In the early 90's, Ross Robinson was a smalltime producer doing little more than demos for bands looking for deals-one of whom were Fear Factory. He produced their demo, they got signed to Roadrunner, then moved on to Rhys Fulber as their producer.

Now, in 1994 an unknown band from Bakersfield, California, came to him to produce their first album. Anyone with an iota of knowledge (or actually reading this site) will know that was Korn, and also might note they were an overnight sensation after their first album came out-and went on to Global success and acclaim.

This is also where we start to see a pattern in Robinson's production work at a very extraordinarily early stage. In the Korn/Fear Factory feud (which ended up with Limp Bizkit kicking the shit out of Dino Cazeres' mates after he started on Fieldy), one of the main accusations that Korn were ripping them off (despite image and attitude wise it was vice-versa) was that Blind sounds uncannily familiar to one of their demo tracks, which also went on to appear on their debut, Soul of a New Machine.

This came about a couple of years later. In the meantime Robinson produced Sepultura's Roots opus, which saw them experiment a bit more, as well as stay to their heavy roots. Of course, this was more due to the input of Max Cavalera, judging by their material since his departure. He also produced Korn's second album, Life is Peachy.

To even the most hardcore Korn fans, this album was a weak follow up. Not that the listener puts up their defences, as Kerrang stated, but because there isn't any real soul in there. In fact, the band admit that, rather than being the 'next level' they trumpeted it as at the time, it was a rush job-about 2 weeks work, and a poor relation of the first. In other words, Ross Robinson wanted a repeat of the first done ASAP, since it would sell off the back of the first one, especially if there was little difference. OK, so they broke into the mainstream with A.D.I.D.A.S., but Blind and Korn gained them the support in the first place.

Next stop, Jacksonville's finest came up to him as a producer, as they were friends with Korn and were looking to start out. And when 3 Dollar Bill, Y'all came out, everyone promptly said that Limp were ripping off Korn hook, line and sinker. Another recorded fact was the band didn't want to put Faith on the album, but Robinson said it worked so well live, he could retire off the profits. Well, the first part he said, anyway.

After this, Korn moved on and went on to World Domination in 1998 when they released Follow the Leader, and Limp followed suit in 1999 with Significant Other. Both of these were noted for the change in their sound, and the common factor? Ross Robinson was nowhere near the studio. Korn said they wanted a change, and that statement has more to it than it first appears.

With 2 of his credibility markers making it without him, Robinson had to find something new, especially since he had his own label by now, I Am records. A tip to Toys R Us and he found $lipknot. Of course, he said he wanted to produce their demo, first album etc etc. Nothing to do with the appeal of a bunch of blokes in masks and boiler suits will have for image-wary 16 year olds impatiently waiting for Marilyn Manson to return.

He promptly went on to market them into an overnight sensation, rather than bother with grass-roots support which is what Korn and Bizkit drummed up way before he came on the scene.

However, he needed a bit of credibility so he wouldn't just be attributed to a boyband with guitars. So he also picked up Amen, and once more decided that RoadRunner had the best marketing potential to pay off his mortgage.

Amen fell foul of RoadRunner and got booted off, whilst the dollars kept Shitknot there until everyone realises they were conned and look elsewhere (give it 6 months).

So, Amen got a new label, and Robinson REALLY started bouncing between bandwagons at a rate which would make Jeff Hardy nervous. All of a sudden he proclaimed the death of 'Adidas Rock', just to please those at Spin that the 'mooks' would soon be gone. Guess who the future would be? Yup, the band with the bloke wearing T-shirts with 'Whore' and such printed on them, as well as the cool hairstyle and a name that is no way contrived-Casey Chaos. And the rest of them, whoever they are.

To add to this pont, he actually comes on stage during Amen's shows, proclaiming the death of Adidas Rock, and that Amen are the future of heavy music as we know it. Kinda like what he said with N'Slip, before Korn upstaged them overnight with Issues. So, as it looks likely that an NME cover is the best hope for Amen, expect the sales of Chocolate Starfish and the Hot Dog Flavored Water to dwarf Amen's sales many, many times. And Robbie to come back with another image, sorry, band and the cycle to repeat.

Of course, Amen are not anything to do with image. They are, in fact, a crap band with a frontman that chronically hogs attention, whilst throwing numerous slogans out because any of their tracks you'll hear will be instantly forgotten. Which is why Casey these days has to slash up his arms on stage. Even though Marilyn manson did the whole cutting himself onstage with broken bottles years ago.

Meanwhile, (hed)p.e. break out and Limp Bizkit's new album sells by the truckload when he isn't looking. Dead, huh?

During his time insulting Sports Rock, he managed to prove just how much integity he truly has. In 1999 he produced Machine Head's The Burning Red album, and then started slating it for no apparent reason. Well, he said it was trying to be Rap Metal, mostly on From This Day, which the band denied. However, the cover of Walking on the Moon that appeared was pinned down to one source: Robinson. He practically forced them to do it, according to MH bassist Adam Duce, after they jammed it in the studio to kill some time and have some fun. Obviously, Robinson never saw dollar signs at this point, from MTV, radio, or anywhere else. No, because he is 'Real'.

The death of alt.rock/nu-metal/Aardvark has been forecasted for the last couple of years, so of course it was such an inspired and orignal statement for Robinson to make. The sales of Korn, Limp Bizkit et al over the last 18 months show that it isn't even on life support yet.

And at the end of the day, what are Slapnuts? Boiler Suit Rock? Imagecore? Teen-metal? Surprisingly, he didn't produce Mudvayne in his spare time.

Next stop Mandy Moore-"She represents the future of all pop music and the end of the boy band..."

And just to erase ANY credibility the man has, I'll just state a couple more things. First, he produced WASP's The Crimson Idol, which is obviously and example of his streetwise nature picking up a band that kids would identify with, rather than, well, balding bleached blonde mullet owners in their mid 30's, beer gut emerging under their tattered Iron Maiden shirt.

Then, of course, he produced Vanilla Ice's Rapcore LP. Is that the sound of his street cred shooting down faster than boo.com shareprices I hear in the background?