A-side and B-side
The terms A-side and B-side refer to the two sides of 78, 45, 331⁄3 rpm phonograph records, or cassettes, whether singles, extended plays, or long-playing records. The A-side featured the recording that the artist, record producer, or the record company intended to receive the initial promotional effort and receive radio airplay to become a "hit" record; the B-side is a secondary recording that has a history of its own: some artists released B-sides that were considered as strong as the A-side and became hits in their own right. Others took the opposite approach: producer Phil Spector was in the habit of filling B-sides with on-the-spot instrumentals that no one would confuse with the A-side. With this practice, Spector was assured that airplay was focused on the side he wanted to be the hit side. Music recordings have moved away from records onto other formats such as CDs and digital downloads, which do not have "sides", but the terms are still used to describe the type of content, with B-side sometimes standing for "bonus" track.
The first sound recordings at the end of the 19th century were made on cylinder records, which had a single round surface capable of holding two minutes of sound. Early shellac disc records records only had recordings on one side of the disc, with a similar capacity. Double-sided recordings, with one selection on each side, were introduced in Europe by Columbia Records in 1908, by 1910 most record labels had adopted the format in both Europe and the United States. There were no record charts until the 1930s, radio stations did not play recorded music until the 1950s. In this time, A-sides and B-sides existed. In June 1948, Columbia Records introduced the modern 331⁄3 rpm long-playing microgroove vinyl record for commercial sales, its rival RCA Victor, responded the next year with the seven-inch 45 rpm vinylite record, which would replace the 78 for single record releases; the term "single" came into popular use with the advent of vinyl records in the early 1950s. At first, most record labels would randomly assign which song would be an A-side and which would be a B-side.
Under this random system, many artists had so-called "double-sided hits", where both songs on a record made one of the national sales charts, or would be featured on jukeboxes in public places. As time wore on, the convention for assigning songs to sides of the record changed. By the early sixties, the song on the A-side was the song that the record company wanted radio stations to play, as 45 rpm single records dominated the market in terms of cash sales, it was not until 1968, for example, that the total production of albums on a unit basis surpassed that of singles in the United Kingdom. In the late 1960s, stereo versions of pop and rock songs began to appear on 45s; the majority of the 45s were played on AM radio stations, which were not equipped for stereo broadcast at the time, so stereo was not a priority. However, the FM rock stations did not like to play monaural content, so the record companies adopted a protocol for DJ versions with the mono version of the song on one side, stereo version of the same song on the other.
By the early 1970s, double-sided hits had become rare. Album sales had increased, B-sides had become the side of the record where non-album, non-radio-friendly, instrumental versions or inferior recordings were placed. In order to further ensure that radio stations played the side that the record companies had chosen, it was common for the promotional copies of a single to have the "plug side" on both sides of the disc. With the decline of 45 rpm vinyl records, after the introduction of cassette and compact disc singles in the late 1980s, the A-side/B-side differentiation became much less meaningful. At first, cassette singles would have one song on each side of the cassette, matching the arrangement of vinyl records, but cassette maxi-singles, containing more than two songs, became more popular. Cassette singles were phased out beginning in the late 1990s, the A-side/B-side dichotomy became extinct, as the remaining dominant medium, the compact disc, lacked an equivalent physical distinction.
However, the term "B-side" is still used to refer to the "bonus" tracks or "coupling" tracks on a CD single. With the advent of downloading music via the Internet, sales of CD singles and other physical media have declined, the term "B-side" is now less used. Songs that were not part of an artist's collection of albums are made available through the same downloadable catalogs as tracks from their albums, are referred to as "unreleased", "bonus", "non-album", "rare", "outtakes" or "exclusive" tracks, the latter in the case of a song being available from a certain provider of music. B-side songs may be released on the same record as a single to provide extra "value for money". There are several types of material released in this way, including a different version, or, in a concept record, a song that does not fit into the story lin
Michael Andrew "Mike" Bordin is an American musician, best known as the drummer for rock band Faith No More. He has amicably been known as "Puffy", "Puffster" or "The Puff", in reference to the afro hair style he wore in the early 1980s; the nicknames were coined by Faith No More guitarist Jim Martin, they stuck around after he grew out his hair and tied it in dreadlocks, a trademark look he has worn for most of his career. Mike Bordin was one of the three founding band member of Faith No More in 1983 and was the band's only drummer throughout its span, remaining with the group until its initial breakup in April 1998, he rejoined Faith No More when the band reformed in 2009. Bordin has performed with Ozzy Osbourne, Black Sabbath, Black Label Society, Jerry Cantrell, The Chickenfuckers and Pop-O-Pies; some of his pre-Faith No More bands include Faith. No Man. Sharp Young Men and EZ-Street. Bordin has played alongside all three Metallica bassists over the years. In the late 1970s, while still a student at Castro Valley High School, Bordin formed his first band EZ-Street with future Metallica bassist Cliff Burton.
The two recruited local metalhead and future Faith No More guitarist Jim Martin to complete the trio. In 1981, Bordin left EZ-Street because of frictions with guitarist Jim Martin, he joined up with a San Francisco post-punk outfit going under the name of Sharp Young Men. Sharp Young Men was fronted by Mike Morris, with Billy Gould on bass and keyboardist Wade Worthington. After playing a few shows for a year, the band decided to change its name because it didn't like the image it gave off. In late 1982, Sharp Young Men became Faith. No Man. A name that Bordin suggested, meaning "Faith In No Man". Faith. No Man. Recorded a two-song 7" single in early 1983, followed by a three-song demo tape in the summer. In between those two recordings, keyboardist Wade Worthington left and was replaced by Billy Gould's childhood friend Roddy Bottum. In the late summer, Bordin and Gould quit Faith. No Man; because of frictions with Morris and formed the a new band, Faith No More. Faith No More played its first show in October 1983.
Bordin's former EZ-Street band-mate Jim Martin joined the band in the summer of 1984. Faith No More released their first album, We Care a Lot, in 1985. After releasing several more albums, including the Grammy-nominated The Real Thing, Faith No More disbanded in 1998. In 2009, Faith No More reformed and performed a series of festival shows in Europe and Australia, leading to several shows in select American cities. In 2015, Faith No More released Sol Invictus, their first album since Album of the Year, first since their reunion, it met considerable critical attention, the band embarked on a worldwide tour. Bordin has worked with Primus on several occasions, he first provided guest vocals on two songs from Primus' 1990 album Frizzle Fry. In 1991 he provided guest vocals and drums on the song "Los Bastardos", released on Sailing the Seas of Cheese, he played drums on the song "Choked", a collaboration with Primus' Tim Alexander and Tool's Maynard James Keenan, released on the 1997 compilation Flyin' Traps.
In 1996, Bordin began performing with Ozzy Osbourne's band. Due to Black Sabbath drummer Bill Ward's health issues during tour, Bordin had a brief stretch playing with the other original members of Black Sabbath, he played the closing segments of Ozzy Osbourne's 1997 headlining concerts during the Ozzfest tour. Bordin re-recorded the drum tracks on Osbourne's solo albums, Blizzard of Ozz and Diary of a Madman, for the controversial remasters released in 2002; the re-recordings were the result of a lawsuit brought by original drummer Lee Kerslake and original bassist Bob Daisley for unpaid royalties. In 2000, Bordin filled in as Korn's live drummer for 7 months and nearly 100 shows. At the time of his joining, Korn's fourth album Issues had been nominated for two Grammys in March 2000 and had achieved triple-platinum certification by the RIAA since its release five months earlier, in November 1999. Korn's Sick and Twisted Tour began on February 2000 to promote the full-length. On March 10, 2000, only 14 dates into the tour, Korn drummer David Silveria's right wrist gave out on the night of their concert at the Fargodome in Fargo, North Dakota.
The band went out on stage and Silveria announced to the audience that the concert had to be postponed because of his inability to play. The injury was caused by Silvera's left ribs, the same limp wrist condition had occurred the year before causing the band to cancel the last two shows of their tour with Rob Zombie. Three Midwest dates in Madison, Minneapolis and Moline, Illinois had to be rescheduled while the band found a replacement. Korn called on Bordin to fill in while Silveria recovered; the band invited Bordin because he was the only drummer they could think of who could perform in the style they wanted. Faith No More had been a major inspiration when Korn started out in the early 1990s and the band went on to record a cover of We Care a Lot in 2005 for a proposed covers album titled Korn Kovers. Korn spent 5 days teaching Bordin an initial 12 songs at their rehearsal space in California, with Silveria present to guide him. Throughout the rest of the year, Bordin learned an additional 10 songs which were added the set list.
On March 16, the band flew out to Illinois for their first show with Bordin on drums at the Allstate Arena in Rosemont. Bordin rema
Alternative metal is a rock music fusion genre that infuses heavy metal with influences from alternative rock and other genres not associated with metal. Alternative metal bands are characterized by downtuned, mid-paced guitar riffs, a mixture of accessible melodic vocals and harsh vocals and sometimes unconventional sounds within other heavy metal styles; the term has been in use since the 1980s. Other genres considered part of the alternative metal movement included rap metal and funk metal, both of which influenced another prominent subgenre, nu metal. Nu metal expands the alternative metal sound, combining its vocal stylings and downtuned riffs with elements of other genres, such as hip hop, thrash metal, hardcore punk and industrial metal; the genre is considered a fusion between alternative rock and heavy metal, although Allmusic states "alt-metal is a far-reaching term, used to describe everyone from Hammerlock to Neurosis to Ministry to Limp Bizkit". They remarked that alternative metal was "a style united by its nonconformist sensibility rather than any classifiable sound."One of the main characteristics of alternative metal and its subgenres are downtuned, mid-paced "chug"-like guitar riffs.
However, funk metal bands use a more conventional riffing style influenced by 1980s thrash metal. Alternative metal features clean and melodic vocals, influenced by those of alternative rock, in contrast to other heavy metal subgenres. Bands incorporated vocal styles that alternated between clean singing and screaming. Examples include alternative metal bands associated with the nu metal movement, such as Korn and Deftones, who have been described as having "bipolar vocals". Jonathan Gold of the Los Angeles Times wrote in 1990 "Just as rock has an alternative, wing-bands like the Replacements and Dinosaur Jr.-so does metal. Alternative metal is alternative music that rocks, and alternative metal these days can reach 10 times the audience of other alternative rock. Jane's Addiction plays an intense brand of'70s-influenced arty metal. In fact, the arty meanderings of Sab and the Zep themselves would be considered alternative metal." Houston Press has described the genre as being a "compromise for people for whom Nirvana was not heavy enough but Metallica was too heavy."The first wave of alternative metal bands emerged from many backgrounds, including hardcore punk, noise rock, Seattle's grunge scene, stoner rock, sludge metal, gothic metal and industrial.
These bands never formed a distinct scene. Jane's Addiction borrowed from art rock and progressive rock, Quicksand blended post-hardcore and Living Colour injected funk into their sound, for example, while Primus were influenced by progressive rock, thrash metal and funk and Faith No More mixed progressive rock, R&B, funk and hip hop. Fudge Tunnel's style of alternative metal included influences from both sludge noise rock; the origins of the genre can be traced back to funk rock music of the early to mid-1980s, when alternative bands like Fishbone, Faith No More and the Red Hot Chili Peppers started mixing heavy metal with funk, creating the alternative metal subgenre funk metal. Other early bands in the genre came from hardcore punk backgrounds. Bands such as Faith No More, Jane's Addiction and Soundgarden are recognized as some of the earliest alternative metal acts, with all three of these bands emerging around the same time, setting the template for the genre by mixing heavy metal music with a variety of different genres in the mid to late 1980s.
During the 1980s, alternative metal appealed to alternative rock fans, since all 1980s alt-metal bands had their roots in the American independent rock scene. The emergence of grunge as a popular style of rock music in the early 1990s helped make alternative metal more acceptable to a mainstream audience, with alternative metal soon becoming the most popular metal style of the 1990s. Several bands associated with the genre denied their status as metal bands. Helmet drummer John Stanier said "We fell into the whole metal thing by accident, we always hated it when people mentioned metal in conjunction with us." Saby Reyes-Kulkarni of Pitchfork Media stated "bands like Faith No More, Primus, the Rollins Band, dozens more were marketed as quasi-metal acts. This was only possible in a climate where record labels and college radio DJs understood that the metal audience could embrace new, albeit arty variations on the form." The alternative music festival Lollapalooza conceived by Jane's Addiction singer Perry Farrell, helped bands associated with the movement such as Tool, Rage Against the Machine, Nine Inch Nails and Alice in Chains gain exposure.
The progressive rock-influenced band Tool became a leading band in the alternative metal genre with the release of their 1993 debut album Undertow. Spin stated in August 1998 that "It was Helmet that spawned the idea of alternative metal with the punk crutch of 1992's Meantime bands such as Rage Against the Machine took the concept a crucial step further, integrating hip hop to connect with skate
Falling to Pieces
"Falling to Pieces" is the third single on Faith No More's first studio album with Mike Patton on vocals, The Real Thing. It is one of their best known hits, peaking at # 92 on the Billboard Hot 100 and #40 on the Mainstream Rock charts. Despite its success and unlike other of the band's hits, the song did not go on to be a live staple, appearing rarely in concerts after their appearance at the 1993 Phoenix Festival, where Billy Gould announced "this is the last time we'll play this song again" right before the song. During Second Coming Tour, the band picked up the song again and performed it at least once at a concert in Rio de Janeiro in 2009; the song was performed at the Open'er Festival in 2014 for the first time since 2009. In a 2016 interview, Gould stated, "let's face it. I don’t know, we don’t groove on that one; when you play it live, it just kind of gets boring". Promo"Falling to Pieces" – 4:19 "Falling to Pieces" – 4:32 "Falling to Pieces" – 5:12Disc One"Falling to Pieces" - 3:39 "We Care a Lot" - 3:59 "Underwater Love" - 3:32 "From Out of Nowhere" - 3:47Disc Two"Falling to Pieces" "Zombie Eaters" "The Real Thing" ‡Live at the Wireless July 30, 1990 features ad-lib from Public Enemy's "911 Is a Joke" The Brixton Academy live tracks are different mixes to those found on the LP of the concert, most notably including the line "About the smack and crack and whack that hits the streets" on "We Care a Lot", muted on the LP mix.
The bass-driven song spawned a video directed by Ralph Ziman, in which lead singer Mike Patton wears a series of different outfits, including one resembling Alex from the Stanley Kubrick film A Clockwork Orange. The video is notable for using a different mix of the song featuring more prominent background vocals, a guitar solo during the fade out. There is another lesser known music video which uses clips from the Brixton Academy performance, played with the album version of the song; the song can be heard in the 2002 film Black Hawk Down while the Rangers and Delta Force operators are preparing for their assault. The song was performed again for the first time in years at the Rio de Janeiro show, November 2009. Part of the song serves as an epigraph for the 1993 novel Mala Onda, by Chilean writer Alberto Fuguet; the song can be heard in the 2007 film Towelhead, set in the year 1991. The song was again performed at the 2014 Open'er Festival in Poland
Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particularly in the United Kingdom and in the United States. It has its roots in 1940s and 1950s rock and roll, a style which drew on the genres of blues and blues, from country music. Rock music drew on a number of other genres such as electric blues and folk, incorporated influences from jazz and other musical styles. Musically, rock has centered on the electric guitar as part of a rock group with electric bass and one or more singers. Rock is song-based music with a 4/4 time signature using a verse–chorus form, but the genre has become diverse. Like pop music, lyrics stress romantic love but address a wide variety of other themes that are social or political. By the late 1960s "classic rock" period, a number of distinct rock music subgenres had emerged, including hybrids like blues rock, folk rock, country rock, southern rock, raga rock, jazz-rock, many of which contributed to the development of psychedelic rock, influenced by the countercultural psychedelic and hippie scene.
New genres that emerged included progressive rock. In the second half of the 1970s, punk rock reacted by producing stripped-down, energetic social and political critiques. Punk was an influence in the 1980s on new wave, post-punk and alternative rock. From the 1990s alternative rock began to dominate rock music and break into the mainstream in the form of grunge and indie rock. Further fusion subgenres have since emerged, including pop punk, electronic rock, rap rock, rap metal, as well as conscious attempts to revisit rock's history, including the garage rock/post-punk and techno-pop revivals at the beginning of the 2000s. Rock music has embodied and served as the vehicle for cultural and social movements, leading to major subcultures including mods and rockers in the UK and the hippie counterculture that spread out from San Francisco in the US in the 1960s. 1970s punk culture spawned the goth and emo subcultures. Inheriting the folk tradition of the protest song, rock music has been associated with political activism as well as changes in social attitudes to race and drug use, is seen as an expression of youth revolt against adult consumerism and conformity.
The sound of rock is traditionally centered on the amplified electric guitar, which emerged in its modern form in the 1950s with the popularity of rock and roll. It was influenced by the sounds of electric blues guitarists; the sound of an electric guitar in rock music is supported by an electric bass guitar, which pioneered in jazz music in the same era, percussion produced from a drum kit that combines drums and cymbals. This trio of instruments has been complemented by the inclusion of other instruments keyboards such as the piano, the Hammond organ, the synthesizer; the basic rock instrumentation was derived from the basic blues band instrumentation. A group of musicians performing rock music is termed as a rock group. Furthermore, it consists of between three and five members. Classically, a rock band takes the form of a quartet whose members cover one or more roles, including vocalist, lead guitarist, rhythm guitarist, bass guitarist and keyboard player or other instrumentalist. Rock music is traditionally built on a foundation of simple unsyncopated rhythms in a 4/4 meter, with a repetitive snare drum back beat on beats two and four.
Melodies originate from older musical modes such as the Dorian and Mixolydian, as well as major and minor modes. Harmonies range from the common triad to parallel perfect fourths and fifths and dissonant harmonic progressions. Since the late 1950s and from the mid 1960s onwards, rock music used the verse-chorus structure derived from blues and folk music, but there has been considerable variation from this model. Critics have stressed the eclecticism and stylistic diversity of rock; because of its complex history and its tendency to borrow from other musical and cultural forms, it has been argued that "it is impossible to bind rock music to a rigidly delineated musical definition." Unlike many earlier styles of popular music, rock lyrics have dealt with a wide range of themes, including romantic love, rebellion against "The Establishment", social concerns, life styles. These themes were inherited from a variety of sources such as the Tin Pan Alley pop tradition, folk music, rhythm and blues.
Music journalist Robert Christgau characterizes rock lyrics as a "cool medium" with simple diction and repeated refrains, asserts that rock's primary "function" "pertains to music, or, more noise." The predominance of white and middle class musicians in rock music has been noted, rock has been seen as an appropriation of black musical forms for a young and male audience. As a result, it has been seen to articulate the concerns of this group in both style and lyrics. Christgau, writing in 1972, said in spite of some exceptions, "rock and roll implies an identification of male sexuality and aggression". Since the term "rock" started being used in preference to "rock and roll" from the late-1960s, it has been contrasted with pop music, with which it has shared many characteristics, but from wh
A set list, or most setlist, is a handwritten or printed document, created as a blueprint for a performance that lists the order of songs, stories or other performance elements that an artist intends to play, or has played, during a specific performance.. A setlist can be made of nearly any material that can be written or printed on, but are most made with paper, cardboard, or cardstock, they are often laminated as well for outdoor stage settings. The set list is taped directly to the stage in front of the performers, or somewhere the musicians can see it, such as to a monitor or amplifier. Artists use setlists for a variety of reasons beyond just being a reminder of the order in which their material is to be played during a performance, they are most used to help the artist or band to create the overall mood of a live performance by allowing them to create a memorable sense of range and variety in the tone and dynamics within their performance, a factor in creating great performances that fans will talk about for years if not generations.
They are used to create sets for a specific audience or location, an popular idea, aided by the use of today's technologies like the use of instant polling on social media and websites, where fans can choose the material to be performed. Many performers craft their playlists in ways that highlight other elements of their stage shows such as the visual ambiance of the stage, choreography, or in an order that defines things like different albums or eras of their career. Music fans refer to the set list in the non-physical sense of what a performing artist chooses to play. For many artists, the same set list is played for every performance on a given concert tour. For others, this is not the case, for their devoted fan bases who follow the artist around on tour, the most variety in the setlist from night to night is longed for; the Grateful Dead is one example, having never played the same set list twice in the band's entire existence. Some such artists have predetermined "slots" in an otherwise fixed show where different songs can be swapped in and out.
There are websites that track and report information on such things as the venue and bands on the bill of each date, as well as which band members were in attendance, copies of the show posters and other memorabilia available, most the actual setlist used for that particular event. This is done to provide a more accurate record of each individual show, used to differentiate between performances during a tour, as many artists will change their setlist from one night to another. In the pre-smartphone era, devoted followers attending concerts of popular artists such as Bruce Springsteen or Led Zeppelin, which have large fan bases spanning the globe took on the task of tracking which songs were played and in what order, creating their own handwritten version of the correct setlist for the event to be shared with other fans through fan clubs and other forums; when early cellular phones became commonplace with the general public, people began using text-messaging to report the songs played in real-time to a friend or fellow fan who would update a running setlist on one or more Internet forums devoted to the performer of the night.
When internet-connected smartphones came about, fans began to post the setlists directly to these forums and websites themselves as part of a running play-by-play commentary of their concert experiences on social media sites such as Myspace and Twitter. Collecting setlists has become nearly as popular for music fans as collecting ticket stubs and show posters, with the actual physical setlist becoming a treasured and uniquely rare souvenir for concert goers and fans of music, in general. Fans wait around after a concert just so they can grab one off the stage after a performance or so they can try requesting one from a roadie or other event staff. Crew members sometimes keep items like original setlists, guitar picks and other items used during a performance as keepsakes or to sell in the memorabilia market or on auction websites such as eBay, where collectors and concert attendees who are looking to the highlight their own experience of a particular show can purchase them for their own collection.
In some cases, so great is the urge for a fan to obtain a setlist that they don't always wait for a show to end before trying to get their hands on a setlist. Setlist.fm – the setlists wiki setlist.com – Online archive for setlists setlisting.com – Setlists and Statistics for all Artists setlisthelper.com – Helping musicians build and arrange setlists setlist.mx – Japanese setlists Archive setlistart.com – Artwork based on setlists setlists.net – Searchable Online archive for Grateful Dead setlists livetracklist.com – EDM setlists Archive
Roswell Christopher "Roddy" Bottum III is an American musician, best known as the keyboardist for the San Francisco alternative metal band Faith No More. He is guitarist and co-lead vocalist for the pop group Imperial Teen, best known for their 1999 single "Yoo Hoo" used in the movie Jawbreaker. In addition to popular musical career, Bottum scored three Hollywood movies and composed an opera entitled Sasquatch: The Opera, which premiered in New York on April 2, 2015. Joining his schoolfriends Billy Gould and Mike Bordin in Faith No More in 1981, Bottum remained in the band until its demise in 1998. However, after 1992's Angel Dust and its ensuing tour, Bottum's input into Faith No More was reduced significantly, his keyboards prominent in the band, were absent on King for a Day... Fool for a Lifetime. Bottum explained that he suffered a nervous breakdown in this era and "all of, a real blur for me." He was addicted to heroin and experienced the death of his father and saw the aftermath of Kurt Cobain's suicide on Courtney Love.
In 1994 and 1995, Bottum formed Imperial Teen with another Bay Area music veteran. The band's mainstream pop sound was a stark contrast to the aggressive metal of Faith No More, is best known for their single "Yoo Hoo", used in the 1999 film Jawbreaker. In 2009, Bottum returned to Faith No More for a reunion tour and in 2015 the band released their seventh studio album Sol Invictus. In 2013, Bottum produced an opera called Sasquatch: The Opera, he wrote the music and libretto for the piece about the elusive beast of the forest, describing it as a dark and gothic fairy tale about a backwoods family and the relationship between a caged woman and Sasquatch. The opera premiered in Brooklyn in 2015 and went to the Edinburgh Fringe Festival in the summer of 2016 for a month of shows. Bottum wrote a short form opera called The Ride about the AIDS LifeCycle Ride, a charity bicycle ride from San Francisco to Los Angeles, a ride Bottum participated in twice; the piece was staged with two stationary bicycles onstage.
In 2016 Bottum joined the art music collective Nastie Band. The group features an 85 year old singer Chris Kachulis and Bottum's long time friend visual artist, Frank Haines. In 2018 Bottum made his acting debut in Sebastian Silva's feature film Tyrel about racial tension in America; the ensemble cast features Jason Mitchell, Chris Abbott, Michael Cera, Caleb Landry Jones. The film premiered at Sundance Film Festival and had a theatrical release through Magnolia Pictures in 2019. In 2019, Bottum formed the band Crickets with JD Samson and Michael O'Neil, they cite minimalist and political influences in a stripped-down sound that defies masculine toxicity. Bottum composed the music for Craig Chester's gay romantic comedy film Adam & Steve and scored What Goes Up, he composed the music for the 2007 film Kabluey starring Lisa Kudrow and Scott Prendergrast. Bottum scored Gigantic, a film by Matt Aselton, starring Zooey Deschanel and Paul Dano in 2007. In 2010, he scored. In 2010 Bottum scored Fred: The Movie for Nickelodeon.
He has gone on to score the sequel to that film and the first season of Fred: The Show for the same network. Bottum revealed his homosexuality in a 1993 interview with Lance Loud for The Advocate. In a 2001 interview in The Advocate, Bottum stated that "I would never have thought as a gay teen I'd be in a band that would be considered heavy metal or hard rock."One of his contributions to Faith No More was "Be Aggressive," a song about oral sex. Bottum has said in interviews that he wrote the song as a joke at Mike Patton's expense, enjoying the potential embarrassment the heterosexual Patton might experience singing the song onstage. A fan favorite, "Be Aggressive" became the second most-played song at Faith No More concerts. Bottum would describe gerbil stuffing in graphic detail to shocked interviewers. A 1999 article in The Advocate said of Imperial Teen, "With lyrical allusions to wearing lipstick and male pronouns used to address love objects, Imperial Teen serves up a gay sensibility that ordinarily surfaces only from straight bands like Pulp or Pizzicato Five."
Bottum noted "I think there's a resistance from gay artists to go that route just because it's so predictable. But it is annoying to see bands play it as safe. That's why something that visually screams as loud as Marilyn Manson is such a breath of fresh air."Before he came out as gay, Bottum was involved in a brief heterosexual relationship with Courtney Love in the early 80s, concurrent with the time she sang for Faith No More. The two remain friends decades later. Soundtrack.net interview July 22, 2001 Roddy Bottum on IMDb