White Light, White Heat, White Trash

After the release of Somewhere Between Heaven and Hell in 1992, Social Distortion went touring and they toured until the end of 1993. The band's guitarist and singer Mike Ness said the band "needed a break." Social Distortion then had to be involved in some court battles to retrieve some of the band's early recordings. The recording were not in the band's possession and the recordings were unavailable to the public, too. The band "had to retrieve them, package them up and put them out."[1] Social Distortion wrote 25 songs for a new album because the band wanted to write an album "that would stand out", according to Ness. "We wanted to make 'The Record'," he explained. He claims there's a few songs on each Social Distortion album that he hated "because we just did 'em, and settled for it and didn't challenge it."[1]

Social Distortion wrote a dozen songs in 1994 for a new album, but were told by producer Michael Beinhorn that most of the songs would not work. Ness says: "He saw something inside that needed to come out, and we weren't quite achieving it. We went back in and did more writing. We ended up keeping two of those twelve songs."[2] Initially, Ness was upset but the two "gained a mutual respect for each other." Ness decided the two "were on the right track" and saw the situation as an exciting challenge. The title to White Light, White Heat, White Trash was a reference to the 1949 film White Heat and the Velvet Underground album White Light/White Heat.[2] When recording started in the late spring of 1995, Beinhorn decided that drummer Randy Carr was not providing the studio sound Beinhorn sought. Ness trusted the producer enough to agree to the decision. A session player, Deen Castronovo, participated in the recording.[2] After he participated, he stopped playing for Social Distortion and drummer Chuck Biscuits, former drummer for bands like Black Flag, Danzig, D.O.A. and the Circle Jerks, joined Social Distortion.[1] The album was recorded from August 1995 to June 1996 in Bearsville Studio in Woodstock, New York.[3] "Going back to basics" was considered the philosophy that underlay the recording process of White Light, White Heat, White Trash. As a result, Beinhorn solely used analog and vintage equipment in the studio. Ness claimed that during the cutting of the guitar tracks, he used a '68 Gold Top reissue with P-90 pickups, a few SG reissues and a Silvertone through various Fenders, Marshalls and Soldanos. Ness said: "Me and [Social Distortion guitarist] Dennis Danell really wanted to get an in-your-face sound," said Ness. "Something with a bottom end that would hit you right in the chest."[4] Ness claims that Social Distortion "used all analog equipment until the very last moment", which he considered similar to 1970s rock.

Ness (pictured) believed in the 1990s that "alternative music has become so marketable that a lot of it has become imagery."[5]

Ness was disappointed with the state of music that existed during the 1990s. When he wrote White Light, White Heat, White Trash, he was "reacting against" 1990s music. Rejecting grunge, Ness was inspired by the style of 1970s punk bands like The Clash, the New York Dolls, Generation X, the Dead Boys, and Johnny Thunders. Ness said he "don't like hardly anybody" who was making music during the 1990s. He then said: "I don't want to listen to this stuff. I want to listen to the real thing. It's very hard for me to get inspired by contemporary music." Ness said that 1970s punk rock "was also the only music at the time accurately portraying how I felt inside."[1] Expressing his opinion of the way music was during the 1990s, Ness said: "Our intention is to bring back the soul and emotion of that first wave of punk in the late '70s, which I feel is sorely lacking today". He then said: "Punk has become a formula now. It's basically Cheap Trick with louder guitars," he said. "A lot of passion has been lost as it's become more marketable. The masses have decided that punk rock is safe, but we were doing this music when it was unpopular." Ness believed that punk rock was no longer countercultural or dangerous in the 1990s. "Punk was more dangerous back then," he recalls. "In Orange County in 1979, if you walked down the street in a leather jacket and spiked hair, you made a decision that you would have a confrontation that day."[6] Ness said "there's just things going on today that just would never have been allowed" in the early years of punk rock, and he said that heavy metal, for example, was hated by punk rock musicians and fans during punk rock's early years. He then criticized grunge bands like Alice in Chains and Stone Temple Pilots, describing them as "just Led Zeppelin with a pierced nose and short hair." Ness made an exception for grunge band Nirvana, saying he "believed them".[1]

Social Distortion wanted to go back to its late 1970s and early 1980s punk rock roots with White Light, White Heat, White Trash.[7] Ness said "I don't want this to be just another Social D record. I want it to be the Social D record."[2] Ness said: "The last thing I wanted to write was a cute alternative record," he says. "This album is about going back to the genuine emotion and rock basics that fueled the first wave of punk." Social Distortion's 1983 debut studio album Mommy's Little Monster was inspired by bands like the Ramones, the Rolling Stones, and X. Ness considered White Light, White Heat, White Trash to be a "regression back to" Mommy's Little Monster and believes the album shows Social Distortion going back to the band's roots, but still considers the album an evolution because Ness "had to dig really deep", citing songs like "I Was Wrong" and "When the Angels Sing" as examples of this. He says those two songs "deal with sin and redemption, inner conflict, good and bad."[4]

Professional ratings

Review scores
Source	Rating
AllMusic	[11]
Chicago Tribune	[14]
Entertainment Weekly	A−[15]
Rolling Stone	[16]
The Rolling Stone Album Guide	[17]
Spin	4/10[18]
The Chanticleer	4/5[19]

Reviews and ratings for White Light, White Heat, White Trash were generally mixed to positive. AllMusic's Stephen Thomas Erlewine, however, called the album a "conscious attempt to cash in on the alternative 'revolution" of the early '90s" and expressed mixed feelings towards the band's musical direction, stating, "Underneath the layers of glossy hard rock production, the band still hold fast to some of their punk roots, but too often they sound like a heavy hard rock band. Of course, that commercial sheen is intentional – it's the only way they could appeal to the legions of post-grunge alternative fans who appeared since Social Distortion released Somewhere Between Heaven and Hell in 1992."[11] Chris Moran of Punknews.org praised the album and wrote: "with its passionate lyrics, laced with heavy undertones; this is unquestionable a milestone in the legacy of Social Distortion."[20] Tom Sinclair of Entertainment Weekly wrote: "After more than a decade of hard playing and harder living, Southern California's Social Distortion have made their first truly transcendent album."[20] Roberto Gonzalez of the Hartford Courant wrote: "The album is exhausting. Almost every song kicks with an amazing intensity that will have you immediately hooked."[8] Ira Robbins of Rolling Stone wrote: "the band's musical and emotional values are timeless. Like a fist in the face, White Light White Heat White Trash is simple and effective."[16] Chuck Eddy of Spin gave White Light, White Heat, White Trash a mixed to negative review and wrote: Ness's newfound nasal-flattened attempts at balladic sensitivity are embarrassing".[18] Sam Dillon of The Chanticleer praised the album and wrote: "You just can't go wrong with Social D. they've got everything you could ask for in a punk-rock band. They are inventive, individual, and very talented. Go out right now and get album."[19] Jon Pareles of The New York Times criticized White Light, White Heat, White Trash's lyrics, claiming it had a lot of clichés, but praised the album's melodies.[21] White Light, White Heat, White Trash was ranked at number 41 on Kerrang!'s "50 Greatest Punk Albums Ever".[22] Some Social Distortion fans were upset when the first single "I Was Wrong" was played on rock radio because they believed punk rock should not be corporate or mainstream. Nonetheless, punk rock fans eventually moved on from this in the early 2000s. Social Distortion continued to be regarded as an important punk band by punk rock fans and the band continued to receive respect and support from punk rock fans.[20] White Light, White Heat, White Trash was included in lists of the best albums of 1996 by The Buffalo News and other publications.[23]

Released on September 17, 1996,[13] White Light, White Heat, White Trash peaked at number 27 on the Billboard 200, selling 30,000 in its first week of release in the United States.[24] The album sold steady weekly sales of 10,000 to 12,000 copies.[25] According to Nielsen SoundScan, as of December 31, 1998, White Light, White Heat, White Trash has sold 277,000 copies in the United States, making it Social Distortion's third best-selling album.[26] Ness was confident that the album would have more success than the band's self-titled album (1990) and Somewhere Between Heaven and Hell (1992), given that the two previous albums were released before 1994, the year punk rock became mainstream, and given that many more radio stations in the mid-1990s were starting to frequently play punk rock music.[24] Social Distortion planned to tour both inside and outside the United States, given that the band began to attract people outside the United States instead of solely Americans.[24] Social Distortion performed at Warped Tour 1997 along with other bands like Blink-182, the Mighty Mighty Bosstones, Sick of It All, Descendents, Pennywise, the Suicide Machines, Lagwagon, Less Than Jake, Reel Big Fish, and Limp Bizkit.[27]

The song "I Was Wrong" was released to radio and had a music video created, too. The song had success on rock radio and was played on MTV.[24] The song peaked at number 54 on the Hot 100 Airplay chart and remained on the chart for 13 weeks.[28] The song had a lot of chart success on the Modern Rock Tracks chart, peaking at number 4 and remaining on the chart for 22 weeks.[29] The song also peaked at number 12 on the Mainstream Rock Tracks chart, remaining on there for 19 weeks.[30] "When the Angels Sing" also had a music video and was released to radio.[25] The song, however, did not have much success on rock radio and peaked at relatively low positions on the Billboard charts.[29][30]

Adapted from White Light, White Heat, White Trash's liner notes.[31]

Social Distortion

• Mike Ness – vocals, guitars, art direction, mixing
• Dennis Danell – guitars
• John Maurer – bass guitar
• Deen Castronovo – drums (uncredited session drummer)
• Chuck Biscuits – drums (credited as band member at the time of release, did not play on the album)

Additional

• Michael Beinhorn – producer
• Kalynn Campbell – illustrations
• Jolie Clemens – art direction
• Giulio Costanzo – art direction
• George Marino – mastering
• John Travis – engineer, mixing

The information regarding accolades attributed to White Light, White Heat, White Trash is adapted from Acclaimed Music.[36]

(*) designates unordered lists.