His sound is unmistakable, his stance unforgettable. Notes stream from his guitar in metallic waves, occasionally softening into a feathery whisper. His voice is that of the six-string; as if being ripped from his throat, he screams tales of love, betrayal, hope, despair and all-night bacchanalia. It’s the blues at its most raw-nerved and ferocious–but look into the musician’s face as he gyrates and bends almost in half, doubling over to the floor. He breaks into a smile, eyes glistening with childlike joy.

Webster’s defines a sound system as: sound (n), a particular auditory impression; the sensation perceived by the sense of hearing. And system (n), a regularly interacting or independent group of items forming a unified whole; a group of interacting bodies under the influence of a related force. Just like any great sound system, the eclectic Los Angeles-based rock band 311 is comprised of five perfectly matched–yet independently functioning–components, which when operating as a well-tuned unit creates an undeniable musical force.

Here’s an anecdote straight out of suburban youth culture (yes, it’s a true story–we have all lived this scenario in some way shape or form!). Jake–who at 13 years of age believes he resembles nobody, much less a pre-pubescent Eddie Vedder–is being shuttled by one of his parents to a Thursday afternoon guitar lesson. This week, he’s decided to take something of a break; he’ll grapple with no items from The Beatles songbook, nor will he try to master any of the requisite Jimi Hendrix solos. Instead, he plans to exchange the 15 hard-earned dollars crammed into the left pocket of his baggy black shorts for instructions on covering The Clash’s “Should I Stay Or Should I Go.” At the moment, though, he’s staring out the car window, listening to 311′s Soundsystem CD.

Fusing elements of dub, trip-hop, roots-reggae, hard-core punk with some vicious guitar rock, 311 create one of the most distinctive sounds in music today. It is this unique sound combined with insightful lyrics, and delivered in a highly potent musical cocktail, that has propelled 311 to rock SRO crowds as well as achieving multi-platinum status. From Hawaii to Hong Kong, Los Angeles straight home to Omaha, 311 have toured the globe, and along the way built a worldwide legion of followers through unparalleled high-energy performances and an uncompromising flow of consciousness.

Back almost eight years ago, inspired by some of the greatest groups of the early punk-rock movement, (i.e. Sex Pistols, The Clash, Ramones and the Buzzcocks), 311 formed in the heart of middle America–Omaha, Nebraska. Through three self-produced indie albums and an exhaustive touring schedule that has helped them cultivate one of the most intense (and biggest) “grassroots” fan bases around, the band has managed to maintain their straight-up, melodic hard-core style. Flash to 1991. 311 trades in nearly two years of hard work and sweat to go with “the man.” Goin’ corporate, if you will. At the time, bandleader Nicholas Hexum says, “We’re going to do what we want to do, and we’re always going to be the people we’ve always been. So, in the long run, I don’t think it makes much difference either way.”

We often talk about how most successful bands in the ’90s have largely set themselves up for the success they now enjoy. The Dave Matthews Band has perhaps become the best example. Through constant touring, releasing projects on their own label and by careful thought, they placed themselves into a position where major labels took notice.

Dave Matthews attacks his acoustic guitar as if he were playing a drum kit. “Percussions are my obsession. In fact, sometimes I see myself as drummer trapped in a guitarist’s body,” states the South African native, who is rarely caught standing still when performing with the Dave Matthews Band.

Dave Matthews attacks his acoustic guitar as if he were playing a drum kit. “Percussions are my obsession. In fact, sometimes I see myself as drummer trapped in a guitarist’s body,” states the South African native, who is rarely caught standing still when performing with the Dave Matthews Band. A true genius on the acoustic guitar, Matthews really prefers to be viewed more as an ensemble player–a brilliant and yet distinctive instrumental voice, but still just one of the bright threads that help to weave the complex sound of the Dave Matthews Band. The antithesis of the flashy guitar extrovert, Matthews chooses to let his fingers bounce around the fret-board almost as quickly as he dances around the stage. In the end, both the musicians and the audience are witness to the birth of music that is completely fresh and new.

Bon Scott sang the immortal words, “Let there be sound, light, drums, guitars…let there be rock!” As simple as these words might be, I don’t think they were penned with the Internet in mind. In the beginning, back in 1986, a small Rock station in Long Beach, California, signed on the air, in an effort to satisfy the city’s insatiable hard rock appetite. Then it came to pass in 1995 that that little ol’ rock & roll show packed up its “Pure Rock” format and bid a fond farewell to the airwaves, leaving a hard rockin’ legacy that went far beyond its 3,000 watt reach.

The birth of Gov’t Mule began when Warren Haynes and Allen Woody sought an outlet to jam outside of the Allman Brothers. With the addition of Matt Abts, who played with Haynes in the Dickey Betts band, the trio was complete. “They’re a reckless rhythm section,” Haynes says of the other two. “They’re like an earthquake with an ‘on/off’ switch. When you’re improvising, a big part of it is how deeply you listen. These guys take up space, but in a very meaningful way. That’s what a trio is all about.”