The end of the road. I'm Rebecca Leib. I'm Jason Horton. And this is Ghost Town.

Last year, the Sisters of Mercy toured the state's good public enemy.

I thought it might be an interesting company.

The recession in the early 90s hit the American public hard. And one of the many ways people

found to cut costs was to stop going to concerts. This came on top of rising ticket prices.

And the first time that La La Paloza was ever held in the states gave concert goers the

opportunity to see more than just one act. And for a lot of them, it made more sense than

only going to one concert. One band in particular saw this as an opportunity to take advantage of

America's growing interest in different genres and styles of music. And they decided they were

going to put together a lineup that would shock both audiences and people in the industry,

whether they liked it or not. That band was the Sisters of Mercy. And in their own words to

describe themselves, we are a rock and roll band and a pop band and an industrial groove band.

We are intellectual love gods. We make records. Sometimes we play concerts sometimes.

But if that wasn't enough context for you, the Sisters of Mercy are a rock band from

Leeds, England, who were at the height of their fame during the mid 1980s to early 1990s.

They actually dropped off people's radars around the early 90s because they stopped producing new

records to protest their record company, which may give some of you an idea where we're headed

with this tour. The Sisters were already a huge success in Europe, but we're looking to build on that

and create a bigger fan base in America. And then they reached out to a rather unlikely group

to help them do that. In the summer of 1991, the Sisters of Mercy teamed up with

public enemy to try to bridge the gap between them and the American audiences.

We're talking about the ill-fated, very ill-fated tour. The Sisters of Mercy,

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