THE EARLY YEARS (White Cross and War Cry) Paul Speckmann was born on September the 28th, 1963, in the North-West suburbs of Chicago, Illinois. From an early age, he dreamed of playing music, more specifically Rock ‘n’ Roll. Originally, he was inspired by the heavy sounds of Black Sabbath, Deep Purple and Led Zeppelin, among others. At age 16, Speckmann discoverd the sweet leaf a.k.a. cannabis, which he would reguarly smoke while listening to the aforementioned groups. One day, while walking the halls of Forest View High School (Arlington Heights, Illinois), Speckmann was approached by Ronald Cooke, as Cooke had heard him singing “All Good People” by prog-rock group, Yes. Ron Cooke was a guitarist in the band White Cross, and asked Speckmann to audition as singer. Speckmann agreed and, after a rather shaky audition, he soon joined the fledgling band. White Cross was mostly an all-covers band, performing songs by Sabbath, UFO, Ted Nugent and Thin Lizzy. Trying his best, Speckmann found encouragement as girls at school now looked at him in a new light. During the first year in White Cross, Speckmann began to take a serious interest in the bass guitar, something which had caught his attention since he was a child. Upon mentioning this to his band members in White Cross, and his friends, Speckmann was greeted with laughter and told that he would never be able to play. Determined to prove them wrong, Speckmann searched for a bass guitar. Around this time, he quit White Cross too, possibly because he realized they would never get anywhere just playing covers. (On a side note, after White Cross, guitarist Ron Cooke joined a band called Thrust, a heavy metal group in the Priest/Maiden-style, but they never achieved any major success, despite putting out one album and a split live LP with fellow Chicago act, Lazer). Eventually, Speckmann found a bass guitar, in the form of a cheap Epiphone, only costing around thirty dollars. (Funnily enough, future bass player for Trouble, Sean McCallister, had originally intended to buy the bass, and was upset that Speckmann got there first. McCallister would get his chance though.) One day, while walking home from his latest “female conquest”, Speckmann bumped into an old friend from grade school and Cub Scouts, Steve Ahlers. Steve revealed that he was learning to play guitar, and Speckmann mentioned his interest in the bass. The two began practicing on a regular basis, as they were both fans of the same heavy metal groups. Still in high school, Speckmann met Marty Fitzgerald, a guitar player, in addition to being a year older than Speckmann. Both being passionate fans of metal, they agreed to form a band, along with Speckmann’s friend Steve Ahlers. Such was their passion, that Fitzgerald dropped out of high school his senior year, and Speckmann followed suit, dropping out in his junior year. They both promised to start jamming together every day. Unfortunately, both their parents forced them to get jobs. Not phased by this, Fitzgerald and Speckmann began jamming a few nights a week (along with Ahlers). Read more about the history of MASTER on their website.
Well, we just finished another European tour in May. We played the first 14 shows and unfortunately, the last half of the tour was cancelled due to the unprofessional tactics of many local promoters in Italy and the UK. Every time I try a new agency, problems exist. So, the next tour will be with Kraft Evention again, supporting Lividity from Peoria, Illinois. We also toured together in 2003.
Slaves of Society has been released by the German label, Twilight Vertrieb. How are things going on with them?
The CD seems to be doing alright, but as usual, time will tell. The Twilight label does their best every year. I hope the CD will be available everywhere soon. I have been working with the label for some time now and this is the third release with Twilight. It’s a family label, so professionalism goes hand in hand. They also support the tours on occasion, and promote the hell out of our band as well as many others.
How do you deal with the banned cover? Pisses you off?
Actually it was only banned, because the Germans though it would be difficult to put in the shops around their country. I laugh at these silly situations. I don’t care. RockHard Magazine went as far as to say that the cover was juvenile, yet, they loved the music. I pointed out to the writer that he didn’t understand the cover. We are all Slaves To Society these days, and especially in Germany and the USA. Hell, you can go to any gas station in Europe and pornography rules the shelves. Society dictates the way people should live, including what we should eat, what we should think, etc. This is a big problem in the world today. People have lost the ability to think for themselves.
I’ve heard you were also not allowed to play some gigs because of extreme lyrics.
That’s completely untrue. You must be talking about Impaled Nazarene. All the German shows were cancelled on our tour together with them a few years back. And yes, it was because of lyrics, maybe not so extreme, but different. This is definitely a freedom of speech issue. Again, Europeans are very touchy about what people write about. This comes form being pals with the USA. We are all living in America is a very true song. American influence is being felt more and more every year in Europe. This is nothing new I suppose, as Burger King, Mc Donald’s, and Coca Cola have been here for years.
So how was all this censorship bullshit been there with MASTER since day one??
It has never been a problem in the past. We are all becoming Slaves To Society.
Tell us about the new album called “Slaves to Society”. Why call it “TO” and not “OF”? I can interpret the cover myself, but I’ll let you explain them here: the girl sucking the demon, the dead girl, and the shy girl covering her face. Do each of them had their own meaning?
Society has complete control over people today. People bow down to the mighty Master, to society. The demon represents political leaders from every country. Governmental control is on the increase and this is a big problem. Europe is beginning to follow the rules of America. This terrifies me personally. I left America to get away from so much control. We live in a world that is controlled by a few old men. These old men send young men off to wars to sacrifice their lives for the so-called freedoms from the west. The song Anarchy nearly lost explains the situation. The youth of today need to make an effort to make the changes needed to live in a free society. Everyone is so worried about the environment, when it is the dictators of the so-called superpowers, that are ruining the environment. Changes are needed of course, but it is up to the youth of today to make these changes. The shy girl as you put it, represents the weak followers that let all this shit happen. They just roll over and play dead.
Christopher (Krabathor) left Czechia to live in America while you left the US to live in Czech?
Christopher really fell in love with Arizona, and of course enjoys the almighty American dollar. He became fed up with playing Metal for small money, and decided a life of work in the USA would better fulfill his dreams. Actually he will return for a visit in 2009, and we will record a new CD full of tunes, and tour the European continent once more together. I decided to stay here in Europe because as I said earlier in the interview, I feel there is more freedom here in the Czech Republic.
Have you changed citizenship?
No, I am still an American, and this has caused trouble at a border more than once. Many border guards still don’t like America and ask many questions.
I’m familiar about the guy from Judas Iscariot also did go there and collaborate with Maniac Butcher. What’s the difference between American musicians and the Czech ones?
Czech musicians are more realistic about expectations. They are happy to experience touring with me. They are happy to go to other countries, meet other Metal-Heads and experience live performances. Americans only think about how much money they will make. Let’s face it, Master is not making millions at this point in time, but the experience on the road as well as in the studio are among my favorite experiences in life, so I continue, and so do they!
How do you see/compare the “Underground” situation from both countries?
Underground music is still alive in the Czech Republic. In America these days, most bands are clones of the old great bands. Originality is a thing of the past in the USA. We also have killer festivals still here in Czech every year including Brutal Assault, Masters of Rock, and countless others. People still support Metal here.
What is in “Slaves to Society” that makes it different than the rest of albums you’ve made for MASTER?
I believe the playing on this CD is more intense then some of the past records. This is one of our fastest records to date. I mean, all the records I have recorded have something to offer, but in this world today, the turmoil is at an all time high. I believe the chaos that society endures today is somehow captured on Slaves To Society. You actually feel the energy and the plight of mankind on this record.
How do you see technology and modern day recording affects nowadays bands? I’m sure you’ve been with the analog stuff, are you comfortable of today’s digital techniques making everything as clear as possible?
Well, at first I was a little aggravated with digital recording, but you get used to it. I recorded the earlier classic Master records on analog, and as you said or were implying, it took a lot more preparation and talent to record with analog. You really needed to play the songs perfect on the drums and bass in one take. Now you can just punch in and punch out, and it’s much easier for the boys today. I will say that it is much faster to record today, so this can be a plus when you’re on a tight budget as Master always is.
You’ve started a long way back. Some of your contemporaries were already defunct (some even dead). It’s been long years of Pure Fucking Death Metal! Have you ever get tired? Feel frustrated? Feel like quitting and live “normal”? Nostalgic?
I suppose frustration comes into play from time to time, as I see the clones of Master having greater success, but on the other-hand, they have too go to bed knowing that they copied Speckmann, and I can sleep knowing that I was a real part of the inception of the genre. I never get tired of this insanity, when I am not on tour with Master, I go on tour supporting other bands year after year. I am a merchandiser for some, others a tour-manager, and for some just a roadie. This is my real life as people call it and my real job. Music is my way of life, and nothing else matters. I have worked with the likes of Testament, Ill Disposed, Benediction, Jungle Rot, Dissection, Macabre, Incantation, and the list goes on. What is normal anyhow? This way of life is my normal life!
Some of the older people always compare the scene today and before? Being a Death Metal veteran, do you have any opinion on all these things?
Of course the scene in the early nineties was better with originality and complete enthusiasm. Today as I said before, lacks originality, yet at least the genre continues on with bands like Obituary, Master, Incantation, Immolation and many others keeping the tradition alive.
I mean not much printed zines these days, but online zines. MP3 sharing sites, etc…
Printed zines were and are still the best. I also thought vinyl was much cooler then CDS. There was nothing like seeing the cover on a vinyl record to get the full impact of the cover. The CDS are just too small, and even the cassettes had an underground feeling back in the day!
I’ve noticed you put more emphasis on your voice. Was this the most important thing for you?
Actually all aspects of these last few records were important. Competition is stiff these days. I actually spent much more time on the vocals on Slaves To Society. I repeatedly recorded the vocals over and over, which is something I never did before. In the past, I recorded the vocals in two hours, and that was the end. This time I spent several extra hours on nearly every song to get them just right. Actually the songs themselves are the most important things in the studio for me.
How you vocalize? In my opinion only, the vocals on “Slave to Society” is great, but I prefer that one in TUNNEL OF DAMNATION (Abomination) for it is very aggressive and real adrenalin flows in there.
Well, as you stated yourself, this song was recorded in 1989 for the second time on the debut album for Abomination. In the early days of the Abomination stuff, we were using cocaine. It was a free for all in the studio, with a freedom that I never experienced again. This band was a Thrash band, and freedom was there. I wasn’t looking for perfection in the old days, only the most aggressive vocal that I could do. Today things are a bit more controlled. We were young, and new to this business back in those days.
Has age been a factor of not having that voice in this album anymore?
Maybe to a point, but as I said things weren’t taken so seriously in the early days. We were just trying to be the most crazy and aggressive. Today things are different. I take the songwriting and the performances a bit more seriously.
What’s up with the book called Speckmann Surviving the Underground?
I actually have finished the book, but finding a publisher has become a problem. There are stories about actual famous musicians in the book, and many people are afraid to publish the truth from my perspective. Hopefully, someone will one day publish this book. One of the writers from RockHard explained to me that people don’t want the truth, they would rather be lied too.
Is it out as we speak? You’ve done work with some of the bigger “Underground” labels? How do you see each of them? Any labels been fucking you up, bad experiences, etc.
Again, every label is good and bad at times. Every label could do more to promote its acts. I suppose depending on the size of the budget, they do, but more can always be done to promote an artist. Of course Nuclear Blast was one of the best promoting machines and still is today, but they ripped off many artists, myself included in the early day. But, this is water under the bridge. I will never get the money they owe me, so it’s over for me. I have been trying to recoup the losses from them for years, but they refuse to make good on their promises and original contracts.
Have you ever got tired of touring? I mean playing live every week makes you do things you’ve been doing for the past 20 years. That’s exhaustion!
Never, this is a way of life for some, and for some just a silly hobby. There is still nothing like getting on the stage and playing the song Funeral Bitch to an enthusiastic audience. I get to do this year after year. This is Rock ‘n’ Roll. I spend every waking moment on my computer when there is time of course, looking for more shows, tours and festivals. I like the road. We will soon be playing in Japan, as well as Australia again. The USA is booked in December. This will be the first US tour for Master in ten years. So needless too say, I will never give up.
What keep you motivated with Metal since some of the bands your age were almost gone by these days? What can you say about all these “reunions” with “reunion albums” that just suck so hard but people still buy it!!
Many of the reunions are just about money, and it’s quite pitiful as you say. People will always buy records from many shit bands, whether the records are good or not. But what can you do, only smile and pursue your own endeavors. There is no accounting for taste. Master has always stuck true to its roots, and never really changed, and sometimes this is the problem I suppose. But, I believe in staying true to the music.
Is the project with Macabre members pushing thru? Tell us about that. Is it some sort of another ABOMINATION in here? I have to tell you, I have liked REDEEM DENY, VICTIM OF THE FUTURE, etc, been playing that so loud back in ‘93 (I think).
We shall se. First of all it seems that Dennis and Chuck will be joining me as session members on the Master tour in the USA in December. We will probably record our project demo called EOM Evil Old Men and shop around for a new deal. No, it will be nothing like Master or Abomination. Sorry brother, but this will be something completely new.
Of all the projects you’re in, what is the one that you really like?
Martyr was a killer project as well as Solutions. But, as I said earlier, they all had their time and place.
Have you ever known that there was this EMO and NU METAL? I think they were the re-incarnation of GLAM ROCK or I don’t know, haha! Todays young people buy this crap and would even prefer buying it than MASTER. How do you see the younger generation, wanking in the forums talking shit and acting tough.
I really don’t waste my time reading the forums all that often. The youth of today are blinded by stupidity at times. On the other hand though, they are looking for their own niche to fit in, so more power to them. Everyone has to figure out his or her path to there destiny, and I am neither judge nor jury in this situation. I am just Paul Speckmann, a true supporter of the Underground scene, and will continue too do so.
I think there was this one in Blabbermouth where you’ve been ridiculued a lot by these anonymous people…
I suppose this must have been the one that said, Drugs Are Great.People take things to seriously these days. The German interpretation to English wasn’t quite perfect. Anyway, what I said was this. Drugs are great to experiment when growing up, and I did so on many an occasion. I wrote killer songs while high, as they say. The key is to not get addicted. The original Master and Abomination players did their share of Cocaine, PCP, Marihuana, as well as Hallucinogenics, and it never became an addiction. This is why I am still alive today. So I cannot understand why this would cause such a stir in the media. Are people so fascinated with what Speckmann says? Well, then please buy more CDS.