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DEATH OR GLORY

Slash’s fourth album with Myles Kennedy And The Conspirators was shaping up to be the smoothest sailing of his chaotic career. Then covid blew in and rocked the boat, and “suddenly there was this dark cloud over the whole thing”.

AUSTIN NELSON/PRESS

Last March, five days into sessions for his fourth album with Myles Kennedy And The Conspirators, Slash’s mobile lit up while he was in the studio.Nothing unusual about that, for a man who has spent the past five years fielding the twin demands of a reunited Guns N’ Roses and a snowballing solo career. But when he glanced at the screen he was bemused to see the caller ID of the singer with whom he was then recording at Nashville’s RCA Studio A. “It was Myles Kennedy,” he recalls today. “I was like: ‘What the fuck? He’s already here. Why is he calling me?’”

Slash gives the dark chuckle of a man safely on the far side of a cataclysm. “The first five days of making this record were the most fun I think we’ve ever had in the studio. And then – boom. Suddenly there was this dark cloud over the whole thing.”

Let’s rewind. By rights, and in a sane universe, new album 4 should have seen Slash, Kennedy and The Conspirators – completed by stalwart sidemen Brent Fitz (drums), Todd Kerns (bass) and Frank Sidoris (guitars) – continue their swagger. “With your freshman effort,” considers Kennedy, “you haven’t known this person long. Do you trust their instincts? But if you’re lucky enough to get to your fourth record, there’s definitely a relationship.”

“This band hasn’t gotten stagnant or uninspired,” picks up Slash. “I think that original music is infinitesimal. Whether it’s riffs, melodies or whatever, you’re just trying to unlock them all. That’s the journey, right?”

Kennedy nods. “I heard an interview with Ozzy and he said: ‘There’s only twelve notes.’ And in Western music, he’s right. It’s just math. But I believe there are still riffs out there that have not yet been tapped in to. And those of us foolish enough to climb that mountain will hopefully find them.”

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Classic Rock
February 2022
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