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Bo Diddley, the legendary Hall of Famer speaks with Brett Lemke

Bo Diddley

by Brett Lemke
October 2006

Bo Diddley is the originator. Born in 1928, he is widely acknowledged as the father of rock n’ roll, a grandfather to punk, and has been copied more times than any recorded musician this side of Clyde Stubblefield. Like Stubblefield, Diddley has been elected into the Rock and Roll Hall of Fame, and recently received a Lifetime Achievement Award from the Grammies.

His signature rhythm, the “Bo Diddley Beat” has spurred generations of rockers, from Buddy Holly, The Who, Bruce Springsteen, U2, and Guns n’ Roses, to the Rolling Stones, Muddy Waters, Aerosmith, Bob Seger, the Animals and, of course, George Thorogood. In 2003, Diddley was honored by US Representative John Conyers, Jr., who stated that Bo Diddley was “one of the true pioneers of rock and roll who has influenced generations,” and he’s been instrumental in helping to organize benefits for Katrina victims in Mississippi.

Some believe the name Bo Diddley comes from an old, southern black slang phrase meaning “nothing at all,” as in, “he ain’t bo diddley.” Others believe it may have been his nickname as a Golden Gloves boxer. Another story links the name to the “diddley bow,” a one-stringed instrument that consisted of a nail and some bailing wire attached to your front porch; A common start for many players on the old south.

In 1955, Bo Diddley was the first African-American to appear on “The Ed Sullivan Show,” and he was also the first person to be banned: According to the history books, he was asked to play a cover song, “16 Tons,” but instead played his No. 1 R&B hit, “Bo Diddley.” Enraging Sullivan, Diddley was banned from further appearances on the show, 12 years before The Doors were banned for singing “girl we couldn’t get much higher” in 1967. Diddley later recalled that Ed Sullivan commented that he was, “the first colored boys to ever double-cross me.”

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Milwaukee's Claude Dorsey makes the cover at 93 years old, the oldest yet! - photo by Dave Leucinger

Claude Dorsey

by Dave Leucinger
December 2003

To a generation of Milwaukeeans, Claude Dorsey was the musical centerpiece of the city’s nightlife. For 40 years, he entertained diners as the house pianist and vocalist at the Clock Steak House, a downtown crossroads of politicians, entertainers, and reputed mobsters. “It had great food, and the entertainment was pretty good, too,” Dorsey quipped. “The best meals were when Miss Addie was cooking. Whatever she made, it was the best.” In many ways, The Clock became the crossroads where Milwaukee met the Vegas Rat Pack culture. “All the cabbies recommended it to touring acts – that’s how Bob Hope came to see me a few times. [The] same with Nat ‘King’ Cole , Tony Bennett, and others. The cabbies were great at networking.”

Dorsey traces his roots to Gainesville, Georgia, about 40 miles north of Atlanta. “My daddy was the main minister of a church there,” he said. “I wanted to follow him – I tried, but I was always playing music.” Dorsey came to Milwaukee as a teen in 1928. “My dad became minister at Calvary Baptist Church,” he said. The approval of his father was an important factor in Dorsey’s career. “When he heard me play, he said, ‘you’re ministering here; you’re reaching people. That’s what it’s all about.’ I was so happy that my daddy approved of what I was doing; that he was proud of me,” he said.

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Damageplan RIP Dimebag Darrell!

Damageplan

by Rokker
April 2004

What do you do when your world-famous band suddenly breaks up? How do you respond to the fan with a question mark in his head and a “Pantera” tattoo across his chest? If you’re Vinnie Paul or Dimebag Darrell you forge a “Damageplan,” the new band featuring the x-Pantera brothers.

“We were blown away by it as much as anybody,” admits drummer Vinnie Paul about the break up. “Pantera was our family…that’s the only thing we ever cared about and the only thing we ever put our efforts on.”

Phil Anselmo, the other key element from Pantera, left to pursue solo projects and is on tour with his new band “Superjoint Ritual.” Phil also has another project, “Down,” that also features x-Pantera bassist Rex Brown. The split down the middle of the band played itself out in the media; it wasn’t pretty.

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Dan Hicks & the Hot Licks in Maximum Ink in December 2007

Dan Hicks & the Hot Licks

by Brett Lemke
December 2007

Dan Hicks has been performing an eclectic mix of staccato, alt-jazz guitar over the brushed swagger of his swing band The Hot Licks for over 30 years. Based in the San Francisco Bay Area, Hicks has just released “Duets,” a download-only album featuring collaborations with Tom Waits, Bette Midler, Willie Nelson, and Rickie Lee Jones. Hicks spoke with Maximum Ink about the new incarnation of The Hot Licks, his first band The Charlatans, and working with filmmaker Ralph Bakshi.

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Days Of The New on the cover of Maximum Ink

Days Of The New

by Paul Gargano
August 1998

They produce one of the purest sounds in music, they’ve spawned the most influential songs in the history of rock `n roll, and they’re the favorite for songwriters the industry over, but in the eyes of hard rock fans, acoustic guitars are still fighting for respect - on radio they’re equated with power ballads, in live shows they result in a sea of lighters, and unplugged sets have become nothing more than trendy sidebars during performances.

Enter Days of the New frontman Travis Meeks, whose acoustic guitar has meant a great deal more. It’s helped him earn a platinum album, one of the most coveted billings of the summer, and an opportunity to disprove the fallacy that unplugged bands can’t rock as heavy as their amped-up peers. An impressive list of accomplishments for a 19-year-old from Kentucky whose artistic vision projects far beyond his breakthrough commercial success.

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D.A. Sebasstian on the cover of Maximum Ink in February 2005

D.A. Sebasstian

by David A. Kulczyk
February 2005

It has been a long road for D.A. Sebasstian. Starting in the early 80’s with the Southern California punk band, XIJIX to the Latin tinged avant-garde Freaks Amor, to the wildly successful industrial band, Kill Switch...Klick, Sebasstian has never let up on his artistic vision, no matter how many times it bites him on the ass.

Sebasstian first tasted success when Kill Switch…Klick, was signed to Cleopatra Records, releasing the classics “Beat It To Fit, Paint It To Match,” and “Degenerate.” They also appeared on 19 compilation CD’s.

Two short years after becoming a cult rock star, Sebasstian found himself without a drummer and in debt. “I owed Cleopatra (records) all kinds of money,” explained Sebasstian. He decided to start a record company, first calling it “Irregular,” and then changing the name to “Go-Kustom” after hearing of another “Irregular” label. He then proceeded to release titles from artists Kill Switch…Klick, D.A. Sebasstian, The Penningtones, Circle Of Fifths, Bill Wolford’s Head, Exposure To Living and Drag Strip Riot.

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Detroit's Dead String Brothers - photo by Doug Commbe

Dead String Brothers

by Kristen Winiarski
July 2008

Often compared to The Rolling Stones, the group, The Deadstring Brothers, is a mix of Detroit and London with a slight country-rock twang. Although neither of these cities reminds one of country music, the group succeeds in being a blend of country and rock, which is what its founder considers them to be. These two different, yet similar cities, collide together in the members: E. Travis Harrett on drums, Masha Marjieh on baking vocals and percussion, Jeff Cullum on bass and vocals, Pat Kenneally on piano and organ, Spencer Cullum on pedal steel, lap steel, and guitar, and Kurt Marschke on vocals and guitar. I had the opportunity to talk to the last of this list: Kurt Marschke. 

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