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Les Paul holding a copy of Maximum Ink backstage at the Iridium Jazz club in New York City - photo by Otto Schamberger

Les Paul

by Sarah H. Grant
May 2007

‘Upgrade’ is a fairly new term in today’s society, yet it has sparked an international obsession. We need our internet faster, our cars bigger, our celebrities skinnier, and our televisions more…defined? Well listen up, Generation Next, because the man responsible for the original upgrade worked for it… Without the cheat codes.

There is no doubt Les Paul is a living legend of the twenty-first century. He not only invented the first electric guitar, but revolutionized the music industry with countless recording breakthroughs. Les Paul has played for kings, queens and presidents, and is revered by musical titans throughout the world. But one Monday night, on the busiest and brightest street in New York City, this legend sat on a moth-eaten, dusty couch, alone in a cramped dressing room, just a door-swing away from his audience.

A chill ran up my spine. I tried to imagine all the influential people that had gazed into those misty blue eyes, as I was doing. Every inch of his face was brimming with eagerness to talk about the past, perhaps wondering which stories I would conjure. He gently twisted the top of his cane as his eyes darted around before settling on an object across the room, and then back at me.


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Otep

by Conor Kuzdas
May 2007

Lots of bands claim to have a cult following, but how many have fans who show up with severed pig heads and ready to propose marriage? How many bands are signed to a major label based on the strength of their live show, even before they release a single song? Hailing from Los Angeles, Otep is just that band.

A band since 2000, the two constants in Otep during that time have been classically-trained bassist “eViL j” and frontwoman, lyricist and band namesake Otep Shamaya. Of late, they’re backed by two new members, guitarist Karma Cheema and drummer Brian Wolff. The reasons for the lineup changes have varied, but Shamaya says that the center of the band remains the same: they are message driven, and center around art for art’s sake. Their latest album, “The Ascension,” has several songs co-written by Mudvayne guitarist Greg Tribbett, and the record is produced by Dave Fortman, who’s previously worked with both Evanescence and Mudvayne.  The band’s sound is familiar enough to anyone who’s heard any of the above bands, but also features flares of spoken word and a female perspective, rarities in heavy radio rock. The new albums is their third, and Shamaya says it’s best considered as a fusion between the two previous releases.

So what makes Otep so special that they have such a following?


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Hellyeah

by Rick Florino
May 2007

An interview with former Pantera/Damageplan and current Hellyeah drummer Vinnie Paul covering his new band featuring Chad Gray and Greg Tribbet of Mudvayne and Tom Maxwell of Nothingface.


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Heaven and Hell - Black Sabbath with Dio on the cover of Maximum Ink April 2007 - photo by Mick Huston

Heaven And Hell

an interview with Geezer Butler
by Jeff Muendel
April 2007

Ah, the sordid and storied life of a rock and roll band; make it a heavy metal group, and the drama is always, for lack of a better term, amplified. Sometimes, it’s hard to even know where to begin. In this case, the beginning is somewhere in the middle…

When Ozzy Osbourne left Black Sabbath in 1979 (or was asked to leave, depending upon who you ask), the group replaced him with veteran vocalist Ronnie James Dio. Having recently parted ways with Rainbow, Dio was not only available, but also a known commodity, and his addition to the Black Sabbath ranks made it a sort of metal supergroup. Dio and original members Tony Iommi, Geezer Butler and Bill Ward went to work writing new material.

The resulting album was “Heaven and Hell,” both an instant classic and a return for Black Sabbath to the core of their musical style, a mode from which they had drifted significantly in their last years with Osbourne. Through heavy touring and the success of the album, Black Sabbath managed to avoid the drop in popularity that almost always follows the departure of a charismatic lead singer. If anything, their popularity grew.

Drummer Bill Ward left the band due to health problems after the “Heaven and Hell” tour, but Black Sabbath soldiered on and produced another amazing album, “Mob Rules.” The group toured again (with Vinny Appice behind the kit) and simultaneously recorded a live album on the tour. During the mixing of that recording, which would eventually be deemed “Live Evil,” problems began to grow amongst the band members. There were accusations between the new guys (Dio and Appice) and the remaining founding members (bassist Geezer Butler and guitarist Tony Iommi). Within months of the live album’s release, both Dio and Appice had left the group.

Ronnie James Dio went on to form his own band called, quite simply, Dio. Simultaneously, Geezer Butler left Black Sabbath to pursue other paths while Tony Iommi kept the Black Sabbath name alive with various and ever-changing lineups of musicians.

In 1992, Iommi moved to reunite the Dio lineup of Black Sabbath; Butler, Appice, and Dio joined the guitarist once again to record a new album called “Dehumanizer.” They hit the road again, finding themselves in front of huge audiences throughout the world, but it wouldn’t last long.

Toward the end of the “Dehumanizer” tour, Ozzy Osbourne – hugely successful as a solo artist –  announced that he was retiring from rock and roll (that didn’t last long, either) and asked Black Sabbath to join the bill for his last two solo concerts in California. Dio refused to participate because he felt Black Sabbath shouldn’t be reduced to an opening act for Ozzy. The others disagreed, however, and appeared without him, recruiting Rob Halford of Judas Priest to sing. Ozzy ended up joining his old Sabbath mates on stage, and the four original Black Sabbath members decided to reunite. Dio , head held high, regrouped his solo band.

So, it is from this rich history that the Dio-era Black Sabbath now returns, some 15 years later, with a new album and a new tour under the band name Heaven and Hell. Maximum Ink recently had the chance to speak to bassist Geezer Butler about this latest incarnation of the band and get his take on all things Black Sabbath:

MAXIMUM INK: Back in 1979, when Black Sabbath first auditioned Ronnie James Dio, is it true that “Children of the Sea” was written in the first rehearsal?
GEEZER BUTLER: I think so, what I can remember of it, at least. Tony Iommi met Dio at a party and they originally talked about doing something together, you know, another project. They might have jammed some, but then Ozzy left the band. So Dio started to jam with us [Black Sabbath], and I think in one of those early jams, perhaps the first one, “Children of the Sea” came together.


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Les Ballets Africain's Director Hamidou Bangoura - photo by Matthew Mueller

Les Ballets Africains

an interview with Hamidou Bangoura
by Sarah H. Grant
March 2007

Sarah went to the show to interview Hamidou and he tells her, “I don’t speak English”. Luckily, Sarah speaks fluent French, so she still got the interview, now that’s journalism!


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30 Seconds To Mars on the cover of Maximum Ink - March 2005 - photo by Jenn Dohner

30 Seconds To Mars

by Sarah H. Grant
March 2007

Escape. It’s why we crank the volume up to ungodly decibels when driving alone late at night. It’s why we have iTunes programmed onto every useless gadget that we lug around 24/7. It’s why we reach for the headphones, even when we’re about to pass out, just to listen to that song. Music is the lung of our spirit. It gives us a break from the Earth so we can breathe in the Milky Way. Four guys named Jared, Shannon, Tomo, and Matt are already there.

30 Seconds to Mars is a novelty of modern rock. Their self-titled 2002 album settled rumors that lead singer/guitarist, Jared Leto, was not some bored wash-up from Fight Club, but a multi-talented rock titan on the stage. With the blood-thirsty critics at bay, the group as a whole perfected their musicianship on 30STM’s sophomore album, A Beautiful Lie. The band does an impeccable job of keeping what their fans lovethe swirling, intricate guitar solos and a far-out rock vibewhile not shying away from deeper material.


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