunk. I remember everyone in the band had a great time and got along with every other band and there was no bitching – it was an amazing tour.

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“Family Values could definitely happen again. I’d like to bring out trap artists and things reflecting what’s going on right now in music, just like we did back in the day. There’s plenty of aggressive acts in all forms of music that could tour together and do a new Family Values so it’s definitely something we could look at doing again in the future.”

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Family Values Tour

Only two years ago this month, hard rock band Korn was playing at the small Sunset Strip club the Roxy. But in that relatively short amount of time, the Bakersfield-bred group has (with help from a profile-raising stint on Lollapalooza '97) shot to the top of the modern-metal heap, and was the headlining attraction at the Forum for the five-act "Family Values" tour, which in no way should be confused with the conservative political slogan of the same name.

By Troy J. Augusto

Troy J. Augusto

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Only two years ago this month, hard rock band Korn was playing at the small Sunset Strip club the Roxy. But in that relatively short amount of time, the Bakersfield-bred group has (with help from a profile-raising stint on Lollapalooza ’97) shot to the top of the modern-metal heap, and was the headlining attraction at the Forum for the five-act “Family Values” tour, which in no way should be confused with the conservative political slogan of the same name.

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Anger and unrestrained bravado were on full display throughout the event, both on stage and in the audience. Each of the evening’s performers tried, through invective-laced lyrics and macho posturing — and with varying degrees of success — to inspire rowdiness in the mostly young, white male ticketholders, who responded during the better musical moments with rough mosh pits and mass pushing and shoving.

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Surrounded by crazed fan club members in metal cages, Korn’s Jonathan Davis sang, screamed and growled about sex, hopelessness and societal oppression, while his four tattooed bandmates created charged, albeit repetitive, music that bore the rawest riff elements of rock and hip-hop, with shades of funk and electronic thrown in, as well.

Songs were performed from all three of Korn’s Immortal/Epic albums, including numbers that featured such surreal components as children’s nursery rhymes and Davis playing bag pipes.

German pyro-rockers Rammstein had many in the house laughing, but the joke was definitely on the band. Their dated and uninspired style (think of Nine Inch Nails meets a bad marching band), not to mention the buffoonish and pandering way they integrated fire, explosions and simulated sex acts into their set, left one wondering why the six-piece group from the former East Germany was second-billed, anyway.

In the middle slot was Compton’s favorite son, veteran rapper Ice Cube, who, along with sidekick W.C., made the most of his opportunity here, performing a rousing, old-school hip-hop set.

“I made it to the Forum, I’m on top of the world,” he exclaimed during an energetic program that was highlighted by such inflammatory tracks as “Natural Born Killers” and “F*** tha Police,” a fan fave from Cube’s time in pioneering rap group N.W.A.

Limp Bizkit (the name is best left unexplained here) engaged the assembling crowd with a rage-filled thrash and hip-hop hybrid, insisting — through songs from their Interscope debut, “Three Dollar Bill, Y’All” — that “nobody loves me” and “I’m sick of you, too.” An appropriate thematic set-up, if nothing else, for the mayhem that would follow.

Rock; The Forum; 15,500 seats; $28.50 top

• Production: Presented by Avalon/Goldenvoice. Reviewed Oct. 9, 1998.
• Cast: Bands: Korn, Rammstein, Ice Cube, Limp Bizkit, Orgy, DJ C-minus.

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Family Values Tour 1998

The 1998 Family Values Tour was the first edition of the critically acclaimed [1] fall music tour that initially combined nu metal , alternative metal , and rap acts. The tour was created and headlined by Korn .

Ice Cube replacement

Feud with rob zombie, controversy.

The tour was preceded by whirlwind political campaign-style tour named "Korn Kampaign" (from August 17, 1998 in Los Angeles through September 1 in Phoenix ) to promote the release of their album Follow the Leader . It took the group all over North America to spread the news of their "Family Values" platform to hordes of fans at special "fan conferences" that were organized at every stop along the tour route. Korn chartered a jet, which took them to record stores in such cities as Riverside , Mountain View , Sacramento , Seattle , Minneapolis , Chicago , Denver , Detroit , Philadelphia , Boston , New York City , Toronto , Atlanta , and Dallas . The band talked to fans at every stop, answered questions during the special "fan conferences" and signed autographs. Jim Rose hosted the entire "Kampaign" tour. Celebrities at various stops included Ice Cube and Todd McFarlane .

Artists who participated in 1998 Family Values Tour were:

• Incubus (replaced Ice Cube on October 25, 1998 for five remaining dates)
• Limp Bizkit

On October 27, 1998 due to the beginning of shooting the movie " Next Friday ", Ice Cube was replaced by alternative metal band Incubus for the remaining five dates. The band is featured on the Family Values Tour '98 CD release with their song "New Skin", and can be also seen during performance of " All in the Family " on the DVD release. Ice Cube did not appear at the October 26, 1998 Wings Stadium (Kalamazoo, MI.) Incubus was present instead.

Initially, Rob Zombie was to be one of the artists participating on the tour, but was dropped due to high production costs, each Rob Zombie concert costing $125,000 in band fees and show production alone. Therefore, Rob Zombie was replaced by German industrial metal act, Rammstein . However, the given explanation was somewhat confusing. The Firm, Korn's management, said Zombie continually expressed dissatisfaction over not wanting to work with a hip-hop act on the bill, and was supposedly lectured by Rob Zombie management that "rock kids don't like hip-hop." Rob Zombie's manager, Andy Gould said those comments were false. He explained that Zombie has never even spoken to Korn, so he could not have made those comments. [3] Although the statement released by Korn's management resulted in anger, Rob Zombie shared no bad blood with the bands participating in Family Values Tour . Next year, in 1999, both Rob Zombie and Korn got on good terms again, and launched the highly successful "Rock is Dead" tour together.

In one of the more infamous moments, Rammstein's band members dressed up for Halloween . Most of them were practically naked with the exception of Richard Kruspe , who wore a wedding dress. Police dragged the members off the stage for indecent exposure and the concert ended after a mere 10 minutes. [4]

The 1998 edition of Family Values Tour was highly successful, the live compilation debuted at #7 at Billboard 200 chart selling 121,000 copies in its first week, and achieving gold record status by RIAA , while DVD - platinum .

Korn helped to promote then-unknown acts. The results were very promising. Rammstein 's album " Sehnsucht " achieved platinum certification in the United States , also Orgy 's debut " Candyass ", which was released through Korn's own record label, Elementree Records, achieved similar success. Limp Bizkit enjoyed even greater success which helped them establish themselves as one of the leading acts of the nu metal wave at that time, and enjoyed enormous commercial success.

The 28 dates of Family Values Tour grossed $6.5   million [5] and over 243,000 fans purchased the fan-friendly ticket prices that ranged from $26.00 to $29.50. [1]

Critical acclaim for the tour started to pour in as soon as it all started. As Jim Farber noted in a review of the September 25, 1998 event at the Continental Arena in New Jersey in the New York Daily News :

"[...] The 4 and half hour show, a hip-hop DJ held equal ground with a drummer in the set by Limp Bizkit, a keyboardist added dance club beats to the classic metal of Rammstein , and two guitarists translated the needling sound of electronic hip-hop into the manic creations of Korn [...] This tour created a bold new profile for hard guitar bands taking cues from the music that replaced them as the soundtrack to masculine aggression." [1]

The Los Angeles Times noted that the tour "certainly proved to be one of the rock spectacles of the year," [6] while Steve Morse of the Boston Globe said that "Korn delivered the goods...by accelerating out of the box with a savage confluence of heavy metal, rap, and primal screaming from singer Jonathan Davis." [1]

John Scher of Metropolitan Entertainment agreed: "The Family Values Tour was not only a great business success, but more importantly, a rousing success with the fans. I think, to a great degree, we accomplished what we set out to: creating a fun, wild evening with a unique atmosphere and incredible music." [1]

Jonathan Davis , lead singer of Korn said: "We're creating some rock history with this tour. From that first show, I had goosebumps upon goosebumps. This is something special happening here. I hope that it becomes annual and it's gonna last." [1]

The initial edition of Family Values Tour was highly successful and it was documented on separate DVD and CD releases, both put on sale on March 30, 1999 via Immortal / Epic Records . The CD release achieved gold record status in the United States while DVD release went platinum .

The Family Values Tour 1998 crossed the US, and the promotion of Follow the Leader continued in Japan and Australia . [7] However, Korn cited being accustomed to the American way of life, food , and culture , and The Family Values Tour 1998 had not come to Europe ; the band never came there to promote Follow the Leader . [7] Their European fanbase, disappointed not to have seen them since 1997, would see their return in 2000 for a successful Issues Tour . [7]

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• ↑ "Family Values Tour 1998" .
• ↑ "Rolling Stone: Family Feud: Rob Zombie" . Rolling Stone. 1998-07-24. Archived from the original on 2007-10-02 . Retrieved 2007-01-25 .
• ↑ "Family Values Features Both Tricks Anad Treats In Tour Finale" . MTV. 1998-03-11 . Retrieved 2019-02-13 .
• ↑ Bashman, David (November 5, 1999). "Family Values '99 Earns More Than $10 Million; Live Album, Home Video Due" . MTV . Archived from the original on August 15, 2022 . Retrieved August 15, 2022 .
• ↑ "Live Nation: Press Release for Family Values 2006" . Live Nation. 2006-04-19. Archived from the original on February 21, 2013 . Retrieved 2007-01-26 .
• 1 2 3 Paquet, Sebastien (2002). Prélude et fugue (ed.). Korn de A à Z [ Korn from A to Z ] . MusicBook guides (in French) (1st   ed.). Paris: L'Express éditions. pp.   37, 81. ISBN   978-2-843-43101-2 . OCLC   470426200 . Archived from the original on 2021-12-07 . Retrieved 2021-08-13 .

Parsing an eight-decade legacy of praise and song

Fresh from a Grammy win and the subjects of a new book, the Blind Boys of Alabama show no signs of slowing down.

When the Blind Boys of Alabama take the stage, audiences get more than beautiful gospel singing, they get a glimpse of living history.

Emphasis on living, because this group is the longest-running party in jubilee gospel singing — the Black vocal quartets and quintets that enjoyed a commercial heyday in the 1940s and ’50s. The Blind Boys are a cultural institution that predates Pearl Harbor, and even after taking their act into the secular world in 1944, they never strayed from their four- and five-part harmony sound.

Nattily dressed in matching suits, they’re vibrant performers, true partners with the audience despite their advancing years. Original member Jimmy Lee Carter, the group’s 91-year-old patriarch, retired only last year, taking with him his signature pump-up line: “I can’t see you; I need to hear you!”

And while their repertoire has ranged beyond the church, they never compromised their religious values in a career that includes collaborators such as Prince, Tom Petty, Toots Hibbert, Taj Mahal, Tom Waits and Lou Reed. (The latter, whom they admired, prompted founding member Clarence Fountain to ask, “Who told that man he can sing?”)

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This is one of many illuminative moments in “ Spirit of the Century: Our Own Story ,” a new book about the ensemble’s unimaginable career. In its introduction, co-author Preston Lauterbach writes, “However you want to measure their journey — through time, distance, technological developments, or cultural trends — no American band has ever come so far.”

Over its eight-decade career, at times a quintet and others a quartet, the group has had nearly 20 members, and after Carter’s retirement, 2024 is the first calendar year to begin with no original members. But somehow the legend keeps evolving. In addition to the new book, which doubles as a history of jubilee gospel singing, the group just won its sixth Grammy in February for its most recent release, “Echoes of the South.” Rather than slowing down, the group is busy writing its next chapter.

“I loved what the Blind Boys stood for, that’s why I’m here,” says longtime member Ricky McKinnie, 71. “They let the world know that it’s not about what you can’t do, it’s what you can do.”

Born sighted, McKinnie was a musical prodigy. At 18, he was touring with the well-known Gospel Keynotes. By the time he was 23, they had a gold record. This was 1975.

Young as he was, it had been a long journey. He first met the Blind Boys at 4 years old when his mother, Sarah McKinnie, was a singer who toured the “gospel highway,” a circuit for religious groups. Car travel was less expensive, so small jubilee groups proliferated, their members limited by the available space. Audiences loved them — still do. Many of the pre-rock-and-roll gospel groups had weightless names — the Swan Silvertones, the Dixie Hummingbirds, the Sensational Nightingales, the Angelic Gospel Singers — that mirrored the buoyancy of their sound. These were men in suits and women in dresses who were ennobled by the spirit of the lord and raised in the kind of musical communities that fostered many of the greatest singers in U.S. history. Sam Cooke, for example, who sang with gospel highway legends the Soul Stirrers.

McKinnie was first diagnosed with cataracts as a schoolboy. But it was in that moment of glory, with a gold record in hand, that he fully lost his sight. Thanks to the example of those earlier heroes, he didn’t slow down his music-making or waver in his commitment to singing the gospel. He was invited to join the group in 1989, when the genre was no longer a commercial gold mine, but the honor was breathtaking nonetheless. He has now spent half his life in the group. When their manager died in 1997, he did the job for three years. Today he is their de facto leader and spokesman — a bridge to the golden age.

“Clarence made things happen,” McKinnie remembers of his hero. “There was nothing he thought was too hard for [the group] to do. He managed them, he wrote songs, he was in a solo career. He was one of the first people I knew who had a chauffeur. Everyone else would be in cars with two or three people, but he had his own ride.”

“Spirit of the Century” offers a rousing view of the old gospel highway. The book, credited to the Blind Boys themselves, with an assist from Lauterbach, includes both new and archival interviews with members and associates. The touring life had its sinful temptations to be sure, including the adoring women who constantly surrounded Cooke. One of the rowdier, harder-partying groups was the Blind Boys’ friendly rivals, the Blind Boys of Mississippi. The groups had an obvious kinship, and even shared members, though in terms of their adherence to Christian living, the Alabama group was the temperate one. One of the Mississippi singers’ sons says in the book: “My dad going down the road, if saw a liquor store, he had to stop. Why? Because the men needed what they called their oil.”

For their part, the Blind Boys of Alabama were so well-traveled that late member Olice Thomas could give directions to their drivers.

Like McKinnie, Joey Williams, 60, was a gospel wunderkind, a guitarist and harmonist for another of those pillowy-sounding groups, the Mighty Clouds of Joy. They shared a bill with the Blind Boys one night; their classic records were the sound of his childhood, even though Williams was born years after they were released. At that gig, he says, he watched the Blind Boys “kill the crowd.”

When the two groups played a subsequent double bill, the Blind Boys’ manager asked Williams whether he could find a guitarist for their backing band. Today he laughs: “I came back and said, ‘I found the guy: me.’”

That was in the early 1990s, when the Blind Boys had already been going for about a half-century. And yet somehow, they were entering another commercial upswing, their biggest yet. Peter Gabriel of all people played a significant role in their resurgence, signing the group to his Real World Records imprint, featuring them on his 2003 album “Up,” and taking them on the subsequent tour as openers and guest singers.

“It was a delight to work with the Blind Boys,” Gabriel said by email. “Their voices sound as ‘lived-in’ as any voices I have heard, and when they were firing on all cylinders it was sure to raise the hairs on the back of my neck.”

Following that exposure, the Blind Boys were thrust into the mainstream. As the 1990s wore on, they were embraced by the growing Americana audience; their 1998 album, “Spirit of the Century,” won a Grammy, as did its follow-up. They collaborated with a who’s who of popular musicians and even entered pop culture history, singing Tom Waits’s “Down in the Hole” for the opening credits of “The Wire’s” second season. In a 2015 interview with AARP magazine , Bob Dylan named three gospel groups that he considered formative: the Dixie Hummingbirds, the Staple Singers and the Blind Boys.

Carter’s retirement, like Fountain’s death, ended an era for the group, but they press on. They continue to perform at festivals, including this weekend at the Tinner Hill Music Festival in Falls Church, Va. Their concerts are still elegant, animated celebrations for believers and nonbelievers alike. If anything, “Spirit of the Century” provided a rare chance to pause and take stock for a group that has been moving forward for almost 90 years.

“You don’t realize what you’ve done, how far you’ve come,” Williams says, “until you start talking about it. It reminds you where you come from.”

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• European Tour 2017  ( 9 )
• Family Values Tour 1998  ( 29 )
• MTV Campus Invasion Tour 1999  ( 21 )
• Make America Hate Again  ( 1 )
• Pop Killers South American Tour  ( 1 )
• Pretty in Kink  ( 31 )
• Punk Statik Paranoia  ( 49 )
• Set To Stun Tour  ( 5 )
• Uk Tour 2014  ( 3 )
• Vapor Transmission  ( 48 )
• Wide Awake and Dead Tour  ( 41 )
• Avg Setlist
• Concert Map

Songs played by tour: Family Values Tour 1998

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