Artist description Ferocity, ingenuity, attitude and Southern pride. To limit Atlanta's Stuck Mojo to thesecharacteristics would be shameful; however, words and definitions could not begin to describethese eclectic and marauding fire-in-the-belly lads. Unlike a number of adolescent-attracting ,flavour of the month, wanna-be hip hop/metal crossover acts whosepolitical rhetoric, fashion-orientated appearance and coloured hair seem to hamper theirsongwriting, Stuck Mojo first and foremost appeal to and service the most importantdemographic of all - the common Rock and Roll lover. Their rhythms are steadily overpowering(supplied by manic drummer Bud Fontseré and four-string king Corey Lowery) and arecomplimented perfectly with the tasteful and nasty riffs of guitarist Rich Ward, currently on of thecatchiest songwriters in the Heavy Metal business. And as if all this wasn't enough,vocalist/frontman Bonz is there to verbally abuse every bully, bigot, shit-talker and white collarrecord exec along the way. Stuck Mojo will beat you down, call you names (ones you probablydeserve) and help you back up for some more

Music Style Metal/Rap Crossover

Musical Influences 80's Riffs, 90's Raps

Artist History No one can deny STUCK MOJO's infectious, hard-hitting songwriting, and this Atlanta-based quartet have transformed from one of the first heavy guitar-driven 'rap-core' bands into one of the BEST overall hard rock bands on the planet. What has always set the MOJO groove above and beyond anyone else is that they invent instead of borrow, and unlike their peers they continue to progress and not wait to hear about the next trend. In this current state of heavy music there are few bands who can rock as hard and on the same level as STUCK MOJO, and unlike most of today's limelight bands they first and foremost appeal to and service the most important demographic of all--the common Rock n' Roll lover. Their latest and fourth full studio release, Declaration Of A Headhunter, propels the four-piece once again into a realm all to themselves. Century Media's largest selling band in the US, the MOJO groove exploded even before and upon the release of their Snappin' Necks debut in early 1995, and constant touring in both the US (including a ten-week trek with Machine Head) and Europe brought the band into a global spotlight. Being the true workaholics that they are, STUCK MOJO entered Atlanta's 360 Studios in '96 with producer/engineer Daniel Bergstrand (Meshuggah) and the genius and multi-talented Devin Townsend (Strapping Young Lad, Steve Vai) and walked out with one of the more potent and welcomed records of the year. Pigwalk ran circles around the metal competition, and allowed the band to stay on the road for most of 1997 with a variety of acts, including healthy stints with Type O Negative, Life Of Agony and Testament. 1998 saw the coming of STUCK MOJO's most diverse and shining moment thus far, Rising. Produced by Andy Sneap (Machine Head, Testament, Earth Crisis), Rising features concussive rhythms, razor-sharp guitar mastery and the vilest vocal bantering around. Continuing to set trends, STUCK MOJO's video for the track "Rising" (featuring the band playing in a sports ring surrounded by wrestling stars such as Diamond Dallas Page and Raven) was shown on MTV as well as the WCW programs Monday Nitro and Thursday Night Thunder. Rising solidified STUCK MOJO as a leader in the rock/metal field (the album charted at # 1 for several weeks in all Loud Rock radio trade magazines) and helped them retain their title of being the deadliest live band around. Once again the MOJO groove practically lived on the road in support of the album, hitting the States twice with the likes of Sevendust, Clutch, Ultraspank, Nothingface and hed(pe), and also Europe for a host of festival appearances and a handful of dates supporting Pantera. Upon returning home at the end of 1998, it was time to give back a little to the fans that have been there for so long and have done so much for the band. A capacity crowd of 1,500 crammed its way into the Masquerade in Atlanta one night in the spring of '99, and one of STUCK MOJO's most exhausting live performances was captured. After handing over the tapes to Andy Sneap for some mixing (done in his own Backstage Studio in England), a total of 15 live tracks were secured and delivered for the HVY 1 release. Not completely satisfied, the band chose to also include two brand new studio tracks. "Reborn", quite possibly the catchiest STUCK MOJO song ever, features a brighter and less harassing sound for the band, while "My Will" is reminiscent of the heavier material on Rising. Melodies, hooks and more melodies bring out the true beast of STUCK MOJO on Declaration Of A Headhunter and the band have made the most of new bassist Dan Dryden's catchy voice to complement the vocal bantering of Bonz. Add in the always-amazing guitar work (not to mention great backing vocals) of songwriter Rich Ward and the percussion assault of Bud Fontsere and you've got the best and most focused STUCK MOJO release to date. The crisp, bold production courtesy (once again) of Andy Sneap highlights the many vocal and guitar layers found within each song, which ultimately makes for the most involved and interactive STUCK MOJO music ever. Lyrically, the band have taken a bold step in expressing their harsh opinions on various problematic members and groups (both political and social) of the U.S. society, as quickly evident on songs like "Hatebreed" and "Give War A Chance". Declaration Of A Headhunter is the catchiest hard rock/metal album in many years, and this release raises the bar much higher for the flock of understudy bands to follow. Forget the latest flavor-of-the-month radio band, STUCK MOJO in the end will simply write and perform circles around all of them.

Group Members Rich Ward guitars/vocals, Bonz vocals, Dan Dryden bass/vocals, Bud Fontsere drums/percussion Bonz (Vocals)

Albums Snappin' Necks-95, Violated EP-96, Pigwalk-96, Rising-98, Hvy1-99, Declaration Of A Headhunter-00

Location Atlanta, GA - USA

Copyright notice. All material on MP3.com is protected by copyright law and by international treaties. You may download this material and make reasonable number of copies of this material only for your own personal use. You may not otherwise reproduce, distribute, publicly perform, publicly display, or create derivative works of this material, unless authorized by the appropriate copyright owner(s).