with bands like Lagwagon, Less Than Jake, and the Mighty Mighty Bosstones. Background, writing, and recording After the release of Somewhere Between Heaven and Hell in 1992, Social Distortion went touring and they toured until the end of 1993. The band's guitarist and singer Mike Ness said the band "needed a break." Social Distortion then had to be involved in some court battles to retrieve some of the band's early recordings. The recording were not in the band's possession and the recordings were unavailable to the public, too. The band "had to retrieve them, package them up and put them out." Social Distortion wrote 25 songs for a new album because the band wanted to write an album "that would stand out", according to Ness. "We wanted to make 'The Record'," he explained. He claims there's a few songs on each Social Distortion album that he hated "because we just did 'em, and settled for it and didn't challenge it." Social Distortion wrote a dozen songs in 1994 for a new album, but were told by producer Michael Beinhorn that most of the songs would not work. Ness says: "He saw something inside that needed to come out, and we weren't quite achieving it. We went back in and did more writing. We ended up keeping two of those twelve songs." Initially, Ness was upset but the two "gained a mutual respect for each other." Ness decided the two "were on the right track" and saw the situation as an exciting challenge. The title to White Light, White Heat, White Trash was a reference to the 1949 film White Heat and the Velvet Underground album White Light/White Heat. When recording started in the late spring of 1995, Beinhorn decided that drummer Randy Carr was not providing the studio sound Beinhorn sought. Ness trusted the producer enough to agree to the decision. A session player, Deen Castronovo, participated in the recording. After he participated, he stopped playing for Social Distortion and drummer Chuck Biscuits, former drummer for bands like Black Flag, Danzig, D.O.A. and the Circle Jerks, joined Social Distortion. The album was recorded from August 1995 to June 1996 in Bearsville Studio in Woodstock, New York. "Going back to basics" was considered the philosophy that underlay the recording process of White Light, White Heat, White Trash. As a result, Beinhorn solely used analog and vintage equipment in the studio. Ness