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Slash on the name of his next album ‘4’ and in the footsteps of Van Halen and Led Zeppelin …
Slash: Well, I mean actually is that 2020 has been such a hellish year in every way that I didn’t think that a remark, phrase, or phrase would really sum up the feeling of everything that happened. had passed. This year. And so I didn’t want to try to have some sort of clever joke or whatever, because I’m used to it, but there was just too much of it. So I just said, “Damn. Let’s just call it ‘4’. That way he’s not trying to say anything. He’s not trying to be anything other than what he is and stop there. “
Dave Cobb: Well you won for me because Van Halen had numbers, Led Zeppelin had numbers. I mean, come on, man. It brings back the old style. I love it.
Slash: Yeah, I wasn’t really following the trend consciously but it’s pretty cool. I think it’s cool that only people are forced to know that we have three more records.
Slash on “The River is Rising” (feat. Myles Kennedy and The Conspirators) from his upcoming album ‘4’ …
Well on this album I spent more time because of COVID in my own studio doing demos and sending them to Miles because we couldn’t all come together and chop the songs in some other way. . So when we got to the very end of all the pieces of music that I had written and sent to him, I had this idea and that was right before we went into pre-production. I thought, “Oh, you know, that’s a pretty cool riff and the verse came together. It was a cool little demo and I sent it to Miles and he put some cool voices on it. So when the guys finally got on the plane and we started doing pre-production, that was one of the first songs we ever jammed on. And I just thought that would make a great song for the album and probably a great first song. So we entered Nashville and we entered. I don’t remember exactly where in the footage we recorded it. I think it was towards the end. It was just really fun playing in the moment and we ended up playing with the arrangement and coming up with this really cool thing that was very spontaneous and that’s the arrangement you hear on the single. And that was really cool how it went and basically it was just like you say, “That quick riff that you have at the end, you should put it at the start of the song or in the middle of the song.” , and we went there and it happened like that. And I have to say sometimes I’ll be a little shy to push a part because I think everyone just thinks I’m pushing more guitars, so you were really helpful on a few different songs saying, “This is the hook. You have to send it. You have to play it more. “I needed your advice because I wouldn’t have done it on my own.
Slash on the recording of his upcoming album ‘4’ with Dave Cobb at RCA Studio A in Nashville …
Dave Cobb: And people might not realize it, but this record is not there. I mean, it’s about as alive as it gets. I mean, it’s you guys playing in a room with no headphones on, just rocking to a PA, like you’re playing a gig or playing in your garage growing up or whatever. What is different about this process compared to other records and being in a studio making the albums?
Slash: It was such a big topic because I don’t even know where to start. I mean, I’ve wanted to make a record recorded this way ever since I started, so you just set up the bottom line and play live and you just get that kind of instant energy that’s inspired by everyone playing each other, and technically this has never been possible. And so quickly you and I had a conversation last year where we talked about rock and roll and that kind of spontaneous feeling live on Glyn Johns records, and that’s really what cemented us to work together. And when we got to RCA and we walked into this big room with all these guitars in there and all this great analog gear and so forth, and then I met you, physically met, for the first time and we come to get started and we just started playing. And just standing in front of my amp and then also in front of the drums and bass amp and playing live and recording, that was a huge thing for me. It was like an eye opener and, yes, it was a huge experience. It was a lot of fun and without blowing your ass it was great working with you because you made it really, really down to earth and very natural, and we didn’t go back and didn’t analyze things too much, and you kept me from going back and analyzing some shit. I mean, so this particular record is as raw as it gets.
Dave Cobb on producing ‘4’ and being in the studio with Slash …
I think what’s crazy about this album, I mean, you have to realize that the solos are live and that doesn’t happen anymore. I mean, the way the recordings are done now is really a process, but it’s just you let it out and I remember we’re in the control room after we … I think I was in the room with you guys when we were following the song, but I remember walking into the control room with the sound engineer and we were both like, “Oh my gosh. It’s Slash. .. “I mean, it’s just an immediate timeless solo, without thinking, just raw emotion and I think that’s what’s great about this record. And Miles sings his ass, and this record is also Miles singing live. It’s not premeditated singing either. I mean, no one was premeditated. It’s pretty mind-blowing, so I can’t wait for people to hear it.
Slash on what Eddie Van Halen meant to him …
Overall, I’m not from that kind of ’80s shredding guitar school at all. But when I first heard, with everyone, in 1978 and heard for the first time Van Halen’s debut album, it really pissed me off. It was a big f ****** record. I mean, that was when the ’70s just changed, that particular record. And as a guitarist I was just a kid, I was just picking up the guitar then. I hadn’t even started then. I started out like the following year but when I started playing guitar everyone was trying to emulate Eddie and they all focused on the obvious techniques and finger tapping, overtones and the barre. tremolo. stuff and all these really cool techniques that Eddie had. But the way he did it was so much a part of his personality and his melodic sensibility that it really had that kind of musical fluidity that no one after that has ever really managed to play that style of guitar playing and so I have always loved Eddie. And between each of his very specific techniques, he also had some great rock and roll lyrics, some really cool, blues and rock lyrics. So, yeah, I loved Eddie.
Slash says that Apple Music Cream’s “Disraeli Gears” was the album that made him want to pick up the guitar …
Well, I mean, right off the bat, ‘Disraeli Gears’ was the record that took me from bass to guitar. When I first started learning an instrument I intended to play bass because Steven Adler, the original drummer for Guns N ‘Roses, when he and I first met he was already playing guitar, and so we were going to put together a band so I was going to start playing bass, but I didn’t really know technically the difference back then between bass and guitar. I obviously knew the difference in the sound but just didn’t know what I was doing so I went to a local music school and met this guy Robert [Wolin] was his name and he was the guitar teacher and I sat down with him and he said, “Well what do you wanna do? And it’s like, “Well, I want to play bass.” He said, “Did you bring a bass with you? I said, “No, I don’t.” And so while he was setting there he was playing guitar and he put on “Sunshine of Your Love” and started playing with that and I was like “This is what I wanna do”, and that was the guitar, wasn’t it, electric guitar. And that’s where I picked up the guitar. So ‘Disraeli Gears’, besides being one of the great blues rock and roll records of the time, if not all time, is also what made me pick up the guitar in the first place.
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