BC and Cult members Billy Duffy and Ian Astbury. 
Mon September 23rd, 2002
Mon June 11th, 2001
Mon July 24th, 2000
Mon October 3rd, 1994
Mon December 23rd, 1991
Mon February 12th, 1990
Mon September 7th, 1987
Beyond Good And Evil (2001)
Sonic Temple [Remaster] (2000)
Electric [Remaster] (2000)
The Cult [Remaster] (2000)
Love [Remaster] (2000)
Ceremony (2000)
Matt Sorum, drums
Ian Astbury (1983-Present), vocals
Billy Duffy (1983-Present), guitar
Billy Morrison (2001-Present), bass
Most rock bands have experienced a Spinal Tap moment or two, and the Cult is no exception. The Tap moment guitarist Billy Duffy remembers best was especially apropos since it involved a band member who was a direct link to Tap:

"The keyboard player, John Sinclair, who actually played on Spinal Tap's first album, did two tours with us, and on the Ceremony, tour, John had quit drinking which was probably a very good idea for him. He was very much and old rock'nd'roll war horse. His main gig is he's an offstage keyboard guy with Ozzy, but he's been around for years. Beautiful guy.

We did a gig in Atlanta and he didn't make it to the sound check, so we finally had somebody break into his hotel room and he'd had some kind of like, alcohol freak out. He'd destroyed the television set with a spoon and locked himself in the room and wouldn't come out. So we're playing at the Omni in Atlanta which is about a 10,000 seat arena - not a bar gig. And he won't come. So we dispatch messengers to get him and they return with the hotel's security guy and the offending spoon as evidence for the assault on the TV, and John, who obviously was a little worse for wear in terms of the mini bar.

He was a fairly integral part of the show because we didn't have two guitars at the time… but we decided to go on without him because we really didn't have any choice. But they got him for the big ballad, "Edie" which really did need his keyboard strings. I remember looking over and seeing the Black Crowes hanging out on the side of the stage and thinking 'This is a disaster.'

We go into the song, and they sit him down in front of the keyboards. He's all ready to hit the first part on the keyboards and then he just falls over backwards and passes out. That was probably too close to Spinal Tap. The only difference was, he did actually live. He didn't spontaneously combust. He just blacked out and that was that. God bless him."
The Cult
The central figure behind the Cult is Ian Astbury. He first formed the band in 1981 as Southern Death Cult. By 1984 the band name had shrunk to Death Cult, and finally (in an effort to avoid being mischaracterized as a Goth outfit), the Cult. Musically, however, the Cult did share many features with other bands embraced by Goth audiences of the day - Bauhaus (with whom they toured in 1982), the Jesus and Mary Chain, Joy Division and the Sisters of Mercy.

In 1983, Astbury disbanded Southern Death Cult and formed Death Cult with a new line-up that included guitarist Billy Duffy, who had once played in Theatre of Hate as well as the Nosebleeds, Morrissey's pre-Smiths outfit. Over the next two decades, Astbury and Duffy would remain the only constants in the band which cumulatively included in its line-up some eight drummers and five bassists.

Son of a merchant navy man, Astbury had spent his childhood moving from place to place with his family. It was during a stretch of time in Canada that Astbury first became fascinated with Native American culture, an interest that would persist for the rest of his life. The mystical overtones of Led Zeppelin, the bluesy grit of AC/DC as well as the arty drama of the Doors (with whom Astbury would eventually collaborate in 2002) were also key ingredients in the Cult's music.

By 1984 the Cult had signed with the important post-punk British indie label, Beggar's Banquet and released a debut album titled Dreamtime which yielded a number one UK single, "Spiritwalker." In the summer of 1985, the Cult released the single "She Sells Sanctuary." The song, a vibrant blend of driving, danceable rhythms, hard rock edginess and a lilting, engaging melody was a huge hit in the UK, preparing the way for the band's next album, Love, which made it to number four in the British charts.

Though Love found an enthusiastic audience in American alternative music circles, the Cult's big breakthrough in the U.S. wouldn't come until its next album. Enlisting hard rock specialist Rick Rubin to produce, Electric became the Cult's meatiest effort yet, and the hard-hitting lead single from it, "Love Removal Machine" cracked the top 20 in the U.S. while the album made it into the top 40.

Another flurry of personnel changes erupted in 1988 and Matt Sorum signed on as the Cult's sixth drummer while rhythm guitarist Jamie Stewart moved back to bass after the departure of Kid Chaos (formerly of Zodiac Mindwarp). The quartet then recorded Sonic Temple which would prove to be its biggest album. "Fire Woman" was a major hit, driving Sonic Temple into the top ten. The group merged into life in the fast lane. In addition to a high profile support slot touring with Metallica, the musicians were seen rubbing elbows with such rock impresarios as Aerosmith and Motley Crue. But in true Behind the Music fashion, along with the success came the usual excesses, and before long substance abuse and "artistic differences" took their toll. By the time Ceremony hit the streets in 1991, Stewart had resigned, Sorum had signed on with Guns N' Roses and yet another rhythm section was in place, drummer Mickey Curry and bassist Charlie Drayton.

The poor critical feedback and weak sales Ceremony received seemed to be a sign that the time had come for a hiatus. The Cult took the next three years off, offering a stop-gap greatest hits collection, Pure Cult in the UK in 1993. That year, with a new rhythm section in place (former Mission bassist Craig Adams and drummer Scott Garrett) the Cult took one more stab at regaining its past rock glory. The Cult represented something of a return to the less grandiose sound of Love. A tour in support of the album followed, though the band broke up officially when it was finished.

Despite the ups and downs that marked its career, the Cult's music has sustained its appeal, and eventually, in 1999 Astbury, Duffy and Sorum reunited, signed with Atlantic Records and released Beyond Good & Evil. Later that year (with bassist Billy Morrison on board) the Cult hit the road with a world tour to support the album. In 2002 Astbury filled in for the late (according to most sources) Jim Morrison when the Doors played a reunion gig on September 6th at the California Motor Speedway. U.S. and European tours were slated to follow as well as plans for a new Doors studio album with Astbury on vocals.
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