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David 'Honeyboy' Edwards - photo by Dave Leucinger

David “Honeyboy” Edwards


by Dave Leucinger
November 2003

“I’ve got a good mind; I don’t forget nothing, you know?” That understated self-assessment by David “Honeyboy” Edwards is characteristic of the 88-year-old blues guitarist, vocalist, and songwriter. A native of Shaw, Mississippi, Edwards retains the purist links to seminal acoustic country blues. He’s witnessed or worked with virtually every blues musician of note since the late 1920s, from Delta legends Charley Patton, Tommy Johnson, and Robert Johnson to Chicago blues icons Little Walter, Sonny Boy Williamson #2 (Aleck “Rice” Miller), and the Myers Brothers (Louis and Dave). Beyond his eyewitness accounts, however, is the Edwards’ musical retention: subtle yet captivating in a manner that appears simple, but in reality belies awareness of musical intonation and interplay.

Music was a fundamental part of the rural southern culture in the early 20th century. “We had guitars, pianos, violins, mandolins; most of the string music,” he recalled. People used to give country dances on Saturday night, and the musicians would come out and play. Through the week they would sit around the house and learn how to play guitar, and what they could do with it.”

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The Eagles of Death Metal on the cover of Maximum Ink in May 2006

Eagles Of Death Metal


by Paul Gargano
May 2006

Just when it seemed that rock ‘n’ roll was destined to be overrun by mall rats and emo-chic haircuts, Eagles of Death Metal have returned with no pretense and nothing to pretend. From the sexy-as-fuck swagger that swings through the ‘70s-inspired rock ‘n’ roll sound of new release Death By Sexy, to the sexier-than-thou mustache that frontman Jesse Hughes sports as a proud vestige of his manhood, it’s all part of a much bigger picture: “This ain’t no Bible study, it’s rock ‘n’ roll. I came here to shake my dick and have a good time,” boasts Hughes, who started EODM with his best friend, Queens of the Stone Age frontman and EODM drummer Josh Homme. Sitting backstage at the Coachella Valley Music Festival, an annual musical mecca held not far from the frontman’s Palm Springs home in the Southern California desert, Hughes juggles our discussion amongst a seemingly endless sea of friends, fans and family, and amidst the din of the dissident sounds of bands as varied as reggae throwback Damien Marley, hip-hop heavyweight Kanye West, DJs Carl Cox and Daft Punk, and more emotive indie-scenesters Sigur Ros. But even in such cluttered musical confines, the unadulterated power of rock ‘n’ roll lives, and the sexy-machismo of Eagles of Death Metal thrives. It’s all about the rock, baby, and no one rocks harder than Eagles of Death Metal…

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Egypt Central

An interview with vocalist John Falls of Egypt Central
by Aaron Manogue
June 2011

This summer is filled with new music and great new sounds.  One of the most evident marks on summer 2011 has been the release of Egypt Central’s sophomore album White Rabbit.  The album hellishly paints a picture of a series of events and consequences that occur when one accepts or declines the heralded “White Rabbit.” The album is laced with hard riffs, catchy lyrics and more hooks than a fisherman’s tackle box. Maximum Ink’s Aaron Manogue sat down with vocalist John Falls to discuss Summerfest, WJJO Band Camp and their latest album.

Maximum Ink: What’s it like to play Summerfest and Band Camp and these huge shows alongside other great bands that are out there today?
John Falls: We’ve been fortunate to play Summerfest before and this will be our first Band Camp. We’ve played for JJO quite a few times so to finally get an invite to Band Camp is awesome. But it’s weird on the festival circuit you get to know everyone pretty quickly because usually it’s the same bands that are out at that time. That’s another cool aspect of it is that there’s ten to twenty bands that happen to be putting out records that year.

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El Donk


by Brett Lemke
March 2003

This reporter was walking home from our offices at Maximum Ink, smoking a Lucky Strike and marching in tow to El Donk’s newest release “Here Comes Johnny Law.” I was approached on my left by an ominous black Dodge conversion van with headers accentuating the already domineering bass-line. The van stopped, and I was reminded of Primus’ “Frizzle Fry” as the side door cracked open.  I looked back and felt a sharp stinging pain at the base of my skull. As I pulled the pin from my neck, I felt myself collapsing under the increasingly cumbersome weight of my bookbags.

My mind raced with anticipation of the neurotoxin. The effect resembled a more mellow “Morphine,” replacing the bass clarinet with a tenor sax. As my mind was on the topic of lounge, I drifted to a Las Vegas track debt to a scraggly bookie that smelled of shoe polish and twitched constantly. That was 1996, and unpaid. My hearing and vision slowly fading, I try to escape down a back alley off of East Washington Avenue. All the while, wondering why the band is obsessed with Waco, Texas.

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Electric Hellfire Club on the cover of Maximum Ink in March 2002 - photo by Rokker

The Electric Hellfire Club


by Andrew Frey
March 2002

“My motto is “Failure to evolve is exactly that, failure.” If I sounded the same that I sounded in ‘93, then I fucked up somewhere along the line. The intention of the band was not to create a formula and make a million dollars. The intention of the band was JUST to make music,” states Thomas Thorn, lead singer and founding member of the infamous Electric Hellfire Club.

Electronomicon is the fifth full-length release from Satan’s little helpers, and is certainly no failure. In fact, it is their most ambitious and best sounding album to date. Part of the genius lies in the fact that it was recorded at the famed Abyss Studios in Sweden, and produced and engineered by Tommy Tagtgren. EHC was the first American band to ever record there, (and may be the last, as studio owner Peter Tagtgren has decided to close the studio.)

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Elephant Stone

An interview with Elephant Stone frontman Rishi Dhir
by Mike Huberty
October 2013

In THE HIGH DIALS, Canadian bassist and sitarist, Rishi Dhir, created a modern version of 60s British Invasion music. Now fronting a new band, ELEPHANT STONE, Dhir is bringing an exciting Indian sensibility to the music, combining traditional instrumentation like the sitar, tabla, and dilruba.  It’s perfect for fans of alt-pop like BRIAN JONESTOWN MASSACRE and they’ve just released a new EP called “Acid Killed My Rock’N’Roll” available for free download on Noisetrade. ELEPHANT STONE is performing at The Frequency in Madison on Thursday November 7th with fellow Maple Leaf indie rockers, THE BESNARD LAKES. We took a few minutes to talk to Rishi about the band’s latest EP and upcoming Madison show.

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Madison's Elf Lettuce (well, at least we got the logo)

Elf Lettuce


by Andrew Frey
March 2009

Some bands find their strength in Satan/Jesus and others in sexual escapades. However, for the Madison quartet Elf Lettuce they draw off another, more untraditional source of power and unmitigated majesty.

“We have a mascot - a lawn gnome named Ricardo Perfecto,” begins guitarist and vocalist Alex White in a recent e-mail exchange. “He’s actually the second mascot we’ve had, because our first mascot, Eugene, was tragically decapitated after an audience member ‘accidentally’ knocked him off the rather tall stage at The Frequency in Madison in September.”

The stalwart band, rounded out by Jacob Lison (guitar, harmonica, vocals), Joe Murray (drum kit) and Eli Reichenberger (bass, vocals), took their loss in stride and managed to recover nicely after finding a replacement.

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