IN: Suicidal Tendencies (also referred to as S.T. or simply Suicidal) are an American crossover thrash band founded in 1980 in Venice, California by vocalist Mike Muir, who is the only remaining original member of the band. Along with D.R.I., Corrosion of Conformity, and S.O.D., they are often credited as one of "the fathers of crossover thrash". Their current lineup includes Muir, guitarists Dean Pleasants and Jeff Pogan, bassist Ra Diaz and drummer Dave Lombardo. Notable former members of the band are lead guitarist Rocky George (now in Fishbone), rhythm guitarist Mike Clark (formerly of No Mercy, now in Waking the Dead), bassists Louiche Mayorga (now in Luicidal), Robert Trujillo (formerly or later of Infectious Grooves and Ozzy Osbourne, now in Metallica), Josh Paul (now in Daughtry) and Stephen "Thundercat" Bruner, and drummers Amery Smith (later of Uncle Slam and the Beastie Boys), Jimmy DeGrasso (formerly or later of Y&T, White Lion, Alice Cooper and Megadeth, now in Ratt), Brooks Wackerman (formerly or later of Infectious Grooves, Bad Religion and Tenacious D, now in Avenged Sevenfold) and David Hidalgo Jr. (now in Social Distortion and The Bronx).

With the line-up of Muir, Louiche Mayorga, George, and Herrera, the band released their second album, Join the Army, in 1987. The album was met with a mixed reaction from long-time fans due to its considerably more metal-oriented sound (an element brought to the table by Rocky George), as they were expecting another punk album. Nonetheless, Join the Army featured classic tracks such as the title track, "War Inside My Head" and "Possessed to Skate" (which featured a video, originally intended for an unsuccessful skateboard movie, which featured Timothy Leary). Shortly afterwards, the band made some major changes. Rocky George's metal influences (reflected in his Motorhead-esque songwriting contributions to Join the Army) began in turn influencing Muir, who replaced Keven Guercio as singer for Mike Clark's speed metal band No Mercy prior to this. Muir hired No Mercy's guitarist Mike Clark as a rhythm guitarist for Suicidal. Clark helped handle much of the band's songwriting, which progressed into a more thrash oriented musical direction. Then he fired Mayorga, who had been trying to keep the band in punk territory, and was replaced briefly by No Mercy bassist Ric Clayton, who was replaced by Bob Heathcote. Shortly after the band was picked up by Anthrax producer Mark Dodson and signed to the Columbia subsidiary Epic Records. The stylistic changes and signing to a major label outraged a few long-time fans, but Suicidal began to pick up more fans from the heavy metal community as well. The band's first release with Epic was How Will I Laugh Tomorrow When I Can't Even Smile Today, released in 1988. The album was almost completely stripped of the band's punk and hardcore roots, instead featuring a thrash-oriented sound with more complex song structures and a greater emphasis on instrumental skill than the band had ever shown previously. However, the album was considerably more melodic than most thrash metal albums, perhaps a lasting influence of the band's punk past. Singles and music videos were released for "Trip at the Brain" and the title track, which were successful and helped expand the bands audience. That same year the band was thanked by country musician Hank Williams Jr. at the 1988 CMA Awards. Williams' son was apparently a big fan of Suicidal.
QUESTION: Were there any notable singles from the album?
IN: Lewis was born in 1935 to the poor farming family of Elmo and Mamie Lewis in Ferriday, Concordia Parish, in eastern Louisiana. In his youth, he began playing piano with two of his cousins, Mickey Gilley (later a popular country music singer) and Jimmy Swaggart (later a popular television evangelist). His parents mortgaged their farm to buy him a piano. Lewis was influenced by a piano-playing older cousin, Carl McVoy (who later recorded with Bill Black's Combo), the radio, and the sounds from Haney's Big House, a black juke joint across the tracks.

Lewis's turbulent personal life was hidden from the public until a May 1958 British tour where Ray Berry, a news agency reporter at London's Heathrow Airport (the only journalist present), learned about Lewis's third wife, Myra Gale Brown. She was Lewis's first cousin once removed and was only 13 years old at the time. (Brown, Lewis, and his management all insisted that she was 15.) Lewis was 22 years old. The publicity caused an uproar, and the tour was cancelled after only three concerts. The scandal followed Lewis home to the United States; and, as a result, he was blacklisted from radio and almost vanished from the music scene. Lewis felt betrayed by numerous people who had been his supporters. Dick Clark dropped him from his shows. Lewis even felt that Sam Phillips had sold him out when the Sun Records boss released "The Return of Jerry Lee", a bogus "interview" spliced together by Jack Clement from excerpts of Lewis's songs that "answered" the interview questions, which made light of his marital and publicity problems. Only Alan Freed stayed true to Lewis, playing his records until Freed was removed from the air because of payola allegations. Lewis was still under contract with Sun Records, and kept recording, regularly releasing singles. He had gone from $10,000 a night for concerts to $250 a night for engagements in beer joints and small clubs. At the time he had few friends whom he felt he could trust. It was only through Kay Martin, the president of Lewis's fan club, T. L. Meade (also known as Franz Douskey), an occasional Memphis musician and friend of Sam Phillips, and Gary Skala, that Lewis went back to record at Sun Records. In 1960, Phillips opened a new state-of-the-art studio at 639 Madison Avenue in Memphis, abandoning the old Union Avenue studio where Phillips had recorded B.B. King, Howlin' Wolf, Elvis Presley, Roy Orbison, Carl Perkins, Lewis, Johnny Cash and others, and also opened a studio in Nashville. It was at the latter studio that Lewis recorded his only major hit during this period, a rendition of Ray Charles's "What'd I Say" in 1961. In Europe, other updated versions of "Sweet Little Sixteen" (September 1962 UK) and "Good Golly Miss Molly" (March 1963) entered the hit parade. On popular EPs, "Hang Up My Rock and Roll Shoes", "I've Been Twistin'", "Money" and "Hello Josephine" also became turntable hits, especially in nascent discotheques. Another recording of Lewis playing an instrumental boogie arrangement of the Glenn Miller Orchestra favorite "In the Mood" was issued on the Phillips International label under the pseudonym "The Hawk", but disc jockeys quickly figured out the distinctive piano style, and this gambit failed.
QUESTION:
What was turbulent about it?