Fans old and new get your seatbelts on cause Paul Speckmann the legendary evolutionary maniac behind Master, a band along with Possessed, Mantas/Death, Hellhammer, and Autopsy responsible for creating Death Metal, has done an insightful interview. Discover how he learned to play the bass guitar, his take on American politics, the new Master album ‘Slaves To Society,’ and his upcoming book ‘Speckmann: Surviving The Underground.’ In reading through the Master biography I learned your first bass was a “cheap Epiphone.” Why did bass interest you above other instruments, and how did you teach yourself to play prior to running into Steve Ahlers?
Paul: After seeing a band called Deuce when I was a freshman in high school playing in the school theatre, I was suddenly convinced that there was more to singing. At this time, I was singing along with records at home. I had never sung in a band or played bass at this time. I made my debut singing the Led Zeppelin cover Rock and Roll, at the 1979 Forest View high school talent show. The singer of the band Deuce would help me later on in the following spring, to pick out an outfit for a series of school lunchroom concerts. Imagine me dressed up in Robert Plant gear with a scarf and a red velvet cape. Obviously this was quite an important discovery for me. I liked the booming sound that comes from bass guitar. In late 1980, I began studying the playing styles and techniques of Geezer Butler, Steve Harris, and Chris Quire. I picked up on Lemmy a year or so later. Just  after discovering Motorhead, I had the pleasure of experiencing the band live in support of Ozzy on the Blizzard of Oz tour at the Aragon Ballroom in the city. I remember trying to get my bass strap just right. I looked at pictures of Lemmy as well as Jimmy Bain from Rainbow. I finally realized that it was more comfortable to play with the bass very low near your belly, as apposed to higher, like sissy players tend to do. I took the bass very seriously in the beginning and began regular 6-hour practices playing along with the Heavy Metal greats of the early eighties. After quitting school, I was working the night shift at a 7 Eleven in Rolling Meadows, Illinois. I bought a real guitar in this year. During the middle of the night, I practiced continually on my Fender Precision bass. The inspiration from Harris forced me to buy this guitar. I would meet Mr. Harris several times in 1981 and was lucky enough to discuss bass playing, strings and other basic details with Steve.
Based on the band biography, it seems that Venom, Hellhammer, Black Sabbath, and Motorhead were all influential in your work with Death Strike, and Master, but a noticeable Hardcore/Punk vibe can be heard in the music and lyrics. How did hearing the political lyrics and music of bands like G.B.H., The Exploited, Discharge, and Minor Threat influence Death Strike/Master?
Paul: Actually at this time I wasn’t so concerned with the lyrics, but the intensity of the actual music being played. I had the pleasure of seeing the Exploited and the UK Subs around 1984. After the initial breakup of Master in its earliest form, I took on a new attitude and direction. My father passed away in the fall of 1984 and I was forced to deal with this and finding a new place to live. Original drummer Bill Schmidt and I just couldn’t seem to find a proper guitarist for Master, and after a year of frustration, we parted ways. I was living in my father’s home until we sold it. I wrote the song called The Truth in the basement during my hiatus. This song basically changed my life, as this was my first attempt at writing on my own. The Truth, as well as Pay To Die was written during this frustrating time. I had to figure out where my life was going, and I was alone in this house for a month, and began a serious rigor of practice. I found an ad in the Illinois Entertainer, a local music trade paper still in existence today, and discovered one of the original guitarists that auditioned for Master previously. Mittelbrun came over for an audition, and Deathstrike was born. Even today I write songs about what is happening in the world around us. The world is a political place, with heathens at the helm, and music is a way for me to attack these corrupt individuals. I like to use the platform to attack this rhetoric whenever and wherever I can. I mean in 1984 I was forced to face this corrupt world, as I was left in the cold with no place to live, no support from my family and friends, and forced to take on my world head on.
Considering how everything has turned out for you and Master, how do you feel when you think about the rough times with Bill Schmidt, Scott Burns, and Kim Fowley? Whatever happened to Schmidt?
Paul: I look as these experiences as learning. Kim Fowley was just doing what he knew best. He was and is, still out there swindling money from others I am sure. I think he may have truly believed he was onto something when he met Master. Certainly he was, but your first contract in the early eighties is not a million dollar deal as he thought. I mean before Kim met us, he was working with The Runaways, Alice Cooper, and Kiss. So he was just looking for the next big thing. With the right decisions, we would have been. He read the contract for us as a favor to a friend, and nearly ended my career.
Scott Burns was a great producer. Although at the time we met him, he was nearly finished with recording. He didn’t really care about anything but the money at the time. But, he did tell some interesting stories that will appear in my book, if I ever find a publisher with real balls.
Schmidt is an interesting story. He still is afraid of his own shadow. Let’s face it, the guy really had some killer ideas when we began, but he was afraid of the stage as well as success. What a waste of real genuine talent. A friend from my past ran into Bill. He cut off his long hair and died it blonde and was playing drums in a band called Diamond Rexx, an eighties ban from Chicago that had a brief stint with Island Records that never really got off the ground. I received a MySpace message just last week from a disgruntled worker in Chicago.
"Hi Paul, very happy for your success with, 'Master' ! I read the bio on the origins of the band and particularly Bill Schmidt who I was involved with for a few months recently. I have never met anyone so depraved and downright evil. He stole so much money from me to support his ever, increasing drug habit. I'm glad to know that others have been made aware of his mental illness and disgusting behavior. He may have shown signs of a musical genius at one time (2 decades ago), but he is just a pathetic drug user/ woman abuser/ and a sore loser living in the past. I didn't think people like him could exist, so heartless, cruel, and feeling no remorse for their actions. What you said about him in your bio just confirms everything I've experienced with him. He's one of those people who will undoubtedly have a tragic end! Much continued success to you! Eddie 2007”
After reading this, I had to smile. It’s just the same old song and dance, my friends. I supported Schmidt and his antics for several years until I finally smartened up. Schmidt is a manic depressant. I supplied this guy with marihuana, long after I stopped using it. I really believed in him in the beginning, but he is just a loser that has no direction. I don’t think his mother held him enough as a child. After all, he was the last child born to a rather large brood.
After I got away from Schmidt my cocaine use ended as well. We were looking for anything with a kick in the early days. Unfortunately for Bill, he still needs to find the kick. I found the kick with the music. Don’t get me wrong, “I am no angel.” I still smoke Marlboro’s and drink Jack Daniels on every tour, but I try to dry out between tours.
 I notice that you are an expatriate, and I can’t blame you cause America truly is the asshole of the world filled with mindless automatons, greedy turds tuning into envy programming on TV, egoists, brutal agents working for the government-AKA-cops, and Americans are fat asses driving hulking SUV’s to fast food joints (Heh, did I miss anything?). So uh, do you ever miss America; perhaps it’s unspoiled areas of nature?
Paul: Well I suppose there is nothing like hiking to Squaw Peak in the USA, or driving along the highway, and camping in national forests along the way. I took Krabathor on two such journeys in early 2000. We traveled from ocean to ocean. There is no replacing the nature in America that’s for sure, but even in Phoenix the population boom is quickly destroying the natural beauty. Four years back I went and visited one of my frequented hiking trails, and they built houses all the way up to the edge of the mountains. They call this progress in America. I call this decline.
How did you end up in Uherske Hradiste, Moravia Czech Republic as opposed to some other country in Europe? What makes the Czech Republic awesome in terms of culture, music, and nature?
Paul: While I was on tour with Malevolent Creation, Master and Krabathor, I became fast friends with the members of Krabathor. This has a tendency to happen when you travel for 44 days in a broken down German school bus, without a toilet. Christopher from Krabathor and I discussed a possible project, and Martyr was born. I came for a visit to Uherske Hradiste for four weeks of rehearsals, followed by the recording. While I was here in Czech I was offered the opportunity to join Krabathor. I sold my stuff, worked six more weeks in Phoenix, and set off for a new life in the Czech Republic. I have always felt that you must go wherever the music takes you. This is called living for your music, and chasing your dreams. Many of my old friends, as well as former band members were never ready too do what it takes for success. Let’s face it, success is measured in different ways. To me success is playing your music at festivals, recording CDS and touring around the world. For me success isn’t measured by money, or I would have given up Metal years ago. I have been on tour regularly now since 1997, and nothing can replace this.
I suppose the things I like most about the Czech Republic are the mountains, forests, and the nature in general. Of course the best beer in the world comes from the Czech Republic. The food, and of course the women are some of the best in the world. The eastern women are the most beautiful in the world. Let’s face it, I have traveled all around the world, and this is certainly true.
As for culture, Czech has a real history. Castles can be found all around the countryside. Prag has to be one of the most historical and beautiful cities in the world. I suggest you come for a visit.
The music scene is always thriving with many festivals every year. The Brutal Assault, Obscene Extreme, and even the Masters of Rock festivals kill every year. Motorhead will play tomorrow about 15 kilometers from my house. 20,000 people will visit this Masters of Rock festival on Thursday the 12th of July. Support for metal has always been great. I played my first festival with Paradise Lost and Sepultura in 1992 when it was still Czechoslovakia. It’s quite interesting here, because on any given weekend in the summer there is nearly three festivals happening at the same time. People will visit different festivals that are happening on the same day, and it’s not unusual too see thousands of people at all of the festivals even on the same day. For a small country, the size of Wisconsin, this is quite unique I would say.
People normally turn out for shows at clubs during the week as well. Of course this depends on the band, but it’s not so unusual too see a full house on a Tuesday or Wednesday.
While the music of the early/mid 80’s is a vestige to be replicated and rehashed in mostly poor fashion; politics and war are always money-making collaborators. I was appalled when America decided to attack Iraq, and I will go far enough to say that I think 9-11 was a planned internal attack, similar to Pearl Harbor, done by the USA government (Check out this website done by reputable academics at http://911scholars.org/) to get propagandist home fires stoked for an oil war. Now, I am not asking you to delve into your take on 9-11, but I am wondering what you think of the Iraq War as a global citizen and as a musician who has written politically infused lyrics like “Blind Hatred?”
Paul: I don’t really have an answer to this, as I wasn’t there. Of course I believe that Bush and his cronies were looking for a reason to go to collect the well-needed oil for the American machine. Americans are greedy of course. I lived there for many years. This will never change. You give the politicians and inch, and they will take a mile. How can Americans be proud of their country today? Old men are sending young men to the Middle East to risk their lives too fight and die, for what? So the rich can get richer as the poor continue to starve in the US. There is no doubt that the war machine makes money. War is good business. But, how can any true American really believe that the slaughter of innocent woman and children is ok. People are dying in America of poverty day after day. I think America should take care of its own, and quit trying to force democracy on a region that’s not interested in the American ideology. Just look at hurricane Katrina!!!!!!!!! I think the American people deserve better. I feel that a big problem in the US is that many people have never really been outside of their own backyard, and they let the media dictate the way they should live. I have news for you. There is a big world out there and people need to get out and see the rest of the big picture. I am happy and smiling when CNN shows you its so-called un-biased reporting. This is great comedy too watch here in the Czech Republic. I was terrified though when CNN broadcast some live footage of Bush, and he was only 60 kilometers from my house in Bratislava. All I could say too my wife, was that I can never get away from this terrorist. We’re all living in America. What a realistic song. The Four more years of terror is almost finished, but who will be next? Hillary Rodham Clinton?
The financial gap between the so-called elite and the middle/poor classes seems to expand almost daily across the world? Hell, even the recent increase in minimum wage in the USA is merely a bribe for future voter considerations for the Democratic Party. Ironically, how much of this can be attributed to fools more concerned with being distracted by Paris Hilton, the Super Bowl, or misinformation on the supposed news than their own rights, and what their government is doing to them financially? In a further ironic twist, is it possible that scum like Bush/Cheney are merely taking what the population concedes, for as disgusting as it seems, America is a global superpower and what they do effects everyone?
Paul:This is a tough question for me to answer. You really are a teacher aren’t you? There is no doubt that the American people, and all people in general are blinded by governments and this will always be the same. The media is a sick machine as you said, that concentrates on mostly idol worship and hypocrisy as well as utter foolishness. Maybe the American, or average American doesn’t care what’s happening to them. I teach an English class here in town and we had a discussion about leaders in general. The oldest pupil told me that people need someone to lead them, and of course the younger students agreed that there should be more power for the people. The song called Anarchy nearly lost touches on this subject. I personally believe that if the youth of today don’t stand up and be counted and make a stand against this horrible bureaucracy, then freedom will be entirely lost in the next ten years. Technology is probing into the lives of everyone. Hell, even Bush was talking about computer technology and health care. A computer should have everyone’s health information, and that it would make things easier for doctors. Hello, people out there, this is a great way for Big Brother to track your every movement. Come on Bush, are people in the world really that stupid?
All right, back to Master. Tell Unholy Cult readers about ‘Slaves To Society,’ how do you compose a song/album and how has this process either changed or remained relatively the same since what would have been the 1985 album, through the creation of ‘On The Seventh Day God Created… Master,’ and into the present?
 Paul: Actually the writing process has always been the same. I write music or lyrics when they come to me. For example, I sometimes just get the urge to pick up the guitar. Sometimes I write a song immediately, and sometimes it takes two days. It varies from album to album. But, the process is still the same. I will say that in the early days, well on the first record to be exact, writing was much easier, as we were three writers. On the Seventh Day, Martinelli wrote the music for two songs, and this was cool, because it’s always a greater challenge for me to write lyrics for someone else’s music. I like this challenge, and many times the best songs are written together this way.. The lyrics normally come the same way. I play a cassette of a song, and wait for the lyrics to materialize. This takes work sometimes. Of course the world, and turmoil around us helps with the lyrical process.
Did Alex Nejezchleba or Zdenek Pradlovsky contribute to the song writing? In looking at their photos it seems they are bit younger than you; how does their age and generation of Metal add to the creative process of Master?
 Paul: Actually Alex wrote the music for two songs, and The Final Skull is one of my favorites on the CD. This is actually the first time that Alex wrote a few tracks for Master, and the first song is a killer. As I said, I wrote the lyrics and he wrote the music. I re-arranged a few parts but that’s my job. Of course having younger players helps in the idea department. I usually bring a new track to Pradlovsky, and he will play many different beats, and we will agree on one. Sometimes in the end, tracks just don’t work out at all, but I always have around 20 or 30 songs when we begin the arranging process as a band. Because the guys come from a different school, many times they have a different approach to a song, and many times I like it. Variety, is the spice of life!  As always I am sure that current politics and life played a roll in the albums creation both musically and lyrically, how were you able to conceptualize that in ‘Slaves To Society?’ Tell us about the vocals, bass, drums, and guitar play, is the album destined to be another legendary Master release?
Paul: It’s definitely a masterpiece. I just hope that people buy this CD and give it a chance. The problem that still plagues Master today, is that people still cannot get past the first two CDS. The fact of the matter is that the last three CDS are the best CDS that Master ever recorded. Distribution has been a problem in the states for example. Hopefully things will continue to improve as Twilight gets bigger every year.
The bass and drums were recorded in six hours, which is a record for us. With today’s technology in music things are faster, at least for us. I mean in the early days we were recording with analog tape, and things really had to be precise from the get go. Otherwise you recorded a song five times to get it perfect. The drummer is a real professional and this makes life much easier. I only had to fix a few bass parts on a few songs. The guitarist always seems to take more time, which often frustrates me. I mean he’s a professional, but the wacky riffs that I write are many times quite difficult to grasp for Alex. Many times a song sounds great at rehearsal, and then we hit the studio, and I realize that he’s playing something altogether different. So this takes a bit of time. I spent more time on the vocals for Slaves To Society. I used to just record all the lead vocals in two hours, but this time I worked on a few songs per day. Even at the end of the mixes, I re-recorded several vocal lines. It was for the better in the end, let’s face it I am not as young as I used too be. I read that ‘Slaves To Society’ was recorded in Shaark Studios. Please explain to us “never been a studio” listeners how the quality conditions at Shaark Studio is beneficial in terms of equipment, and professionalism of those employed?
Paul: Well, Shaark Studios has been around for many years. The guitar player’s brother Petr owns the studio with his partner Pavel. Every year they get the latest in music technology. I realize I hate technology in some ways, but with recording the latest is a necessity. Actually this place is really underground. The studio is located in the Culture House and we rehearse in the basement. Also there is a stage for concerts, which we also use once a year. I have been recording in this studio since the Martyr project in 2000. Of course I feel at home there, so this is where I choose to be. There is a 24-track board with all the latest technological breakthroughs available. Many international bands are starting to visit the studio. A famous Czech band called, Root, records at the studio as well. Mucopus from New York just paid there first visit last month, and seemed to be satisfied. Also Architects of Hate from Holland recently paid a visit. So the studio is constantly growing in every way.
I read that you were having some problems in Germany with regard to the album cover for ‘Slaves To Society.’ Has this situation been remedied?
 Paul: I laughed, because the label said they would have difficulty placing the CDS in the German stores because of the sexist cover. The fact of the matter is that in any European gas station, pornography covers the shelves, so why should this cover cause such a stir? We are all Slaves To Society these days and the cover really portrays this.
I sometimes get the impression that today’s bands use blast beats to banal extremity, which merely disguises their lack of creativity and musical abilities. From the viewpoint of a bassist and legend in the Metal scene, what is your perspective on the supposed modern use of percussion/blast beats in Metal?
Paul: I never was a fan of the Blast Beat, but too each his own, I am neither judge nor jury. I am just a crazy musician that believes in honest playing. I only hear these beats on tour regularly, but I always have my earplugs in anyway. I prefer to listen to old music at home. I listen to the likes of Judas Priest, Sabbath, This Lizzy, and Rainbow respectively.
Obviously at Unholy Cult Webzine I review music of both the modern and past eras, but I admit that the dynamism and youthful aggression of the 80’s seems to have been replaced by Pro-Tools and copy pasting riffs taken from bands like Venom and Master among other seminal bands. Where modern bands are concerned, when does rehashing a Master riff go from being a compliment to an insult? What current bands do you enjoy hearing?
Paul: This has been going on throughout my career, and if these guys can go to bed knowing that they copied an original, then so be it. I am just happy to say that I was a part of the inception of the genre.
 How does it feel to be on a stage performing in front of an energized crowd? Are you to the point where playing most of the music is almost like wearing your own skin, therefore, you can tee off on the emotion of the moment?
Paul: Yes I have to play songs that I have been playing for over twenty years. I really have no choice in the matter, so I stand and deliver. Yes, it’s like wearing old skin, but I appreciate the opportunity to get to play. Many bands have come and gone, but Master is still alive and thriving. I really live my life on the stage, so the more energized the crowd, the better the performance. We have another tour beginning on Sept 8th until Sept 30th, and I look forward to this. We will be touring with my old friends Lividity from Peoria Illinois, and I look forward to hanging out with the boys again.
Paul, please tell readers about upcoming festivals/concerts throughout Europe and the world featuring Master.
Paul: We just finished a short tour of 14 shows, as the other 14 were cancelled due to improper planning and shitty local promoters. Anyway, we will only be touring in the fall this year. After Lividity, I will be heading to the USA for a tour beginning Nov 30th with Macabre members Chuck and Dennis filling in on guitar and drums respectively. I toured as a merchandiser with Macabre March 2006 and so we will enjoy this again together. I will work as a merchandiser for the Broken Hope and Jungle Rot tour immediately following Lividity on October 2nd. I support the underground touring with other bands every year. This keeps me active in the Metal scene. There is also talk of Japan and Australia, so time will tell.
I was looking around on the Internet for your book entitled Speckmann: Surviving The Underground, but I did not see it. Still, I get the idea that the book will be insightful and truthful. Are you still writing, or is it complete with you needing to find a publisher? Could you elaborate on the book a bit?
OK, one last serious question… I am not religious. In fact I am closer to nihilism and anarchy in philosophy than any other way of thinking. My point is that I tend to think people are controlled too much by selfish ego driven desires be it wads of cash, material possessions, social status, or a sickening need to be worshiped. But in the process of acquiring this gratification they sell away their rights, speech freedoms, and abstract thinking, which effects near everyone since this is a near consensus methodology. My question is this: It seems that your being in Master or any of your other bands has never been about becoming a millionaire driven by egomania, therefore, how has hard work as a musician, tour manager, merchandiser, and life on the road been rewarding? How has it changed/molded your philosophical perspectives?
Paul: Great question. You see many people don’t get the point that musicians are a family. We all have our ups and downs and problems even on the road. There’s usually a couple of ego maniacs on tours, but for the most part, it’s a traveling circus, and to be paid the small fee that I get from this is worth it. You constantly make lasting friendships, and you are genuinely exited to se these friends year after year. Some of them die and disappear but some of the strong survive, and this makes it worth every minute for me. For example, I’ve worked as a merchandiser for Vital Remains in 2005, and then again in 2007. This was a killer experience both times, as we have known each other since 1996 when we did a few shows in the USA together. I toured for a few weeks with Dissection, and again this was an interesting experience with these Black Metal legends. I also had a killer two weeks roughly on the road with Testament. I was working for the support acts, but it was great experience hanging around with Chuck and his boys. These experiences could never be found at a regular job.
Let’s face it everyone shits the same color, and has the same problems as you and I. Family is what it’s all about. There is nothing like working with the same crew year after year going through the same borders, trials, and tribulations together. It’s only rock and roll and I like it, Yes I do! Everyone’s trying to fight to stay alive and pay their bills. I do my best but it’s not about money for me, it’s about experience. I love traveling to new lands all the time.
I think those pictures of you with the mushrooms on the Master site are hilarious. Was that table load for a cultural festival or are you using a calcinator to cook up some splendid home brew?
 Paul: No this is my hobby collecting edible mushrooms. After I finish this interview, I will head to the woods again. With all this rain, the forest will be full. But, I do help my father inlaw on the vineyard, as well as making Slivovice, a plum sort of moonshine.
All right, I was happy as a 5 year old at a toy store to do this interview with you. Have you any last comments for readers/fans of Master?
Paul: Yes go out and check out the latest CD Slaves To Society, Four More Years Of Terror, as well as the Spirit of the West. These are available at Twilight-Mailorder and Master-Speckmetal.
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