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Meghan Rose and I Saw The Creature on the cover of Max Ink September 2014

I Saw The Creature

An Interview with Meghan Rose
by Teri Barr
September 2014

One woman. Five regular music projects.
Meghan Rose may be one of the busiest artists on the Madison scene right now, and she wouldn’t have it any other way. Meghan writes, sings, plays, records, edits, and teaches all styles of music; and those talents are highlighted in her various bands. I had the chance to ask her how she keeps it all going, and learned which group is getting ready to hit the road soon. 

Maximum Ink: Do you remember when you started your musical journey?
Meghan Rose: My mom taught me piano when I was 4, and then I started classical lessons when I was 5. First thing I remember learning to play was “Beauty and the Beast”, of all things. My dad bought me a nylon string classical guitar from an antique shop when I was 14 and I taught myself some chords then learned the church songs for bible day camp, which was one of my summer jobs. I played piano for the early church service for years. I still love hymns and I use some of the ideas to write about God in my lyrics, though I certainly don’t write what anyone would call Christian music. But once that type of music is in you, you can’t shake it. My mom also had tapes of musicals, and Broadway is still an obsession for me. I was 8 when my parents divorced, and one of the coping methods I developed was to steal my dad’s C.D.‘s. He collected the newest “alternative” music—a lot of female-fronted 90’s stuff. Bjork, Sheryl Crow, Sleater-Kinney, Liz Phair, Fiona Apple. Fiona and Liz were really powerful to me.

MI: Your current projects are all led by women; some bands don’t like the reference to women or men in the band, but would rather just be called musicians, in a general sense. What about you?

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J Marsden

J MARSDEN

An Interview with Singer/Songwriter J. Marsden
by Mike Huberty
August 2017

Former WALL OF FUNK leader J. MARSDEN has consistently been one of Madison’s most underrated guitarists. With plenty of technical skill, a great sense of melody and most importantly, a surplus of heart, Joe’s first solo album, Gravity is a mix between ALICE IN CHAINS (Sap and Jar of Flies specifically), DAYS OF THE NEW (lower-register vocal melodies and hooks), and RADIOHEAD (expert guitar work ala The Bends).

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Jim McCarty in Highgate Park London

Jim McCarty

An interview with legendary Yardbirds drummer/solo artist Jim McCarty
by Tina Hall
November 2010

Jim McCarty is credited with helping found, and drumming for, two British rock band; Renaissance and The Yardbirds. The Yardbirds got their big break at the Crawdaddy Club in London when the Rolling Stones decided it was time to move on from their standing gig at the place. They later played the Beatles 1964 Christmas show. The Yardbirds as we all know boasted three of the most influential guitarists of all time, Eric Clapton, Jeff Beck, and Jimmy Page. The Yardbirds were inducted into the Rock and Roll Hall of Fame in 1992.

In 1982 Jim formed Box of Frogs with early Yardbird companions Samwell Smith and Dreja. Making two albums, the first featured Jeff Beck and the second Jimmy Page. Somewhere in all that he also began his work as a solo artist. His latest offering “Sitting On The Top of Time” is as he calls it, “focusing on the Renaissance side” of his musical stylings. He worked hard to make sure the lyrics were all positive. Jim added, “I kept trying to remain positive, which was difficult in these strange times.” I recently had the chance to question him on what all of these things have been like.

Maximum Ink: When did you first become interested in music?
Jim McCarty:  I’ve always been interested in music, since my grandmother had a stand up piano that I used to “mess around” on! The first magical moment was when I was about 16, and somebody took me round a local house where a live band was rehearsing in the sitting room. They played some Shadows songs, and I was completely blown away!

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Lyden Moon

Lyden Moon

An Interview with Instrumental Rock Guitarist, Lyden Moon
by Mike Huberty
January 2011

When it comes to his new CD, “It’s What’s Inside That Rocks”, guitarist LYDEN MOON, explains his process when it comes to creating music. “I’m always trying to write a better song,” he says, “a lot of instrumental guitar players go strictly for the technical showcase kind of record. And that’s not what I want to do.” The Wisconsin-based guitarist is letting me know that he doesn’t want to be perceived as what other musicians often unaffectionately call guitar soloists, a “wanker”. You don’t have to use much of an imagination to realize what that term refers to, or to imagine the big-haired guitar slingers with the magic fingers that it describes. “ I think it’s harder to play a slow meaningful passage,” he continues, “to milk a note correctly, as opposed to just tearing it up. Once you develop the speed, you’ve got it, but in terms of delivering the song, it’s a never-ending accomplishment because I always feel that I can play it better and express myself better. And technique is not just speed, it’s how to play the note correctly, it’s how to attack the note correctly. When I go into the studio I try to play as clean I can and just really make sure that the point is coming across.”

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M.A.X.-mas Volume II

M.A.X.-mas Volume II

M.A.X.-mas Volume II
by Aaron Manogue
November 2011

We’ve all heard the lousy Christmas songs that get beaten into our head over and over every single year since our conception. The one’s that make you go just a tad bit crazy and one more step closer to that breaking point. If you’re from the U.S., you know all about the corporate sponsored shopping spree we as Americans partake in, despite whether or not we have money. Now, I’m no Scrooge. But if I’m going to have to suffer through another year of thousands of meaningless dollars spent and seeing family half of us don’t like as it is, I want some kick ass music to dull the pain.

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Machine Head on the cover of Maximum Ink in September 1999

Machine Head


by Liz Ciavarella
September 1999

With their debut of Burn My Eyes, MACHINE HEAD has transcended the masses with a bludgeoning sound so consuming; so biting; so immensely pit worthy that listeners have been known to trash bedrooms, obliterate venues, stomp, kick, scream,  and sucka punch their friends. With a knee to the cranium, fist to the grill,  overheated speakers, angry mothers, MACHINE HEAD have reaped mayhem in only the most admirable ways from their very inception . The More Things Change saw the band in a more mature light: Still chock fulla aggression yet more refined and appealing to their less militant fans. 1999 sees the band offering up their most mature release yet. Coming this month on Roadrunner Records, The Burning Red is essentially a collection of the band’s most potent qualities; Heavy, emotional, gripping bombastic.

Ahrue Luster,  who replaces guitarist Logan Madder, is a more than natural progression. In fact, there’s something refreshing about the addition of Luster both in his sound and his overall personality. No attitudes, no image and no gimmicks. Just straight up MACHINE HEAD. Maximum Ink caught up with Ahrue Luster and spoke with him about the past and future .

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Mary Zimmer and Chela Harper of White Empress - photo by Ferris B Photography

Madcity Nights - April 2015


by Rökker
April 2015

Madison’s music scene offers something for everyone no matter where in the city they live!  TiP: Check out the “TiP” after each listing to more fully enjoy your nights out in Madcity!

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