Freddy or Freddie may refer to:

People[link]

• Freddy (given name)
• Freddy (singer) (Fredesvinda García), Cuban singer
• Andrew Flintoff, English cricketer whose nickname is Freddie
• Brad Fittler, also known as Freddie Fittler, Australian Rugby League Player
• Freddy Fuller, 1960's and 70's Canadian Boxer
• Freddie Mercury rock singer and vocalist of rock band Queen
• Freddie Prinze (1954–1977), American actor and stand-up comedian
• Freddie Prinze, Jr., American actor, son of the above
• Freddy Wexler, a musician from New York City.

Characteres[link]

• Freddy, a main character in the webcomic Ghastly's Ghastly Comic
• Freddy (Rainbow), a character of the British children's television programme Rainbow
• Freddy (weather), a cartoon weatherman in Hong Kong
• Freddy Auratus, a fiction golden hamster from The Golden Hamster Saga, written by Dietlof Reiche
• Freddie Benson (iCarly), a fiction character from iCarly
• Freddy the Ferret, a fictional character in Barnyard & Back at the Barnyard
• Fred Jones (Scooby-Doo), a character in the Scooby Doo series
• Freddy Krueger, a fictional killer in the psychological thriller A Nightmare on Elm Street
• Freddie McClair, a fictional character from Skins
• Freddy the Pig, a character in a series of children's books written by Walter R. Brooks

Other[link]

• Freddie, a television sitcom created by, and starring, Freddie Prinze, Jr. that aired from October 2005 to April 2006
• The Freddy, a 1960s dance craze
• Freddy or Freddy II, experimental robots built during the 70s in the Department of Machine Intelligence and Perception at the University of Edinburgh.
• The Freddy Awards, a high school theatre awards ceremony in the Lehigh Valley region in Pennsylvania and New Jersey
• Freddie Mac, government sponsored enterprise of the U.S. federal government, authorized to make loans and loan guarantees

See also[link]

Look up Freddy in Wiktionary, the free dictionary.

• Fred (disambiguation)

This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.

Sweet foods, such as this strawberry shortcake, are often eaten for dessert.

Sweetness is one of the five basic tastes and is almost universally regarded as a pleasurable experience. Foods rich in simple carbohydrates such as sugar are those most commonly associated with sweetness, although there are other natural and artificial compounds that are sweet at much lower concentrations, allowing their use as non-caloric sugar substitutes. Other compounds may alter perception of sweetness itself.

The chemosensory basis for detecting sweetness, which varies among both individuals and species, has only been teased apart in recent years. A recent theoretical model of sweetness is the multipoint attachment theory, which involves multiple binding sites between a sweetness receptor and a sweet substance.

Studies indicate that responsiveness to sugars and sweetness has very ancient evolutionary beginnings, being manifest as chemotaxis even in motile bacteria such as E. coli.^[1] Newborn human infants also demonstrate preferences for high sugar concentrations and prefer solutions that are sweeter than lactose, the sugar found in breast milk.^[2][3] Sweetness appears to have the highest taste recognition threshold, being detectable at around 1 part in 200 of sucrose in solution. By comparison, bitterness appears to have the lowest detection threshold, at about 1 part in 2 million for quinine in solution.^[4] In the natural settings that human primate ancestors evolved in, sweetness intensity should indicate energy density, while bitterness tends to indicate toxicity^[5][6][7] The high sweetness detection threshold and low bitterness detection threshold would have predisposed our primate ancestors to seek out sweet-tasting (and energy-dense) foods and avoid bitter-tasting foods. Even amongst leaf-eating primates, there is a tendency to prefer immature leaves, which tend to be higher in protein and lower in fibre and poisons than mature leaves.^[8] The 'sweet tooth' thus has an ancient evolutionary heritage, and while food processing has changed consumption patterns,^[9][10] human physiology remains largely unchanged.^[11]

Examples of sweet substances[link]

A great diversity of chemical compounds, such as aldehydes, ketones are sweet. Among common biological substances, all of the simple carbohydrates are sweet to at least some degree. Sucrose (table sugar) is the prototypical example of a sweet substance. Sucrose in solution has a sweetness perception rating of 1, and other substances are rated relative to this.^[12] For example, another sugar, fructose, is somewhat sweeter, being rated at 1.7 times the sweetness of sucrose.^[12] Some of the amino acids are mildly sweet: alanine, glycine, and serine are the sweetest. Some other amino acids are perceived as both sweet and bitter.

A number of plant species produce glycosides that are sweet at concentrations much lower than sugar. The most well-known example is glycyrrhizin, the sweet component of licorice root, which is about 30 times sweeter than sucrose. Another commercially important example is stevioside, from the South American shrub Stevia rebaudiana. It is roughly 250 times sweeter than sucrose. Another class of potent natural sweeteners are the sweet proteins such as thaumatin, found in the West African katemfe fruit. Hen egg lysozyme, an antibiotic protein found in chicken eggs, is also sweet.

Even some inorganic compounds are sweet, including beryllium chloride and Lead(II) acetate. The latter may have contributed to lead poisoning among the ancient Roman aristocracy: the Roman delicacy sapa was prepared by boiling soured wine (containing acetic acid) in lead pots.

Hundreds of synthetic organic compounds are known to be sweet. The number of these that are legally permitted as food additives is, however, much smaller. For example, chloroform, nitrobenzene, and Ethylene glycol are sweet, but also toxic. As of 2005^[update], seven artificial sweeteners are in widespread use: saccharin, cyclamate, aspartame, acesulfame potassium, sucralose, alitame, and neotame. However cyclamate is banned in the US since 1969.^[18]

Sweetness modifiers[link]

A few substances alter the way sweet taste is perceived. One class of these inhibits the perception of sweet tastes, whether from sugars or from highly potent sweeteners. Commercially, the most important of these is lactisole,^[19] a compound produced by Domino Sugar. It is used in some jellies and other fruit preserves to bring out their fruit flavors by suppressing their otherwise strong sweetness.

Two natural products have been documented to have similar sweetness-inhibiting properties: gymnemic acid, extracted from the leaves of the Indian vine Gymnema sylvestre and ziziphin, from the leaves of the Chinese jujube (Ziziphus jujuba).^[20] Gymnemic acid has been widely promoted within herbal medicine as a treatment for sugar cravings and diabetes mellitus.

On the other hand, two plant proteins, miraculin^[21] and curculin,^[22] cause sour foods to taste sweet. Once the tongue has been exposed to either of these proteins, sourness is perceived as sweetness for up to an hour afterwards. While curculin has some innate sweet taste of its own, miraculin is by itself quite tasteless.

The sweetness receptor[link]

Sweetness is perceived by the taste buds.

Despite the wide variety of chemical substances known to be sweet, and knowledge that the ability to perceive sweet taste must reside in taste buds on the tongue, the biomolecular mechanism of sweet taste was sufficiently elusive that as recently as the 1990s, there was some doubt whether any single "sweetness receptor" actually exists.

The breakthrough for the present understanding of sweetness occurred in 2001, when experiments with laboratory mice showed that mice possessing different versions of the gene T1R3 prefer sweet foods to different extents. Subsequent research has shown that the T1R3 protein forms a complex with a related protein, called T1R2, to form a G-protein coupled receptor that is the sweetness receptor in mammals.^[23]

Sweetness perception may differ between species significantly. For example, even amongst the primates sweetness is quite variable. New World monkeys do not find aspartame sweet, while Old World monkeys and apes (including humans) all do.^[24] Felidae like cats cannot perceive sweetness at all.^[25]

Sweet Receptor Pathway[link]

To depolarize the cell, and ultimately generate a response, the body uses a different taste receptor pathway for each taste—sweet, sour, salty, bitter, umami, etc. Incoming sweet molecules bind to their receptors, which causes a conformational change in the molecule. This change activates the G-protein, gustducin, which in turn activates adenylate cyclase. Adenylate cyclase catalyzes the conversion of ATP to cAMP. The cAMP molecule then activates a protein kinase, which in turn phosphorylates and closes a potassium ion channel. The excess potassium ions increase the positive charge within the cell causing voltage-gated calcium ion channels to open, further depolarizing the cell. The increase in calcium ultimately causes neurotransmitter release, which is then received by a primary afferent neuron.

Cognition[link]

The color of food can affect sweetness perception. Adding more red color to a drink increases its sweetness with darker colored solutions being rated 2–10% higher than lighter ones even though it had 1% less sucrose concentration.^[26] The effect of color is believed to be due to cognitive expectations.^[27] Some odors smell sweet and memory confuses whether sweetness was tasted or smelt.^[28]

Historical theories of sweetness[link]

Lugduname is the sweetest chemical known.

The development of organic chemistry in the 19th century introduced many new chemical compounds and the means to determine their molecular structures. Early organic chemists tasted many of their products, either intentionally (as a means of characterization) or accidentally (due to poor laboratory hygiene). One of the first attempts to draw systematic correlations between molecules' structures and their tastes was made by a German chemist, Georg Cohn, in 1914. He hypothesized that to evoke a certain taste, a molecule must contain some structural motif (called a sapophore) that produces that taste. With regard to sweetness, he noted that molecules containing multiple hydroxyl groups and those containing chlorine atoms are often sweet, and that among a series of structurally similar compounds, those with smaller molecular weights were often sweeter than the larger compounds.

In 1919, Oertly and Myers proposed a more elaborate theory based on a then-current theory of color in synthetic dyes. They hypothesized that to be sweet, a compound must contain one each of two classes of structural motif, a glucophore and an auxogluc. Based on those compounds known to be sweet at the time, they proposed a list of six candidate glucophores and nine auxoglucs.

From these beginnings in the early 20th century, the theory of sweetness enjoyed little further academic attention until 1963, when Robert Shallenberger and Terry Acree proposed the AH-B theory of sweetness. Simply put, they proposed that to be sweet, a compound must contain a hydrogen bond donor (AH) and a Lewis base (B) separated by about 0.3 nanometres. According to this theory, the AH-B unit of a sweetener binds with a corresponding AH-B unit on the biological sweetness receptor to produce the sensation of sweetness.

B-X theory proposed by Lemont Kier in 1972. While previous researchers had noted that among some groups of compounds, there seemed to be a correlation between hydrophobicity and sweetness, this theory formalized these observations by proposing that to be sweet, a compound must have a third binding site (labeled X) that could interact with a hydrophobic site on the sweetness receptor via London dispersion forces. Later researchers have statistically analyzed the distances between the presumed AH, B, and X sites in several families of sweet substances to estimate the distances between these interaction sites on the sweetness receptor.

MPA theory of sweetness[link]

The most elaborate theory of sweetness to date is the multipoint attachment theory (MPA) proposed by Jean-Marie Tinti and Claude Nofre in 1991. This theory involves a total of eight interaction sites between a sweetener and the sweetness receptor, although not all sweeteners interact with all eight sites.^[29] This model has successfully directed efforts aimed at finding highly potent sweeteners, including the most potent family of sweeteners known to date, the guanidine sweeteners. The most potent of these, lugduname, is about 225,000 times sweeter than sucrose.

Notes[link]

References[link]

Cited[link]

General[link]

Freddie King (September 3, 1934 – December 28, 1976), thought to have been born as Frederick Christian, originally recording as Freddy King, and nicknamed "the Texas Cannonball", was an influential American blues guitarist and singer. He is often mentioned as one of "the Three Kings" of electric blues guitar, along with Albert King and B.B. King, as well as the youngest of the three.^[1]

Freddie King based his guitar style on Texas and Chicago influences and was one of the first bluesmen to have a multi-racial backing band onstage with him at live performances. He is best known for singles such as "Have You Ever Loved A Woman" (1960) and his Top 40 hit "Hide Away" (1961). He is also known for albums such as the early, instrumental-packed Let's Hide Away and Dance Away with Freddy King (1961) and the later album Burglar (1974), which displayed King's mature versatility as both player and singer in a range of blues and funk styles.^[2]

King had a twenty-year recording career and became established as an influential guitarist with hits for Federal Records, in the early 1960s. He inspired American musicians such as Jerry Garcia, Stevie Ray Vaughan and his brother Jimmie Vaughan^[3] and others. His influence was also felt in UK, through recordings by blues revivalists such as Eric Clapton,^[4] Peter Green,^[5] and Chicken Shack.

Early life and name variations[link]

When King was only six, his mother Ella Mae and his uncle began teaching Freddie guitar. In autumn 1949 King and his family moved from Dallas to the South Side of Chicago.^[6] In 1952 King started working in a steel mill, the same year he married fellow Texas native Jessie Burnett, with whom he eventually had six children.^[7][8]

There are significant variations and unresolved confusion over King's use of the surname King. According to his estate, he was named "Freddy King" at birth and his parents were Ella Mae King and J.T.Christian.^[9] According to his sister, King had the surname Christian, even after their mother re-married and the family moved to Chicago and that by the mid 1950s he "Freddy Christian", was so musically ambitious that he changed his surname to King, to ride on the coat tails of B.B. King. It is notable that his first name is spelled "Freddy" on his recordings made between 1956 and 1964. From 1968 his name was credited as Freddie King.

Recording career[link]

1950s[link]

Almost as soon as he had moved to Chicago, King started sneaking into South Side nightclubs, where he heard blues performed by Muddy Waters, Howlin' Wolf, T-Bone Walker, Elmore James, and Sonny Boy Williamson. King formed his first band, the Every Hour Blues Boys, with guitarist Jimmie Lee Robinson and drummer Frank "Sonny" Scott. In 1952, while employed at the steel mill, an eighteen-year-old King occasionally worked as a sideman with such bands as the Little Sonny Cooper Band and Earl Payton's Blues Cats. In 1953 he recorded with the latter for Parrot Records, but these recordings were never released. As the 1950s went on, King played with several of Muddy Waters's sidemen and other Chicago mainstays, including guitarists Jimmy Rogers, Robert Lockwood, Jr., Eddie Taylor, Hound Dog Taylor, bassist Willie Dixon, pianist Memphis Slim, and harpist Little Walter.

In 1956 he cut his first record as a leader, for El-Bee Records. The A-side was a duet with a Margaret Whitfield, "Country Boy,",^[10] and the B-side was a King vocal. Both tracks feature the guitar of Robert Lockwood, Jr., who during these same years was also adding rhythm backing and fills to Little Walter's records.^[11]

King was repeatedly rejected in auditions for the South Side's Chess Records, the premier blues label, which was home to Muddy, Wolf, and Walter. The complaint was that Freddie King sang too much like B.B. King. A newer blues scene, lively with nightclubs and upstart record companies, was burgeoning on the West Side, though. Bassist and producer Willie Dixon, during a late 1950s period of estrangement from Chess, had King come to Cobra Records for a session, but the results have never been heard. Meanwhile, though, King established himself as perhaps the biggest musical force on the West Side. King played along with Magic Sam and supposedly did uncredited backing guitar on some of Sam's tracks for Mel London's Chief and Age labels,^[12] though King does not stand out anywhere.

Federal Records[link]

In 1959 King got to know Sonny Thompson, pianist, producer, and A&R man for Cincinnati's King Records and King owner Syd Nathan signed King to the subsidiary Federal label in 1960. King recorded his debut single for the label on August 26, 1960: "Have You Ever Loved a Woman" backed with "You've Got to Love Her with a Feeling" (again as "Freddy" King). From the same recording session at the King Studios in Cincinnati, Ohio, King cut the instrumental "Hide Away," which the next year reached #5 on the R&B Charts and #29 on the Pop Singles Charts, an unprecedented accomplishment for a blues instrumental. "Hide Away" was originally released as the B-side of "I Love the Woman". "Hide Away" was King's conglomeration of a theme by Hound Dog Taylor and parts by others, such as from "The Walk" by Jimmy McCracklin and "Peter Gunn", as credited by King. The song's title comes from Mel's Hide Away Lounge, a popular blues club on the West Side of Chicago.^[13] Willie Dixon later claimed that he had recorded King doing "Hide Away" for Cobra Records in the late 1950s, but such a version has never surfaced.^[14] "Hide Away" has since become a blues standard, and a pons asinorum for young blues players, who are often told "sure you can sit in, here's an easy one, 12 bar in E".

After their success with "Hide Away," King and Sonny Thompson recorded thirty instrumentals, including "The Stumble," "Just Pickin'," "Sen-Sa-Shun," "Side Tracked," "San-Ho-Zay," "High Rise," and "The Sad Nite Owl".^[15][16] Vocal tracks continued to be recorded throughout this period, but often the instrumentals were marketed on their own merits as albums. During the Federal period King toured with many of the R&B acts of the day such as, Sam Cooke, Jackie Wilson and James Brown, who performed in the same concerts.

Cotillion, Shelter, RSO Records[link]

King's contract with Federal expired in 1966, and his first overseas tour followed in 1968. King's availability was noticed by producer and saxophonist King Curtis, who had recorded a cover of "Hide Away," with Cornell Dupree on guitar in 1962. Curtis signed King to Atlantic in 1968, which resulted in two LPs, Freddie King Is a Blues Master (1969) and My Feeling for the Blues (1970), produced by Curtis for the Atlantic subsidiary Cotillion Records.^[17]

In 1969 King hired Jack Calmes as his manager, who secured him an appearance at the 1969 Texas Pop Festival, alongside Led Zeppelin and others,^[18] and this led to King's being signed to Leon Russell's new label, Shelter Records. The company treated King as an important artist, flying him to Chicago to the former Chess studios for the recording of Getting Ready and gave him a backing line-up of top session musicians, including rock pianist Leon Russell.^[19] Three albums were made during this period, including blues classics and new songs written by Russell and Don Nix.^[20]

King performed alongside the big rock acts of the day, such as Eric Clapton^[21] and for a young, mainly white audience, along with Caucasian tour drummer Gary Carnes for three years, before signing to RSO. In 1974 he recorded Burglar, for which Tom Dowd produced the track "Sugar Sweet" at Criteria Studios in Miami, with guitarists Clapton and slide guitarist George Terry, drummer Jamie Oldaker and bassist Carl Radle. Mike Vernon produced all the other tracks.^[22] Vernon also produced a second album Larger than Life^[23] with King, for the same label. Vernon brought in other notable musicians for both albums such as Bobby Tench of The Jeff Beck Group, to complement King^[24]

Playing style and technique[link]

King had an intuitive style, often creating guitar parts with vocal nuances.^[25] He achieved this by using the open string sound associated with Texas blues and the raw, screaming tones of West Side Chicago blues. In his early career he played a gold top Gibson Les Paul with P-90 pickups through a Gibson GA-40 amplifier, later moving on to Gibson ES-345 guitars,^[26] using a plastic thumb pick and a metal index-finger pick to achieve an aggressive finger attack, a style he learned from Jimmy Rogers. He had a relatively more aggressive and creative style of improvisation than others such as, B.B King and Albert King, considered by many to be a more exploratory and less traditional approach.^{[citation needed]}

King's later years (after 1970) were marked by a shift towards more of a hard, rock-like style, presumably in an effort to reach white audiences better.^{[citation needed]} He also largely quit performing new material in lieu of simply covering songs from B.B. King and other blues musicians.

Death[link]

Near-constant touring took its toll on King (he was on the road almost 300 days out of the year), and in 1976 he began suffering stomach ulcers. His health quickly deteriorated and he died on December 28 of complications from that and acute pancreatitis at the age of 42.

According to those that knew him, King's untimely death was due to both stress and poor diet (he was in the habit of consuming Bloody Marys in lieu of solid food so as not to waste time when setting up shows).

Discography[link]

See Freddie King discography

Awards and recognition[link]

In 1993 by proclamation from the Texas Governor Ann Richards September 3, 1993, was declared Freddie King Day. This is an honor reserved for Lone Star legends, e.g. Bob Wills and Buddy Holly.^[27]

Freddie King was placed 15th in Rolling Stone's list of the 100 greatest guitarists of all time.^[28]

King was inducted into the Rock and Roll Hall of Fame in 2012.

References[link]

Bibliography[link]

• Busby, Mark. The Southwest. Greenwood Publishing Group (2004). ISBN 978-0-313-32805-3
• Clapton, Eric. Clapton: The Autobiography. Broadway Books (2007). Digitized 4 Sep 2008.ISBN 978-0-385-51851-2
• Corcoran, Michael, Joseph, All Over the Map: True Heroes of Texas Music. University of Texas Press (2005). ISBN 978-0-292-70976-8
• Koster, Rick. Texas Music. St. Martin's Press (2000). ISBN 978-0-312-25425-4
• Hardy, Phil. Laing, Dave. Stephen, Barnard. Perretta, Don. Encyclopedia of Rock. Edition 2 (revised). Schirmer Books (1988). Digitized 21 Dec 2006. ISBN 978-0-02-919562-8
• O'Neal, Jim and Van Singel, Amy . The Voice of the Blues: Classic Interviews from Living Blues Magazine. Edition 10. Routledge (2002). ISBN 978-0-415-93653-8
• Lawrence, Robb . The Early Years of the Les Paul Legacy 1915-1963. Hal Leonard Corporation (2008). ISBN 978-0-634-04861-6
• Pruter, Robert. Chicago Soul. Edition 5 (reprint). University of Illinois Press (1992). ISBN 978-0-252-06259-9

External links[link]

• Freddie King at Allmusic
• The Freddie King Estate. "The Texas Cannonball: the Freddie King Official website". freddiekingsite.com. http://www.freddiekingsite.com/FKSweetHomeChicago.html. Retrieved 2009-05-14. 
• Harper, Johnny. "Freddie King". there1.com. http://www.there1.com/browse_articles.php?action=view_record&idnum=51. 

Steven Adler (born Michael Coletti; January 22, 1965) is an American musician. He is best known as the former drummer and co-songwriter of the hard rock band Guns N' Roses, with whom he achieved worldwide success in the late 1980s.^[1] Adler was fired from Guns N' Roses over his heroin addiction in 1990,^[2] following which he reformed his old band Road Crew and briefly joined BulletBoys, which both proved unsuccessful. During the 2000s, Adler was the drummer and frontman of the band Adler's Appetite, and since 2012, he has held the same positions in the band Adler. He appeared on the second and fifth seasons of the reality TV show Celebrity Rehab with Dr. Drew, as well as on the first season of its spin-off Sober House.

Life and career[link]

1965–1984: Early life and career[link]

Adler was born Michael Coletti in Cleveland, Ohio, the son of an Italian-American father and a Jewish American mother.^[3] His father soon left, after which his mother, Deanna, moved the family to Los Angeles, California.^[3] He was renamed Steven in observance of Jewish traditions, and he took on the surname Adler from his mother's marriage to Melvin Adler.^[3] He has an older brother, Kenny, and a younger half-brother, Jamie.^[2] Adler grew up in the San Fernando Valley until the age of 13, when he was sent to live with his grandparents in Hollywood due to his bad behavior.^[4] At Bancroft Junior High, Adler befriended Saul Hudson, later known as Slash;^[4][5] they met when Adler had a skateboarding accident and Slash stopped to help him.^[2] After ninth grade, Adler returned to his parents' house in the Valley for the remainder of high school,^[4][6] during which he learned to play drums.^[7]

Soon after his return to Hollywood, in 1983, Adler auditioned for Sunset Strip staple London.^[8] When the audition proved unsuccessful, he formed the band Road Crew—named after the Motörhead song "(We Are) The Road Crew"—with his childhood friend Slash. They placed an advertisement in a newspaper looking for a bassist, and received a response from Duff McKagan. They auditioned a number of singers, including one-time Black Flag vocalist Ron Reyes, and worked on material that included the main riff of what would become the Guns N' Roses song "Rocket Queen".^[9] Slash disbanded the group the following year due to them not being able to find a singer, as well as Adler's lack of work ethic compared to himself and McKagan.^[9] Adler then briefly joined a local band known as Hollywood Rose, which featured singer Axl Rose and guitarist Izzy Stradlin.^[10]

1985–1990: Guns N' Roses[link]

In June 1985, Adler joined Guns N' Roses, which was newly founded by Axl Rose, Izzy Stradlin, and several members of L.A. Guns.^[11] His former Road Crew band mates Slash and Duff McKagan completed the line-up. They played nightclubs—such as the Whisky a Go Go, The Roxy, and The Troubadour—and opened for larger acts throughout 1985 and 1986. It was during this period that the band wrote most of its classic material, including "Welcome to the Jungle", "Sweet Child o' Mine", and "Paradise City". After being scouted by several major record labels, the band signed with Geffen Records in March 1986.^[12]

In July 1987, Guns N' Roses released its debut album, Appetite for Destruction, which to date has sold over 28 million copies worldwide,^[13] 18 million of which in the United States, making it the best-selling debut album of all time in the US.^[14] In December, during a tour with Alice Cooper, an intoxicated Adler broke his hand when he punched a streetlight after a barroom brawl; Fred Coury of Cinderella was brought in as his substitute for several shows until he recovered.^[12][15] In November 1988, Guns N' Roses released G N' R Lies, which sold over five million copies in the US alone,^[14] despite containing only eight tracks, four of which were included on the previously released EP Live ?!*@ Like a Suicide.

Adler was again absent during a performance at the American Music Awards in January 1989; Don Henley filled in for him on drums.^[12] His absence was originally attributed to a case of the flu, but it was later revealed that Adler had been in a drug rehabilitation program at the time.^[16] The following October, during a show as opening act for the Rolling Stones, Axl Rose threatened to leave the band if certain members of the band didn't stop "dancing with Mr. Brownstone,"^[12] a reference to their song of the same name about heroin use. Adler was among those who promised to clean up,^[12] but he continued to struggle with his addiction.

Adler was briefly fired from the band over his drug use in early 1990, but he was reinstated after signing a contract in which he vowed to stop taking drugs.^[17] However, by the time the band entered the studio to record the song "Civil War", his addiction had become so severe that he was unable to perform. By Adler's own admission, he tried to play the song "20, maybe 30 times."^[2] The song's drum track had to be heavily edited just for his band mates to be able to play along with it.^[18] When problems in the studio continued, causing recording sessions to abort for several days at a time,^[19] Adler was formally fired from Guns N' Roses on July 11, 1990.^[20] He had played his final show with the band on April 7 at Farm Aid IV.^[12] Izzy Stradlin, who left the band in November 1991, later stated that replacing Adler with Matt Sorum of The Cult had a big impact on the band's sound, saying, "His sense of swing was the push and pull that give the songs their feel. When that was gone, it was just... unbelievable, weird. Nothing worked. I would have preferred to continue with Steve, but we'd had two years off and we couldn't wait any longer."^[21]

1991–2002: Post-Guns N' Roses troubles and hiatus[link]

In July 1991, Adler filed a lawsuit against his former Guns N' Roses band mates, contending that he was fired because the opiate-blocking drug he had been taking to aid his detox interfered with his concentration.^[20] He also alleged that the contract he had been made to sign took away his financial interest in the band, stating, "I was told that every time I did heroin, the band would fine me $2,000. ... What these contracts actually said was that the band were paying me $2,000 to leave. They were taking my royalties, all my writing credits. They didn't like me any more and just wanted me gone."^[2] The case was settled out of court in 1993; Adler received a back-payment check of $2,250,000 and was granted 15% of the royalties for everything he recorded prior to his departure.^[22][23]

Following his departure from Guns N' Roses, Adler reformed Road Crew with a new line-up, consisting of former Vain singer Davy Vain, guitarists Shawn Rorie and Jamie Scott, and bassist Ashley Mitchell.^[24] They recorded an album and attracted attention from a major label, but due to Adler's persistent drug problems, the group disbanded shortly thereafter.^[2] Adler then entered a prolonged, self-imposed exile from the music industry; he later recalled, "I wish I could say that I did a lot of traveling or self-improvement, but all I actually did was sit on the couch and get high—while the TV watched me. It was a very, very hard time."^[2]

In 1996, Adler suffered a stroke and was briefly comatose after taking a particularly potent speedball—a cocktail of heroin and cocaine used intravenously—which caused a temporary paralysis of the left side of his face, resulting in a speech impediment.^[2][25] The following year, he pleaded no contest to disturbing the peace in relation to a domestic violence charge involving a woman with whom he had been living; he was sentenced to four days in jail, three years' probation, and mandatory drug counseling.^[26]

In June 1998, Adler joined the newly reformed hard rock band BulletBoys, along with future Guns N' Roses guitarist DJ Ashba.^[27] The group recorded an album and announced a US summer tour with Faster Pussycat, Bang Tango and Enuff Z'nuff.^[27] However, Adler's return to music was cut short the following September, when he pleaded no contest to two counts of battery stemming from attacks on two other women in separate domestic violence incidents.^[26] He was sentenced to a 150-day term in prison and three years' probation, with the condition of undergoing a year of domestic violence counseling and a ban on using illegal drugs.^[26]

2003–2011: Adler's Appetite and reality TV[link]

In 2003, Adler formed the band Suki Jones, later renamed Adler's Appetite, with Ratt singer Jizzy Pearl, former Slash's Snakepit guitarist Keri Kelli, Faster Pussycat guitarist Brent Muscat, and former Ratt bassist Robbie Crane.^[28] With an ever-changing line-up due to members' previous commitments, the band toured the US and Europe throughout 2003 and 2004, playing mostly songs off Guns N' Roses' debut album Appetite for Destruction, as well as material by Aerosmith, Led Zeppelin, and Queen.^[28] In September 2003, Adler's Appetite performed a show at the Key Club in Hollywood, where they were joined on stage by Adler's former Guns N' Roses band mates Slash and Izzy Stradlin, for renditions of "Mr. Brownstone", "Paradise City", and "Knockin' on Heaven's Door".^[29]

In January 2005, Adler's Appetite—minus Brent Muscat, who had departed the band—released through their official website a self-titled EP, which featured four original songs and the covers "Hollywood" by Thin Lizzy and "Draw the Line" by Aerosmith. The release was followed by a tour of the US, Europe, Japan, and Argentina. Later that year, the band announced plans to release a full-length album through Shrapnel Records,^[30] but it failed to materialize. In July 2007, the group played another show at the Key Club, as part of their tour celebrating the 20th anniversary of Appetite for Destruction, during which they were joined on stage by former Guns N' Roses members Izzy Stradlin and Duff McKagan.^[31] Although Slash was also in attendance, he did not join the band on stage, stating that he did not want to encourage the notion of a Guns N' Roses reunion.^[32]

In 2008, Adler participated in the second season of the reality TV show Celebrity Rehab with Dr. Drew.^[33] The show's resident medical expert, Dr. Drew Pinsky, regarded Adler as the "problem child" of the group; he described his behavior as "suicidal" and revealed that Adler had to be committed to a psychiatric hospital for two weeks prior to entering rehab.^[34] Adler also participated in the first season of the Celebrity Rehab spin-off Sober House.^[35] During the show's filming in July, an intoxicated Adler became so aggressive towards his cast mates that he was arrested at the Sober House premises.^[36] He was convicted of being under the influence of a controlled substance and sentenced to community service.^[37] The following January, he was arrested again for failure to complete his community service in the time frame stipulated by the judge.^[37]

In 2010, Adler collaborated with his former Guns N' Roses band mate Slash on the latter's self-titled debut solo album, which was released in April. He appeared on the track "Baby Can't Drive", along with Red Hot Chili Peppers bassist Flea, Alice Cooper, and Nicole Scherzinger. The song was featured on an expanded edition of the album released by Classic Rock.^[38] The following July, Adler's Appetite—consisting of Adler, singer Rick Stitch, guitarists Michael Thomas and Alex Grossi, and bassist Chip Z'nuff—released the single "Alive", in conjunction with the release of Adler's autobiography My Appetite for Destruction: Sex, and Drugs, and Guns N' Roses.^[39] In December, the band released two more singles, entitled "Stardog" and "Fading".^[40] In 2011, following another relapse, Adler participated in the fifth season of Celebrity Rehab with Dr. Drew.

2012–present: Adler[link]

In 2012, Adler formed a new band, simply called Adler, with guitarist Lonny Paul and singer-guitarist Jacob Bunton.^[41] Steven Adler stated, "I love the music that we're creating! I haven't been this excited about my band since the [Guns N' Roses] days."^[41] The band recorded its first album with producers Jeff Pilson and Jay Ruston, and it features guest appearances from Slash and John 5.^[42] The band's first single, "The One That You Hated", was released on April 10 via iTunes.^[43]

On April 14, 2012, Adler was inducted into the Rock and Roll Hall of Fame as a member of the classic lineup of Guns N' Roses. He headlined the induction ceremony with fellow inductees Slash, Duff McKagan, and Matt Sorum, as well as former member Gilby Clarke and Slash's collaborator Myles Kennedy.^[44][45] Adler stated that being inducted was "an honor and a dream come true."^[46]

Discography[link]

With Guns N' Roses[link]

Studio albums

• Appetite for Destruction (1987)
• G N' R Lies (1988)
• Use Your Illusion II (1991; "Civil War" only)

Extended Plays

• Live ?!*@ Like a Suicide (1986)
• Live from the Jungle (1988)
• The "Civil War" EP (1993; "Civil War" only)

Live albums

• Live Era: '87-'93 (1999)

Singles

• "It's So Easy" (1987)
• "Welcome to the Jungle" (1987)
• "Sweet Child o' Mine" (1988)
• "Paradise City" (1988)
• "Patience" (1989)
• "Nightrain" (1989)
• "Civil War" (1993)

With Adler's Appetite[link]

Extended Plays

• Adler's Appetite (2005)

Singles

• "Alive" (2010)
• "Stardog" (2010)
• "Fading" (2010)

With Adler[link]

Singles

• "The One That You Hated" (2012)

Session Recordings[link]

With Slash

• Slash (2010; "Baby Can't Drive" only)

Notes[link]

References[link]

• Adler, Deanna; Spagnola, Lawrence J. (2011). Sweet Child of Mine: A Memoir of Steven Adler. Harper Paperbacks. ISBN 978-0-06-191713-4. 
• Adler, Steven; Spagnola, Lawrence J. (2010). My Appetite for Destruction: Sex, and Drugs, and Guns N' Roses. It Books. ISBN 978-0-06-191711-0. 
• Berelian, Essi (2005). The Rough Guide to Heavy Metal. Rough Guides. ISBN 978-1-84353-415-0. 
• Slash; Bozza, Anthony (2007). Slash. HarperCollins. ISBN 978-0-00-725777-5. 
• Sugerman, Danny (1991). Appetite for Destruction: The Days of Guns N' Roses. St. Martin's Press. ISBN 978-0-312-07634-4. 
• Wall, Mick (1992). Guns N' Roses: The Most Dangerous Band in the World. Hyperion. ISBN 978-1-56282-951-3. 

External links[link]

• Official website
• Steven Adler at Allmusic
• Steven Adler at the Internet Movie Database

Freddie McKay (sometimes Freddy McKay) (1947 – 19 November 1986^[1]) was a Jamaican singer, whose career spanned the rocksteady and reggae eras.

Biography[link]

McKay, born in Saint Catherine Parish, Jamaica, is regarded as one of the most soulful singers to come out of Jamaica.^[2] McKay first recorded for producer Prince Buster in 1967, his first hit coming the same year with "Love Is A Treasure", recorded for Duke Reid's Treasure Isle set-up.^[3] McKay then enjoyed a fruitful spell with Coxsone Dodd, recording a number of popular songs for Studio One backed by The Soul Defenders,^[4] including "High School Dance", "Sweet You Sour You", and "Picture On The Wall", the latter the title track of his 1971 debut album.^[3] A second album, Lonely Man followed in 1974. McKay recorded a duet with Horace Andy in 1975, "Talking Love" which was also a hit in Jamaica.^[5] McKay enjoyed another hit in 1976 with "Dance This Ya Festival", which won the Jamaican Independence Popular Song Contest that year.^[5] McKay teamed up with Alvin Ranglin for the misleadingly titled The Best Of Freddie McKay (it was an album of new recordings) in 1977, McKay now adapting to the prevailing roots reggae style. The Ossie Hibbert-produced showcase album Creation followed in 1979, and Tribal Inna Yard in 1983.

McKay maintained a faithful following until his death in 1986^[1] from a heart attack,^[1] shortly after finishing his final album, I'm a Free Man.^[3]

Discography[link]

Albums[link]

• Picture On The Wall (1971, Studio One)
• Lonely Man (1974, Dragon UK / Dynamic Jamaica) (reissued 1996, Lagoon)
• The Best Of Freddie McKay (1977, GG's)
• Creation (1979, Plant and Joe Gibbs)
• Harsh Words (1982 Gorgon)
• Tribal Inna Yard (1983, Move)
• I'm a Free Man (1988 Uptempo)
• Freddie McKay & Soul Defenders at Studio One (1991, Heartbeat)
• The Right Time Recordings (1997, GG's) (with Jah Stone)
• The Right Time (1999, Rhino)
• When You're Smiling (2002, Rhino) (Lonely Man + bonus tracks)
• Doin' It Right (2003, Charly)