2024.03.08 - Audacy Music - Interview with Slash

Excerpts from BraveWords:
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In a new interview with audacy.com, Slash discussed working with AC/DC singer Brian Johnson and Aerosmith’s Steven Tyler on first single “Killing Floor”.

Slash: “Steven Tyler came into my studio after Brian [Johnson] had already done the vocals…[This project] was very spontaneous [and] inspired in the moment, which is a great thing to be able to capture, especially nowadays because people, by and large, don't make records like that. Now everything is well thought out, cultivated, homogenized and produced.”

On working with Demi Lovato on “Papa Was A Rollin’ Stone” cover: “This record was inspired by something that I used to do way back in the nineties … I used to jam in blues cover bands a long time ago. Right? So I always wanted to make a record of this stuff, and one of the songs we used to play was ‘Papa Was A Rollin’ Stone.’ So when it came to doing this record, I was like, ‘I really want to do that song.’ Demi [Lovato] came to mind mostly because I know her, some of her background, we've been through some similar stuff and she's just really cool. But also the idea of having that young, almost childlike but really killer, soulful voice singing that part about their estranged late father who did all these sorts of diabolical things that they heard about…what a great way to deliver that concept with this young girl's voice. So I called her about it, and she was like, ‘Oh my God, that would be such a great song to do because I can relate to it on a lot of different levels.’ So she was full-on into it when we went into the studio to do it, and you can hear it [during] the delivery. So it's cool.”

https://bravewords.com/news/slash-says-working-with-ac-dcs-brian-johnson-aerosmiths-steven-tyler-was-very-spontaneous-and-inspired-in-the-moment

And from Blabbermouth:
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Regarding why he chose to record a blues album at this point of his career, Slash told Audacy Check In: "When I was a kid, I got turned on to a lot of blues music coming up. But then, as a guitar player, I was turned on by Hendrix and Jimmy Page and Jeff Beck and Clapton and all those sort of guys that came out of the U.K. And I quickly found out that their particular styles were all rooted in that music that I grew up listening to previously. So it was a full-circle thing for me. But those original musicians, when you listen to the original tracks, like Eric Clapton and Rory Gallagher and all these great guitar players and also singers that have come along that came out of the sort of English explosion there, British, whatever you call it… And they're so phenomenal, but when you listen to those original guys, man, it's some serious fucking shit. The feel and just the natural kind of cadence and just the delivery of those songs from those original artists is something that you really can't touch. Even some of the best blues guys around can only barely scratch the surface on how great some of that original stuff was."

As for how he got Johnson and Tyler to appear on "Killing Floor", Slash said: "That's a good question. I had the song and I was trying to think who would be great to do it. And Brian came to mind. And I've known Brian for a pretty long time now. And he just has that great kind of grit to his voice. And I called him up and it turns out that he's a huge fuckin Howlin' Wolf protégé. And so he had been in cover bands before AC/DC and even before Geordie. And also, he was telling me that he's doing something at present where he's putting together sort of a blues-orchestra thing. Don't quote me on that, but something to that [effect]. Anyway, and so he was excited to do that particular song anyway. And that's the key thing that you're looking for, is that when you call any of these great artists up and you have a cover song that you want to attack and if they would be willing to participate, that the song speaks to them, that it has meaning to them too, not just me. And that's how it was with Brian. He was, like, 'Oh, fucking great. Yeah, let's do this.' And then Steven Tyler came in. He came to my studio after Brian had already done the vocal. And I'm trying to remember exactly… I mean, he came in to do the harmonica or he just happened to have a harmonica with him. I can't remember, but I played him the track. It was, like, 'This is great.' So it was very spontaneous. It was very just sort of inspired in the moment, which is a great thing to be able to capture, especially nowadays because people just, by and large, don't make records like that now. Everything is very well thought out and cultivated and homogenized and produced, and this was just very, very off the cuff."

On the topic of Pop's contribution to "Orgy Of The Damned", Slash said: "The Iggy Pop thing, that recording was actually very special because it was something that — it was the only song on the record that was delivered to me as an idea from the singer. In other words, I already had the songs and I went to them, but in Iggy's case, I found out through the grapevine — actually from our bass player — that we'd read somewhere that Iggy would always wanna do a blues thing, but he's just never done it. So I called Iggy — I've worked with Iggy a lot over the years, and I called him up and I said, 'Well, if there was a track that you would wanna do, what would it be?' And it was Lightnin' Hopkins's 'Awful Dream', which is such a left-field, obscure track. And when you listen to it, I'm pretty sure it's an outtake that was done between takes or at the end of the session. You have to hear it. It's not really put together; it's just sort of like a loose jam. But Iggy is pretty profound, and there was a lyrical content in there that he really fuckin related to. Anyway, so when we did the song, we just sat in the lounge at my studio, which is really just one room — just a tiny little room — and he sat on a stool and I sat on a stool and Michael Jerome played drums right next to us and we just did it live right there. And it was something that meant a lot to Iggy, so the way that he sang it was very, very emotionally effective."

https://blabbermouth.net/news/slash-explains-how-he-got-brian-johnson-to-appear-on-his-upcoming-blues-album

Another segment from this interview (published March 11):



Slash says ‘patience’ is the key to maintaining his own mental health

'I've always had a hard time with things not moving fast enough. I've learned over the years to slow it down'

Working on solo music, while at the same time keeping tight with his longtime pals in Guns N' Roses, and his more recent collaboration with Myles Kennedy and the Conspirators, it's clear guitar icon Slash has plenty on his plate to keep his mind busy.

Speaking with Audacy host Steve Migs about his new solo Blues tribute album, Slash tells us "the key word is patience" when it comes to maintaining his mental health amid the craziness that's in his world. “I try to just not overreact and to be sort of calm and deal with stuff in a fashion that I'm not panicking,” he adds. “I'm not rushing... and it just allows you to have a perspective on things so that you can calm your mind.”

“I'm pretty laid back anyway,” Slash admits, “but I've always had a hard time with things not moving fast enough. I've learned over the years to slow it down and be able to be patient, and sort of methodically think things through and let things happen... That helps me a lot.”

Audacy's I’m Listening initiative aims to encourage those who are dealing with mental health issues to understand they are not alone. If you or anyone you know is struggling with depression or anxiety, know that someone is always there. Additionally, the Suicide & Crisis Lifeline is available 24 hours a day, 7 days a week at 988. Find a full list of additional resources here.

https://www.audacy.com/national/music/slash-says-patience-key-to-maintaining-his-mental-health