Slipknot is the heaviest of Heavy Metal. They are strong artists because they are the epitome of a group. Their masks and costumes on stage present a uniformity that makes them who they are. They refer to themselves as “The Nine” even though they are now eight after the passing of their bassist, Paul Gray. The wildly popular band are wrapping up touring on their fifth album All Hope is Gone which has gone platinum, a great success in today’s age of music, with Mayhem Fest along with other great Metal acts like Motorhead and Anthrax.
CityBeat: You guys are crazy on stage. Have any band members ever been hurt?
Shawn Crahan: Every day.
CB: Really? Like Ibuprofen or doctor?
SC: Right now I have been sucking anywhere from 10 to 40 cc’s of blood out of my knee every five days.
CB: Have you calmed down because of it?
SC: No, I had surgery from a jackass move in a tour in Australia about five months ago. I jumped off my lift, smashed my knee pretty good, my meniscus and everything. So I had to have surgery. I had surgery just up to the exact date when the first Mayhem show was starting. I had no time to really rehabilitate. I didn’t even do physical therapy. It’s not an excuse; I just didn’t get it done. So the first day I paid the price. It’s all good because I have kept all the blood. I have it all. I have all the syringes and everything. So I make art. I’ll have a nice art piece of my pain. But everybody goes through something every day. Sid’s dealing with some sort of hernia and some sort of shoulder stuff that he has to get an MRI for right now.
CB: I see your photo on your pass with your leg brace.
SC: Actually that is the day I had surgery. I hate to admit it but I’m on a lot of morphine in that photo. I walked out to the car and took a picture. As you see I have a cigar and a GG Allin shirt on. I took him with me to the surgery. I turned around and was out. I had to get a picture. I don’t know, somebody found it and made it my pass.
CB: You guys have different uniforms every tour. What is the process to go about designing them or picking them?
SC: I am kind of the visionary, so to speak. That doesn’t mean visionary of the overall whole thing. I take a lot of responsibility in evolving everything. Right now, since our bass player passed away, we are reminiscing a life spent. We toured last summer, and we re-made our very first coveralls and brought out our first masks in remembrance to remember where we came from and celebrate his life. The current ones are a mixture of our first album and our second album. His number was number two and he had a really big part in that record as he did all records. We thought we’d give the American kids something special. Usually right now if Paul wouldn’t have passed, we would almost be getting done with our fifth record album cycle, getting ready to go home from it. This kind of stuff is all kind of inspired by him a little bit because we don’t have a new album and we just are kind of sharing in this thought process with our fans together. We don’t see him on stage; they don’t see him on stage. We go through it together.
We are getting ready to end that thought process of sharing that loss together. It doesn’t mean there is an ending to something and a new beginning. There will never be a new beginning. There will always only be nine. But we have toured Europe, we have toured South America, Australia, and now America with this thought process of sharing this loss together. We will end that, that sporadic touring of understanding that he is no longer with us. Then we will take some time off, write a record, record a record, pre-prep tour, go out on tour, drop a record and then support that record. But there will always be nine. I don’t know if there will ever be another person on stage. There probably could be a bass player behind us. I don’t know and I don’t have to think about it because it’s a long way off.
CB: How did you get the numbers?
SC: The numbers kind of just fell into place. It’s kind of a weird thing. Back when we started we were going to wear a mask and I started wearing coveralls so we all started wearing coveralls, then there were so many of us, we put our bar code on the back. Then we wanted numbers — I wanted numbers. It was kind of ironic, because everyone fell into a number. I wasn’t going to tolerate any other number than six. Like if someone was going to fight me for it, I was going to fight to the death for it, but nobody wanted it. Joey wanted to be number one, Paul wanted to be number two, the original guitar player, and the other drummer three. Mick, he is like “I have to have seven. Fuck everyone. It’s my lucky number.” Corey was like, “I want eight, infinity.” When Sid joined the band, “I am not a number. I am zero. I am filth.” It was kind of magical, honestly. The masks were more of a representation of what you wanted to present as yourself. It was one’s finding one’s self, but the numbers were almost assigned to us subconsciously. It was really a kind of cool thing. I remember I usually try to go last, I am the oldest but an only child, so I like fight to the death for what I want. Because of that, I try to put myself last because it is healthy for me and I let people do what they have to do, and I usually get what I want by doing that. It is kind of like when we are recording a record, if we are all living together, I let everyone find their room and I take what’s left, and I that ends up being the place I belong, not because I have admitted to myself that I should be there but I end up there going, “I love this. This is where I should be.” It is kind of knowing your brothers and knowing everything, but it is healthy for me to practice that.
CB: Do you get hot in the masks on days like today?
SC: No one but the nine will understand that sort of submission. The only way I can explain it is when it is all done and you take it off and look at the mirror and you look at yourself you know that as you walked into the church of the Knot, onto the altar of the Knot, giving the sermon of the Knot to the congregation of the Knot, and when you are done and the doors are shut and you came back and you take off the attire, you look at yourself and you know that you gave 190 percent of your life lived today and there is nothing more than that. Even if I don’t have time to call my wife, even if I don’t have time to be creative on my computer, or I am lazy, or I am not getting anything done. One thing I know is I give 190 percent on stage and when I take it off and look at myself and know that I am alive and that I did it and I pulled through that, it is not even a good feeling, for me it is like salvation. I only do this because I am looking for peace. With peace comes war, and I am at war with myself. I have been since I was born. I love music, and I can’t imagine life without music. My wife is always there for me. My kids are there for me, but they are their own people. The one thing that has always been there for me is music. Before I met my wife there was music. If my wife were to pass or something there would be music to help me through that. That’s not going to happen but I am saying music has always been my life. I owe everything to it.
CB: In the beginning, you guys wanted to remain anonymous by using the masks. You have liked being anonymous through the years, but now people know who you are. Do you still feel like it is necessary?
SC: It was kind of a trick because so many people in the beginning wanted us to fail because we are so great. We have been blowing up since day one because a good idea is a good idea and a good song is a good song and a good band is a good band with a performance. So, part of the vision was everyone wanted to know who was behind the mask and that was probably the least most important thing ever. Why ask that? Why not ask how that came about or why this came about or what is behind this? Not what is behind the mask? It is music people are into and music the kids are buying. Rarely do they even get to spend a night with us. It is usually in the car or in their headphones. So why ask that question? So slowly, it wasn’t until the third record, I did a documentary called Voliminal: Inside the Nine where when I showed behind the scenes footage, I blurred out people’s faces, but when I did interviews, I would do nothing but faces. By our third record, people didn’t care what we looked like anymore. They liked us better with the mask on. I always knew that would happen. There was never a conscious decision of trying to be out of the limelight without knowing who I am. Let’s talk about the music, let’s talk about the lyrics, let’s talk about the why’s not who is behind the mask, because I don’t wear a mask. I don’t wear a mask at all.
CB: Do you guys write together?
SC: We write together. There are core writers.
CB: There are a lot of you.
SC: That again is a special way. There are core writers. There are people that plant the seeds, and there are people that water it and we all watch it grow and we all groom it and help it become what it can be. That is something that can rise to the light of day. So we all write, I am not a percussionist so to say but more of a paganistic, ritualistic. It is more, I won’t say anger as much as it is ritual to put behind it. I want to drive what is being written and I only want to drive what needs to be driven. I don’t necessarily have to put my mark or my scent on every single little thing and be over everything. I just want to drive what needs to be driven and it works best that day. I don’t have to be involved from day one. I have always loved the music we write. There is no reason to mess with the will, the roles.
CB: Any regrets?
SC: No, no regrets. To have regret would mean to have to do it differently and if I did it differently then I wouldn’t be here today. There is no reason to think about regrets. Yesterday is lost potential. It is only a memory for tomorrow. Good or bad, it is what it is. There is no changing it. There is no touching it or molding it. There is no reason to look upon it — it is a memory. It can be a good memory, it can be a bad memory, but you shouldn’t spend too much time. You just learn and you move on. I don’t have any regrets. I wouldn’t change anything. I would do it all over again just the way we did it. You come into a venue like this and you are like, “This is what I am dealing with today.” Tomorrow you will be in a completely different situation, and that is what you are dealing with. That is half of what you learn of the greatness of what you are doing because of art. You can’t always expect to have what you want. The point is, we are in Cincinnati. We are here to play for the people. It doesn’t really matter what color the door of the bathroom is or where the showers are or what the circumstances are. We are just here to play. We’ll get on the bus and do it again.
CB: The band members have a lot of side projects going on. Is that cool with everybody in the band?
SC: Yeah. It probably was weird in the beginning because we are so focused on the Knot but I think it was accepted quickly because everybody in the band is so creative on all different levels. It could even be the level of staying home and doing nothing and allowing everybody to do what they need to do creatively to get it out allows everybody to be better for this. It took a little time to understand that, but why wouldn’t it? We are all working for this. If I explained to everybody what it took to get here, I don’t think they would really understand how much work we really put into making it happen. The work was unbelievable. I could tell stories people wouldn’t understand the things we had to implement to make this work. The side projects are good. I wouldn’t even call them side projects. I take Stone Sour very seriously. It is their own band on its own merit. It has its own fan base and they do very well. I would never call it a side project. It would be kind of insulting to Corey and Jim and the other guys in the band because they have worked so hard to make it what it is which is a band. My stuff is more of a side project because I jam because I have to. Since we have started, I have had three bands. None of which have done shit which I don’t care because I just love to play and haven’t repeated myself. I did a Pop record. I did a kind of Hard Rock record. I did a Psychosis Rap record. Ever since Paul passed, I am just kind of focusing on my art a bit, kind of burnt out on music. Side projects are elements of letting people be themselves where they can’t necessarily bring that entity into this thing called Slipknot. It’s healthy.
After successful MidPoint Music Festival and the Cincinnati Entertainment Awards, there is no question that Cincinnati is a music town. Our vibrant local scene thrives on a huge range of innovative and talented bands and artists, as well as on a diverse and supportive collection of venues. Cincinnati now needs a place for musicians online ... (drum roll, please).
We are pleased to present MusicTown, a new forum for Cincinnati musicians and music lovers.
Whether you call him Beelzebub, Satan, the Prince of Darkness, Mephistopheles, or just the plain ole devil (it’s all about your preferred nomenclature, man) there is no denying the big guy downstairs has been a huge influence on Rock & Roll.
There have been a plethora of songs written about the dark lord (no I’m not talking about Voldemort, you posers) but the real question is — what are Satan’s favorite songs about himself?
So, like the top-notch investigative journalism team we are at the CityBeat music department, my editor Mike Breen and I bought some pig’s blood, drew a pentagram on the floor, lit some candles, recited some Latin and summoned the fallen angel himself.
After a long discussion on various human subjects — how Mitt Romney is in fact not the antichrist, but just an idiot; the state of Gene Simmons' soul and why he is going to hell (apparently, it’s not for his satanic look or the thousand acts of pre-marital sex, but for turning KISS into the biggest whore in the music industry) — Mephistopheles disappeared back into the hell mouth as quick as he came. (Who said real journalism was dead?)
Yet, left in his place was an evil list compiled by the demon of his Top 10 favorite songs about himself, with the instruction to print them without changes. (Satan’s actually a very polite guy but super narcissistic.) So, in honor of his wishes (and extra conscious of our agreement that riches will be bestowed on CityBeat if we completed the task), here are the Top 10 songs about Satan.
10. “Baptized in Flames” – Skeletonwitch
You ever wanted to know what Antichrist’s birth would be like? If so, you’re in luck because Athens, Ohio, natives Skeletonwitch give us a pretty vivid description of the scene.
Minus the death of the mother, inverted crosses burning, men dying and the overall end-times vibe, this birth isn’t all that different from a normal one. But let’s be honest, no matter who’s being popped out, the birthing process is pretty disgusting.
9. “Super-Charger Heaven” – White Zombie
If I had never seen an interview with Rob Zombie (he seems like a really nice guy), I would truly believe this guy had some serious demonic connections. From his grade-A horror films to his music riddle with witches, blood rituals and general spine-chilling terror, he is the poster child for all things evil.
Although his later solo work is a little campy at times, White Zombie always brought the hellish vibe to their brand of Groove Meta and they showcased it no better than on their 1995 single, “Super-Charger Heaven.”
8. “Beezleboss” – Tenacious D
Did you know it’s in the demon by-laws to never turn down a rock-off challenge? I didn’t either. Not until the cataclysmic disappointment, “Pick of Destiny,” came out in 2006 at least.
Even though this movie was shittier than the end of The
Human Centipede, Satan’s gut-busting drum solo (although impressive) wasn’t
enough to outmatch Tenacious D’s power of Rock and friendship, not only saving Kage’s
eternal soul (and anal virginity) but sending the devil back to hell and
finally finding a way to pay their damn rent. (Satan says he found it "cute" that the band would write a fictional song about defeating him and picked this song because he's angling for a part in Kung Fu Panda 4 with Jack Black.)
7. “Con Clavi Con Dio” – Ghost
Sweden probably isn’t the first nation you think of as a hotbed for satanic music (I know, ABBA was scary but definitely not satanic), but when Ghost’s Opus Eponymous came out in 2010, the band took another step towards making that a reality.
This whole album is just one big love letter to the prince of darkness and the first four lines of “Con Clavi Con Dio” says it all: “Lucifer/ We are here/ For your praise/Evil one.”
Overall, I don’t know what’s creepier — this band’s all-inclusive scare factor or their borderline stalker obsession with Satan. (Lucifer, if you’re reading this, you may want to consider a restraining order against these guys. I know they’re from Sweden, but I don’t think they are messing around.)
6. “Mean as Hell” – Johnny Cash
Besides making a star out of Honey Boo Boo and working as an investment banker on Wall Street, Satan says all he really ever wanted was a land to call his own. So God, like the sly dog he is, tried pull a fast one on his old nemesis, giving him the poorest land he had, the Rio Grande.
The Devil, being the mean son of bitch that he is, took God’s offering and riddled the area with scorpions, thorn trees, tarantulas, rattlesnakes and 110-degree weather, making the best hell on earth he could (take that God!).
In the end, Satan proved God wrong, but what’s more interesting is — who is meaner, Johnny Cash or Satan? Sure, Satan made the Rio Grande hell on earth, but Cash lived in it. My money’s on the “Man in Black.”
5. “Sympathy for the Devil” – The Rolling Stones
The devil has been a busy man over the years. He was “’Round when Jesus Christ/Had his moment of doubt and pain” and “Held a general's rank/When the Bliztkrieg raged/And the bodies stank.”
Even though I’m not that particularly puzzled by the nature of his game (am I the only one seeing the trend of death here?), it’s definitely one of the most iconic and politically-driven songs Satan ever inspired.
4. “The Oath” – Mercyful Fate
Kind Diamond is like the satanic equivalent of Pat Robertson. Sure, this guy isn’t actually a Satanist but over his illustrious career, his distaste for organized religion, overtly satanic lyrical content and general creepy demeanor has surely put him in good standing with the minions of hell’s army and their general.
I really could have picked almost any song from the King Diamond catalog, but this one — from the band he fronts, Mercyful Fate — really showcases his unconditional love for Lucifer. Really though, Diamond’s undying love for Satan is only comparable to the love Ryan Seacrest has for hair gel and being a douche. If the song weren’t so damn evil, it would almost bring me to tears.
3. “Hell Awaits” – Slayer
As if this song wasn’t scary enough running normally, apparently if you play “Hell Awaits” backwards, about two minutes in there is a hidden message that repeats "join us" over and over again. Joining what exactly, I’m not sure. Slayer fans? An indoor soccer league? The wait staff at the Olive Garden? Who knows?
What’s really funny, though, is that people freak out when they hear Slayer has a “satanic message” when you play it backwards. Really? If you listen to the song forward, the “satanic messages” are even more explicit. Jeez people, the whole thing is about Satan! It’s Slayer, what do you expect?
2. “N.I.B.” – Black Sabbath
Aside from “Sympathy for the Devil” this is the only other song on this list written from the perspective of Lucifer. Besides the monster riff and Black Sabbath general early awesomeness, what makes this track phenomenal is that it's about Satan falling in love and trying to become a good person.
Though knowing that information makes this song seem a little less evil and is slightly reminiscent of a Joss Whedon plotline (no dig there, it’s just true), it exemplifies why Black Sabbath will always be the best Metal band of all time — its creativity.
Personally, I wish Ben Gibbard would do one of his so cute (it makes me want to puke) acoustic covers of this song so I can play it at my wedding (like that’ll ever happen).
1. “Number of the Beast” – Iron Maiden
I’ve always been a bit confused when it comes to the actual logistics of this song. I mean, did he see this satanic ritual happening or not? My personal belief is that Steve Harris (lead guitar/writer) took one too many hits of LSD, watched The Omen II and had the most terrifying trip known to modern man.
Either way, “Number of the Beast" solidified Bruce Dickinson as Maiden's new lead singer (even though I’m more a Paul Di’anno fan myself) and made Maiden titans in the Metal genre.
Remember — I’m just the middleman here. If you have a problem with this list, I’m sure Satan would be willing to hear you out. (Here’s his contact email: firstname.lastname@example.org.)
EDITOR'S NOTE: This morning I sent Blake's write-up to Satan for approval (we usually don't do that, but, hey, it's Satan), he responded with a curt, all caps message: "WHERE IS MY FAVORITE BAND HOGSCRAPER!!! I WILL BRING YOU DOWN HERE EARLY IF YOU DON'T ADD MY THEME SONG!!! THANKS!!! HAIL ME!!!" He's referring to the mysterious, undead Cincinnati "Satanic Bluegrass" band Hogscraper and I can only assume his "theme song" is the one below. When I texted him just before posting I informed him that Hogscraper was back from the dead and headlining this Saturday's "Grand Opening Redux" concert at the new Southgate House Revival. "NO SHIT. I'LL BE THERE WITH SCARY BELLS ON. PRE-GAMING @ HOOTERS BEFOREHAND IF YOU WANNA HANG OUT!"
American Ska legends The Toasters perform a free show tonight at MOTR Pub in Over-the-Rhine. Showtime is 10 p.m. and — sorry, kids — you must be 21 or older to get in.
The band was one of the leading inspirations behind the "third-wave" Ska explosion of the ’90s, but the band actually began 30 years ago, influenced by the 2-Tone Ska movement in the U.K. The Toasters blend of NYC Rock and 2-Tone made them cult heroes in the Ska underground, as did the band's D.I.Y. approach; founding member (the sole one in the current lineup) Robert "Bucket" Hingley formed the influential Moon Ska Records in 1983 to release his own albums, as well as those by acts like Mustard Plug, The Slackers and Hepcat. The label's various compilations also gave a boost to up-and-coming, non-Moon acts like Less Than Jake and No Doubt.
Here's The Toasters' first music video, for the tune "Radiation Skank" off of the band's debut release, 1985's Recriminations EP (which was produced by British singer/songwriter Joe Jackson; he is to The Toasters what Elvis Costello was to The Specials).
And here is "Modern World America" off The Toasters' 2002 release, Enemy of the System.
David Hebert was the man shot and killed last night in Northside by police. But most who knew him wouldn’t recognize the name. Hebert, a beloved, longtime local musician and local music supporter, is far better known by his nickname, Bones. An expressive drummer, in the ’90s he was the rhythmic foundation for local bands like AMF and Shoot the Gift, as well as other Rock and Punk bands.
In advance of The National’s highly anticipated free performance this Thursday at Fountain Square, I had the opportunity to talk with the lead singer of the band, Matt Berninger. The concert is part of a rally in support of Democratic presidential nominee Barack Obama, donning the title “Vote Early, Rock Late.” It will feature political speakers and buses to take people to early voting locations, as well as two bands — Dayton natives The Breeders followed by Cincinnati’s own (though they live in Brooklyn now) The National. And, of course, there will be “plenty of Rock & Roll and beer,” as Berninger succinctly puts it. (UPDATE: The National's management says they are unsure of what times the bands will play, as of now. The only sure thing — both will play between 5 and 9 p.m.).
Berninger explains that the concert came together rather innocently; they simply wanted to show support for their candidate of choice. Initially the thought was to play a benefit concert, but as it all evolved, a rally seemed more appropriate, both in terms of what the band really wanted to accomplish and the nature of Obama’s campaign.
“It was our idea, but there have been so many people pitching in and helping along the way,” Berninger says. “No one is getting paid here, so it was really exciting to see so many people take the time to make this happen.”
The National’s fundraiser for the Obama campaign developed in a similarly organic manner. Shirts depicting Obama’s face accompanied by the song title of what has become a familiar show-closer for the band, “Mr. November.”
“About nine months ago, that song came (up during a show) and I dedicated it to (Obama),” Berninger remembers. “And it wasn’t until about halfway through the song that I realized just how perfectly it fit, in terms of both mood and timing. That night, Scott (Devendorf, bassist from The National) and I decided to make a T-shirt and a week later we had a box to sell. I think it all happened in the midst of four hours, and since then we’ve been able to raise about $10,000, with all proceeds going directly to the campaign.”
The band — whose song "Fake Empire" was used in a film about Obama showed at the Democratic National Convention — returns to their hometown of Cincinnati in the midst of one of the most significant presidential elections in history. Southwest Ohio – with its conservative reputation and rising liberal and progressive presence -- stands as arguably the most hotly contested location in the election.
“The thing I’ve always loved about the political landscape of Cincinnati is that you have it all,” he says. “You have extremely conservative Cincinnatians and you also have very progressive lefties and often you have that all in the same family. I don’t quite have the same conversations now, being in New York, that I used to in high school or around my dinner table in Cincinnati. And that’s the healthy thing about being there, is that those conversations are happening, truthful, and among people that, at the end of day, you truly respect and love.”
There is no hint of pessimism in Berninger’s voice. Rather, he sounds truly enthused about the opportunity America has to elect a candidate like Barack Obama, a man whom he believes embodies the most admirable qualities.
“There is an intellect, compassion and empathy to (Obama) that doesn’t seem fake,” Berninger says. “I want the best of us to be in the White House. I want the cream of the crop of American thinkers to be making decisions for me, and (decisions) that are going to affect me, my family and our future. I want the smartest guy in the room and the groundswell of support Obama has gathered shows that people see that in him.”
The National have recently wrapped up their tour in support of the critically-acclaimed album Boxer. They have written approximately 10 songs and returned to the studio to begin recording their follow-up. No word yet on a release date.
— Dave Tobias
(All photos by Keith Klenowski)
Jesse James Dupree is the lead singer of Jackyl, a metal band from Kennesaw, Ga., that's performing Friday at Bogart's. Jackyl was formed back in 1990 and have given their audience eight studio albums along with two live offerings. Their biggest success came with their self-titled first studio album which went platinum in 1992.
The afterparty is still going on as I write this, but, while we assess what happened last night at the 12th annual Cincinnati Entertainment Awards event at the Emery Theatre — the first sold-out show and quite possibly the best show in CEA history — here's who won what last night.
CityBeat was able to speak with Anderson this week about protests, social issues and his thoughts on performance art.
CityBeat: Why did decide to bring the flute to Rock music?
Ian Anderson: When I was a young aspiring guitar player in my late teens I became aware of Eric Clapton, Jimmy Page and Richard Blackmore, who were the hot-shot guitar players down in London, and I decided maybe I should switch from guitar and find something else to play. The shiny precision of the flute, the ergonomics, the design, the manufacture — it’s kind of like a Swiss watch. It appeals to my sense of physics and engineering. For a particularly good reason, other than the way it looks, I decided I would give that a go. I learned to play it by trying to imitate the lines I played on guitar — solos and rifts. So I became the flute player in a Blues band and I was the only flute player in a Blues band, which gave me the difference that helped Jethro Tull stand out from the crowd.
CB: One of my favorites on Thick as a Brick II is “Adrift and Dumbfounded.” Can you tell me a little bit of the story behind that song or how it came about?
IA: Having been picketed a couple nights ago in Kansas City by the Westboro Church, the “Godhatesfags.com” people … I am seen as a fag-hyphen-enabler according to that unworthy organization. I don’t think I am a homosexual, but I am a supporter of gay rights and a lot of my friends and people close to me are gay people and I find that the prejudices and difficulties faced by young people, particularly in post-puberty, where they are sometimes questioning their gender and their physiology because some people are just born that way … so, it is a difficult time for relationships with parents and for society around you.
It’s difficult now. Back in the ’60s, it was really scary. So at the time when homosexuality wasn’t just a predilection but an actual crime, punishable by the courts by incarceration, being gay was a difficult position for any young person to be in, so I decided I would write a parent’s perspective of what that may be like — to lose a child through lack of communication and understanding with the parental, to lose that child to drugs and to, essentially, male prostitution.
That is an extreme scenario but it happens out there in the world. These are issues that face society today. These are issues that have faced society throughout the history of mankind. These days I suppose we are more able to talk about it and to examine the possibilities themselves. I always have to think when I was 15 years old and a little unsure of myself, maybe that could have happened to me. I try to use some of my personal history with my parents, with the lack of communication, particular on matters of sex. I try to extrapolate a little on my own limited experiences in that world.
CB: The Westboro Baptist Church never ceases to amaze me. How did you handle it that day?
IA: I was rather hoping to see them in the flesh. Unfortunately, I had my spies out. I had my spies out to try to keep an eye out because I tried to get a photograph opportunity with these people. Unfortunately, at the time, I guess they showed up when the audience was coming in or going out. When the audience is coming in, I am busy in my dressing room changing and tuning up my guitar. Afterwards, I am busy changing again and packing up my instruments. Unfortunately, I did not get to see them. That is very disappointing. I was really hoping to have the opportunity to have a nice smiling photograph with them and their evil representatives.
CB: Why did you choose this tour to play the Thick as a Brick albums in their entireties?
IA: When you are planning any kind of stage show, your first obligation is to keep it on a level that will engage people and keep it interesting for them and present them with a lengthy piece of musical work with a 15-minute intermission. You have to put your thinking cap on and try to construct everything to keep the audience with you, especially if you are playing a lot of music (with) which the audience is unfamiliar, you have got to make it work the first time around. It is not the result of hearing it many times so you have to make it a piece of working entertainment.
It seems to be successful because I have yet to see, when I go onto the second half of the show, any empty seats as a result of people leaving at halftime. Normally people stay until the end of the show and they seem to follow the momentum of the whole show. You get a personal sense of achievement when you present a large amount of relatively unknown music and you keep people engaged and enjoying the stage.
I don’t think many bands would attempt to do that. I can afford to do it because, a) I am prepared to take more risks musically and, b) I am really kind of doing it for me more than I am doing it for the audience anyway. I have always been a musician who has gone out there to make myself happy. You have to really have your own personal goals you achieve every night in performance. Primarily, I will say, it is nice you folks are here as well, but if you weren’t here, I would be doing this anyway. I am just doing this for fun.
CB: You have seen music change in the way it is recorded over many decades. Do you think it sounds better or worse today?
IA: Music has evolved in the terms of recording techniques over a period of about 60 years, hugely. It goes back to the early stages of monophonic and stereophonic tape recorders, which is what it was when I was a teenager.
When it got to the mid-’60s, it was becoming possible to create the simplest multi-track recordings, usually using two-track recorders, but bouncing back between the two to get a four-track sound. The very first Beatles recordings were made that way. By the time they got to Sgt. Pepper, they were recording with four-track and shortly on the heels of that came eight-track.
The first album I recorded was done on eight-track in 1968. That quickly evolved into 16-track and then to the most often used standard of 24-track, which continued through the late ’80s and even in some cases into the ’90s.
Frankly, the digital age really came about not in the ’80s or the ’90s but in the last 10 years, because that technology began to support 24-bit audio recording, which effectively mimics the human hearing to detect the difference between that and the original audio signal. We have 24-bit 96k recording, which is essentially all we need. We don’t need to advance upon that standard. We’d have to grow new ears before we could benefit any further resolution of earlier technology.
It is the same thing as when cameras hit the 10 mega-pixel mark … essentially equal (to) the very best film quality of film cameras in the last 50 or 60 or 70 years. We have now fairly commonly cameras that will deliver resolutions of 24 megapixels, which will be essentially much better quality you or my eye could fully appreciate.
We are there with audio and visual. We have now reached, during these last four or five years, human physiology would have to change for us to benefit from any increase of the resolution of the technology we are working with now. It is as good as it needs to be. We are there. We are done. We have reached the limit in terms of audio recording and digital recording.
CB: Was there a single incident that changed how you approached music?
IA: Well, I suppose a single incident was the first moment I played notes on a musical instrument, because I was aware as a small child of music as church music and music of Big Band Wartime Jazz, which my Father played on 78-rpm records.
It wasn’t until I was 9 years old and I acquired for a couple of dollars a plastic Elvis Presley ukulele and I strummed my first simple chord on the ukulele. At that point, even though the instrument was a rubbish piece, I could actually strum some little chords and sing along with it, and that was the magic moment of making music the first time.
I suppose that was the single most important moment of discovering music. There are a lot of people who never learn to play anything on a musical instrument and I feel like they are missing out on something. But some of them might be bungee jumpers and they feel like I am missing out on something, because I haven’t thrown myself off a bridge attached to a long piece of elastic.
CB: What is your ideal day look like these days?
IA: It depends if I’m on tour. My ideal day is to wake up around 7 a.m. and be driving rather than flying and getting to another city, another hotel by lunchtime, finding a Red Lobster or McCormack & Schmidt and (eating) some seafood or that sort for lunch and then having a rest and getting my e-mails in the afternoon before going to sound check.
That’s kind of normal practice. If I am at home, I wake up a little earlier, usually around 6:30 a.m. and I usually, again because of working in different time zones, it’s a good time to check e-mails from last night, generally prepare, shower, play with the cats, let the dogs out. If it’s the weekends, I have to go and feed the chickens.
In my ideal world, it would be a mixture of sitting at my office desk, playing a little bit of music and having a little bit of time to walk around the garden and sit and talk to my cats.
CB: What is the biggest difference in touring in 2013 versus 1970?
IA: The biggest difference is you can take a little stress (out) as you are touring easily because of more organization. Twenty years ago and 40 years ago, travel was a lot more disorganized that it is today. We can now be planning the next tour while we are doing this one.
Later today and tomorrow morning when I have a little time off, I shall be booking some internal U.S. flights for the next tour, looking at the various cities and suggesting to my U.S. travel agent some hotels I would like to get quotes on. Generally speaking, doing that planning exercise, when it comes to doing the tour itself, hopefully everything is in place. Everybody knows where everybody will be on most hours on most days.
You can take the stress out of things these days, where it was not so easy many years ago. We had to employ tour managers and people to carry our bags and people to herd us like sheep through airports. These days, people have their virtual boarding pass, which they can collect online from the booking reference code, which was on the tour itinerary, and they can print out their own boarding pass and head straight to the gate. I think things are easier these days, not because of the level of security we face now that we didn’t face 40 years ago, even 20 years ago. That makes lines a little more stressful and perhaps a little longer in the course of the day. We allow for two hours at airports from flight times to be safe these days, not knowing how long security queues may be or what indignities we may have to suffer to keep ourselves safe from the bad guys.
CB: Do you have any fond or crazy Cincinnati tour memories from the past?
IA: Probably with a Holiday Inn, Hilton or a Marriott or two. My bonds tend to be with what my particular life throws at me. The airport, even after all these years, is strangely familiar. I have been tracking the evolution of the airport from the late ’70s — when we were accosted by the children of God, doing their evangelical work, trying to hand out bibles and stuff — all the way to today. Airports quite often have that sense of déjà vu, even that nostalgic memory for me — certain hotels, certain venues of course, iconic venues we still play today.
CB: What was your favorite live performance ever?
IA: It is probably the show in an American venue near Washington D.C. called Wolf Trap. It is my favorite because it is the one I am going to be doing tomorrow and the one I have to focus on and prepare for.
Past shows are in the past. I don’t dwell on those. I don’t have favorites. I don’t have preferences, except for a couple iconic venues, as I suggested. My favorite show is the one I am about to go out and attempt to do because I always have to think it could be my last. Walking on stage is not a God-given right; it is a privilege to be able to step out there into the spotlight another time. I just take each show as they come. My next show is always the best show of my life.
CB: What can the fans expect here in Cincinnati this weekend?
IA: They can expect all they like, but it won’t vary one iota in delivery to them. Their expectation may be many and may be varied, but we try to make a point of emphasis to play Brick 1 and then Brick 2, then a long call of classic repertoire.
We have a very tightly organized show. If anybody starts shouting out during the quiet moments of the show, they will be studiously ignored. I don’t even have time to admonish them. It happened to me last night when I came on stage, I was astonished to hear two female voices shouting at me in one of the spoken words sections with a delivery of theatrical passion. You wouldn’t be considered cultured to be shouting and whistling during a Shakespeare play — please don’t shout and whistle during the performance of mine because I am here to do the work. You are here to listen and if you don’t like it get up and leave. Don’t start interrupting me.
Once in a while you get a drunkard out there that gets to shout at your band, but it happens so rarely these days and it strikes me as so being incredibly curious. I think our audiences do understand this is not a regular Rock show but a theatrical presentation (for which) they have to sit and let me do the work. That’s what I am there for. I may be 66 years old but I am there to do a man’s work for two and a half hours, where you can sit back and, if necessary, bring yourself a comfy cushion and maybe a sandwich because it is a long show.
Megadeth can be considered one of today's legendary bands, not just in Metal, but in all of music. They are synonymous with a time period, moments in the lives of so many of their fans. They may have a different look than when the band was formed in 1983 but they are one of the founding fathers and would definitely find themselves on the Mount Rushmore of American Metal and can still fill festival stadiums all over the world. Megadeth have been doing their thing for almost 30 years and show no signs of stopping. They had released their fittingly named 13th studio album TH1RT3EN last year before they came to Cincinnati. They will return to Ohio as one of the main acts at next week’s Rock on The Range.
Over the past year, CityBeat spoke with band drummer Shawn Drover twice and lead guitarist Chris Broderick at Mayhem Festival about life on tour and what the future holds for the band. Megadeth's timeless sound continues on. Hear for yourself when the group performs on the Main Stage in Columbus Sunday night with Marilyn Manson and Rob Zombie for the Rock on the Range festival.
CityBeat: I know you joined the band in 2008, right?
Chris Broderick: Yeah, the very beginning.
CB: What was it like the first time you played and jammed with Dave (Mustaine)?
Chris: It was a little intimidating at first I think. But one of the things that really happened was we had to get to work so quickly. We had to get so much done so fast.
CB: Because of the album and the tour right?
Chris: Well yeah because of the tour at the time. I didn’t really have time to think about what was going on. I was just working. I was trying to knock out as many songs as I could before we went on tour less than a month away. That was my focus really.
CB: You are a classically trained guitarist, right? Can you tell me, how do you think that prepared you for Megadeth and to play metal music?
Chris: Well I don’t know if anything prepares you for Metal music or Megadeth. But I do think it does give me a different skill set, one where I can look at more melodies and harmonies and construction of those types of the aspects of the music and apply what I’ve learned in classical guitar theory or classical theory to the Metal genre.
CB: That’s kind of what stood out to them, right, when they called you to join the band, because you did a lot of classically trained type work?
Chris: It’s hard for me to say. I know it was an influence on their decision, but I know that it was a recommendation of Glen Drover and Shawn Drover that encouraged them to call me.
CB: Good recommendations. They probably didn’t even have to ask.
Chris: And then some of the YouTube clips that I had posted also.
CB: I have been hearing so many bands that are picking people off YouTube. It’s really amazing, Cinderella type stories of people being picked up off YouTube videos.
Chris: Well, it’s one of those things that is awesome in a way because it gives the individual the power of PR, somebody that can market you and get you to the right people to get you a gig or get you the right contact. So it is kind of cool that way.
CB: What was your highlight from the Big 4 concerts?
Chris: It was probably the last Big 4 show actually in the UK. That was pretty huge. We got to play on stage with some of the original members of Diamond Head. Honestly, they weren’t my biggest influence. They were a little bit before my time. But because I am playing with so many people that they heavily influenced, it was instant respect on my behalf and their behalf. It was quite awe-inspiring to see Hetfield (James) kind of bowing down before him when he went to do the solo. It was awesome.
CB: What is it like on the road these days? Is it really clean living?
Chris: Yeah. It almost has to be because we have so much going on. I couldn’t do all this press and all the meet and greets and stuff like that. It works out pretty well for me too because luckily I never acquired a taste for that kind of that thing. I guess I am too Type A. I always want to be in control.