OUT
IN THE WILDS - Zakk Wyld Speak To Mike Exley
Black
Label Society were in London recently, and it’s certainly been a while since
Zakk Wylde himself has trod the boards in our fair city…. So, Mike Exley was
despatched to talk Mafia, cancelled dates and just quite when that pub down the
road does open?
You
know, he’s a character this Zakk Wylde? With a beard that would grace Billy
Gibbons on a good day, a morning schedule that means grabbing a ‘Cold One’
at 10.30am (and we’re not talking Iced Tea here!) and music that strips paint
at ten paces, he’s been grabbing attention by the nuts as a solo artist for
nearly ten years. But, there’s more to the man than meets the eye. Sure,
he’s just released ‘Mafia’ on Artemis Music, a fourteen song collection
that not only significantly improves him as a song writer but also greatly
displays the strength now inherent in the name Black Label Society; but, he’s
also building quite a nice sideline in guitar related sponsorship deals, chopper
contracts and just oh so little slices of controversy here and there that will
add spice to the ‘legend’ long after the man hangs up his guitars. How many
musicians do you know that plan for such a moment like that?
Zakk
of course would probably have taken several more years to come to the attention
of the mass rock population had he not had the honour of being plucked from near
obscurity as a teenager and thrust into the limelight as the guitar player that
Ozzy Osbourne had been waiting for after the sad and devastating loss of Randy
Rhodes. That Zakk made the ensuing album ‘No Rest For The Wicked’ his own
and has often played with Ozzy many times since is more than testimony to his
enduring brilliance and his undoubted respect for all things ‘rock’, but
today we’re talking Black Label Society because this uncompromising four piece
(completed by Nick Catanese (g), James Lomenzo (b) and Craig Nunenmacher (d))
are once again on European soil, deep in the English heartland for their first
dates in almost 3 years and unfortunately are again creating all kinds of
‘headlines’ for all the wrong reasons. There are many reasons for having to
cancel shows, of course; broken down vehicles, promoter indifference and
arguments over requirements, but the people of Bradford were none too happy when
they got the news that Zakk would not play there because he wanted to rest his
voice – and it wasn’t an isolated occurrence after that either as several
other cities found out. It’s not the ideal question to start any interview
with, but are people getting a fair crack? Some of these people have been
waiting eons to witness this band live.
Zakk;
‘I think so. You gotta remember that to tour a band these days isn’t just a
trip in the park. You gotta have people there for you. Yes, we had to cancel a
show or two and I’m pissed about that but when you go to a place (Copenhagen)
where the stage is like, the size of this table – you gotta ask yourself where
some people are coming from? They get the specs. from our people and they come
up with their own. It’s like, no dude.’
‘Some
promoters are devious. They reckon, cause you drove there like thirteen hours or
something, that you’re gonna go on anyway because you don’t want to upset
people. “They’ll be starving – they’ll accept anything….” No, sorry,
but that isn’t how BLS. works. We wouldn’t give a second rate show to the
fans and we don’t expect second rate in return from the people who are
supposed to be on our side!’
Fair
enough. Describe how you felt at the London show. Out front you could feel the
tension and the warmth from that audience but at times it felt almost
unreal……?
Zakk;
‘Yes, that show was very powerful for us. We were filming it for a DVD that
night and it was really moving up on stage. We’ve done DVD before – the
‘Boozed, Bronzed and Broken-Boned’ set - but I think that this one will be
nuts. It was a chance for the other guys to shine a bit more than before – and
for me to get another beer and get out of the light a bit.’
‘Boozed…’
had a really good mixture of personal insight into you and BLS. And also
fantastic concert footage. Can you better it?
Zakk;
‘I hope so. This time, I think we’re looking more at a kinda Woodstock type
scenario, going behind the shows, talking
to more people, getting some of the fans involved, stuff like that. We’ve had
this guy just following us around with a camera this time, and as I guess you
know, it’s mad fuckin chaos when a band’s on the road? I hope they got some
good editing facilities!! The great thing about Black Label is that we’re a
family unit. James came to me; “My wife’s pregnant, I gotta go home for two
months…” OK, Mike Inez came out with us (in 2001), stuff like that. Everyone
knows the material and we all get on. I’ve been in bands before where no one
gets on – I got three kids, I don’t need that bullshit anymore. We just
wanna have a good time, drink some brew, kick some ass – send a bit of cash
home and enjoy the whole thing. The drama will always find you; you don’t have
to go looking for it. What gets you on the road isn’t so much the shows,
it’s all the travelling that really separates the men from the boys.’
And
at this point (really, honestly…) the fire alarm in the hotel where we are
goes off and it’s off to the pub down the road!
When
you come to recording, the looseness and understanding you talked about there
also seems to be prevalent? Did the most recent album ‘Mafia’ come about
like that too?
Zakk;
‘Well, one of the good things we got in this band is that I know exactly what
I want to achieve when we go in the studio and the rest of the guys are cool
with it. I write all the basic riffs, the lyrics to the songs…. And we all go
and do our job. I love the recording process; it’s very intense, very focussed
– you go in, hit the songs as soon as we hit the studio – they’re like
expressing how you are right there and then and then you go home. We’ve done
seven albums in seven years and each one is a chapter of our life. I might write
a few ideas down before but usually we just hit the studio and bang! Songs come.
That’s so cool! People ask me about writers block, you know? I don’t think I
really know what that’s about. I’ll play stuff; a Sabbath song, an Ozzy song
maybe and suddenly a whole different set of ideas grows out of that.’
An
enviable situation especially as you sound very little like other bands. People
try to pin down your influences – where do you think they come from?
Zakk;
‘The blues, Sabbath, Zeppelin; I don’t know really. Sometimes an idea can
come off the back of a really weird angle and I’ll throw it in – a Neil
Young thing, an Elton John thing, who knows; and then there’s the punchy idea
that’s just there for the moment and it goes on the record. I mean, you
can’t teach this stuff. No one can teach someone to paint like Salvador Dali
so how can you show people how to write songs and go behind it to explain it? I
can show someone how to play my guitar parts and I do that, but to write a song
– you just gotta go with your emotion and if people think it’s a great song,
thank you, I’m flattered.’
Let’s
talk about something slightly different from ‘Mafia’ now. I drew an analogy
with football players here in that many don’t really seem to plan for the time
when they might not be able to play the game. You, however, have chopper
motorcycles produced with your name attached to them, guitar effect pedals and,
of course, signature guitars. How did this come to be such an important part of
the ‘industry’ that surrounds Black Label and your own personality?
Zakk;
‘Yes, it’s strange ain’t it, but it kinda has its own momentum? People ask
if they can do this stuff and so long as it doesn’t demean anyone, then
that’s ok. I don’t know how long I’ll be doing this heavy thing – I
might be sat down doing the kinda Neil Young thing in a few years; making
acoustic records maybe……? Heavy music has its own life span. I’ve been
using Gibson stuff, Jim Dunlop stuff, for years; Marshall have been backing me
for ages too, and it’s great to be able to work with those people on quality
stuff which other people can use for their own enjoyment. The bikes is slightly
different – that was an idea that came from the company – I mean, I’m
unlikely to use one – I’m on a bleeding tour bus most of the time and the
only time I got on a bike at home I came off and busted myself up real well (on
a tiny little one) – but we used one on the video for ‘Suicide Messiah’
and it’s cool to be involved with the guys.’
For
‘Mafia’ you changed not only your record label but also the basic design of
the cover to a very stark image?
Zakk;
‘Well, the label thing is no big deal. We’d got to the end of the contract
on our last deal and someone pitched for us. Like a footballer moving teams? I
still get on very well with the Spitfire people, they’re super cool; but we
needed to move on and Artemis wanted us, so….. I’ve known the label guy
since the early days with Ozzy and the deal was right for the band.’
‘The
‘Mafia’ thing is just an attempt to create more of a balance with the
‘Hangover Music’ stuff. We’d been out on the road listening to a load of
Eagles stuff, Bob Segar, stuff like that, and that made that album something
different. This time, there’s more of the heavy stuff back on there but
we’ve also got the odd mellow moment too. The covers just a simple image.’
One
facet of the title (and this also applies to the 2002 LP ‘1919 Eternal’) is
the ‘militaristic’ anomaly used – Mafia. i.e. family and armed family in
particular. I know that you have a strong support for American troops
particularly abroad. Is that difficult at the moment when so many people at home
are against the war in Iraq?
Zakk;
‘OK, there’s two questions in one here, I think. ‘1919 Eternal’ had a
military side to it (my dad was from the World War 2 generation and that was
part of the idea behind the title)…. and many people do support the troops and
the President just because he’s the commander in chief. But I think no one
really wants to support war; you know what I mean? This terrorist thing is just
pussy ass shit, but who really wants to go to war? Then, the bottom line is that
it’s the last line of defence and if you gotta go, you want to hope that the
people support the troops. I’m not the greatest supporter of Bush, but he’s
the commander in chief so you gotta support him. If you think you can do better,
fine. Get yourself elected next time and do better – til then, shut the fuck
up and let me see you do it when you get your chance. Anyone can be a critic. We
went down to some of the air force bases in Germany and hung out for a bit with
those guys- they’re cool people, and they’ve got a hard job……..’
‘And,
then there’s the ‘Mafia’ thing which is the whole idea behind the family.
We have this going on in Black Label as I said earlier on and we will fight for
each other if we have to, but it’s not ‘militaristic’ in the way you mean
really. It’s about having respect for people. We’ve had the thing going with
the ‘Chapters’ in our fan club and stuff like that; it’s just another
facet of that.’
This
‘togetherness’ particularly came to the fore with the shocking incident that
cost the musical community of the world the life of ‘Dimebag’ Darrell
Abbott. I know that this affected you greatly?
Zakk;
‘Yes and although I don’t yet really know how much of an effect it’s
actually had on the live circuit at home, I know it’s affected everybody in
the heavy metal world greatly. The guy (who went on to do the shooting) came
into the venue the back way, that’s the real crux and I hope the venues
tighten up but we’ve all lost someone very special. Nick’s using the Dimebag
guitars at the moment – we have ‘Walk’ playing before we go on but what I
would say is, you know, look at the people going to the show. I mean, no matter
how bad it is I would never even throw anything on stage – would you throw
something at Jimmy Page for example – he’s my guy – no! You’re never
gonna get rid of the whackos but people need to look out.’
I
guess it shows that no rock musician is really immortal?
Zakk;
‘I think Ozzy and Lemmy probably are, ha! ha! God, Ozzy he just gets up.
He’s the ultimate survivor. Like all musicians he just has that streak in him,
which says, “I’ll never quit”. Sure, we love to get out on the road, get
back home to our folks after and stuff but the reason we all do this is for that
buzz – the musical buzz; you can’t beat it. I still do weights, keep myself
sane. I mean, we still have to keep a budget on the road for the damage that
occurs occasionally, but realistically this is rock and roll, this isn’t a
Broadway musical on the road. Take at the Astoria. My monitor was screaming,
absolutely way overloaded and I kept kicking it off, outta the way; and the club
guys kept running up and putting it back up? You can’t make this stuff up.
It’s like Monty Python. That thing just needed destroying – rip the wires
out and all that, and they’re pissed afterwards!’
And that’s Zakk Wylde. Black Label Society will always have those moments of true reflection where you know that Zakk is still very much writing from the heart but for me, it’s moments like ‘Forever Down’ on the new album that define what this band is about. Zakk will still be the rebel and the rabble-rouser, but if the music ever stops flowing, then truly, we’ll have lost a great talent. If you’re lucky to catch him live enjoy it, it’s a metal fest all the way.
Thanx to Mike Exley for the interview & also Doug Wright for setting the interview up. Pictures used by kind permission. (c) 2005
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