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Lords also pursued music in addition to her film career. After her song "Love Never Dies" was featured on the soundtrack to the film Pet Sematary Two (1992), she was signed to Radioactive Records and subsequently released her debut studio album, 1000 Fires (1995) to generally positive reviews. Despite the poor sales of the album, the lead single "Control" had moderate commercial success. It peaked at number two on the Billboard Hot Dance Club Songs chart and was included on the soundtrack to the film Mortal Kombat (1995), which was eventually certified double platinum by the Recording Industry Association of America (RIAA). In 2003, Lords published her autobiography, Traci Lords: Underneath It All, which received positive reviews from critics and debuted at number 31 on The New York Times Best Seller list.

When Kuzma was 12, she moved with her mother, her mother's new boyfriend, and sisters to Redondo Beach, California. She did not see her father for many years after. In September 1982, she began attending Redondo Union High School but dropped out at age 15 to enter the porn industry.[9] During her early school years, Kuzma developed a rebellious attitude. She was angry at her mother and found a father figure in her mother's boyfriend Roger Hayes, as she calls him in her autobiography. He was a drug abuser and molested Kuzma in her sleep. According to Lords, this and a rape by a 16-year-old boy in school she had been seeing, which she called "the single most traumatizing thing that ever happened to me in my life", would be what eventually drove her into pornography. Lords has stated, "My damage drove me into porn. I mean, I was a little girl. And I had like all of this stuff. I'd been raped. I'd been molested. I'd been abused. I was messed up. And I was angry. And the same thing that later helped me to change my life when I was 18 and out of that world that helped me to get sober and helped me to gather the courage to go and do the work I needed to do, to look at some things in my life that were so ugly."[10] After her mother broke up with Hayes due to his drug use, she began dating his friend. Kuzma refused to follow them to a new place and was left with her older sister Lorraine. Her mother and two younger sisters eventually found a new apartment.[11]

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In November 1988, Lords enrolled in another acting class and again began looking for an agent. In December, she mass-mailed her resum to various agents and arranged a meeting with Don Gerler. Lords auditioned for the part of Breathless Mahoney in the film Dick Tracy (1990), but the role went to Madonna.[30] TraciLords.com states "John Waters called her a Sexual Terrorist".[31][32][33][34][35] By May 1989, John Waters cast her for his teenage comedy musical Cry-Baby (1990).[36] She won the role and appeared in the film alongside Johnny Depp and Ricki Lake.[37][38][39] The film was a critical and commercial success, and her portrayal of the rebellious teenager Wanda Woodward established her as a legitimate actress. On the set of the film, she met the property master Brook Yeaton, whom she began dating.[40] The couple married in September 1990 in Baltimore, Maryland.[41] In June 1990, the exercise video Warm up with Traci Lords was released. Directed and produced by her former boyfriend and business partner Stewart Dell, the video had been filmed in early 1988.[42] As Lords wrote in her autobiography, she was unsatisfied with the final version of the video. An extended version was reissued in 1993 under the title Traci Lords: Advanced Jazzthetics.

During 2003, it was announced that Lords was working on new music and had recorded a cover version of Missing Persons' song "Walking In L.A.". Directed by Mike Ruiz, the music video was premiered during her interview on The Oprah Winfrey Show. On December 28, 2004, she independently released two songs, "Sunshine" and "You Burn Inside of Me", via online music store CD Baby. Both of the songs along with "What Cha Gonna Do" were featured in the television series Joan of Arcadia. "You Burn Inside of Me" was also used in the commercial for Duprey Cosmetics, in which Lords appeared. She signed to Sea To Sun records the following year, and released the chart-topping single "Last Drag". Lords is currently recording new music in Los Angeles.

In March 2010, Lords announced she began working on her new album with "Pretty" being the lead single. However, the project was later shelved and "Pretty" was released as a promotional single only. Lords starred in the drama comedy Au Pair, Kansas which premiered in April 2011 at the Kansas City FilmFest.[76] In July, Lords officially signed to independent record label Sea To Sun Recordings and in October made her musical comeback with the song "Last Drag". The single was successful in dance charts debuting at number forty-five and eventually peaking at number four on the Billboard Dance Club Songs.[77]

In early 1967, through his roommate Chris Curtis of the Searchers, Lord met businessman Tony Edwards who was looking to invest in the music business alongside partners Ron Hire and John Coletta (HEC Enterprises). Session guitarist Ritchie Blackmore was called in and he met Lord for the first time, but Chris Curtis's erratic behaviour led the trio nowhere. Edwards was impressed enough by Jon Lord to ask him to form a band after Curtis faded out. Said Edwards, "I couldn't really cope with [Curtis] but I had a great rapport with Jon Lord; here was somebody sensible, somebody I could communicate with on my level."[8] Simper was contacted, and Blackmore was recalled from Hamburg. Although top British player Bobbie Clarke was the first choice as drummer, during the auditions for a singer, Rod Evans of "The Maze" came in with his own drummer, Ian Paice. Blackmore, who had been impressed by Paice's drumming when he met him in 1967, set up an audition for Paice as well. The band was called the "Roundabout" at first and began rehearsals at Deeves Hall in Hertfordshire. In March 1968, this became the "Mark 1" line-up of "Deep Purple": Lord, Simper, Blackmore, Paice, and Evans.

On Deep Purple's second and third albums, Lord began indulging his ambition to fuse rock with classical music. An early example of this is the song "Anthem" from the album The Book of Taliesyn (1968), but a more prominent example is the song "April" from the band's self-titled third album (1969). The song is recorded in three parts: (1) Lord and Blackmore only, on keyboards and acoustic guitar, respectively; (2) an orchestral arrangement complete with strings; and (3) the full rock band with vocals. Lord's ambition enhanced his reputation among fellow musicians, but caused tension within the group. Simper later said, "The reason the music lacked direction was Jon Lord fucked everything up with his classical ideas."[14] Blackmore agreed to go along with Lord's experimentation, provided he was given his head on the next band album.[11]

The resulting Concerto For Group and Orchestra was one of rock's earliest attempts to fuse two distinct musical idioms. Performed live at the Royal Albert Hall on 24 September 1969 (with new band members Ian Gillan and Roger Glover, Evans and Simper having been fired), it was recorded by the BBC and later released as an album in December 1969. Concerto gave Deep Purple their first highly publicised taste of mainstream fame and gave Lord the confidence to believe that his experiment and his compositional skill had a future, as well as giving Lord the opportunity to work with established classical figures, such as conductor Sir Malcolm Arnold, who brought his skills to bear by helping Lord realise the work and to protect him from the inevitable disdain of the older members of the orchestra.[citation needed]

Roger Glover would later describe Lord as a true "Zen-archer soloist", someone whose best keyboard improvisation often came at the first attempt. Lord's strict reliance on the Hammond C3 organ sound, as opposed to the synthesizer experimentation of his contemporaries, places him firmly in the jazz-blues category as a band musician and far from the progressive-rock sound of Keith Emerson and Rick Wakeman. Lord rarely ventured into the synthesizer territory on Purple albums, often limiting his experimentation to the use of the ring modulator with the Hammond, to give live performances on tracks like Space Truckin' a distinctive 'spacey' sound. Instances of his Deep Purple synthesizer use (he became an endorser of the ARP Odyssey) include "'A' 200", the final track from Burn, and "Love Child" on the Come Taste the Band album.

In the 1980s he was also a member of an all-star band called Olympic Rock & Blues Circus fronted by Pete York and featuring a rotating line-up of the likes of Miller Anderson, Tony Ashton, Brian Auger, Zoot Money, Colin Hodgkinson, Chris Farlowe and many others. Olympic Rock & Blues Circus toured primarily in Germany between 1981 and 1989. Some musicians, including Lord, took part in York's TV musical extravaganza Superdrumming between 1987 and 1989.

Lord's re-emergence with Deep Purple in 1984 resulted in huge audiences for the reformed Mk II line-up, including 1985's second largest grossing tour in the US and an appearance in front of 80,000 rain-soaked fans headlining Knebworth on 22 June 1985, all to support the Perfect Strangers album. Playing with a rejuvenated Mk. II Purple line-up (including spells at a health farm to get the band including Lord into shape) and being onstage and in the studio with Blackmore, gave Lord the chance to push himself once again. His 'rubato' classical opening sequence to the album's opener, "Knocking at Your Back Door" (complete with F-Minor to G polychordal harmony sequence), gave Lord the chance to do his most powerful work for years, including the song "Perfect Strangers". Further Deep Purple albums followed, often of varying quality, and by the late-1990s, Lord was clearly keen to explore new avenues for his musical career. e24fc04721