Without A Doubt

 Here is a reposting of my original feature article published in The Orange County Register on December 15, 2020. Today (Oct. 10, 2020) marks the 25th anniversary since the release of No Doubt's "Tragic Kingdom" was released...Robert Kinsler

Without A Doubt

It's been a long and hard road for O.C.'s No Doubt - kind of like being stuck on I-5 at rush hour.

There may be a feeling among some that No Doubt made a quick ascension to alternative-music fame with the success of the single "Just A Girl" from the band's "Tragic Kingdom" album.

Wrong.

Fame has come long after countless setbacks for the Anaheim quartet. The roadblocks made the musical journey anything but easy.

Although "Tragic Kingdom" and the resulting MTV play of "Just A Girl" have earned No Doubt attention across the country, there is a long history that includes two previous full-length albums and several singles that the world doesn't know about.

"We got together in 1987 and didn't put out our first record until 1992," singer Gwen Stefani said. "We've always been this live band and never satisfied with what we had done in the studio."

The rags-to-almost-riches part of the band's story began when the members hooked up with Interscope Records in 1991. They had been mixing a self-produced album at South Coast Recording Studios in Santa Ana when artist and repertoire rep Tony Ferguson got them to sign.

"Actually, Interscope wanted us to put those tracks out and record a few others. We begged them (to) let us rerecord it, and we wanted to go in a better studio," Stefani said. "We've always been a live band, and the studio part of it has been something we've been lacking in as far as experience because we never has enough time in there."

The record company agreed and let No Doubt redo the songs. Yet, after the self-titled album was completed, the group felt ignored.

"For our first record, it was kind of like doing our own record because everything was hands-off. There was no real producer; there was a producer, but he just sat back. We put it out on Interscope, but it was like putting it out ourselves."

Stefani said the only support for the album came when the band toured. However, except for some scattered airplay via college radio, even Southern California stations such as KROQ/106.7 FM ignored it.

After the commercial failure of "No Doubt", Stefani said, Interscope was slow to allow the band to record a follow- up.

"We came back from tour and were ready to put music out and stuff like that; I think they wanted us to keep writing. I think record companies get nervous about your second record," Stefani said.

That's when No Doubt did what by industry standards is the unthinkable - recording - recording and releasing its own bootleg CD, "The Beacon Street Collection," featuring tracks penned between 1992 and early 1995.

"We did it because we were so frustrated with our situation," Stefani said. "We started by doing these vinyl singles in our garage. Our goal was to do a series of them and eventually put them on a CD... that was our dream. We went in one weekend and made this CD. Tony (Ferguson)asked us one day: 'Do you have a new single?' We said "No, we have this' and pulled out 'Beacon Street.' 'You have this?' He was shocked."

"Beacon Street" paved the way for Trauma Records - the division of Interscope to which No Doubt is signed - to allow No Doubt to release "Tragic Kingdom."

The group, which includes bassist Tony Kanal, guitarist Tom Dumont and drummer Adrian Young, understood the record company's delay in putting out the new album.

"I think Tony saw some kind of future for us back in 1991, we had to prove that with the songs on ('Beacon Street'). The first record was recorded in 1991 during the birth of grunge and that record doesn't even touch on that; it was happy No Doubt music," Stefani said, noting that the new record has a tougher guitar sound.

"I think it was an alternative to what was happening at the time. Now radio is more accepting of all different kinds of music; it's broken up a little bit."

Although No Doubt's roots are in ska, the band has developed a sound that blends that early style with punk, pop and reggae.

"We've always had a problem with having so many influences and kinds of styles; it's always created kind of a problem, but I think on this album we finally found a way for it to work and people not to freak out about it," she said.

"I think, when you're 16 or 17, you just imitate the music you love. At the time it happened to be ska. And we were all just learning our instruments. I never even sang before I was in No Doubt. We were all these kids."

After finishing the recording of "Tragic Kingdom," Stefani's brother, keyboardist Eric Stefani, decided to leave the band to pursue a full-time career in animation (among his credits is work on "The Simpsons"). Because Eric was a principal songwriter and an original member, his exit could have spelled the end of the band.

"He decided to just do that (animation) and step back from music," Gwen Stefani said, adding that her brother and the British ska band Madness ranked as her first musical influences. She also credits her brother with giving her the confidence to perform in a band.

"It's just as exciting for him to see the record doing well," she said.

However, the group made a commitment to continue. The members thought they owed that to the dedicated fans who kept No Doubt a draw on the live circuit. No Doubt fans plaster their cars with the band's colorful bumper stickers and often sport No Doubt tattoos.

Even though No Doubt doesn't play punk music, the shows reflect the kind of hard-core enthusiasm usually reserved for punk and speed metal bands.

"We're proud of being from Orange County," she said, acknowledging that in the early days the band got its share of jabs for being from behind the so-called Orange curtain. The cover and inside sleeve of "Tragic Kingdom" display oranges prominently.

Summed Stefani, "We decided to take pride in where we come from."

NAMM 2013: Brian Wilson, Tower of Power, Gary Hoey get first official day underway

What can I say? Since Wednesday of last week I have been pretty much living full time in and around the Anaheim Convention Center covering the NAMM Show. Here is the first of several overviews I'll post today and tomorrow with my coverage of the show. I'll also be providing links with the work of Ben Wener, George A. Paul and, of course, the episodes of Music Worth Buying that I work on with TJR. A special thank you to photographer Bob Steshetz for the use of his fantastic photos shot at NAMM. I also appreciate The Orange County Register video reporter Mark Eades allowing me to post a link here too. Here goes!

Here is a link to view a video report that TJR and I did at NAMM on Thursday, Jan. 24.

Here is a link to view a great video report that reporter Mark Eades did covering the media preview day held at NAMM on Wednesday, Jan. 23.

Here is an extended version of my post that originally ran on the Soundcheck blog on The Orange County Register site on January 25, 2013:

   

Gary Hoey fires up some licks Thursday at the NAMM convention. Photo: Bob Steshetz, for the Register

With the NAMM Show getting more massive every year, attendees no longer have to wait until Friday or Saturday to catch key performances at the Anaheim Convention Center and neighboring venues hosting the world’s largest music trade show.

That was clear throughout Thursday’s (Jan. 24, 2013) opening as heavyweight Brian Wilson kicked things off early and other strong performances played out throughout the day and evening. Performing with a backing trio inside the Gibson Guitars booth, Wilson and company  (including his long-time music director Jeffrey Foskett), his four-song set of Beach Boys classics included the opening salvo of "California Girls" and instantly-wonderous "God Only Knows." The 15-minute set closed with the summertime vibe of "Surfer Girl" and "Surfin' USA."

While morning rain threatened to wash out a number of sets later that afternoon, it stopped drizzling in time for plans to proceed. I caught the last part of Redondo Beach-based Smiles, a talented young band that featured songs from its coming debut Sharing, due Feb. 10. The quintet closed with “Learning How to Shuffle,” an ambitious song that boasts a freewheeling, Arcade Fire-like groove.

Also performing outside was Tinsel Korey, a Canadian singer-songwriter and actor best known for her role as Emily in the Twilight films. Backed by a five-member group, she turned in half-hour of original songs from her Seize the Day EP as well as several retooled covers. Her material ranged from the infectious pop of her title track and the jazz-tinged “Game of Hearts” to the ballad “Letter,” but she displayed her most powerful vocals on a bluesy cover of the Civil Wars’ “Barton Hollow.”

Even stronger performances were to come, with guitar virtuoso Gary Hoey attracting a large crowd to the Monster booth. Armed with fantastic material from his new Deja Blues album, he opened his short set with its eponymous cut, a strong original that allowed Hoey to flex his mastery on a Fender Stratocaster, his fretwork recalling the late Gary Moore of Thin Lizzy fame.

On “Boss You Around” he unleashed more blues guitar but added potent vocals, then served up one of his best instrumental works, “Utopia,” artful in its progressive structure and distinctive melodies. Few guitarists can master the blend of styles Hoey can. He continues to gain new fans through shining sets like this one.

Taylor Guitars hosted back-to-back, polar-opposite appearances from singer-guitarist Phil Brown and up-and-coming country act the Farm, both of them terrific. Brown’s set showcased loose playing and effective storytelling, plus an inventive take on Dylan’s “All Along the Watchtower” that would have fit on a Police disc.The Farm, meanwhile, a young trio out of Nashville, endeared itself to the crowd with an energetic blend of sweet three-part harmonies, excellent fiddle work and infectious songs such as “Sweet Sweet Sunshine” and the aptly titled “Fresh Off the Farm,” plus a singalong to Johnny Cash’s classic “Ring of Fire.”

Capping my day was a performance on a surprisingly beautiful night (no rain!) from Tower of Power. The Oakland troupe brought its seasoned brand of soul, funk, blues and rock to an energetic performance that featured uptempo classics such as “I Like Your Style” and “Only So Much Oil in the Ground” as well as R&B ballads like “Willing to Learn.” Thousands of NAMM attendees jammed the new outdoor plaza area and grooved throughout the full-length set, notably on the “You Got to Funkifize.”

NAMM 2013: Members of No Doubt, Young the Giant and Testament kick off event

NAMM 2013: Sameer Gadhia, Tom Dumont help kick off annual Anaheim convention


The world-renowned NAMM Show at the Anaheim Convention Center doesn’t begin until today, and its most-anticipated moments (like the Elton John-led event for Yamaha’s 125th anniversary inside Disney California Adventure) won’t happen until the weekend.


But a media preview on Wednesday (January 23, 2013) provided a chance to get an early look at the new music-related products on display Jan. 24-27 at the National Association of Music Merchants’ annual trade show. NAMM president and CEO Joe Lamond said this year’s gathering is expected to attract more than 100,000 people for the first time.


“The NAMM Show is where the global music industry comes together,” he explained during an appearance with Grammy-nominated guitarist and former New York Yankee great Bernie Williams to discuss the importance of music education. “There are products made today that will be played by our great-great-grandchildren.”


Lamond also praised Orange County for welcoming NAMM attendees every January, noting that the music show was first staged here in 1976 at the Disneyland Hotel.


As is typical, there was no shortage of names to check out even during an advance stroll through the massive hall. Highlights of the day included a performance by Young the Giant singer Sameer Gadhia, who utilized his TC-Helicon VoiceLive 2 to create layers of vocal parts he improvised on the spot, creating a fantastic experimental soundscape with Radiohead shading that had video reporters riveted.


No Doubt guitarist Tom Dumont also turned up to share a few licks on behalf of Laguna Hills guitar manufacturer GJ2, co-founded by Grover Jackson. “I was a rock music lover,” Dumont mentioned, recalling the sound and feel of Jackson guitars back in the day. “I get the same feeling today as I got all those years ago.”


Another gifted guitarist, Alex Skolnick of Testament, showcased a new 40-watt Peavey amp ideal for both acoustic and electric players as well as bassists. But what got onlookers excited was his speedy fretwork. He later played an impromptu set with jazz players Jon Barnes (trumpet) and Malcolm Turner (bass) that revealed his chops extend beyond metal’s loud and lightning-fast demands.



Music history was also celebrated: violin virtuoso Elizabeth Pitcairn played her “Red Mendelssohn” Stradivarius built in 1720, movingly performing John Williams’ theme for Schindler’s List. In an age of digitally-enhanced everything, it reconfirmed the power of a single acoustic instrument, when it’s in the hands of a master.


Much newer creations that were unveiled included a series of boutique amplifiers created by Sacramento-based Fargen Amplification, featuring John Lennon’s artwork. Taylor Guitars showcased “The Grand Orchestra,” its successor to the Taylor Jumbo guitar and the largest acoustic model it has made.


“It’s distinctly original and not a borrowed design,” said Andy Powers, a master builder with Taylor and primary designer of the instrument. “It’s louder and has a huge, powerful sound.”


You can view a video and photos courtesy of Mark Eades at The Orange County Register via this link.