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David de Sola

Alice in Chains: The Untold Story

For Ñañi and Titía

Our music is a way to express things that we wouldn’t talk about—things that are that heavy and that dark. These are feelings that everybody experiences. That’s why people relate to it.

—Jerry Cantrell

The historian’s task is not to disrupt for the sake of it, but it is to tell what is almost always an uncomfortable story and explain why the discomfort is part of the truth we need to live well and live properly. A well-organized society is one in which we know the truth about ourselves collectively, not one in which we tell pleasant lies about ourselves.

—Tony Judt

Introduction

It is the tale, not he who tells it.

STEPHEN KING

—THE PAST THREE YEARS have seen a revival of interest in the Seattle grunge scene that dominated music in the early 1990s. Anniversaries of landmark albums, deaths, and actual or pending inductions to the Rock and Roll Hall of Fame have all sparked an interest in the people and place that made the music of that era. Of Seattle’s “Big Four,” Nirvana dominates most of the attention, in large part because of the life and talent of Kurt Cobain, as well as the post-Nirvana success of Dave Grohl and the controversies involving Courtney Love and the Cobain estate.

Pearl Jam also draws a great deal of attention and has the distinction of being the only one of the four bands that has continuously kept going for almost twenty-five years as of this writing. Soundgarden broke up, and Chris Cornell carried on as a solo artist and as part of Audioslave, before regrouping in 2010.

But the story of Alice in Chains is the most interesting for several reasons: how Layne Staley emerged as one of the most influential vocalists of his generation, inspiring legions of imitators; their prolific output despite the relatively short period of activity—three studio albums, two EPs, and one live album during the period between 1989 and 1996; how it was the first band out of the gate in getting a nationwide following, heavy airplay on MTV, and a gold record; and also as a cautionary story of how a talented band nearly lost it all and not everyone lived to tell the tale.

In the summer of 2011, I was in between my first and second year of graduate school at Georgetown University and working at 60 Minutes. Between work and school, I had a lot on my plate, which required a lot of late-night reading. During one of these reading sessions, for no particular reason, I put on Dirt, which I hadn’t listened to in a very long time. I’d had it in some shape or form since 1992 or 1993—first on cassette, later on CD, and now as an MP3.