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The pop-punk band’s impressive numbers to date back that up, with nearly 17 million units sold in the U.S. alone. Now, the So Cal rockers stand to get a whole lot richer. As Billboard reports, Round Hill Music has acquired The Offspring’s catalog of recorded masters for an estimated $35 million.In a new interview with Billboard, Bryan “Dexter” Holland spoke about THE OFFSPRING’s 2016 decision to sell the rights to the band’s entire catalog of Columbia Records master recordings and the publishing rights for all its songs to Round Hill Music, with the New York-based company paying $35 million.According to Nielsen SoundScan, they have sold almost 17 million albums in the United States and 4.2 million tracks, of which 15 million are certified by the Recording Industry Association of America (RIAA).
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Decided to write this out as I have seen more people using \”sell out\” to describe bands again. Let me know what you think!
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THE OFFSPRING’s DEXTER HOLLAND Is Still Happy With …
THE OFFSPRING reportedly sold a total of 17 million copies of its first nine albums. At the time of the catalog sale, Holland sa in a …
Source: blabbermouth.net
Date Published: 12/3/2021
View: 8803
Americana – what a sell-out and why it sucks
do think that the Offspring d somewhat “sell-out”, but it’s not a sin to have a few veos on MTV or to have a few trendie, poser-friendly songs. And I
Source: groups.google.com
Date Published: 1/13/2022
View: 1764
Major Label Debut: Punk’s “Sell Out” Albums Revisited – VICE
The Offspring’s third album, Smash, sold a stup number of copies. Eleven fucking million copies, making it the best-selling independent album …
Source: www.vice.com
Date Published: 4/23/2021
View: 2568
The Offspring sells song rights for a crazy amount of money
Based in New York, Round Hill’s deal includes an extensive range of the American punk rock band’s discography that they recorded for Columbia, …
Source: www.independent.co.uk
Date Published: 4/16/2022
View: 6287
A music company just paid $35m for the Offspring’s catalogue …
The Offspring catalogue acquisition, therefore, could be read as a statement deal by Round Hill, intended to send out a message to the rest …
Source: www.theguardian.com
Date Published: 12/30/2022
View: 9362
The Offspring just sold their entire catalog for $35 million
Tons of musicians came out against it, mostly with stup statements. The Offspring had IMHO the best reply: They started selling Napster …
Source: www.reddit.com
Date Published: 8/2/2021
View: 3241
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- Author: MimicHead Music
- Views: 1,659 views
- Likes: 41 likes
- Date Published: Apr 13, 2018
- Video Url link: https://www.youtube.com/watch?v=dxJlr27OwHo
When did The Offspring sell out?
In a new interview with Billboard, Bryan “Dexter” Holland spoke about THE OFFSPRING’s 2016 decision to sell the rights to the band’s entire catalog of Columbia Records master recordings and the publishing rights for all its songs to Round Hill Music, with the New York-based company paying $35 million.
How much did The Offspring sell?
According to Nielsen SoundScan, they have sold almost 17 million albums in the United States and 4.2 million tracks, of which 15 million are certified by the Recording Industry Association of America (RIAA).
How popular is The Offspring?
The Offspring is often credited—alongside fellow California punk bands Green Day and Rancid—for reviving mainstream interest in punk rock in the 1990s. They have sold over 40 million records worldwide, making them one of the best-selling punk rock bands in history.
What happened to The Offspring?
They’re Still Making Music. As of 2019, The Offspring has released nine albums, and the next one has seemingly been in the works since 2012’s Days Go By. In 2015, the band released a standalone single entitled “Coming for You.”
How rich is Dexter Holland?
| Net Worth: | $80 Million |
|---|---|
| Date of Birth: | Dec 29, 1965 (56 years old) |
| Gender: | Male |
| Profession: | Singer, Songwriter, Musician, Guitarist, Poet |
| Nationality: | United States of America |
Who has sold more albums Green Day or Offspring?
In the year punk broke (again), Bay Area’s Green Day ultimately sold more records, but it was Orange County’s the Offspring who actually set records. Their Smash was, at the time, the best-selling album ever released on an independent label.
Who owns the Offspring?
New York-based Round Hill Music has acquired the recorded masters of ’90s pop-punk hitmakers The Offspring, both diversifying the company’s catalog and giving greater exposure to the record label…
How much did offspring sell their music for?
As Billboard reports, Round Hill Music has acquired The Offspring’s catalog of recorded masters for an estimated $35 million.
How old is Noodles from the Offspring?
Are the Offspring still good?
That’s right: almost four decades since starting out under the name Manic Subsidal, The Offspring are still here, and still ‘doing the band thing’. Despite their longevity, it wouldn’t have been unreasonable to suspect the punk legends might have lost a step of late.
Are the Offspring conservative?
In fact, The Offspring come across as arch conservatives; reactionary to the core. This slightly unnerving experience recalled that moment when Friends appeared on Netflix earlier this year.
What happened to the lead singer of the Offspring?
For two decades, Holland opted for music, but eventually returned to his roots and completed his Ph. D. program in 2017. He does, however, still tour with The Offspring, and the band released their 10th studio album, Let the Bad Times Roll, in April 2021.
Did the offspring get sued?
The Offspring’s bassist has filed a lawsuit against his bandmates alleging trademark infringement and a breach of partnership agreement over the rights to the band’s name.
Why was offspring Cancelled?
On 3 October 2014, shortly after the fifth series finale aired, John Edwards confirmed that Offspring would not return for a sixth series due to Ten’s cost-cutting measures in its production division.
Did noodles leave the offspring?
…
Obi-Wan Finale – The Loop.
| Noodles | |
|---|---|
| Instrument | Guitar |
| Other Bands | Clowns of Death |
What happened to the lead singer of The Offspring?
For two decades, Holland opted for music, but eventually returned to his roots and completed his Ph. D. program in 2017. He does, however, still tour with The Offspring, and the band released their 10th studio album, Let the Bad Times Roll, in April 2021.
Who died in the band Offspring?
Just last year, the Offspring celebrated the 20th anniversary of their breakout album Smash, and sadly a key player in the creation of that disc has died. Thom Wilson, who produced the disc, passed away on Feb. 8, according to a press release from Epitaph Records.
How old is Noodles from The Offspring?
Are the offspring a conservative band?
In fact, The Offspring come across as arch conservatives; reactionary to the core. This slightly unnerving experience recalled that moment when Friends appeared on Netflix earlier this year.
The Offspring just sold their entire catalog for $35 million
It seems you couldn’t go anywhere in the late ‘90s without walking face-first into an Offspring song, be it Smash hit “Come Out and Play” or Ixnay on the Hombre’s “Gone Away”. The pop-punk band’s impressive numbers to date back that up, with nearly 17 million units sold in the U.S. alone. Now, the So Cal rockers stand to get a whole lot richer. As Billboard reports, Round Hill Music has acquired The Offspring’s catalog of recorded masters for an estimated $35 million.
Terms of the deal were not disclosed, but Billboard claims that the New York-based record label now owns the rights to the band’s Columbia Records master recording catalog, which includes six studio albums and one greatest hits album. The band’s best-selling record, 1994’s Smash, remains owned by Epitaph Records, but Round Hill Music has reportedly acquired publishing rights to the songs on Smash and the band’s earlier Epitaph albums.
The acquisition will qualify as Round Hill’s biggest to date, though a similar deal for the song catalog of Big Loud Shirt Industries might also reach the $35 million mark. Explaining the rationale behind the massive purchase, Round Hill chairman and CEO Josh Gruss said, “We have some masters like the Bush catalog and records from developing artists like London Souls and Nigel Hall, but we wanted more exposure and you won’t get a more high-quality catalog than The Offspring.” He also noted that his label didn’t have any American punk rock in their publishing portfolio and this this move “helps broaden the genre representation.”
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The Offspring’s catalog allegedly produced $3.1 million in net publisher or net label revenue, and the prospect of building on that profit also undoubtedly factored into the purchase. According to Gruss, Round Hill is focused on buying these assets before the growing popularity of music streaming increases their price.
Given the insane sticker price, it’s no surprise that the band seems pleased with the outcome of the sale. “We felt that having the right caretaker for our catalogue, both the masters and the publishing, is incredibly important to the future of our career,” Offspring’s spiky-haired vocalist and guitarist Dexter Holland said in a statement. “Round Hill understands that we are continuing to perform and record and that the visibility of our past is critical to our future.”
Whatever that future entails, Holland and Co. have set themselves up with a nice little nest egg. Punk may not be dead, but it has one hell of a retirement plan.
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Below, revisit our interview with The Offspring which took place during Riot Fest 2014.
THE OFFSPRING’s DEXTER HOLLAND Is Still Happy With Decision To Sell Band’s Catalog For $35 Million
In a new interview with Billboard, Bryan “Dexter” Holland spoke about THE OFFSPRING’s 2016 decision to sell the rights to the band’s entire catalog of Columbia Records master recordings and the publishing rights for all its songs to Round Hill Music, with the New York-based company paying $35 million. Asked if he is still happy with that decision, especially in light of the fact that there is a wave of artists selling their catalogs right now, Dexter said: “It certainly does seem to be fashionable now, huh? Or happening more often. In our case, we were very fortunate that when we signed to Sony, our records were licensed, so we technically owned them and knew they would come back to us after the delivery of our last album. We finished a seven-album deal with Sony — actually finished it! — and were just free agents. So after a few years we thought, what do we do here? At the end of the day, we just decided to sell it. I’m glad we did it, and Round Hill was the right partner to go with. And the great thing about being in a band is you can always make new songs.”
THE OFFSPRING sold the recorded masters for the six albums it made for Columbia Records, along with the publishing rights to the songs on all nine of its studio efforts. The master recordings for the band’s first three albums remain with Epitaph, the label that originally released them.
Among the Epitaph albums is 1994’s “Smash”, the breakout blockbuster that sold more than six million copies in the U.S. and featured the hits “Come Out And Play”, “Self-Esteem” and “Gotta Get Away”.
Included in the Columbia catalog are 1997’s “Ixnay On The Hombre”, which sold 1.4 million copies, 1998’s “Americana”, which moved five million, and 2000’s platinum-selling “Conspiracy Of One”.
THE OFFSPRING reportedly sold a total of 17 million copies of its first nine albums.
At the time of the catalog sale, Holland said in a statement: “We felt that having the right caretaker for our catalog, both the masters and the publishing, is incredibly important to the future of our career.”
Round Hill Music chairman/CEO Josh Gruss said about the acquisition: “You won’t get a more high-quality catalog than THE OFFSPRING. Also, we didn’t have some American punk rock in our publishing portfolio, and this acquisitions helps broaden the genre representation.”
THE OFFSPRING’s tenth studio album, “Let The Bad Times Roll”, arrived on April 16 via Concord Records. The follow-up to 2012’s “Days Go By” was once again produced by Bob Rock, who also worked on the previous two LPs.
Holland, guitarist Kevin “Noodles” Wasserman, drummer Pete Parada and new bassist Todd Morse wrote and recorded “Let The Bad Times Roll” in the last few years at various locations, including the band’s studio in Huntington Beach, California.
Photo credit: Daveed Benito
The Offspring discography
The Offspring at Download Festival in 2008 Studio albums 10 Compilation albums 2 Video albums 3 Music videos 27 EPs 4 Singles 34 Soundtrack albums 9 Demos 5 Other appearances 1 Non-album songs 12 Cover tracks 29
The Offspring, a Southern California-based punk rock band, has released 10 studio albums, four extended plays (EP), two compilation albums, five demos, three video albums, and over 30 singles.
The Offspring were formed in 1983 under the name Manic Subsidal by singer/guitarist Dexter Holland and bassist Greg K., who later recruited Noodles as their guitarist. After Manic Subsidal changed its name to The Offspring in 1986,[1] drummer Ron Welty finally joined in 1987, then the band recorded a demo a year later. The Offspring signed a record deal with short-lived label Nemesis Records, and released its first album, The Offspring, in 1989 on vinyl only. That album would not be released on CD until 1995. Two years later, after the release of the Baghdad EP and another demo, the band signed to Epitaph Records (a label owned by then-former and now-current Bad Religion guitarist Brett Gurewitz), who released the band’s second album, Ignition, in 1992.
In April 1994, The Offspring released Smash. At the time, Ignition had sold only 15,000 copies. Smash was a critically acclaimed album, also the band’s most successful yet. Debuting at number four on the Billboard 200, Smash produced three hit singles: “Come Out and Play”, “Self Esteem” and “Gotta Get Away”. The album was certified 6 times platinum and sold over eleven million worldwide. With sales continuing 28 years after its release, Smash has become Epitaph’s best-selling album of all time and the highest-selling independent album of all time. “Come Out and Play” was the band’s breakthrough single, topping the US Modern Rock Tracks chart, and it became the band’s biggest hit from the album in the US, while “Self Esteem” was the biggest hit from the album outside of the US.
After the release of Smash, The Offspring left Epitaph and signed a record deal with Columbia Records. The year 1997 saw the release of The Offspring’s major-label debut, Ixnay on the Hombre. Although not as successful as Smash, Ixnay sold over three million copies. In the following year, the band released its next album, Americana, which debuted at number two of the U.S charts, and produced three of the band’s biggest hits: “Pretty Fly (for a White Guy)”, “Why Don’t You Get a Job?” and “The Kids Aren’t Alright” making the album the peak of The Offspring’s mainstream popularity.
In 2000, the band released its sixth album, Conspiracy of One. They intended to release the entire album online through the band’s official website, to show support for downloading music on the Internet.[2] However, under threat of legal action by Columbia through its parent company, Sony, only the first single, “Original Prankster”, was released on the website (the rest of the record was leaked to fan sites).[3]
While working on a followup to Conspiracy of One, longtime drummer Ron Welty left the band in early 2003 to concentrate on his new project Steady Ground. Soon after, the band released its next album, Splinter, which spawned the band’s second number one on Alternative Songs. Uncomfortable with the idea of finding an immediate replacement for Welty, The Offspring opted to have session musician Josh Freese record the drums for Splinter, and later announced that Atom Willard would be the official replacement for Ron Welty. The album’s original title was to be Chinese Democrazy, a name used to mock the name of the long-delayed album by Guns N’ Roses. As a result, Axl Rose filed a cease and desist order against The Offspring. However, the order was dropped when it was realized that the announcement of the album’s name came on April 1 (April Fools’ Day).
The year 2005 saw the release of the band’s first compilation album, Greatest Hits. It contains 13 of the band’s hits between Smash and Splinter and two previously unreleased songs: lead single “Can’t Repeat” and a hidden track, “Next to You” (originally by the Police). The compilation does not contain any material from the first album or Ignition. In support of the Greatest Hits album, the band played the Vans Warped Tour for the first time, and a tour in Europe and Japan followed.
After the Greatest Hits tour, The Offspring took an extended hiatus and Willard left the band in July 2007 to concentrate on his current project Angels & Airwaves. He was replaced by former Face to Face drummer Pete Parada. The band’s eighth studio album, Rise and Fall, Rage and Grace, was released on June 17, 2008, but Parada did not record it due to contract issues. The band tapped Freese again to record the drum tracks. Second single “You’re Gonna Go Far, Kid” went Gold in the US and became their third number one on Billboard Alternative Songs. The next album, Days Go By, was released four years later; this time, the drum tracks were handled by both Freese and Parada, making this his first recording with the band. After touring and playing festivals in support of the album and twenty years of Smash, single “Coming for You” was released in 2015 and became the band’s second Billboard Mainstream Rock number one.
As of 2015, The Offspring has sold over 40 million albums worldwide.[4] According to Nielsen SoundScan, they have sold almost 17 million albums in the United States and 4.2 million tracks,[5] of which 15 million are certified by the Recording Industry Association of America (RIAA).
Albums [ edit ]
Studio albums [ edit ]
Compilation albums [ edit ]
Demo albums [ edit ]
Other appearances [ edit ]
EPs [ edit ]
Songs [ edit ]
Singles [ edit ]
A ^ Billboard Hot 100 chart. (Before December 5, 1998, songs were not eligible to enter the Hot 100 unless they were commercially available as a single.) However, they charted on the Hot 100 Airplay chart.
Hot 100 chart. (Before December 5, 1998, songs were not eligible to enter the Hot 100 unless they were commercially available as a single.) However, they charted on the Hot 100 Airplay chart. B ^ Billboard Hot 100 chart but peaked on the Bubbling Under Hot 100 Singles chart at number 5.
Hot 100 chart but peaked on the Bubbling Under Hot 100 Singles chart at number 5. C ^ Billboard Hot 100 chart but peaked on the Bubbling Under Hot 100 Singles chart at number 20.
Hot 100 chart but peaked on the Bubbling Under Hot 100 Singles chart at number 20. D ^ Billboard Hot 100 chart but peaked on the Bubbling Under Hot 100 Singles chart at number 10.
Hot 100 chart but peaked on the Bubbling Under Hot 100 Singles chart at number 10. E ^ Billboard Hot 100 chart but peaked on the Bubbling Under Hot 100 Singles chart at number 5.
Hot 100 chart but peaked on the Bubbling Under Hot 100 Singles chart at number 5. F ^ Billboard Hot 100 chart but peaked on the Bubbling Under Hot 100 Singles chart at number 6.
Hot 100 chart but peaked on the Bubbling Under Hot 100 Singles chart at number 6. G ^ Billboard Hot 100 chart but peaked on the Bubbling Under Hot 100 Singles chart at number 17.
Soundtrack contributions [ edit ]
Non-album songs [ edit ]
Cover tracks [ edit ]
Videos [ edit ]
Video albums [ edit ]
Music videos [ edit ]
See also [ edit ]
The Offspring
American punk rock band
The Offspring is an American rock band from Garden Grove, California, formed in 1984.[2] Originally formed under the name Manic Subsidal, the band’s lineup consists of lead vocalist and rhythm guitarist Bryan “Dexter” Holland, bassist Todd Morse, and lead guitarist Kevin “Noodles” Wasserman. Over the course of their 38-year career, they have released 10 studio albums and experienced multiple lineup changes, most noticeably with their drummers. Their longest-serving drummer was Ron Welty, who replaced original drummer James Lilja in 1987, and stayed with the band for 16 years; he was replaced by Atom Willard in 2003, and then four years later by former drummer Pete Parada. Gregory “Greg K.” Kriesel, one of the co-founders of the Offspring, was their bassist until 2018 when he was fired from the band due to business disputes.[3] leaving Holland as the sole remaining original member. Kriesel was replaced by Todd Morse of H 2 O, who had been the Offspring’s touring guitarist since 2009.[4]
The Offspring is often credited—alongside fellow California punk bands Green Day and Rancid—for reviving mainstream interest in punk rock in the 1990s.[5][6] They have sold over 40 million records worldwide,[7][8] making them one of the best-selling punk rock bands in history.[9] After achieving a local following with their early releases, including their 1989 self-titled debut album and the vinyl-only EP Baghdad (1991), The Offspring signed with Epitaph Records and released two albums for the independent label, Ignition (1992) and Smash (1994). Smash, which contained the band’s first major hit “Come Out and Play”, propelled punk rock into the mainstream and holds the distinction as one of the best-selling albums released on an independent record label, selling over eleven million copies worldwide.[10][11][12][13] The success of Smash attracted attention from major labels, including Columbia Records, with whom The Offspring signed in 1996; their first album for the label, Ixnay on the Hombre (1997), did not match the success of its predecessor, but received critical acclaim and gold and platinum awards.[11] The band’s fifth album, Americana (1998), regained their previous level of popularity, obtaining support from MTV and radio, and selling over five million units in the US.[11][12][13] The Offspring has since released five more albums: Conspiracy of One (2000), Splinter (2003), Rise and Fall, Rage and Grace (2008), Days Go By (2012) and Let the Bad Times Roll (2021).
History [ edit ]
Early years (1983–1987) [ edit ]
Bassist Greg K., drummer Pete Parada, and frontman Dexter Holland in 2008
The foundations for the Offspring began with guitarist/vocalist Bryan “Dexter” Holland (who was a drummer at the time) and bassist Greg Kriesel playing music together in a garage in Cypress, California in 1983.[14] After hearing the T.S.O.L. album Change Today? at a party, and following a riot at a 1984 Social Distortion show, they decided to form a band called Manic Subsidal.[15][16] Holland changed his role from drums to guitar, and the band was rounded out by singer Doug Thompson and drummer Jim Benton. Marcus Parrish briefly joined as a second guitarist, however, no recordings were made at this point.[17][18] After Thompson was forced out, Holland took over vocals, and Benton was replaced by Clowns of Death drummer James Lilja. In 1985, school janitor Kevin “Noodles” Wasserman (also formerly of Clowns of Death) joined as a second guitarist, allegedly because he was old enough to purchase alcohol for the other members, who were under the legal drinking age.[15][19]
In 1986, after changing their name to The Offspring (after a B-movie called The Offspring: They Were Born to Kill), the band released their first single; the 7″ “I’ll Be Waiting”. They released the single on their self-made Black Label record company, named after the brand of beer. An earlier version of “I’ll Be Waiting”, which was then known as “Fire and Ice”, appeared on the long-out of print Subject to Blackout compilation tape, which was also released in 1986.[20] Also in 1986, the Offspring recorded a demo tape, which received a positive review in Maximum Rocknroll magazine.[21] Lilja left the Offspring in 1987 to pursue a medical career in oncology,[22] and was replaced by Ron Welty, who was 16 years old at the time.[23]
The Offspring and Ignition (1988–1993) [ edit ]
After recording another demo in 1988,[15] the Offspring signed a record deal with a small-time label, Nemesis Records. In March 1989, the band teamed up with producer Thom Wilson (who had worked with the Adolescents, Dead Kennedys, Social Distortion, the Vandals and Youth Brigade) to record their first album, titled The Offspring.[15] The album was released in limited numbers by Nemesis, only on the 12″ vinyl and cassette formats, and was not released on CD until 1995. A six-week national tour followed, but Noodles was later stabbed during a performance at a Hollywood anti-nuclear benefit.[15]
In 1991, the Offspring teamed up with Wilson again to produce the Baghdad 7″ EP and a third demo tape. This EP and demo were instrumental to the band’s signing with Epitaph Records.[24] In 1992, Thom Wilson and the Offspring returned to the studio to record their second album Ignition, which was released in October of that year. The band went on U.S. tours with Pennywise and Lunachicks, and a European tour with NOFX.[19]
Mainstream success with Smash (1994–1995) [ edit ]
When the Offspring returned to the studio in January 1994 to record their third album,[25][26] the band’s relations with producer Thom Wilson had begun to strain. Three months later, The Offspring released what would become their biggest selling album, titled Smash. The album was initially released to little mainstream attention until its lead single “Come Out and Play” received airplay from the Los Angeles radio station KROQ-FM, helping to raise the band’s profile and eventually hitting number one on the Billboard rock charts for two weeks in the summer of 1994.[12][27][28] The success of “Come Out and Play” not only propelled Smash to peak at number four on the Billboard 200 and receive simultaneous gold and platinum certification four months after its release,[29] but it also helped bring punk rock into the mainstream and is often considered a groundbreaking album for the pop punk genre.[12][27][30][31][32] The album’s next two singles, “Self Esteem” and “Gotta Get Away”, also had similar success to “Come Out and Play”, both chart wise and radio airplay wise. Smash has continued to sell consistently well in the years since its release, setting an all-time record for most units sold by an independent label band at over 11 million records,[10] and having sold over six million copies in the U.S. by 2000.[29] The album also sold very well outside of the U.S., particularly in Australia, where it debuted No. 1 on the ARIA Charts, and remained in that position for three weeks in 1995.
The Offspring toured extensively throughout 1994 and 1995 in support of Smash. In addition to opening for bands like Pennywise, Bad Religion and SNFU, the band had already graduated to headlining status by the summer of 1994, when they toured North America with Guttermouth and Big Drill Car and Europe with Desaster Area, and then in the fall, The Offspring toured the US with Rancid. Touring for Smash continued throughout the first half of 1995, playing their first shows in Japan and Australia (including appearances at Big Day Out), and headlining tour dates with bands like Weezer, Quicksand, No Use for a Name, The Vandals and Lunachicks. By the end of the album’s supporting tour, The Offspring had started playing at larger venues such as theaters and arenas, as opposed to the clubs and smaller venues they were previously accustomed to.
Also in 1995, the band decided to buy out the rights to their first album. Holland and Kriesel had created their own record label Nitro Records and started signing bands. One of their first releases was a re-release of the band’s 1989 debut album, The Offspring. The label also signed a number of punk bands including the Vandals, Guttermouth, Jughead’s Revenge and AFI. Soon after, Nitro Records became solely Holland’s responsibility.
Ixnay on the Hombre, Americana, and Conspiracy of One (1996–2002) [ edit ]
The Offspring performing in 2001
In 1996, after the success of Smash, the Offspring left Epitaph and signed with Columbia Records. Epitaph retained its rights to release the next album in Europe, while Columbia had it for all other territories. The band’s attorney, Peter Paterno, had issued a letter to Epitaph stating that the band had “substantial and fundamental reasons” for wanting to leave the label and that Epitaph had “breached its contract.”[34] The band began writing and recording their fourth album, titled Ixnay on the Hombre, in 1996. The album was released on February 4, 1997, which was also Noodles’ 34th birthday. This album was not as successful as Smash, although it did sell four million units and spawned five singles. The album saw the band move away from the political-punk themes common to many Epitaph bands, and more into mainstream rock with songs like “Gone Away” and “I Choose”. The video for the last track was directed by Holland himself. Dexter commented that Ixnay was probably not as well-received as Smash because it was such a departure, and that many fans probably were expecting Smash Part Two.[35]
In 1998 the Offspring released Americana. Three of the album’s singles: “Pretty Fly (for a White Guy)”, “Why Don’t You Get a Job?” and “The Kids Aren’t Alright” became the band’s biggest hits, making the album the peak of the Offspring’s mainstream popularity. The former song topped the charts in nine countries, including Australia, Japan, Norway and the United Kingdom. “She’s Got Issues” was also released as a single, and was a minor hit.
In 1999, the band appeared as themselves in the film Idle Hands. They played a cover version of “I Wanna Be Sedated” (originally by the Ramones) and “Beheaded” at a school dance before Holland’s character is killed. They also appeared at the infamous Woodstock 1999, where their performance was broadcast live on pay-per-view television.
2000 saw the band release their sixth album called Conspiracy of One. The band intended to release the entire album online through their official website, to show their support for downloading music on the internet.[36] However, under threat of legal action by Columbia through their parent company Sony, only the first single “Original Prankster” was released on their official website (the rest of the record was leaked to fan sites).[37] The band also sold T-shirts on their website with the Napster logo on it and donated money to Napster creator Shawn Fanning with the profits.
The band also released a single “Defy You” exclusively for the film Orange County.
Ron Welty’s departure, Splinter and Greatest Hits (2003–2005) [ edit ]
Longtime drummer Ron Welty left the group in 2003 to play in Steady Ground,[38][39] a band in which he played drums and co-produced (they broke up in 2007). Neither Welty nor the remaining members have elaborated on the departure. It was later revealed that Welty was fired by Holland and Noodles “without any prior notice.” He filed a lawsuit against the band in September 2020 for unpaid royalties.[40]
In 2003, the band released their seventh album Splinter. The Offspring recruited Josh Freese to record the drums for Splinter and later announced that ex-Rocket from the Crypt drummer Atom Willard would be the official replacement for Ron Welty. The album’s original title was to be Chinese Democrazy (You Snooze, You Lose), from the name of the long-delayed album by Guns N’ Roses. As a result, Guns N’ Roses frontman Axl Rose filed a cease and desist order against The Offspring, but then realized this was announced on April 1st.[citation needed] The first single “Hit That” enjoyed moderate success on MTV. “Hit That” used a variety of electronic samples, different from what the Offspring has done in the past.[41]
In 2005, the band released a Greatest Hits album in both DualDisc and regular CD editions. Greatest Hits contains 14 of the band’s hits between Smash and Splinter, and two previously unreleased songs, “Can’t Repeat” and “Next to You” (a cover of the Police available as a hidden track). The compilation does not include any songs from the band’s first two albums. The DualDisc contains video of Dexter and Noodles discussing the band’s history and a bonus acoustic version of the song “Dirty Magic”. About a month later, the band released a video DVD with all of their music videos, and some videos from a live show.
During the summer of 2005, the band played the Vans Warped Tour for the first time, and followed that with a tour of Europe and Japan. After the “Greatest Hits” world tour the band took a break from writing, recording and touring. During the hiatus, Willard was recruited by Tom DeLonge for his band Angels & Airwaves and released an album, We Don’t Need to Whisper, in 2006.
Rise and Fall, Rage and Grace (2006–2009) [ edit ]
Pete Parada and Noodles performing in 2009
In November 2006, it was reported that The Offspring were back in the studio recording their eighth studio album, Rise and Fall, Rage and Grace with producer Bob Rock and “a fistful of demos”. In July 2007, Dexter announced that the band had finished two more songs and the album was being recorded in Orange County, California.[42]
It was announced on July 27, 2007, that former Saves the Day drummer Pete Parada had been chosen to be the Offspring’s new drummer, replacing Atom Willard, who went on to join Angels and Airwaves. The band’s first shows with Parada were at the Summer Sonic festival in Japan in August of the same year.[43] It was during these shows that the band debuted “Hammerhead” which would become the first single from the new album. Parada did not play on the new album however; Josh Freese once again handled drum duties, as he did with Splinter.[44]
The Offspring co-headlined the Australian Soundwave Festival during February and May 2008, alongside Incubus and Killswitch Engage.
The Offspring performing in 2009
On April 9, 2008, Dexter announced that the album would be called Rise and Fall, Rage and Grace and would be released on June 17.[45] The album’s first single, “Hammerhead”, went to radio on May 6.[46] Additionally, the Offspring’s official site provided an MP3 download of the song to the general public on May 5.[47] The second single from the album, “You’re Gonna Go Far, Kid”, had topped the Hot Modern Rock Tracks chart, and had stayed there for 11 weeks, a record for the band. It was also the Offspring’s only RIAA Gold song, proving it to be one of the most successful singles the band had released in their over-twenty-year career. Despite this, Rise and Fall, Rage and Grace has never received any certification by the RIAA.
Also in April 2008, Epitaph Records announced that the label would be reissuing Ignition and Smash; both albums were remastered, and Smash contained a new 24-page booklet. The re-issues were released on the same day as Rise and Fall, Rage and Grace, coinciding with the new album’s release.[48]
The supporting tour for the album began on May 16 with a performance at the X-Fest festival in California. On May 28, it was announced on the band’s website that Scott Shiflett (from Face to Face) would replace bassist Greg K. on current tour dates due to a birth in the family. Kriesel returned in mid-June.[49] In October, with the addition of touring guitarist Andrew Freeman, the band embarked on a 3-week Japanese tour followed by a tour of South America. On December 13, 2008, the Offspring headlined the nineteenth annual KROQ Almost Acoustic Christmas. In an interview at the Almost Acoustic Christmas show, guitarist Noodles stated that the Offspring would be taking a break for a month or two and promised a US tour to kick off in 2009.[50] They toured North America on their “Shit is Fucked Up” tour from May through July with Dropkick Murphys, Alkaline Trio, Street Dogs, Pennywise, Shiny Toy Guns, Sum 41 and Frank Turner.[51]
Days Go By (2010–2013) [ edit ]
In May 2009, the band started doing preliminary work with Bob Rock in Hawaii for what would be the ninth Offspring album. They recorded sporadically through the next year. In June 2010 the Offspring headlined two dates in Western Canada.[52] The Offspring took a break from the studio in order to join 311 on their summer 2010 Unity Tour. The 19-date tour was held in amphitheaters around the U.S., also featuring Pepper as a special guest. Before the 311 and Pepper tour, the Offspring played four West Coast dates in June, which were supported by Terrible Things.[53][54] In January 2011, session drummer Josh Freese (who recorded drum tracks for the band’s last two albums) mentioned on his website that he was in the studio working with the Offspring again.[55] Ronnie King had also confirmed that he would appear as the keyboardist on the album, after performing the same role on Splinter.[56] The band interrupted their work in 2011 in order to tour and took the main stage at the 2011 Reading and Leeds Festivals.[57]
After the tour, the band started recording in earnest and it was later announced that the album was in the mixing stage.[58] They headlined the PunkSpring Festival in Japan, on March 31, 2012 in Tokyo and on April 1, 2012 in Osaka, with Sum 41, New Found Glory and All Time Low.[59] At one of the shows, the Offspring performed a new song called “The Future Is Now”. They were also confirmed to play at the Rock am Ring/im Park and Novarock festivals in the summer 2012.[60][61] Prior to that, the band would be playing at the 20th annual KROQ Weenie Roast, which was to take place at the Verizon Wireless Amphitheatre in Irvine, California on May 5, 2012.[62]
In March 2012, the band announced on their Twitter page that the album was finished. On April 20, 2012, Kevin and Bean announced that the Offspring’s new single “Days Go By” would be premiered on April 27.[63] Three days later, the band announced on their website that Days Go By would be the name of their ninth studio album, which was eventually released on June 26, 2012.[64] On April 30, 2012, the band released another song from Days Go By, “Cruising California (Bumpin’ in My Trunk)”.
In early fall 2012, the Offspring toured with Neon Trees and Dead Sara. They were co-headliners of the Soundwave in Australia in 2013 alongside Metallica and Linkin Park. After this, they performed at the 20th annual WJRR Earthday Birthday on April 13, 2013, and at the Gulfport Music Festival a month later.[65] The Offspring spent much of the spring, summer and fall of 2013 playing shows in Europe, the United States and South America.[66] In November and December of that year, they would play Warped Tour for the first time in eight years, this time in Australia.[67]
On June 20, 2013, it was reported that the Offspring was working on a live album with engineer Ian Charbonneau. Instead of a standard release, the live album (which was recorded in Warsaw, Poland at the Orange Warsaw Festival held at Narodowy Stadium) would have had been released online but to date has not come to fruition.[68]
Touring and Round Hill Music (2014–2016) [ edit ]
The Offspring spent the summer of 2014 on tour commemorating the 20th anniversary of their third album Smash. They headlined the Summer Nationals 2014 tour from July to September, with support from their former labelmates Bad Religion and Pennywise as well as the Vandals, Stiff Little Fingers and Naked Raygun.[69][70] To coincide with the Summer Nationals tour, the Offspring released cover versions of Pennywise’s “No Reason Why”, and Bad Religion’s “Do What You Want” and “No Control” on their YouTube account.[71] These cover versions were released on the EP Summer Nationals, which was released digitally in August 2014.[72][73] On December 24, 2014, Radio Contraband announced on their Facebook page that they would premiere the Offspring’s new single, “Coming for You”, on January 30, 2015.[74][75] The Offspring toured in support of the “Coming for You” single and performed their 1998 album Americana in its entirety at the Amnesia Rockfest on June 19, 2015, in Montebello, Canada.
The Offspring reclaimed the rights to their Columbia Records albums in 2014. The band started auctioning off the rights to those albums in August 2015, as well as their songwriting credits, for around $30 million. Sony Music Entertainment (the owner of Columbia Records) and Round Hill Music were allegedly interested in bidding for the Offspring’s music.[76] In January 2016, Round Hill acquired the band’s Columbia Records catalogue, along with their career-long music publishing rights, for $35 million.[77][78] In December 2016, Round Hill signed a distribution deal with Universal Music Enterprises for the Offspring’s Columbia catalog (including the Greatest Hits album).[79][80] By September 2015, the band had finished 2-3 tracks.[81][82] On July 20, 2016, a new Offspring song “Sharknado” was premiered, and was recorded for the film Sharknado: The 4th Awakens.[83][84][85]
Let the Bad Times Roll and split with Greg K & Pete Parada (2017–present) [ edit ]
Bassist Greg K. mentioned a possible 2018 release date for the new Offspring album, and revealed that one of the reasons for the album’s slow progress was because they have been working on songs here and there. He also stated that the band was in no hurry to finish it.[86] Noodles was absent from the Offspring’s summer 2017 tour with Sublime with Rome,[87] due to a “sudden family matter”; filling in for him on dates were Tom Thacker and Jonah Nimoy. On December 13, 2017, The Offspring posted Twitter and Instagram photos of their December calendar, with the second and third week of the month labeled “studio”, and wrote, “Who’s ready for new music in 2018?”.[88] In the same month, Noodles told Front Row Live, “We’re working on it. We were in the studio all this week. We finished up for the holidays on Tuesday, Wednesday, and then we’re gonna get back in the studio as soon as the new year [rolls around], in January.”[89] On February 23, 2018, the band announced via Instagram that they had finished tracking down drums for the album.[90] The Offspring were later asked on Twitter if their new album would be released soon, and replied, “We’re hoping by summer.”[91] On June 9, 2018, the Offspring debuted one song that is expected to appear on the new album, “It Won’t Get Better”, while performing at the Greenfield Festival in Switzerland.[92] On July 20, 2018, it was announced the Offspring would release a cover of 311’s “Down” and 311 would release a “reggaefied” cover of the Offspring’s “Self Esteem”, which 311’s lead singer Nick Hexum referred to as “probably [his] favorite song of theirs;” the cover versions coincided with the co-headlining Never Ending Summer tour.[93] On August 30, 2018, Noodles revealed to Music Feeds that The Offspring was working on two separate albums. He stated, “We have a whole record or more worth of stuff here — I think we’re looking at making two records out of it — you know, like, splitting ’em up and coming out with a pretty straightforward punk and rock record that sounds like us, and then maybe saving some of the crazier stuff for another record.”[94] A few days later, he told WHIO-AM that the album will be released around the beginning of 2019, and added, “We don’t have a record deal right now and we’re trying to work something out. We don’t know what we’re going to do with that.”[95] Greg K. did not appear throughout The Offsprings headline Australian and Japan tours in 2018 and was instead replaced by No Doubt bassist Tony Kanal.[96][97]
On February 23, 2019, Noodles confirmed on his Instagram account that the new Offspring album is finished. He wrote, “The album is done. Working on getting it to the fans now. Stay tuned!”[98] A month later, Dexter Holland confirmed that the album was “98% finished” and mentioned a tentative fall 2019 release.[99] In August, Greg Kriesel filed a lawsuit against Holland and Noodles, following an alleged decision by the two in November 2018 to ban Kriesel from the band’s activities, including studio recordings and live performances.[4] Kriesel and his lawyers also alleged that the two conspired to “seize the business, business opportunities, and assets” of Kriesel’s stake in the band without compensation.[4][100] Later, touring rhythm guitarist Todd Morse became a full-time member, replacing Kriesel as the new bassist.[101][102]
Noodles reiterated that the new Offspring album was ready for release in 2020 and they are in the process of searching for a new record label to release it.[103][104] On April 21, 2020 the band released a rock cover of Joe Exotic’s country song “Here Kitty Kitty” popularized by the 2020 Netflix documentary Tiger King. It was recorded while the band was in quarantine during the COVID-19 pandemic.[105] In a June 2020 interview with Download TV, Holland confirmed that the new album was “basically done” but added that its release was “on hold at the moment” because of the coronavirus pandemic.[106]
On September 10, 2020, former drummer Ron Welty filed a lawsuit against the band for unpaid royalties.[107] On November 4, 2020, The Offspring released their first-ever Christmas song, which is a cover of Darlene Love’s “Christmas (Baby Please Come Home)”. A physical version of this song was released as a 7-inch vinyl single on December 11, 2020, and a description at the band’s online store stated that “the single is also the tip of the iceberg for new music coming from the acclaimed group in early 2021.”[108]
On November 13, 2020, the band uploaded a lyric video for their song “Huck It!” and announced a vinyl re-release of Conspiracy of One in honor of its 20th anniversary.[109]
On February 8, 2021, Dexter and Noodles posted a video confirming that the album was finished with an official release date and single announcement coming soon.[110] On February 23, 2021, The Offspring announced that their tenth album would be titled Let the Bad Times Roll, and released the title track as its lead single through streaming services; the album was released on April 16.[111][112]
On August 2, 2021, drummer Pete Parada announced that he would not be touring with The Offspring for not receiving a COVID-19 vaccine. He explained this was under the advice of his doctor due to his medical history and with his having been previously infected.[113] In an interview published in November 2021, Holland and Wasserman detailed the “roadblocks” they kept running into when they looked into what it would take to tour with an unvaccinated member of the band, and they said the decision was taken “for the time being”;[114] however, in his tweet of August 2021, Pete Parada admitted he was deemed “unsafe to be around” not only on tour, but also in the recording studio.[115]
Style and influences [ edit ]
The Offspring has been labeled under multiple genres, such as punk rock,[116][117] hardcore punk,[118] melodic hardcore,[119] pop punk,[120][121][122] skate punk,[119][123][124][125] and alternative rock.[126][127] A signature style of the Offspring are their chorused “whoas”, “heys”, or “yeahs”. The band’s former labelmates NOFX poked fun at them for this in their song “Whoa on the Whoas”. Several tracks also incorporate elements of Eastern music, which can be heard on the likes of “Tehran,” “Me & My Old Lady,” “Pay the Man,” “Dividing By Zero,” and the verse hook from “Come Out and Play”. Their lyrics cover a wide range of topics, like personal relationships, such as in their songs “She’s Got Issues”, “Self Esteem” and “Spare Me the Details”, and the degradation of the United States, politics, and society in general with songs like “It’ll Be a Long Time”, “Americana” and “Stuff Is Messed Up”. The lyrics generally reflect a sarcastic viewpoint, which, along with the language, can be offensive to some. This is acknowledged in the opening track from their album Ixnay on the Hombre, “Disclaimer”, which is sarcastic itself. Like “Disclaimer”, the first track of most of the Offspring’s albums are an introduction of some sort; “Time to Relax” (from Smash), “Welcome” (from Americana), “Intro” (from Conspiracy of One), and “Neocon” (from Splinter) are also examples of this. The Offspring’s influences include The Dickies, the Sex Pistols, the Misfits, T.S.O.L., Agent Orange, the Adolescents, the Ramones, The Clash, the Dead Kennedys and Suicidal Tendencies.[128][129][130][131][132][133][134]
Impact and legacy [ edit ]
With the mainstream success of Smash, going six times multi-platinum and earning worldwide airplay, the Offspring’s impact persists to this day. As one of the most popular punk bands of the 1990s, they are credited with reviving popular interest in punk rock and bringing the genre back into the mainstream,[135] and have influenced younger artists such as Avril Lavigne and Simple Plan.[136][137] The Los Angeles modern rock radio station KROQ listed the Offspring at No. 8 in “The KROQ Top 166 Artists of 1980–2008” Countdown by Year memorial,[138] with 30 appearances on the station’s year-end countdowns as of 2008.[139]
The Offspring’s music has appeared in movies, such as The Chase, Batman Forever, I Know What You Did Last Summer, The Faculty, Varsity Blues, Wanted, Idle Hands (which also features a cameo by the band), Me, Myself & Irene, Loser, Tomcats, Bubble Boy, The Animal, American Pie 2, Orange County, The New Guy, Bowling for Columbine, Pauly Shore Is Dead, Click, How to Eat Fried Worms (for the trailer), Sharknado: The 4th Awakens and Tekken: The Motion Picture.[140] “Mota”, “Amazed”, “The Meaning of Life” (all from Ixnay on the Hombre) were featured in Warren Miller’s 1997 documentary Snowriders II.[141]
“Pretty Fly (for a White Guy)” can be heard in the King of the Hill episode “Escape From Party Island”. “Original Prankster” was featured in The Cleveland Show episode “American Prankster”. “You’re Gonna Go Far, Kid” was featured in the 90210 episode We’re Not in Kansas Anymore, while “Kristy, Are You Doing Okay?” appeared in the episode Zero Tolerance. In the Close Enough episode “The Weird Kid”, a subplot concerned a character accidentally wishing to become obsessed with The Offspring; various references to their work can be heard throughout [142] .
In video games, the Offspring’s songs have appeared in Crazy Taxi, Tony Hawk’s Pro Skater 4 and SingStar Rocks!. “Pretty Fly (for a White Guy)” appears in Guitar Hero: Van Halen. “Hammerhead”, “Gone Away”, “Pretty Fly (for a White Guy)”, “Self Esteem”, “All I Want”, “The Kids Aren’t Alright”, “A Lot Like Me” and “Days Go By” are downloadables for the Rock Band series. “Hammerhead” was also featured in the football video game Madden NFL 09. “Days Go By” was featured in NHL 13. From September 20 to October 7, 2019, the band performed a virtual concert in World of Tanks, with a limited-edition tank. The tank has instruments (and skateboards) stacked on top of its hull, “Pretty fly” painted on the side armour, and band members acting as the crew.[143]
“Pretty Fly (for a White Guy)” received a parody treatment by “Weird Al” Yankovic as “Pretty Fly for a Rabbi”.
Band members [ edit ]
Musicians [ edit ]
Lineups [ edit ]
Timeline [ edit ]
Discography [ edit ]
Studio albums
Awards [ edit ]
References [ edit ]
Further viewing [ edit ]
Whatever Happened To ’90s Band The Offspring?
With an instantly recognizable sound positioned somewhere between punk and alt-rock, The Offspring was a musical force throughout the 1990s and 2000s. However, since that time, the group doesn’t seem to be as prolific as they once were.
Like many hit ’90s bands, The Offspring haven’t vanished; they continue to rock out together and are still very punk. Their more recent output hasn’t achieved the mass appeal of their earlier work, but few groups understand the natural ebb and flow of the music industry better than this one; after all, they were a band for ten years before hitting it big with Smash in 1994.
Hailing from Garden Grove, CA, singer and guitarist Bryan “Dexter” Holland and bassist Greg Kriesel formed the band after getting rowdy at a tumultuous 1984 Social Distortion concert. When a couple of early members left, guitarist Kevin “Noodles” Wasserman joined, as did drummer James Lilja. Lilja was later replaced by Ron Welty, who was subsequently swapped out for Pete Parada (the band’s drummer as of 2019).
While it’s hard to imagine The Offspring replicating the success of Smash, or the pop-punk mainstream stylings of 1998’s Americana, the band has been featured in a variety of video games, recorded an original track for the Sharknado movies, and one member even got a Ph.D. in molecular biology. This direction may not be traditionally punk, but the band still rocks just as hard as it did in decades past.
THE OFFSPRING’s DEXTER HOLLAND Is Still Happy With Decision To Sell Band’s Catalog For $35 Million
In a new interview with Billboard, Bryan “Dexter” Holland spoke about THE OFFSPRING’s 2016 decision to sell the rights to the band’s entire catalog of Columbia Records master recordings and the publishing rights for all its songs to Round Hill Music, with the New York-based company paying $35 million. Asked if he is still happy with that decision, especially in light of the fact that there is a wave of artists selling their catalogs right now, Dexter said: “It certainly does seem to be fashionable now, huh? Or happening more often. In our case, we were very fortunate that when we signed to Sony, our records were licensed, so we technically owned them and knew they would come back to us after the delivery of our last album. We finished a seven-album deal with Sony — actually finished it! — and were just free agents. So after a few years we thought, what do we do here? At the end of the day, we just decided to sell it. I’m glad we did it, and Round Hill was the right partner to go with. And the great thing about being in a band is you can always make new songs.”
THE OFFSPRING sold the recorded masters for the six albums it made for Columbia Records, along with the publishing rights to the songs on all nine of its studio efforts. The master recordings for the band’s first three albums remain with Epitaph, the label that originally released them.
Among the Epitaph albums is 1994’s “Smash”, the breakout blockbuster that sold more than six million copies in the U.S. and featured the hits “Come Out And Play”, “Self-Esteem” and “Gotta Get Away”.
Included in the Columbia catalog are 1997’s “Ixnay On The Hombre”, which sold 1.4 million copies, 1998’s “Americana”, which moved five million, and 2000’s platinum-selling “Conspiracy Of One”.
THE OFFSPRING reportedly sold a total of 17 million copies of its first nine albums.
At the time of the catalog sale, Holland said in a statement: “We felt that having the right caretaker for our catalog, both the masters and the publishing, is incredibly important to the future of our career.”
Round Hill Music chairman/CEO Josh Gruss said about the acquisition: “You won’t get a more high-quality catalog than THE OFFSPRING. Also, we didn’t have some American punk rock in our publishing portfolio, and this acquisitions helps broaden the genre representation.”
THE OFFSPRING’s tenth studio album, “Let The Bad Times Roll”, arrived on April 16 via Concord Records. The follow-up to 2012’s “Days Go By” was once again produced by Bob Rock, who also worked on the previous two LPs.
Holland, guitarist Kevin “Noodles” Wasserman, drummer Pete Parada and new bassist Todd Morse wrote and recorded “Let The Bad Times Roll” in the last few years at various locations, including the band’s studio in Huntington Beach, California.
Photo credit: Daveed Benito
Americana – what a sell-out and why it sucks
Hi,
I guess you’ve already had some discussion on this topic here, but I
want to say that Americana just sucks. Prior to it’s release I liked
Offspring (especially the self titled album and some ixnay) but this
teenie boppin’ album made me change my mind. When I first picked up the
CD I noticed they are now on Sony Music(wtf?), and I feared there music
would be all commercial now. Put the CD into the player…and right,
sounds like shit. After listening to it a few times I have to admit
maybe two or three songs are OK, but the rest is a pain in my ears.
And it’s kind of funny like they make fun of boy groups in their song
Pretty Fly, and it seems they now tend to point themselves in that
direction? Self irony? Also their audience has changed alot. All the
suckers are running and buying Americana cause they’ve seen the pretty
fly video(yeah, of course alot of girls shakin’ their asses – that
sells!) on eMpTyV. And worst of all these people are singing this damned
song all the time. The same kids who are listening to Britney Spears.
Another thing: the local radio stations where I live would never play a
real punk rock song, but they’re playing Pretty Fly all the time. What i
want to say is that their latest album is not punk at all. Neither its
music nor attitude. Kind of sad how quick a band can become a sell-out.
Major Label Debut: Punk’s “Sell Out” Albums Revisited
Though it seems petty and dumb in retrospect, “selling out” was a thing people cared about once. The quickest, most surefire way for a punk band to piss off their loyal fanbase was to put their Herbie Hancocks on a contract with a major label. The resulting outrage was real. DIY venues like 924 Gilman in Berkeley refused to book any major label acts, countless songs have been written on the subject, and hell, Reel Big Fish even ironically made a hit single out of it.
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The move was never received well, and always seen as an affront to those who had launched the bands out of the basements in the first place. Whether the band’s major label debut was a commercial success or a flop, a critical darling or panned piece of trash, many fans stuck a middle finger to the whole thing, as if to say, “We support you, but not enough for you to be able to quit your job at Whole Foods!”
Eventually the internet came along and made everything popular and nothing profitable. But before the music industry’s bubble burst, punk snuck a few past the goalie. (For the benefit of any punks reading this who are not Propagandhi, that was a hockey reference.) (Hockey is a sport.) Here is a look back on a few records—good and bad—that got a chance at the big time.
Drive Like Jehu – Yank Crime, Interscope (1994)
Punk Outrage Level: 4/10
Rumor has it that when Rocket from the Crypt got signed to Interscope (god bless the musical hubris of the 90s that allowed those words to just seem rational, by the way), frontman John Reis insisted that they take his post-hardcore side project Drive Like Jehu as well, which explains the major label release of Yank Crime. It’s unlikely that a framed copy of this album is hanging on the walls of the Interscope offices among all those gold Eminem and Maroon 5 records, but it should be. Yank Crime may just be the wildest, most pioneering album ever to slip through the major label cracks. Light years ahead of its time. Staying true to the dreaded major label curse, Jehu broke up the following year and two decades later, bands are still trying to catch up to whatever the fuck they were doing.
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Green Day – Dookie, Reprise (1994)
Punk Outrage Level: 7.5/10
Dookie was the one that ruined it all. Punks love to throw this one under the bus and for good reason. It has sold a jaw-dropping 20 million copies, making it one of best selling albums of all time, just under Prince’s Purple Rain and Michael Jackson’s Off the Wall. Let that sink in for a second. An album named after a pile of shit sold roughly as much an Academy Award-winning Prince soundtrack.
But the larger problems stemming from Dookie’s success wouldn’t surface in punk until years later. It paved the way for future waves of radio-friendly pop punk like Blink-182 and New Found Glory. It also created the climate for majors to sign punk acts like Jawbreaker who would ultimately meet their demise under the major label pressure. And on a personal level for the band, it served as the bridge for three unkempt Berkeley kids to transition to the Broadway musical-producing middle-age men in guyliner you see before you today. [Dave Chappelle as Rick James voice]: They shoulda never gave you punks money!
But all that aside, fucking hell if that drum intro to the album isn’t the start of something special. You’ve gotta give it to ‘em. Green Day managed to walk a perfect line between Cali pop punk and 90s alterna-rock and made an indisputable classic in the process. The band’s discography would then dwindle down from 1995’s passable Insomniac to the album of say-nothing mass-market politics, American Idiot, to the subsequent and completely superfluous three-part concept albums that followed. Truly, they flew too close to the sun on wings made of D4 riffs.
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Bad Religion – Stranger than Fiction, Atlantic (1994)
Punk Outrage Level: 9/10
Story time: Once at a small New York hole-in-the-wall venue in the late 90s, there was a kid leaned up against a wall with a Bad Religion patch on his jacket. On top of the band’s name, with a marker, he had written the word “OLD.” That’s how much Bad Religion fans hated their major label recordings and the second phase of the band’s career. They would only cop to listening to old Bad Religion. And Stranger Than Fiction was a particular object of scorn. After all, it was the band’s first with Atlantic, having jumped from Epitaph. (That must’ve been a pretty sweet deal if they were willing to leave a label that one of the dudes in the band owns.) It also featured the band’s most well-known singles, “Infected” and “Stranger Than Fiction.” But again, hindsight being 20/20, this album holds up as some of the band’s catchiest work while only picking up a hint of alternative radio rock influence of the time.
Jawbox – For Your Own Special Sweetheart, Atlantic (1994)
Punk Outrage Level: 6.5/10
Jawbox owe a debt of gratitude to Jawbreaker for taking the hit as the “band who people instinctively associate with selling out and whose name starts with ‘Jawb.’” But that doesn’t make their punk crimes any less egregious, especially since they were making the jump to Atlantic from Ian Mackaye’s über-DIY label, Dischord Records. They were one of only two bands, along with Shudder to Think, to ever make the Dischord-to-major leap. As you can probably imagine, as progressive as the record was, the band didn’t go over super well with a mass audience. Shortly after being dropped by Atlantic, Jawbox disbanded. Let that be a lesson. Much like you can’t just dump a fish into an aquarium, Dischord bands can’t just drop themselves into the major label waters. Ease into your selling out.
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ALL – Pummel, Interscope (1995)
Punk Outrage Level: 3.5/10
ALL were the poor bastards who could never catch a break. In the eyes of the punks, they were always the band guilty of not being Descendents. So when they miraculously sneaked their way onto Interscope, they put out the decent albeit forgettable album, Pummel. While not their best work (although there were some good songs on it like “Million Bucks,” “Long Distance,” and “Breakin’ Up”) the members did use the money they made from it to open the Colorado recording studio, The Blasting Room, where drummer Bill Stevenson has produced numerous punk records, including Descendents’ Everything Sux. So… that’s something, right?
Jawbreaker – Dear You, Geffen (1995)
Punk Outrage Level: 9/10
After Green Day had mega-success with Dookie, record labels rushed to Kinko’s and photocopied million-dollar record contracts in bulk and started handing them out at the doors of West Coast punk venues like they were show flyers. Jawbreaker were fresh off a tour with Nirvana at the time, which many fans worried would get them attention from major labels and guess what the fuck happened. They got attention from major labels.
Instead of breaking up, which they were on the verge of doing, they infamously signed a million dollar contract with DGC Records (owned by Universal Music Group) to release 1995’s Dear You. Fans of course criticized the album for sounding “more polished” than their previous works. “Polished” is punk code for “I am angry, fuck you, band I like!” Jawbreaker’s audiences were said to have sat on the floor and turned their backs to the band when they would play songs from the album.
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Now that we can all look past our anger of Dear You like sane, rational human beings, unangry about the fact that it doesn’t sound like it was recorded over the phone through a tin can, it’s time to face the fact that this is Jawbreaker’s smartest, most mature record. Blake really let his gift for dark poetics fly here and songs like “Accident Prone” and “Jet Black” set early benchmarks in the burgeoning emo scene alongside bands like Sunny Day Real Estate and Texas Is the Reason. “Million” reads like a self-effacing dig at their whole relationship with their label. And “Sluttering (May 4th)” is the best song about the date May 4. Hands down.
But as good as it was, it was no alt-rock MTV darling like Dookie. Think about how many times you’ve seen the “Basket Case” video versus the one for “Fireman.” Exactly. Dear You sold 40,000 copies, just several kabillion copies short of the mark Green Day had set a year earlier. A huge failure for the label. The band broke up shortly after and their shirts are worth a lot on eBay.
Less Than Jake – Losing Streak, Capitol (1996)
Punk Outrage Level: 5/10
In yet another testament to the musical hubris of the mid-90s, Florida’s Less Than Jake cashed in on America’s brief, fleeting fling with ska which included The Mighty Mighty Bosstones and uh… that one Reel Big Fish song. They left Asian Man and No Idea for their third release, Losing Streak, which was released on Capitol. But surprise, disgruntled 90s ska nerds! You might’ve had to pay a few more dollars for it at Tower Records but you actually got a killer album out of it.
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The Offspring – Ixnay on the Hombre, Columbia (1997)
Punk Outrage Level: 3/10
The Offspring’s third album, Smash, sold a stupid number of copies. Eleven fucking million copies, making it the best-selling independent album of all time. It pumped so much cash into Epitaph Records, where it was released, that it cemented the label’s financial security for years to come. But in the process, it also almost destroyed founder Brett Gurewitz who left Bad Religion to focus on the label. He also divorced from his wife and picked up some pretty nasty addictions to crack and heroin.
So three years later, for their next album, Ixnay on the Hombre, The Offspring moved on to Columbia, a departure which Gurewitz has admitted to taking personally at the time. Since the band had already made enough money at that point to fill a swimming pool (or at least to hire people to tell them their white dude dreds were a good look), it wasn’t exactly seen as “selling out” so much as a non-idiot business move.
Ixnay sold well—three million copies—but wanes in comparison to Smash’s 11 million. Ten million of which are sitting at the bottom of used CD bins across America.
Blink-182 – Enema of the State, MCA (1999)
Punk Outrage Level: 10/10
Boy oh boy did people have their mohawks in a twist over this album—and this band in general—around this time. Everyone had a fucking opinion about Blink after their second album Dude Ranch (which technically was a split release between indie label Cargo Records and major, MCA), from the longtime fans who called them sell outs, to the Maximum Rock’n’Roll crowd who had no use for this clownish, embarrassing side of punk to begin with.
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The issue of whether or not Blink-182 was killing punk hit such a critical mass by Enema of the State, their first true major release, that even Sex Pistol Johnny Rotten was asked what he thought about the band. To which he responded: “Isn’t that that bunch of silly boys? They’re an imitation of a comedy act. They’re so bad they should be permanently featured on Saturday Night Live, which, as far as I can see, is the ultimate insult.” Harsh words from the butter representative.
At this point, it’s been over 15 years. Can we now look at this album about enemas and diarrhea like rational adults please? Maybe it’s because there have been much more heinous crimes carried out in the name of punk since this album’s release (partly due to Blink leaving the door open behind them), but Enema seems tame in comparison to the Sum 41s and Avril Lavignes of the early 2000s. Or maybe it’s because looking back through our Ghost of Blink-182 Present, knowing this band would eventually devolve into grown men bickering over petty legal issues, that this era seemed like simpler, blissful times. But whatever it is, objectively, there’s nothing really “wrong” with it aside from it sometimes bordering on petty misogyny in its sophomoric humor (“I need a girl that I can train”). But, like… it is pretty catchy.
H2O – Go, MCA (2001)
Punk Outrage Level: 2/10
H2O put out the same album three times in a row. Then they made it a fourth time and released it on a major label. No one noticed or cared.
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Rancid – Indestructible, Warner Bros. Records (2003)
Punk Outrage Level: 8/10
Rancid is sort of an anomaly. Looking back at their career, you’d think their “sell out” period was that time in the mid-90s when they were playing “Roots Radicals” on SNL and MTV was constantly running their punx-in-a-box music videos like “Salvation” and “Ruby Soho.” And you could argue that it was. But the band held firm to their home of Epitaph Records through that decade. Which isn’t to say major labels didn’t want a piece of them. They did. So much so that Rancid supposedly convinced an A&R guy at Epic to shave his head into a blue mohawk and got nude photos from Madonna to sweeten a deal with her label, Maverick. In fairness, nude photos of Madonna were America’s national currency in the 90s.
After a long, five-album run at Epitaph which took them all the way through their criminally underrated self-titled 2000 album, Rancid did what they very vocally always took a stand against: They signed to a major—Warner Bros. Records. Or at least, they were distributed through Warner, anyway. They were kinda murky about the details as you can imagine and their first record with them, Indestructible, did not bear the Warner logo.
Wouldn’t you know it, fans didn’t care for this album. Cameos from Kelly Osbourne and the Good Charlotte dude in the video for their single “Fall Back Down” probly didn’t win any cred points with the Gilman Street crowd either. Punks gave Rancid the business for this move as they are wont to do, saying the album’s poppier sound was a direct influence of Warner. In reality, an album distribution deal with a major label probably didn’t have any affect on the band’s songwriting process. It just wasn’t a very memorable album.
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Label outrage around Rancid has more or less died down given that most people who listen to the band are around 45 at this point. The band has released all subsequent releases via Epitaph, frontman Tim Armstrong has since tattooed his head, and still has yet to actually strum his guitar a single time.
The Distillers – Coral Fang, Sire (2003)
Punk Outrage Level: 6/10
Love makes you do weird shit. Take Rancid’s Tim Armstrong. He stayed away from major labels his whole life. Then he got a divorce from his wife Brody Dalle in 2003 and she and her band The Distillers went and signed to Sire Records that year. Rancid also happened to sign with Warner the same year, releasing an album laden with break-up references. Maybe this whole thing was just a passive aggressive post-break-up career success war. And maybe we were all just pawns in Tim and Brody’s punk game. We may never know. But one thing’s for sure: Somewhere on some Sire’s sell sheet, some idiot sales rep most definitely described them as “Rancid for girls.”
The Ataris – So Long, Astoria, Columbia (2003)
Punk Outrage Level: 0/10
Hey, The Ataris put out a major label record too. Good for them.
Saves the Day – In Reverie, Dreamworks (2003)
Punk Outrage Level: 7/10
Saves the Day were already in hot water with their core fanbase by the time In Reverie came out. After winning over both pop punk and hardcore kids with their first two releases on Equal Vision, they smoothed a bit of their edge over for their third record, Stay What You Are, an album that landed them appearances on The Late Late Show and Conan. After that, they made the jump to Dreamworks for their poppiest album yet and, were it not for their pedigree, you’d be hard pressed to call this a punk album. They drifted towards straight-up pop melodies. (Frontman Chris Conley said he got real into The Beatles around this time.) Dreamworks didn’t seem to give much of a shit about the album given that they were a few weeks away from being sold off to Interscope and Saves the Day were dropped in the move. Ten years later, they returned home to Equal Vision. Pop punk is a flat circle.
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Cave In – Antenna, RCA (2003)
Punk Outrage Level: 3.5/10
If there’s one thing Cave In have proven, it’s that they literally could not give a fuck. They will make an insane, totally out-there hardcore record like Until Your Heart Stops, the first ten minutes of which are the most ridiculously punishing snippet of hardcore ever committed to tape. But then two years later, they’ll follow it up with Jupiter, a trippy space-rock album from another planet (Jupiter, probably), completely unrecognizable from their previous work. So when RCA signed the band for their 2003 release, Antenna, they had to have known they were rolling the dice on these Boston dudes. What the label got was an imperfect experiment from an ex-hardcore band reaching for some semblance of radio-friendliness. The album got a good promotional push but ultimately fell flat at the hands of a label who didn’t know how to market these weirdo geniuses. RCA and Cave In split thereafter and the band was welcomed back into the loving indie arms of Hydra Head Records where they released two often forgotten albums of absolutely bonkers technical aggression, Perfect Pitch Black and White Silence. And all was right in the world.
AFI – Sing the Sorrow, Dreamworks (2003)
Punk Outrage Level: 7/10
AFI have gone through a long, weird wave of changes over their two decades as a band. Starting out as your generic, run-of-the-mill hardcore band, they eventually morphed into the grayscale uber-goths you see before you. But somewhere in the middle, they hit their sweet spot. Around their Black Sails in the Sunset era of the late 90s, they asked their punk fans to venture out into darker waters, which a lot of them did. The band filled the void for punk-goth aesthetics left by The Misfits. But then frontman Davey Havok parasoled too far out there when AFI released 2003’s Sing the Sorrow on Dreamworks. It was the album that broke the band out to a more mainstream audience, but lost them a lot of their core fans who suddenly sobered up and realized they were wearing guyliner and painting their fingernails black.
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Thursday – War All the Time, Island (2003)
Punk Outrage Level: 7/10
In the early 2000s, the music industry must’ve been so hard up for fresh acts that they started sifting through the VFW halls of New Jersey. One act they found while doing so was Thursday. Thursday was just off their hit sophomore release with Victory Records, Full Collapse, an album which perfected the basement hardcore sound of its time and which frontman Geoff Rickly has noted as being the band’s best work.
Much like every band who has ever been on Victory Records, Thursday were desperate to get the fuck off of Victory Records. So when an opportunity came along with Island Records, the band jumped on it, taking advantage of a clause in their contract that said they could leave Victory for a major. They released two albums on Island, one of which sold 45,000 copies in its first week. If you told any of Thursday’s fellow New Brunswick basement dwellers like You & I that it was possible to sell 45,000 copies by singing out-of-key emotional hardcore, they might’ve stuck it out for more than two records. But it was a flop in the eyes of a major label. The problem was that they were still on the hook for three more records. According to Rickly, he met personally with the president of the company and asked if they could peacefully part ways. The two shook on it, and that was that. No harm done. Except for the thousands and thousands of Island dollars lost by the investment in Thursday, but who was counting? You know, besides Island’s accountants.
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Rise Against – Siren Song of the Counter-Culture, Dreamworks (2004)
Punk Outrage Level: 3/10
Rise Against sound exactly like the kind of band who would tickle the punk fancy of a major label A&R person, which is not a compliment. So it made total sense for Dreamworks to pick up their 2004, Something Vague About Revolutions or Whatever.
Anti-Flag – For Blood and Empire, RCA (2006)
Punk Outrage Level: 3.5/10
There’s always something inherently goofy about seeing a politically charged punk record on a major label. It’s like, “Hey look at us, we want to change the world but we also don’t really wanna have five roomates when we’re 40!” But if you asked most punk fans, they’d be hard pressed to name an Anti-Flag album that isn’t Die for the Government anyway. So after a decade of paying their dues and spreading their anti-corporation message across various indie labels, they did this one for RCA. Good for you, Anti-Flag. Get what ya worth, dawgs.
Against Me! – New Wave, Sire (2007)
Punk Outrage Level: 12/10
Against Me! have pissed fans off incrementally over their career. After releasing a few rough EPs on smaller labels like Crasshole, Plan-It-X, and Sabot, they made a slightly bigger jump to Florida staple No Idea Records for their debut album, Reinventing Axl Rose. All good so far, punks? Cool. Let’s move on…
Then came the jump to Fat Mike’s label Fat Wreck Chords, which you wouldn’t think would be a big deal but for some reason was. To show the band what they thought, fans supposedly once dumped bleach on their merch. Since people were already good and riled up anyway, the band said fuck it and signed to Sire Records, a division of Warner. People started questioning how far Against Me! had strayed from that sweaty band playing DIY anthems in Florida basements they knew and loved. This went on for a few more years until last year when Against Me! made the minutia of record labels a completely moot point and shut any remaining contrarian idiots up with Transgender Dysphoria Blues and, well… the rest is history.
The Offspring sells song rights for a crazy amount of money
A US music rights company has bought the rights to songs by The Offspring for an alleged $35 million (£24 million).
Based in New York, Round Hill’s deal includes an extensive range of the American punk rock band’s discography that they recorded for Columbia, Billboard reports.
Their biggest-selling records Igntion (1992) and Smash (1994) will remain with their original record label, Epitaph.
The Offspring’s frontman Dexter Holland commented on the deal, saying: “We felt that having the right caretaker for our catalogue, both the masters and the publishing, is incredibly important to the future of our career.”
“Round Hill understands that we are continuing to perform and record and that the visibility of our past is critical to our future.”
The Offspring, who have sold over 36 million records worldwide, are perhaps best known for singles “Pretty Fly (For a White Guy)” and “Why Don’t You Get a Job?”. They will play a string of European festivals this summer.
A music company just paid $35m for the Offspring’s catalogue. Why?
When was the last time you thought about the Offspring? Maybe when Pretty Fly (For a White Guy) topped the UK charts in 1999? Or maybe you followed them until their final UK hit, (Can’t Get My) Head Around You (No 48 in 2004). Perhaps you’re one of the loyal fans who bought their last album, Days Go By, in 2012, which peaked at No 12 in the US. Whatever your feelings about their music, however, it’s likely you no longer think of them as being one of the vital forces of the music industry, nor as one of the heritage acts guaranteed to generate money.
That doesn’t matter to the music rights company Round Hill Music, which has just paid a reported $35m (£24m) to the Offspring to acquire most of their rights. It now owns the rights to the group’s recordings for Columbia – six albums and a hits compilation – and the publishing rights to all nine of their albums, including the three they recorded for Epitaph, among them their biggest seller, Smash (though that is not included in the deal on recordings).
It feels as if it was not one but two lifetimes ago that the Offspring were the name on our lips. Why would anyone want to buy their catalogue? And, more to the point, why would they pay $35m for it?
To answer that, it’s important to get a better understanding of what Round Hill is and what it does. It describes itself as a “full-service, creative music company with a core focus on music publishing”. It has a roster of new acts, but none of the songs in its substantial catalogue could be classed as blockbusters. Except, that is, the half-dozen early Beatles hits for which it owns the the US and Canadian publishing rights.
As well as royalty accounting, tracking and collection, Round Hill also offers music supervision and synchronisation (which means pitching tracks for use in TV shows, films and adverts), library music, the commissioning of original scores and the brokering of co-writes. It is this many-tentacled aspect that provides a clue as to why the business has bought the Offspring catalogue. And catalogue deals are more common than one might think.
“Trading in catalogue is par for the course,” says Gregor Pryor, co-chair of the global entertainment and media industry group at legal firm Reed Smith. “This one is getting press because of the numbers.”
Indeed, the history of the major labels is the history of the slow but steady acquisition of catalogues and smaller labels. Warner, for example, became pre-eminent in the 1970s after acquiring Elektra and Atlantic – and recently bought Parlophone, which used to sit within EMI. Most of EMI, in turn, has since been absorbed into Universal, which bulked itself up over the years by acquiring labels such as Motown, Def Jam and Island. Even independent labels are not shy of consolidation, with Rough Trade and Matador now sitting within Beggars Group.
Round Hill also needs to be understood as part of a new wave of independent companies such as BMG Rights Management, Kobalt and Concord Music Group. They all sit beyond the gravitational pull of the majors and big indies, focussing on building up large catalogues rather than nurturing new artists.
The Offspring catalogue acquisition, therefore, could be read as a statement deal by Round Hill, intended to send out a message to the rest of the record and publishing industry that it has very big plans for the coming years. It would be easy to laugh at the idea of the Offspring as a prize scalp were it not for two important considerations. First, the Offspring are just the starting point. Second, the deal covers two sets of rights – sound recording and publishing – and this is hugely significant for synchronisation.
“If you buy the masters and the publishing together, you clearly have an eye on synchronisation,” Pryor says. “Sync is the Holy Grail for lots of heritage acts and rights owners. Sync deals are an incredible growth area.”
Often in sync deals, the licensee has to negotiate a fee and term with a label and then do the same with the publisher. If one company can offer both rights in one deal, that becomes much more attractive on a business level, as well as being much easier in practical terms.
“There is always competition for these kinds of catalogues,” Pryor says. “Catalogue trading is like the subterranean world of the music industry. It’s an annuity business. You buy a catalogue and you have a really good idea of what it’s worth, or what money it can generate, as you can see the past returns. All you have to do is figure out what you think that asset class is going to be worth.”
What this means is that Round Hill will have done its due diligence on the Offspring’s catalogue, ensuring that it owns it all outright but also dispatching teams of accountants and lawyers to fine-comb their way through all retroactive royalty payments. From those, they can work out what is termed a “multiple”, forecasting what it will earn in the coming years.
In a statement after the deal was announced, singer Dexter Holland said: “We felt that having the right caretaker for our catalogue … is incredibly important to the future of our career. Round Hill understands that we are continuing to perform and record and that the visibility of our past is critical to our future.”
The corporate tone of the statement may seem more suited to a Silicon Valley start-up acquisition than a punk band, but it’s clear that the Offspring are in line for an ego boost. With Round Hill, the band will find themselves a priority again, more than a decade after their sales started to dry up at Columbia and newer and shinier acts soaked up the attention they had once enjoyed.
As Pryor says: “I would imagine the band have some form of preferred interest in getting this type of deal because a business like Round Hill will give them much more love and attention than a bigger label that has a huge number of artists. Plus, the broader economy is volatile, but music catalogues [as an investment] are pretty stable.”
It seems unlikely the Offspring will be doing the next Bond theme or John Lewis advertisement, but you can expect Round Hill to be swinging into action and placing as much of their music as possible. And if it’s successful, it is easy to envisage more acts of a certain vintage deciding to look for a similar deal. The Offspring’s musical legacy might be slight, but their business legacy could prove to be grand.
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