BAND OF THE MONTH – Nine Inch Nails/Trent Reznor

Nine Inch Nails was born out of Cleveland, Ohio, with me and a friend in a studio working on demos at night. Got a record deal with a small, little label, went on tour in a van, and a couple years later found that somehow we touched a nerve, and that first record resonated with a bunch of people. – Trent Reznor

All though the month of November, on Saturdays and Sundays at 1:00 PM ET, Listen Project Radio will feature a one hour special dedicated to Trent Reznor and the Cleveland bands in which he played. Tune in to LPR to hear rare tracks from The Innocent, Exotic Birds, Slam Bamboo, Lucky Pierre, and early Nine Inch Nails as well as tracks from two projects Trent helped to engineer and play on from Sean Beavan’s Cool Down Daddy and Tom Lash’s Hot Tin Roof.

Trent Reznor was a talented musician from Mercer, Pennsylvania who made his way to Cleveland, Ohio in the mid-1980’s. By the beginning of the next decade, he was the creator of and main force behind one of the most influential industrial alternative bands in the world, Nine Inch Nails and long gone from Northeast Ohio. In those few short years in Cleveland, Reznor left his mark on our music scene and whether or not you consider him a Cleveland musician, NIN’s induction into the Rock and Roll Hall of Fame is something that we should embrace as a positive for our musical community past, present and future.

“When I moved to Cleveland, there was a sense of freedom and restarting. I wasn’t who I used to be. It was a new place and a new kind-of start. I felt like I was figuring out myself and was less concerned about belonging or fitting in to some sort of other club. It was more about self-expression and reinvention. There was posturing involved, sureā€”but it was coming from a sincere place. I was experimenting, testing things out, trying to figure out who I was. Trying to subconsciously figure out, as an artist, what I had to say.”
Source: https://www.vice.com/en/article/ppmnbm/nine-inch-nails-trent-reznor-on-making-it-out-of-the-midwest-456

Reznor arrived in Cleveland in 1984 to work in sales for the old Pi Keyboard and Audio after spending a year at Alleghany College. He first joined The Urge, a local cover band and then The Innocent (which also included now legendary Cleveland musicians, Alan Greene on guitar, Kevin Valentine of drums and Rodney Cajka AKA Rodney Psyka on lead vocals) as their keyboard player. The Innocent released their one and only album, Livin’ In The Street around the time Reznor joined and although he is featured in the band photo on the cover and is credited as having played keyboards on the album, it has never been clear if he actually performed on the LP. He left The Innocent after only a few months tenure and found himself playing keys in Andy Kubiszewski’s Exotic Birds both live and on the band’s 1986 EP, L’oiseau.


Once again, Reznor’s tenure in a band was short and by 1987, he had left Exotic Birds and was once more a hired gun, this time for Slam Bamboo which consisted of former Boy Wonder members, Scott Hanson on vocals, Tim Kirker on guitars and bassist Greg Thomas joined by drummer Ron Musarra (from Strictly Physical). With Reznor on keyboards, Slam Bamboo made an appearance on the old WKYC Channel 3 AM Cleveland show hosted by Scott Newell lip syncing both of their singles, “House on Fire” from 1986 and “White Lies” from 1987. Once again, although Reznor appeared in the band photo on the “White Lies” single, he most likely did not actually appear on the record itself. In 1988, Trent Reznor made his final appearance in a Cleveland band. This time he joined Kevin McMahon’s Lucky Pierre on keyboards, playing on that band’s 1988 EP, Communique (recorded in San Francisco) as well as for live gigs through 1989 before departing.


During his time as a side man for these bands, Reznor was developing his own songs. One of the first people he met after his move to Cleveland was Bart Koster. Koster, who was a regular customer at Pi and who was building a new recording studio, The Right Track in the Film Building located at E 22nd St. and Payne Ave., was impressed with Reznor and offered him a job. This arrangement allowed him to develop and record his songs at reduced rates during studio downtime and by 1988, he had written and demoed what he considered his first real song, “Down In It.” He was also able to assist friends with their projects including Sean Beavin’s Cool Down Daddy demos in 1988 and his former Lucky Pierre bandmate, Tom Lash with his new band, Hot Tin Roof providing keyboard and drum programming and engineering assistance for both. By November 1988, Reznor had completed a nine song demo he titled Purest Feeling (released as a CD on Hawk Records in 1994). Initially calling his project, Crown of Thornes, he later decided on Nine Inch Nails as  “it sounded menacing, it was catchy, it stood the two-week test, and it could be easily abbreviated.”

After befriending John Malm who would become his manager, the demo was shopped around to various labels before Nine Inch Nails signed to TVT Records. The debut album, Pretty Hate Machine was recorded in various studios with Reznor collaborating with some of his most idolized producers including Flood, Keith LeBlanc, Adrian Sherwood, and John Fryer. Much like his recorded demo, Reznor refused to record the album with a conventional band, recording Pretty Hate Machine mostly by himself. Pretty Hate Machine was released on October 20, 1989. Not long after, Trent Reznor’s time as a Cleveland musician came to a close as he moved to New Orleans:

“Much like where I grew up, there wasn’t a lot of stuff going on in Cleveland. It still felt like a small town. Certainly there were more resources and opportunities, but it felt like the city could grind you down. In a lot of ways that motivated me to try to get better at something, to find a way out and break through.”
Source: https://www.vice.com/en/article/ppmnbm/nine-inch-nails-trent-reznor-on-making-it-out-of-the-midwest-456

Certainly, while what Trent Reznor did opened the door to industrial alternative rock for a much wider audience, it was how he did what he did, by crafting his songs mostly alone in the wee hours of the night at the Right Track and on his own terms, is something which really connects him to the spirit of the Northeast Ohio music scene in the 1980’s. I’d like to think that without his time in Cleveland, the course of his musical endeavors would have been much. much different. So, congratulations to Trent Reznor on Nine Inch Nails’ induction into the Rock and Roll Hall of Fame. Perhaps this honor with bring some more long overdue attention to the Cleveland music scene of the 1980’s.

Ladies and Gentlemen…… The Adults

NOTE: Album titles below link to my YouTube page where you can listen to the music discussed in this article. Great music deserves to be heard.

It started with a challenge to Cleveland rock legend, Raven Slaughter. Aspiring guitarist, Paul Michael recounted to Deanna Adams:

“I saw Raven Slaughter at this annual outdoor summer music festival in Lodi. I remember thinking as I watched them, ‘Man, they need another guitar player’ because there was just three of them at the time. I went up to Raven after the show and told him as much. He asked me if I had anyone in mind and I said, ‘I play guitar.’ He asked, ‘Well, how good are you?’ I said, ‘I’m better than you’ which of course was crazy. But I ended up in the band.” (1)

Michael stayed with Raven Slaughter for about a year and then left in late 1979 to form his own band, eventually settling on his former Raven Slaughter band mate, Robb Harpy on drums, Michael’s girlfriend, Crystal Gray on bass and Marianne Schiebli on saxophone and they christened themselves The Adults. The band’s originals were a mix of tight knit, funky rock, jazz and pop sounds, not quite punk, not quite new wave but totally unique and accessible.

The Adults played with several classic 1980’s classic Northeast Ohio bands including the Generators, the Pony Boys, Lucky Pierre, Wild Giraffes, the Action and Hammer Damage to name a few as well as played gigs outside of their home area. Trips to Columbus, Cincinnati, Detroit, Erie and Buffalo were necessary for an all-original band to financially survive. By 1983 the band was ready to record and through the generosity of a fan who financed it, the Adults recorded Ladies and Gentlemen…the Adults. Released in 1984, one track “Junk Funk” featured the guitar work of Adrian Belew, guitarist with the Bears and King Crimson after Belew and his friend, record producer Gary Platt, caught an Adults show at the Jockey Club in Covington, Kentucky while the band ws recording the album across the Ohio River at the Fifth Floor in Cincinnati.

The 1200 copies of Ladies and Gentlemen sold out. The Adults placed cuts on two Play Records compilations: 1985’s Exhibit A with “Stupid in Love” and 1988’s Exhibit C with “Yes I Do” (a new song that did not appear on their album) and the band continued to play their regular clubs and write new songs. But something was happening to the club scene at the end of the 1980’s. As Paul Michael related to Deanna Adams:

“There came a whole new generation with the mosh pits where they all get in a circle and basically hurt each other. And I had no interest in playing before an audience that expected me to spit water at them and such. That’s not why I write music. I want to see people dance and have fun so I decided to continue but on my own terms.” (2)

Marianne Schiebli left the band in 1985 and you can currently find her playing sax in the Rainy Day Saints. Robb Harpy drifted in and out until 1988 and Crystal Gray called in quits in 1995. Michael remained true to his vision, adding former Serious Nature drummer Tim Caskey, sax player/keyboardist David Guthrie and bassist Brian Dossa. This version of the Adults headed to Nashville in 1996 to record the band’s second album. Playing A Kids Game. Even with the push of a new album, albeit 12 years after their debut and a short return to the road, the Adults called it quits in 1997.

In 2002, Michael, Gray and Schiebli reunited with a fill-in drummer and second horn player for a short set during Edgarfest, the tribute to the late Wild Giraffes guitarist Edgar Reynolds. This marked, I believe, the final appearance of the Adults. The Adults were one of the bands I missed out on so I was fortunate that Jim Benson has a copy of Ladies and Gentlemen in his archives. I loved the songs so much, I went out and found a copy for myself and the first song I played on the very first Listen Project podcast was “Let’s Go,” the track that kicks off Ladies and Gentlemen (very appropriate I thought). The real legacy of the Adults is in their live performances and anyone I’ve ever talked to who saw the band live says the Adults gave it all and held nothing back. Fortunately, a 1981 live show at Kent State University capturing the band in its infancy is posted at YouTube and is well worth checking out.

I recently learned that there are tapes of several Adults live shows out there and I passed the information on to second line-up member Tim Caskey who has become the keeper of all things Adults. Hopefully, the material will see the light of day soon. Paul Michael has been suffering some health issues recently. Tim has told Paul about the Listen Project so in the chance that Paul sees this post, please leave him a message in the comments.

(1)(2) Adams, D. R. (2002). Rock n roll and the Cleveland connection. Kent, OH: Kent State University Press.