by Rick Florino
An interview with guitarist Stephen Carpenter of The Deftones
An interview with guitarist Stephen Carpenter of The Deftones
An interview with the newly recharged singer of Papa Roach Jacoby Maddix about the Paramour Sessions and more!
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.”
Get up. Wipe off the eighteen layers of black eyeliner, stop whining about life, and F.Y.I., duct tape was not meant for clothes. It’s time to rock n’ roll.
Despite the assembly line of performing drones that are currently pervading the air waves, there is one band that has been stealthily building momentum in the background. Endeverafter holds the match to the gasoline of hard rock—and these boys are not afraid to ignite the fire.
The band Endeverafter was birthed two years ago in Sacramento, CA, where front man and lead guitarist Michael Grant, rhythm guitarist Kristan Mallory, bassist Tommi Andrews, and former drummer Austin Sinclaire decided that they wanted to go down in music history. However, the magic happened long before that, as Michael Grant explains, “I’ve been friends with Kristan for five years, with Tommi for three years, and [current drummer] Eric is one of my best friends.” Yet friendship is only part of the foundation that these band mates share. Perhaps learning a lesson from past legends, Endeverafter stands by similar musical fronts, “Our influences are in the deeper 60s, 70s hard rock,” Grant explicates the departure of former drummer Sinclaire, “We had a lot of creative differences, he was more into the glam aspects of rock. A band grows, and sometimes people don’t grow along with you, and you fall apart.”
Maynard James Keenan doesn’t want Tool to change the way you think, he wants you to change the way you think. To that end, new release “10,000 Days” is as profound as any statement in Tool’s five album catalog, sculpting a grisly and garish sonic landscape of a world run astray. Never ones to paint an explicit picture, Tool – frontman Keenan, guitarist Adam Jones, drummer Danny Carey and bassist Justin Chancellor – paint in broad strokes, blurring acute angles with more obtuse symmetry, and making their music a truly interactive experience. It’s about asking the questions that aren’t supposed to be asked, and finding the answers that aren’t supposed to be found. It’s about finding inspiration where others may see desolation. It’s about opening a third eye and making the pieces fit. It was in that spirit of self-discovery and realization that Maximum Ink sat down with Maynard James Keenan for this exclusive interview…
Consider Stone Sour the yin to Slipknot’s yang. While frontman Corey Taylor and guitarist Jim Root raise hell on earth with the depraved metal anthems that have become Slipknot’s trademark, in Stone Sour they opt for a more level-headed approach to the sonic spectrum. They color that spectrum brilliantly on sophomore release “Come What(ever) May,” banging with the best of them on breakneck opener “30/30-150,” and closing the album with “Zzyzx Rd,” a piano-paced introspective meltdown that bellies Bob Seger’s epic “Turn the Page” up against Lynyrd Skynyrd’s “Free Bird.” The album is one of the year’s standout efforts, and the band – Taylor, Root, guitarist Josh Rand, bassist Shawn Economaki and drummer Roy Mayorga – will be unveiling the material on this summer’s Family Values tour, sharing a stage with Korn, the Deftones, Flyleaf and Dir En Gray. The tour stops in East Troy at the Alpine Valley Music Theater Aug. 26 – Jim Root offered Maximum Ink this exclusive interview to help pass the time…
An exclusive interview with Avenged Sevenfold as they embark on tour with Ozzfest 2006
After a series of near failures with the record industry, Jill Sobule scored with the heavily played tongue-in-cheek MTV hit “I Kissed a Girl,” and followed up with “Supermodel,” which appeared on the Clueless soundtrack. Her first album was produced by Todd Rundgren, and she recently played lead guitar in Lloyd Cole’s band. The Denver-born singer/songwriter/guitarist has penned songs about such diverse subjects as the death penalty, anorexia, shoplifting, reproduction, the French resistance movement, adolescence and the Christian right, but a lot of her songs are about love. Sobule’s music secretes an aura of love, so instead of asking my heartthrob a bunch of questions that she has probably been asked a hundred times before, I asked her to ask herself the five questions that she has never been asked in an interview, that she always wanted to be asked, then answer them…
From their days as an indie-rock band with punk roots on an upstart Metal Blade Records in the late-‘80s, to their present status as one of the premier Top 40 rock bands in America, the Goo Goo Dolls have been defined by a single constant: Damn-near perfect songs. With the May release of Let Love In, the band’s eighth studio album and tenth release overall, frontman John Rzeznik and bassist Robby Takac have returned with eleven tracks ripe for radio and primed to conquer mainstream America. Days after completing a six-week club tour that debuted the new material, Maximum Ink caught up with the bassist to discuss the evolution of the Goo Goo Dolls, and life as a pop culture staple.
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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