Amy Sciarretto: All three of these interview subjects were much more positive than I expected them to be: Philip Anselmo. He called me “my love” during the entire interview. That was cute, you know? I expected him to be much less lucid –it was during the Superjoint Ritual second album press run- and he was very well-spoken and stayed on point, despite being very high. I also heard Dave Mustaine of Megadeth would be difficult but he was extremely pleasant and very funny. He was sweet and called me by my name, which put me at ease. He was funny and forthright, and looked me in the eye throughout every question, and it was right after Newsted quit Metallica, and I even said, “Hey, so Metallica has an opening now…” and he goes, “I already put in a call to Lars,” and laughed. Totally good natured. I got him on a very good day. And Henry Rollins was the most intimidating. He was at the DMV and I called his cell and he answers, “Yeah?” and he just launched into the interview, which was about the West Memphis 3 Benefit record he did. He was very well spoken and knew his stuff on this topic. He was direct and very informative about the case.
Give us an experience you’ve had dealing with a bad or incompetent editor.
Nobody’s perfect, but I have had editors who give you no feedback whatsoever, despite my asking for it, and then come and complain that you’re not doing what they ask. I’ve also had mistakes edited into clean copy, and then been accused of not fact checking. I had to resend original copy, sans mistakes, and be like, “Are you serious, here?” Readers don’t understand that what you turn in often isn’t what’s in print. I have had a lot of sloppy editors, and the mistakes always look like they are mine, because it’s my name on the text.
What makes a good interview?
Asking questions that no one else asks. I always ask questions to get color detail out of my subject. Also, I don’t prepare 50 questions. Rather, I make it conversational. It makes the subject comfortable, and more open, when they don’t feel like they are being interrogated. My signature question is “Tell me something about you that you never talk about in interviews. This can be funny or serious.” I get a lot of good stories from this.
What makes a good review?
Being honest.
What’s the dumbest or most unfortunate question you’ve asked?
Sometimes if you ask something personal, you get your head bitten off.
Who are some artists that you would like to interview, but haven’t?
Ozzy is high up there. I’ve interviewed Metallica, Slayer, Pantera. Ozzy is the lone holdout!
Has an artist ever called you out about a negative review?
Oh yes, all the time. It’s not fun. I have had fairly positive reviews called out as negative. You can’t make everyone happy all the time. But I get it. Artists are sensitive about their art.
What’s the most fun you’ve had doing an interview?
Anytime you get flown to Norway or Sweden or England or some other exotic locale, that’s always a good, free time. Also, I went dirt track racing with Obituary in Florida and ate boiled peanuts with them back in 2005 for Decibel. That was total white trash heaven!
Who are some other metal writers that you respect?
I love the Kerrang writers, probably because I love British humor. I respect anyone who can do this as a craft. The one time I read an article and I went, “Wow, this guy makes me want to be a better writer” was Jann Uhelzski. Years ago, he did a cover story on Bush for AP, and I was blown away by his profile. I always thought Jem Aswad was a good metal writer, as well. But I don’t read many other metal writers, sorry to say.
Other than the outlets for which you write, what are your favorite metal magazines and websites?
I peep Blabbermouth and Lambgoat and The PRP, but who doesn’t? I read Kerrang and Metal Hammer more than any other American metal magazines. I read more fashion magazines than anything, really. I don’t want to be influenced by other peeps’ opinions, so I kinda stay away!
What are the best and worst things about being a metal writer?
Being pigeonholed as only writing about one style of music is the worst. The best is that you can be an authority or a voice for a style of music.
What’s your biggest pet peeve about other metal writers?
This is for any writers. The use of the terms “legendary” or “highly anticipated” for bands on their second albums. Come on now. Come up with something better than that. A band isn’t legendary until 100 years after the last member has died, and they’re talking about things that may or may not have happened. As in “legend has it.” And highly anticipated by who? Oh right, that’s label jargon!
How and when did you first discover metal music?
1975, when I was born. My brother was a KISS, Aldo Nova, Journey, Judas Priest, AC/DC fan. From birth, he had me sitting on his lap, listening to rock. Saw AC/DC on the “For Those About To Rock” tour when I was 6, and there were these metal kids across the aisle from me and my mom. And as soon as the opening chord of “She’s Got The Jack” started, I started singing and these kids were so impressed that they asked me to come across the aisle and sit with them, and I did, with my little pigtails and AC/DC shirt. My favorite KISS song of all time is “Hooligan,” and my brother would play the opening notes of that and I would come running and sing and dance in front of his high school friends.
What was the first metal album you bought?
Not sure of the first, but I had all KISS, AC/DC, Journey albums as a youngin’. I had records that I spun on a record player!
What was the last metal album you bought?
Opeth - Stillife, which was only available as an import when it came out. The best perk of the job is getting all the music for free!
