Alice in Chains

by David de Sola

  Bodenheimer was shocked. “Layne said that to me, and that was very hurtful—it hurt me. I wasn’t, like, a total dick. I did have feelings, I felt bad about what was going on, but I couldn’t help it, because I truly … I really did love her.” Although he wasn’t there, Bodenheimer later heard from a friend who attended the Clash of the Titans show at Red Rocks that Layne had introduced a song—he doesn’t know which one—saying words to the effect of “This is about Duane Bodenheimer, scummy drug junkie.”

  The same night as the Alice in Chains shoot, Nirvana was performing a last-minute show at the OK Hotel before heading to Los Angeles to record their sophomore album, Nevermind. The show is best remembered for being the first public performance of “Smells Like Teen Spirit” and has since grown to near-legendary status in Seattle grunge lore.13

  * * *

  Alice in Chains landed the opening slot on the Clash of the Titans tour during the summer of 1991, literally by accident. Musically, they were the odd men out—the other three bands on the bill were Megadeth, Slayer, and Anthrax. The opening slot was originally supposed to go to Death Angel, who had to bail out of the tour after a bus accident.14

  Asked by Riki Rachtman, host of Headbangers Ball, what it was like to be opening for them, Mike responded, “It’s really smelly, but it’s great—it’s awesome—we’re having a great time. All of the guys are really cool.”15

  A more candid assessment of the experience came years later. “Slayer fans were brutal to us,” Jerry would recall. “When we played at Red Rocks, they were throwing so much shit at us that we could hardly see the crowd.

  “Someone threw a huge water jug that knocked over Sean’s cymbals, and spit was flying everywhere. Layne just shouted ‘Fuck you!’ and spit back at them.”

  Their toughness and willingness to stick it out in the midst of a relentless onslaught from a hostile crowd won them a few converts. “We finished the set and we were like, ‘Jesus Christ, that was insane,’” Jerry recalled. “We’re waiting to get in the bus to leave, and there were a bunch of Slayer fans backstage that had passes and they started walking toward us. We’re like, ‘We’re gonna get our fuckin’ asses kicked.’ But they walked over and went, ‘Okay, man. You didn’t puss out. I guess you’re all right.’”16

  Before the tour came to Seattle on May 30, Jeff Gilbert was interviewing Megadeth front man Dave Mustaine for an article for Guitar World magazine. Gilbert mentioned he was friends with Alice in Chains. Mustaine asked what he knew about them. Gilbert praised Alice in Chains but noted, “They used to be a full-on Poison-style glam band.”

  Mustaine looked at him and said, “Are you kidding me?”

  “No. In fact, I still have pictures of them from back in the day.” He was referring to the Alice ’N Chains design he had pressed onto T-shirts a few years earlier. He sent it to Mustaine, who had the tour manager make posters out of it and place them all over Mercer Arena. “By the time Alice in Chains showed up, you couldn’t walk anywhere. Those poor guys would walk in and see this glam band Alice ’N Chains, and it was so flippin’ funny. Just everywhere, before the doors even opened. So that way, when these guys rolled in backstage, it was the funniest thing,” Gilbert said, chuckling pretty hard.

  Gilbert was walking down the hallway backstage when he saw Layne.

  “Hey, Layne.”

  “Hey, man.”

  And then Layne put two and two together.

  “HEY!”

  “Layne knew exactly when he saw me. He goes, ‘God dang it, man!’ He liked the joke, though—he thought it was pretty funny,” Gilbert said. “I asked [the other members of Alice in Chains] later, and Jerry and I were talking. He said, ‘Oh, man. We did some shows with those guys and they just ripped us into the ground. They were busting our chops left and right.’ I’m like, ‘Well, you deserved it. Look how goofy you guys used to look.’”

  The most important thing to happen during this tour wasn’t even the tour itself. “Man in the Box” was about to jump-start the band’s career.

  * * *

  At some point in the late spring of 1991, there was a meeting at MTV to decide which of two videos—“Man in the Box” or either Blue Murder’s “Valley of the Kings” or “Jelly Roll”—would get the network’s coveted “Buzz Bin” seal of approval. In that pre-YouTube, pre–realityshow era when music videos formed a large part of MTV’s daily programming, getting a video in regular airplay on the network could have an enormous impact on a band’s career. According to Rick Krim, at the time MTV’s vice president of music and programming and a participant in that meeting, “Buzz Bin” meant a video would get heavy rotation: “That clip got X number of plays for that week and then it probably goes into some other kind of rotation after that.”

  Krim said the discussion centered on “whether we pick this big, glossy hair band, sort of late-in-the-game hair-band video by this band [Blue Murder] or this dark, sepia-toned, sort of weird band, Alice in Chains. I don’t remember the deciding factor, but we decided it was time to change the landscape a little bit, try something different, and we went with Alice in Chains.”

  As far as the decision-making process, Krim said they would have votes or try to reach a consensus. For “Man in the Box,” he said, “I think we talked both sides through, and I do think the consensus ultimately was, ‘Let’s just try something different,’ which it certainly was.” This was how a group of fewer than ten people broke Alice in Chains nationally.

  “That video in the MTV ‘Buzz’ clip helped us out a lot, and I know it helped a lot of other bands as well,” Jerry said during an interview with MTV. “It can blow you up really fast.” The impact was immediate. One week after MTV put “Man in the Box” in the “Buzz Bin” in early May 1991, Facelift jumped from number 166 on the Billboard chart to 108. A month and a half later, the album peaked at number 42.17

  “I think MTV had a lot to do with it. I think MTV at that time in particular was really leading the drive on record sales. It was kinda the peak of MTV. Everybody was watching. When MTV put it in ‘Buzz Bin,’ everything changed for that band, everything,” Paul Rachman said. He also thinks it was MTV that drove the song’s airplay on rock radio.

  According to Jerry, Facelift had sold only about forty thousand copies after eight months of touring by the time the “Man in the Box” video hit.18 Another indicator of the song’s success happened when the band and crew walked into a bar on a night off from the tour and heard the bar band performing a cover of “Man in the Box.”

  “We couldn’t believe it. We were blown away,” Biro said of the band and crew’s reaction. “They didn’t know we had come in through a back door. Nobody knew we were there.”

  “[The ‘Man in the Box’ cover] sounded atrocious, but they knew who it was,” Biro said, referring to the band’s recognition of their song. “And then [the bar band] got all weirded out when they realized the band was there.”

  Another sign was when the band started getting recognized at truck stops and people were asking for autographs. It was during this period that Jerry realized he would have to learn how to read sheet music. According to Biro, that decision came after seeing transcriptions of Alice in Chains songs and discovering they were inaccurate.

  The band’s popularity in Seattle grew by leaps and bounds. “I almost can’t describe it. They were just ridiculously popular up here,” Jeff Gilbert said. “Fans would call KISW and just demand that KISW keep playing them. That led to ‘Metal Shop’ putting them into regular rotation. That album got more airplay than Nirvana, Pearl Jam, and Soundgarden combined. That is a fact right there—that band got sick amounts of airplay. Everybody was an Alice in Chains fan.”

  If imitation is the sincerest form of flattery, then Alice in Chains should have been very flattered after the success of “Man in the Box” and, later on, the Dirt album. Jack Endino, who produced Bleach, told Nirvana biographer Everett True, “Right around ’92, ’93, that was everybody’s meal ticket. ‘Oh, we’ve got to sound like Nirvan
a, or the Melvins or Soundgarden’ … or, times a thousand … ‘We’ve got to sound like Alice in Chains.’ That was the easiest blueprint for the suburban metalheads to follow because Alice in Chains made the transition from metal into grunge, whereas the other bands came from punk rock.

  “Everybody copped to the metal side of grunge and that was where the really bad horde of imitators came from, the Soundgarden and Alice in Chains side of the grunge equation. The people who were hair metal bands a few years ago and now they’re a grunge band.”19

  Kathleen Austin said Layne was having issues with his newfound fame. “Layne hated the fame. He couldn’t go to a cash machine without it being written up,” she said. “The Rocket … would say, ‘Seen at ATM outside 7-Eleven on such and such at three A.M., Layne Staley.’ He couldn’t go anywhere. The next time he’d go to that machine, there’d be people hiding in the bushes. He hated it.”

  Another time, Layne and Demri had gone out to dinner with Austin at one of their favorite restaurants. “They had just brought our food, the three of us, and we’re involved in a family conversation. This guy comes up and just, ‘You’re Layne Staley! My girlfriend’s in the back in the bar. I really need your autograph. I have to take it to my girlfriend.’ It just kind of hit me the wrong way,” Austin recalled. “I turned and I looked at this person, and I said, ‘You know, we’re trying to have a family dinner here. I’m sure that Layne would love to write his name on a napkin for you after we have our dinner.’ And of course, he’s backing up and backing off. He apologized and he left.”

  After this happened, she looked at Layne and said, “Oh, honey, I’m so sorry. That was not for me to do. Please forgive me.” He replied, “Oh, Kathleen, I just wish I could take you with me everywhere I go.”

  Layne later told Jon Wiederhorn, “When someone’s excited about what you do, you’ve got to give them respect and be grateful. But when they run by and pull a clump of dreadlocks out of your head and your scalp is bleeding, then you should just kick the shit out of them.”20

  A few years later, Layne was talking to Randy Biro. “The greatest line he ever told me: he said if he had known that being in a band was going to be such a tough job, he would have stayed dealing weed,” Biro recalled.

  Layne wasn’t the only one having issues with fame. According to Austin, “People approached my daughter and [would] say, ‘Oh, I know you! You’re Layne’s girlfriend!’ And she would say, ‘No, I’m Demri.’ Demri had had a strong sense of self since she was two years old, and she started losing her identity to Layne, being identified as Layne’s girlfriend. Layne, on the other hand, started losing his identity to the band.” She added, “There were times that people came up to him and [said], ‘Oh, I know you! You’re Alice in Chains!’ And he’d say, ‘Do I look like an Alice to you?’”

  At some point during 1990–91, Layne and Demri got engaged. Austin does not know the specifics of when or how this happened but says that Layne bought Demri a claddagh ring, an Irish design consisting of two hands clasping a heart, often surmounted by a crown. She recalled that Layne and Demri went to see her at Harborview Medical Center, where she worked, to tell her of their engagement, adding “and then they had a big engagement dinner, down at the Old Spaghetti Factory.”

  Jim Elmer recalls that the two families went out to dinner to celebrate the engagement. Wedding plans were made, though the engagement was eventually called off. According to Austin, Layne and Demri chose Kiana Lodge for the venue, located on Bainbridge Island, a ferry ride away from downtown Seattle.21 Demri bought a wedding dress from a vintage clothing store in Pioneer Square.

  Johnny Bacolas remembers the engagement and thinks it happened in 1991. He recalls one time while working at his father’s Greek restaurant in the U District when Layne, Mike, and Demri came to see him. Layne told him he was engaged. He also recalls Mike taking a shot of whiskey and saying, “I’m going to be his best man! He’s my bro. I’m going to be his best man at the wedding!” Bacolas assumed this to be true, because he was saying this openly with Layne and Demri right there. In terms of Layne’s demeanor, Bacolas said, “They seemed happy. It just seemed logical because he loved her and that was the next logical step.” Neither Jim Elmer nor Kathleen Austin had ever heard that Mike was to be Layne’s best man. “It never got that far,” Austin said. “There wasn’t a date. There were colors picked out, and nobody told them to me. But I do know that they were very happy at that time.”

  * * *

  Coming off the success of “Man in the Box,” Paul Rachman traveled to Seattle to direct Temple of the Dog’s video for “Hunger Strike,” which was shot in the spring of 1991. It was during this period that he met Demri. One night she came up to Rachman and told him, “I’m an actress up here and I’d love to audition or whatever.” On a napkin, she wrote down what Rachman described as “a handwritten head shot” with her name, contact information, and adjectives such as “good-looking,” “short,” “loud,” and “exotic” to describe herself.

  Demri told him she was modeling and wanted to do music videos and then movies. “She really needed to move to LA but didn’t—she thought she could get gigs with contacts in LA and fly there to work but that doesn’t really work,” Rachman wrote in an e-mail. Of the note’s significance, he wrote, “That note does give proof of her professional dreams.”22

  After the “Hunger Strike” shoot, Rachman went out in downtown Seattle with members of Temple of the Dog, where Rachman ran into Layne, and the two hugged. Rachman remembers Layne looking “a little more worn down” than a few months earlier.

  By early June 1991, with “Man in the Box” in heavy rotation, Columbia Records was pushing for a follow-up single to capitalize on their breakout hit. It was also Rachman’s impression that the label wanted another single “in case ‘Man in the Box’ ran out of steam.” He got the nod to direct the video for “Sea of Sorrow,” which he says the label wanted to be “a little more conceptual.”

  Columbia wanted to make the video while the band was on the Clash of the Titans tour. Rachman was pushing back, trying to postpone it until the band finished the tour and could travel to Los Angeles or New York, where he had people and resources to make the video properly. But Columbia was adamant, asking Rachman to shoot the video in Salt Lake City on the band’s day off from the tour.

  The video was “very high concept” in terms of stage design, with a production budget that was probably double what he had for “Man in the Box.” But according to Rachman, the label’s insistence on shooting the video immediately affected the production. “It was probably one of my most nightmarish shoots. I’d never had so many problems. We shipped the lights there, and we shipped one extra in case something happens, and I needed four minimum, because there was one for each guy in the band. They were going to be each their own color. Of course, two of them get there broken, so we have to find another one. The local crews are really slow, so setting up the stage took forever. We’re hoping to start shooting at like eight in the morning, nine in the morning. We didn’t start shooting until five P.M.”

  Rachman said the band members were “more cranky. They were kind of bigger rock stars.” Another difference was they wanted their girlfriends at the time to appear, but Rachman didn’t want to do a “cheesy rock chick” video. Demri did not travel to Salt Lake City for the shoot, although Rachman said other members’ girlfriends did. For the others, they cast local girls from Salt Lake City.

  The change in attitude wasn’t just toward Rachman. “They weren’t listening to Susan as much anymore. They all had their own ideas. They were all taking advantage of a little more power and influence. And that affected me indirectly.” Rachman remembered Susan and Jerry arguing about Jerry’s choice of jacket he wore in the video.

  “What happens to this video is just tragic,” Rachman said. He was under pressure from the band and the label. “So stupid ideas were coming from the band a little bit, and I’m getting challenged by the label to deliver this high concept in a dif
ficult situation and the shoot was a nightmare.” He didn’t feel good about the shoot when he returned to Los Angeles, but to his surprise, he liked the footage. “It was very dark and moody and kind of trippy. There was a psychedelic tone to it. And if you listen to the song, it has this very psychedelic drone to it.”

  By the time Rachman delivered the first cut of the video, “Man in the Box” was peaking in its MTV popularity. The song got another boost after it was nominated for Best Metal/Hard Rock Video at the 1991 MTV Video Music Awards, scheduled for September. “In retrospect, we never had to go do this ‘Sea of Sorrow’ video in such a rush, because effectively ‘Man in the Box’ outlived and outperformed even the ‘Sea of Sorrow’ single that came after.”

  The “Sea of Sorrow” video went through several cuts. Rachman kept arguing with Columbia Records, culminating with an incident in which he was on the phone with a vice president of the company, describing the feedback he was getting as “so ludicrous, and they had no ideas.” Rachman lost his temper, telling the executive to go fuck himself and hanging up the phone. He didn’t work with Columbia Records again until several years later. Rachman’s cut of the video began airing, but the label took some of his footage and provided it to another director, who added new black-and-white material he shot later. Both versions of the video would later surface on the Internet.

  With “Man in the Box” as their breakout single and video, Alice in Chains was beginning to reap the rewards of years of hard work. For the rest of 1991, the band members would reach new professional heights, but at the same time, their future was about to take an ominous turn.

  Chapter 13

  When I took that first hit, for the first time in my life,