The Los Angeles-based group has steadily switched members over the years, but has issued albums on a somewhat regular basis since the late '80s - 1988's Blue Garden, 1990's self-titled release, 1993's Sunrise on the Sufferbus, 1997's How High the Moon: Live at the Viper Room, 1999's Welcome to the Western Lounge, and 2001's Deep in the Hole. During the early '90s, Goss began producing other bands, including pop metallists Kik Tracee, and more importantly, Kyuss. With the emergence of bands like Soundgarden and Alice in Chains, interest in the plodding and murky sounds of Black Sabbath began to interest a whole new generation of fans - and in turn, cleared the way for bands such similarly styled bands as Kyuss. Goss began working with the group for their sophomore release, 1992's Blues for the Red Sun, an album which received great acclaim upon its release, but failed to translate into commercial success. Regardless, Goss' gloss-less production and the group's molten heavy music proved to be a fantastic union, as the album is often singled out as one of the most influential releases of the decade - especially on the aforementioned 'stoner rock' movement that would get underway a few years later. Goss continued working with Kyuss on such subsequent releases as 1994's Welcome to Sky Valley and 1996's …And the Circue Leaves Town, before the band's eventual split. Goss continued working with ex-Kyuss guitarist Josh Homme on his next group, Queens of the Stone Age - playing on their releases and producing their fine sophomore effort, 2000's R (as well as such QOTSA-related side projects as the Desert Sessions and Mondo Generator). As a direct result of his work with Kyuss, Goss has worked with a variety of other artists, including Stone Temple Pilots, Scott Weiland, Russell Crowe's 30 Odd Foot of Grunts, Screaming Trees, Mark Lanegan, The Flys, Fatso Jetson, and Ian Astbury, among others. ~ Greg Prato