Slash's blues album set for May; single out now. SERPENT festival announced

[Blackstar]

Brian Johnson & Slash live - KILLING FLOOR - "Sky Art Awards" London 17.09.2024

 

(just clips - and only a couple of seconds of Brian singing)

[Free Bird]

8 hours ago, Blackstar said:

Brian Johnson & Slash live - KILLING FLOOR - "Sky Art Awards" London 17.09.2024

 

(just clips - and only a couple of seconds of Brian singing)

Didn’t know that was happening 

[Blackstar]

1 hour ago, Free Bird said:

Didn’t know that was happening 

Full video:

 

[Free Bird]

14 minutes ago, Blackstar said:

Full video:

 

Have to listen to it later. Thanks for sharing.

[Free Bird]

a sloppy solo but other than that they did a good job imo. Good to see them still promoting this project and coming to Europe, even if it was just a one off show. 

[evilfacelessturtle]

Brian sounds great!

1 hour ago, Free Bird said:

a sloppy solo but other than that they did a good job imo. Good to see them still promoting this project and coming to Europe, even if it was just a one off show. 

Not any sloppier than Slash usually is these days, IMO. I like that he used more gain, though. Sounds much more like the iconic Slash tone.

[DoMw94]

1 hour ago, Free Bird said:

a sloppy solo

Hardly

[Blackstar]

[kingcanyon]

 

[Gordon Comstock]

2 hours ago, kingcanyon said:

 

 

Awesome!

[Free Bird]

Fuck, not available in my country. What is it?

[vloors]

On 9/22/2024 at 1:20 PM, Blackstar said:

Was just about to post. More info here

https://blabbermouth.net/news/slash-and-producer-mike-clink-to-discuss-making-of-orgy-of-the-damned-album-at-grammy-museum

GUNS N' ROSES guitarist Slash will visit the Ray Charles Terrace at the Grammy Museum for an evening discussing his latest album "Orgy Of The Damned", a star-studded, vibrant homage to the blues. Grammy Hall Of Fame producer and longtime Slash collaborator Mike Clink will join the conversation to discuss the creative process for the album, and an intimate acoustic performance will follow. Attendees will also have an opportunity to enjoy rooftop views and a cash bar prior to the program. "Bending The Blues: Inside The Making Of 'Orgy Of The Damned' With Slash And Producer Mike Clink" will take place on Friday, October 4 at the Grammy Museum at 7:00 p.m.. Tickets are on sale now at GrammyMuseum.org.

Released May 17, 2024, Slash's critically acclaimed sixth solo album "Orgy Of The Damned" — produced by Clink — is available worldwide on Gibson Records. A first for Slash, "Orgy Of The Damned" spent 13 weeks at No. 1 on the Billboard Blues Album chart in the U.S. The new album also debuted as the No. 1 Blues Album in the U.S and the U.K., No. 2 on the U.S. Rock Albums Chart, as well as achieving Top 10 Chart positions in seven countries around the world.

 

Hailed a beautifully tailored love letter to the blues, on "Orgy Of The Damned" Slash revitalizes blues classics with the album's handpicked diverse guest vocalists, which include Brian Johnson (AC/DC),Chris Stapleton, Iggy Pop, Gary Clark Jr., Billy F. Gibbons (ZZ TOP),Chris Robinson (THE BLACK CROWES),Dorothy, Paul Rodgers (FREE, BAD COMPANY),Demi Lovato, Tash Neal and Beth Hart. Slash selected standard blues songs made famous by Willie Dixon, Muddy Waters and Robert Johnson, and tracks from blues rock bands like Peter Green's FLEETWOOD MAC and STEPPENWOLF. He even strays from the blues for the Motown tracks from THE TEMPTATIONS and Stevie Wonder, showcasing the inherent blues underlying all great music from the 1960s and 1970s. The legendary guitarist reunited with two of his bandmates from his Blues Ball Band outfit in the 1990s, Johnny Griparic (bass),and Teddy "ZigZag" Andreadis (keys),and brought on drummer Michael Jerome and singer/guitarist Tash Neal who round out his blues band in the studio and on the road.

On "Orgy Of The Damned", Slash goes back to what has always been at the heart of his playing: the blues.

"Bending The Blues: Inside The Making Of 'Orgy Of The Damned” With Slash And Producer Mike Clink"

Moderated by Scott Goldman

Friday, October 4, 2024

The Grammy Museum

* Member Check-In: 5:30 p.m.
* Nonmember Check-In / Doors: 6:00 p.m.
* Showtime: 7:00 p.m.

Regarding the inspiration for the "Orgy Of The Damned" album title, Slash told Germany's Rock Antenne: "It's the only title I came up with. It was just because blues and rock and roll have always been considered taboo and devil's music and all that kind of stuff. And it's 'hide your kids from that.' And I wasn't raised to think that, but I know society at large has always had that kind of attitude towards it, but of blues especially. And so when I thought about having a collaborative thing with all these different artists doing a blues record — 'Orgy Of The Damned', right? It seems so obvious to me, and I actually Googled it to see if somebody else had already used it, but they hadn't."

When the interviewer suggested that it must have been a "logistical nightmare" getting all those guest musicians to appear on the LP, Slash said: "It's difficult. I mean, you basically just have to get on the phone, and if they say 'yes', then okay. So that's really the hardest part, is calling people up and asking the question and seeing if they'll do it. And I was fortunate doing this, because I picked songs that… What I would do is I'd have the song and then go, 'Okay, who should sing this?' And whoever came to mind as being the appropriate singer, I would call them up. But, fortunately, I picked the right song for them to sing and so they would identify with it automatically. And so then that would make them feel more obligated to get involved and sing it properly or whatever goes through one's mind. But it was great because all the different artists were so open to the material and it really meant something to them. So, what happened was the vocal delivery really came from the heart; they were really singing from a place of connecting with the material."

Asked if there was anybody he wanted to get to appear on the album but couldn't, Slash said: "Well, the biggest one, really, the one that bums me out was [late MOTÖRHEAD leader] Lemmy. That was because there was a moment there where [I thought], 'Fuck, man, Lemmy would be great.' And I still haven't gotten used to the fact that he's not here, 'cause I'm so used to him being there. So that was the big one. I try not to make a big deal out of it. There's some people that I couldn't contact until after the record was done. And then they showed up, and [I would tell them] the record's done already. But other than that, everybody that I thought of were there."

Although he grew up in England, Slash's American grandmother turned him on to the blues early on and he was immediately taken with B.B. King. At the same time, his parents raised him on a healthy diet of '60s British rock 'n' roll, from THE WHO to THE KINKS. Once he moved to Laurel Canyon, Slash found himself surrounded by rock and folk singers like Joni Mitchell, CROSBY, STILLS & NASH and Neil Young — all of whom eventually inspired his playing and songwriting. It wasn't until he began playing guitar himself that Slash realized all of his favorite musicians had been influenced by the same B.B. King blues records he'd listened to as a young kid.

"Orgy Of The Damned" encompasses a broad range of styles within the blues genre, veering from an upbeat, rowdy take on Robert Johnson's "Crossroads" to a plaintive, twanging rendition of T. Bone Walker's "Stormy Monday". Some of the songs, like STEPPENWOLF's "The Pusher", Charlie Segar's "Key To The Highway" and Albert King's "Born Under A Bad Sign", had been performed by SLASH'S BLUES BALL while others, like Stevie Wonder's "Living For The City", were longtime favorites for Slash. "Hoochie Coochie Man", written by Willie Dixon and made famous by Muddy Waters in 1954, showcases the in-the-moment nature and unrestrained energy of "Orgy Of The Damned", with ZZ TOP's Billy F. Gibbons stepping in on guitar and vocals. The group went into a rehearsal room in North Hollywood and began hashing out soulful, rollicking takes on the classic songs. Everything was played live in the room, with an emphasis on improvisation which resulted in a collection of dynamic, energized songs that are immediate, raw, and distinctly familiar.

As Slash was considering vocalists, he approached his old friend and collaborator Iggy Pop, who had long wanted to record a blues song. Pop suggested Lightnin' Hopkins's 1962 track "Awful Dream", a sparse, drawling number originally laid down on acoustic guitar. The duo decided to recreate that stripped back vibe and recorded their own languid, emotionally-resonate version sitting on two stools in Slash's studio.

Elsewhere on "Orgy Of The Damned", Demi Lovato lends her powerhouse voice to "Papa Was A Rollin' Stone", a fervent, soulful version of the 1972 single by THE TEMPTATIONS that Slash admired as a kid. Although the song veers more towards R&B, the guitarist wanted to give it his own impassioned spin. The album concludes with a soaring original instrumental number, "Metal Chestnut", penned specifically for "Orgy Of The Damned" by Slash.

The first single, "Killing Floor", features Johnson on vocals and Tyler on harmonica.

"Orgy Of The Damned" track listing:

01. The Pusher (feat. Chris Robinson)
02. Crossroads (feat. Gary Clark Jr.)
03. Hoochie Coochie Man (feat. Billy Gibbons)
04. Oh Well (feat. Chris Stapleton)
05. Key To The Highway (feat. Dorothy)
06. Awful Dream (feat. Iggy Pop)
07. Born Under A Bad Sign (feat. Paul Rodgers)
08. Papa Was A Rolling Stone (feat. Demi Lovato)
09. Killing Floor (feat. Brian Johnson)
10. Living For The City (feat. Tash Neal)
11. Stormy Day (feat. Beth Hart)
12. Metal Chestnut

[Gordon Comstock]

13 hours ago, Free Bird said:

Fuck, not available in my country. What is it?

 

Peo-shot of Killing Floor with Brian, from that Sky awards show.

[evilfacelessturtle]

Damn, I was hoping the Grammy museum would be in NY.

Assuming they do a Q&A, it could be a great chance to tell Slash how much the fans want Clink on any new GNR tracks.

[vloors]

4 hours ago, evilfacelessturtle said:

Damn, I was hoping the Grammy museum would be in NY.

Assuming they do a Q&A, it could be a great chance to tell Slash how much the fans want Clink on any new GNR tracks.

I am certain slash would prefer Clink on gnr tracks too.

Its axl thats the problem.

[evilfacelessturtle]

18 hours ago, vloors said:

I am certain slash would prefer Clink on gnr tracks too.

Its axl thats the problem.

The dodgy production he's had on albums with VR and Myles suggest he doesn't fully appreciate what Clink did for them.

[vloors]

2 hours ago, evilfacelessturtle said:

The dodgy production he's had on albums with VR and Myles suggest he doesn't fully appreciate what Clink did for them.

He had clink on his last album which was excellent and who knows what future collabs they have in mind. 

Not sure your reasoning here plus the first VR record and first few SMKC were great. 

[evilfacelessturtle]

On 9/25/2024 at 8:17 PM, vloors said:

He had clink on his last album which was excellent and who knows what future collabs they have in mind. 

Not sure your reasoning here plus the first VR record and first few SMKC were great. 

You can work with somebody and go back to them but still not fully appreciate what they offer. He worked with him before and then stopped. If he fully appreciated Clink, he would have never wasted 20 years with lesser producers. Slash is an artist, not a producer. Lots of great artists allow terrible production to get released because it's just not something they focus on that much, or have an ear trained for. They don't listen to their own music the way we do. They pop the CD on in the car once after it's mastered and never again.

You think Contraband had great production? Eric Valentine did a good job with Slash, not as good with AL. Baskette makes everything too cold and digital sounding. Cobb... plenty has been said there.

None of them come even close to Clink.

[Gordon Comstock]

6 minutes ago, evilfacelessturtle said:

You think Contraband had great production? Eric Valentine did a good job with Slash, not as good with AL. Baskette makes everything too cold and digital sounding. Cobb... plenty has been said there.

None of them come even close to Clink.

 

Agreed, though I don't think WOF is bad... LTD is definitely more 'cold and digital' though. Contraband sounds way more dated than CD, that production style didn't age well.

I know people here don't want a covers record, but it's the kind of thing Clink would be perfect for. Orgy Of The Damned was good, Duff just released a decent Bowie cover, and the only thing Axl has stepped into a studio for in the last decade is cover songs. The only other realistic option is more Frankensteined CD songs, with maybe the odd Duff song sprinkled in. A relatively short album of fun, classic songs with Clink at the board would be the best thing they could do now.

[Free Bird]

Slash not working with Clink doesn’t mean he didn’t appreciate his work. He wanted himself to move forward and not sounding too much like Guns. Hell he even refused to get onstage with too many GNR members on a stage at some point just to not draw attention.

I think Contraband was produced very well.

Edited September 27 by Free Bird

[evilfacelessturtle]

21 hours ago, Gordon Comstock said:

 

Agreed, though I don't think WOF is bad... LTD is definitely more 'cold and digital' though. Contraband sounds way more dated than CD, that production style didn't age well.

I know people here don't want a covers record, but it's the kind of thing Clink would be perfect for. Orgy Of The Damned was good, Duff just released a decent Bowie cover, and the only thing Axl has stepped into a studio for in the last decade is cover songs. The only other realistic option is more Frankensteined CD songs, with maybe the odd Duff song sprinkled in. A relatively short album of fun, classic songs with Clink at the board would be the best thing they could do now.

It's interesting that they really didn't try to inject any particular style with the production of CD. It's just a very clear and high quality recording of everything with a nice mix and dynamic range. Say what you will about Axl's choices for instrumentation and layers, but the "overproduction" claims are just complete nonsense IMO.

Imagine if, after all that time and hype, the album were poorly produced and didn't do the songs justice. With all the mystery surrounding the album, the production really doesn't hide anything, we got to hear every little detail of those mysterious tracks in very clear quality.

20 hours ago, Free Bird said:

Slash not working with Clink doesn’t mean he didn’t appreciate his work. He wanted himself to move forward and not sounding too much like Guns. Hell he even refused to get onstage with too many GNR members on a stage at some point just to not draw attention.

I think Contraband was produced very well.

To be clear, the key word there was "fully". Of course Slash appreciates Clink. But does he appreciate how much vastly better Clink is than Baskette? If he keeps picking sub-par producers instead of Clink, it would suggest he doesn't.

The extreme lack of bass in the guitars and compressed dynamic range on Contraband doesn't bother you?

[EvH]

The VR records sound bad, compressed mastering not doing an already congested mix any favors.

Quite a miracle for a mix with fairly simple instrumentation layers to be that congested.

Some songs are still very good but a fully dynamic Slither or Fall to Pieces would be night and day.

Edited September 28 by EvH

[MaskingApathy]

Todd Kerns is playing with them today at the Grammy event.

[Free Bird]

12 minutes ago, MaskingApathy said:

Todd Kerns is playing with them today at the Grammy event.

With them or instead of Johnny?

[DoMw94]

On 9/27/2024 at 6:54 PM, evilfacelessturtle said:

If he keeps picking sub-par producers instead of Clink, it would suggest he doesn't.

No it doesn't. Not working with Clink doesn't suggest anything whatsoever about his opinion of him.

Maybe Clink isn't available at a given time, maybe Slash is taking a recommendation from someone else (like brinking in Myles'/Alter Bridge's producer for World on Fire and Living The Dream), or maybe Slash is simply in the mood for something different – you might have a favourite t-shirt but one day you might feel like wearing something else instead, that doesn't mean you like it any less. I mean, he chose Dave Cobb for 4 because he was interested in working with him and wanted to record fully live – something Cobb wanted to do as well – not because he didn't like or appreciate something else. There could be countless reasons why.

The community jumping to conclusions as usual...

Edited yesterday at 04:59 AM by DoMw94