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Marilyn Manson on the cover of Maximum Ink in November 2000

Marilyn Manson

by Paul Gargano
November 2000

Marilyn Manson knows a thing or two about fire and brimstone. His music scorches the earth like flames from the fingertips of an angry God, blazing through anything in its path and pulsing with an industrial-strength rage and heavy metal-inspired bravado, offering the perfect rough-and-tumble accompaniment to vocals that spray from the speakers like a hailstorm unleashed from the heavens, pelting the skin and piercing the psyche. Driven by equal parts rebellious fervor and spiritually charged dogma, he knows no path other than that of the philosophically profound and socially rehabilitative, but to hear his critics offer their take on his rock ‘n’ roll tantrums, he’s a disease in which every one of society’s self-serving watchdogs has a cure. His Portrait Of An American Family debut laid the groundwork for a band that would revolutionize the face of modern music with Antichrist Superstar, a release that gave the American youth a figure to rally behind, and American powers-that-be a figure to rally against. Manson shifted outward gears from religiously tempered to sexually shape-changing with Mechanical Animals, but his message stayed the same within music that took on a more refined and high-polished sheen. He’s been one of the most chronicled artists of the past decade, but consider it all the calm before the storm. Holy Wood (In the Shadow of the Valley of Death) is his outfit’s most ambitious outing yet, swirling their heaviest music to date within a soundscape that turns the hypocrisy of an American culture on end. His physical image is eerie enough to scare his Omega character into submission, and the music has hooks that scrape the skin with an infectious blend of heavy metal thunder and punk rock lightning. Marilyn Manson offered this exclusive look at the vast array of forces that shaped his entertainment Eden Holy Wood and its shadow-filled photo negative Death Valley. Welcome to Holy Wood…


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Stone Temple Pilots on the cover of Maximum Ink October 2000

Stone Temple Pilots

by Paul Gargano
October 2000

an interview with Stone Temple Pilots’ vocalist Scott Weiland who talks about touring, Pearl Jam similarities from their early days, Bad-asses, porn stars, strippers, Limp Bizkit and the Doors


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Chicago's Rebels Without Applause on the cover of Maximum Ink in September 2000 - photo by Craig Gieck

Rebels Without Applause

by John Noyd
September 2000

“It doesn’t matter, we just do what we do.” Day after day, year after year, this has become the motto of guitarist Greg Fulton, singer and songwriter for the explosive metal outfit Rebels Without Applause.  Weathering a rotating line-up of musicians that made up the speed and thrash metal projects Znowhite and Cyclone Temple, Greg, along with bassist Scott Schafer, has seen metal firsthand since 1986.  From opening up for Vanilla Ice to experiencing record label runarounds, the Chicago natives have withstood the trials of regular commutes to play New York clubs and confronting the black man playing white music complex.  From holding down multiple part-time jobs to pretending to be the band’s manager only to hear how that guitarist has got a real attitude, Greg has seen more than his fair share of music’s peculiar brand of justice.

“A lot of people think when they join a band it’s a short trip from their day jobs to the tour bus.”  Having already gone through a string of lead singers Greg was not eager to deal with teaching someone else how he wanted them to sing his songs.  Greg would sing his songs into a tape machine to show how he wanted his songs to be sung, but he never thought his voice was up to snuff.  With friend and former Cyclone Temple guitar tech, Mark Alano, working alongside Greg’s blast furnace fretwork, RWA’s two-guitar assault allows Greg plenty of space to play front man.  A soul-inspired delivery smothered in machine tooled rhythms, Greg’s evangelical vocals are thunderbolts in a raging storm.


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Disturbed on the cover of Maximum Ink in August 2000

Disturbed

by Paul Gargano
August 2000

It takes all musical shapes and styles to fill out an OZZfest lineup, and this summer’s run is no exception—The hip-hop stylings of Tommy Lee’s post Mötley Crüe/Methods of Mayhem bounce into the industrial-metal synchopations of Static-X, which clamor into the hard rocking depths of Godsmack . And then there’s the full-on metal bombast of Pantera.

If you have the stamina, that offers a hell of a day at the mainstage, but this is America in the year 2000. In an age of instant gratification, why settle for four bands when there’s a band on the sidestage that offers everything each of those bands has to offer, and more. That’s big talk about a band that’s not even halfway to a gold record (selling 500,000 copies) with their Giant Records debut The Sickness, especially when comparing them to four bands that have sold more than 10.0 million albums between them. But Disturbed are that good. Quite honestly, they’re even better.


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the back of Zakk Wylde, Black Label Society on cover of Maximum Ink

Black Label Society

by Paul Gargano
July 2000

There’s nothing subtle about Zakk Wylde. He’s the guitar demon that laid the sinister soundtrack to Ozzy Osbourne’s No Rest for the Wicked and No More Tears, breathing insanity into “Crazy Babies,” ripping through “Demon Alcohol” and raising hell on earth with “Tattooed Dancer.” He wore his Southern pride on his sleeve with Pride & Glory, enjoying fleeting success with the project, but not completely satisfying his hunger to rock with reckless abandonment. From there he split songwriting time between Osbourne’s Ozzmosis album and Guns N’ Roses, in the process, recording his solo-acoustic Book of Shadows, an album that made for an interesting sidebar for the shredding metal phenom, but only intensified his desire to raise Caine with six-string, Sabbath-inspired salutations.

When writing with GN’R seemed a dead-end road, Wylde had a revelation—he’d sing the songs himself, give them his own voice, and create a band that fulfilled his vision of rock’s most brutal attributes. He dubbed the band Black Label Society


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Clarence Gatemouth Brown on the cover of Maximum Ink July 2000

Clarence “Gatemouth” Brown

by Dave Leucinger
July 2000

an historic interview of this legend of the blues and grammy winner, Clarence “Gatemouth” Brown. Brown passed away in 2006. RIP Gatemouth


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International artist Bernard Allison on the cover of Maximum Ink in June 2000

Bernard Allison

by Dave Leucinger
June 2000

“My dad told me to never be a copy cat,” emphasized guitarist/vocalist/songwriter Bernard Allison in a recent telephone interview. “He told me, ‘you’ll have influences and idols, but you’ll need to put yourself into what you play.’” Allison, son of late titan Luther Allison, has taken his father’s message to heart in a career that reaches back more than 15 years. “I’m doing what I’ve always done – mix a 12-bar blues tune with a couple of rock tunes, and a couple of funk tunes.”

Contrary to many perceptions, the senior Allison was not the foremost musical teacher in Bernard’s early career. “There wasn’t that much teaching at the musical level,” Allison said. “I taught myself how to play guitar and sing pretty much on my own, although he showed me how to play a few things. But Our relation was more like brothers than father/son.” Bernard did note that his father gave him sage advice on other aspects of the business, however. “He did teach me about the road – but I also learned a lot from my 3 years with Koko Taylor.” That apprenticeship with Taylor, and later with Willie Dixon’s Blues All-Stars, saw the teenage Allison emerge with more of his own voice, further developed through tutoring by Johnny Winter and Stevie Ray Vaughan. So zealots who expect – or hope – that Bernard will develop into a clone of his father will be disappointed. “A lot of our music is naturally the same,” Allison said.  “Early on, there was a lot more stuff where I sounded like him. But now, you can hear a song and tell if it’s Bernard or Luther.”


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Slipknot on the cover of Maximum Ink in May 2000 - photo by Paul Gargano

Slipknot

by Paul Gargano
May 2000

Ten years ago, the Limelight was a landmark for bands who performed in New York City. Women danced in cages suspended from vaulted ceilings, stained glass surrounded a stage elevated on what used to be an altar, and men and women mingled in lines for unisex bathrooms. Built as a church decades earlier, the site had since been deconsecrated, converted to a nightclub, and angel-shaped disco balls hung where a crucifix was once suspended. It was the perfect not to mention haunting and eerie setting for the inspired debauchery of sex, drugs and rock ‘n’ roll that made the late ‘80s and early ‘90s such revered times.

And almost a decade later, recently reopened, it was the perfect venue to host the live chaos that is Slipknot.


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Ray Condo and his Ricochets on the cover of Maximum Ink in May 2000 - photo by Dan Zubkoff

Ray Condo And His Ricochets

by Dave Leucinger
May 2000

He’s 46 - well past living the life of your typical traveling musician, complete with vans, hotels, late nights, and lots of driving. But Ray Condo isn’t your typical anything. So he’s able to fit in quite nicely - lead the pack, actually - when the usually independent rockabilly world unites at festivals, such as last month’s Viva Las Vegas. “They’re pretty special,” he said of VLV and its kin. “It’s a ‘meeting of the tribes’ where the culture comes together once or twice a year.”

Amongst those tribes, Condo certainly rates as chief - or at least elder medicine man. The potions he mixes are old recipes - first blended in the 1930s at dance halls between Tulsa and Austin. It’s a concoction known as western swing - a blend of instrumentation and rhythm uniting the Kansas City swing of the era and early electrified country, complete with singing pedal steel guitars. “The draw of western swing is that it has so many modern elements - like speeded-up guitar and a tough rhythm section. These were the elements that formed early rockabilly and rock & roll.” Through the 1940s, artists such as Bob Wills & the Texas Playboys and the Light Crust Doughboys sent many boot heels tapping. “By the late ‘40s, Hank Williams and Lefty Frizzell stripped the music into smaller combos - they were the Louis Jordans of the western scene. They put an end to those bands.”


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A Perfect Circle on the cover of Maximum Ink in April 2000

A Perfect Circle

by Paul Gargano
April 2000

When Billy Howerdel was writing the songs that would later become A Perfect Circle’s debut, he had a very specific vision. It involved a female singer, lending her soft caress to songs that would be ambient, ethereal, and heavy. “I wanted to do soundtracks,” recalls the guitarist, “I literally wanted to do a song, a 40 minute song that can be a score to a movie.” And he adjusted more than a decade of songwriting accordingly, padding out songs and stretching them from four-minute pop, to textured voyages ten times their original length.

Then, while doing production work during the recording of Tool’s Aenima epic, Howerdel met the band’s frontman, Maynard James Keenan. Keenan liked what he heard of the guitarist’s works in progress, and asked if he could contribute vocals. “I was thrilled,” Howerdel laughs, sitting in a Los Angeles rehearsal studio where A Perfect Circle were preparing for their current tour with Nine Inch Nails. “I quickly got over the female voice thing! From there, things changed.”


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