Alice in Chains closed out the year having accomplished many professional goals—finishing and releasing their first album, shooting their first two music videos, and going on their first national tours. But the album and the band still had not taken off. That was about to change. The fuse for the Seattle music scene had been lit. It was only a matter of time before the rest of the world was in on the Emerald City’s little secret.
Chapter 12
Let’s just try something different.
PAUL RACHMAN HANDED in his first cut of the “Man in the Box” video to the band for approval at the beginning of 1991. “They loved it,” he said. “We made a couple of adjustments, like we added a couple of close-ups of Layne and made sure the whole band was evenly represented, and that was it. There were no creative differences of any sort.” The final cut was released at some point in January 1991.
On February 7, 1991, Alice in Chains began a brief West Coast tour, with Mookie Blaylock along as the opening act. Jerry said, “Things had happened for us, and we were on our way. These guys were starting again. We just wanted to give them as much support as they’d given us in the early days of our band.” One highlight: the two bands, each in their respective van, having food fights while driving eighty miles an hour on the I-5 freeway.1
During that tour, Alice in Chains had landed an opening slot at Ozzy Osbourne’s Children of the Night benefit in Long Beach, California, on February 8. The show was memorable for two reasons. At the end of the night, members of several bands got up onstage to jam a Rolling Stones cover. Mike was one of them, but had no idea how to play the song. “I was stage right, and I was teaching him how to play ‘Jumpin’ Jack Flash’ by giving him these sign languages on how to play it—like, which way to go,” Randy Biro recalled.2
The second and ultimately more consequential reason for the significance of that show was that it was the first time then–Ozzy Osbourne bassist Mike Inez saw Alice in Chains, and he was impressed by what he saw and heard.3
Biro said crew members from both bands put together a band called Sexecutioner. “It was a joke band, because there was nobody at the shows. Mookie would play, and Sexecutioner would play, and Alice would play. And we’d take turns out in the audience to applaud the other band, ’cause there was nobody there. You talk to people now, and there were ten thousand people in these clubs.”
As Operation Desert Storm was winding down, Alice in Chains, along with Ann and Nancy Wilson, were the headliners of a daylong “concert for peace” at the Paramount Theatre on February 23. The show closed with a group-encore cover of Cat Stevens’s “Peace Train.”4
Alice in Chains was nominated for nine Northwest Area Music Association (NAMA) Northwest Music Awards that year during a ceremony on March 3 at the Moore Theatre. They won only one—Rock Recording, for Facelift. There were problems backstage that had nothing to do with the band but did affect them. The show started at approximately 7 P.M. according to The Seattle Times. It ran for a marathon five hours, with about 90 percent of the audience gone by the time the last award was presented at around midnight.
A third of the audience left during the intermission three hours into the show. Alice in Chains was supposed to perform immediately after the intermission, but according to Randy Biro, saxophonist Kenny G threw a tantrum and took that slot instead. Another third of the audience took off after his performance. According to The Seattle Times, “People kept drifting out until only a hard core remained for a short closing performance by Alice in Chains.”
“‘The sax star threw a tantrum,’ Alice lead singer Layne Staley told the crowd when the band finally took the stage,” reported Patrick MacDonald.5 Randy Biro has a different recollection: that Layne said words to the effect of “We’d like to thank you. And this one’s dedicated to Kenny G and his flesh flute.”
Mike’s friend Aaron Woodruff was stationed at U.S. Army Garrison Hohenfels in the heart of Bavaria when, shortly before Alice in Chains left for their first European tour, his mother sent him a cassette copy of Facelift—a gift from Mike. Sometime later, Woodruff’s mother called him to tell him Mike was in Europe and trying to get ahold of him. There was a desk with a phone at the entrance of the barracks. Woodruff was walking by the unattended desk one time when the phone started ringing. He picked up. It was Mike, calling from Amsterdam.
Woodruff arranged to get some time off to watch the Alice in Chains show at Nuremberg. At the time, they were opening for the Almighty and Megadeth, a tour lineup that began in March.6 “The first time I saw them, I was with them. I went backstage with them, on the bus with them, and then I went out in the audience when they were playing and watched them. I was blown away. The only thing I didn’t quite understand was why Mike kept spitting loogies out in the crowd,” Woodruff recalled. “I think somebody, some Germans, pissed him off or something.”
Woodruff brought a video camera to the show and shot footage of himself hanging out with Alice in Chains, which he has since posted on YouTube.7 The material is an interesting snapshot of the band on the cusp of fame. Mike Jordan, another of Mike’s childhood friends, spoke of traveling with the band during this early period. “I was there to see Mike realize his dream of making it big in the music industry. That will always be something I cherish. It was a blessing to be along for the ride [for] a couple of dates on the tour. The guys in the band always treated me like I was one of them, and it was really cool.”
Coming off the success of his first film, Say Anything, writer-director Cameron Crowe had been working on the script for Singles when Andrew Wood died in March 1990.8 The emotional reaction and coming together of the music community after Wood’s death had a profound impact on him and the script he was developing.9 Crowe approached Alice in Chains to ask for a song for the movie’s soundtrack. He wound up paying for much more than what he actually got.
“Cameron wanted a song, so we got him to pay for us to record ten songs,” Jerry told Greg Prato. “We gave him an inflated budget. We came up with ‘Would?’ for the movie, and we demoed a bunch of shit.” “Would?” was the band’s tribute to Andrew Wood, the music and lyrics credited to Jerry, with the song’s title presumably being a pun on Wood’s surname. Some of this material would appear on Sap and Dirt. One of the songs, “Lying Season,” didn’t make the cut for either release.10
On the night of April 17, 1991, Alice in Chains shot their scenes for Singles at a warehouse on a pier in downtown Seattle, which the film’s art department had outfitted to look like a club. “That part of it was really fun, just being in that movie. But playing that song over and over on that pier was murder,” Jerry said during a 1999 interview.11
Michelle Ahern-Crane, an extra for the shoot, said, “It was a cool shoot in that it was fun, but it was terrible in that it was outside and we were standing dressed in club wear.”