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Slash feat. Myles Kennedy & the Conspirators - Apocalyptic Love (discuss the new album)

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sounding like its Slash 60 / Myles 30 / Backing 10..

and this is the right %-s. Slash is the main act here

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Sounds off and wrong.. No matter who's the main act.. The key is the wholeness of the music.. Way too overblown for me.. Sounds like this word EGO..

Good call Catcher...I completely agree with you....... ChiDem was an overblown, overproduced EGO driven mess....... :CoolFace:

Thank god we still have Slash making balls to the wall down and dirty RnFnR..... :slash:

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Haha.. Nice twist.. Thankfully my taste in music allows me to like something, overblown, clichéd and grand.. :axl:

Slash sounds like a king of a castle trying to be down n dirty.. We all know it doesnt sound right here.. :king:

I liked some songs, but to me, the mix is not right.. Listen to AB and you will hear how they get their sound to blend much more naturally.. I am a huge fan of all parts in this.. I just wished the mixing would be better.. I'm not a mixing know it all guy, it just doesnt sound right in my ears.. :ninja::bucket:

The ego bit was just a dig, but it does come off soundding as if Slash went "it all sounds perfect, now, just turn me up some more and the others down". :shrugs:

Everybody knows its all elements that has to work, I am just surprised that someone that experienced, gifted and successfull, cannot produce something "better" :CoolFace:

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We all know it doesnt sound right here

Who you calling "we" whiteboy?!... :CoolFace:

Sorry mate just having a bit of fun with you...you teed that one up for me so I had to take a swing..........

I won't argue it is not the strongest song on the album but Slash's music is pretty basic stuff so I think you may be over analyzing things here mate. If your looking for complexity you are barking up the wrong tree....................

Edited by classicrawker

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Whiteboy.. haha.. Are you not white or was that an insult or how am I supposed to take that.. hahaha.. But yeah, seriously.. We as in human beings who can hear loudness or bad mixing.. If you can't, your either deaf or slash dick is in there and you are [] ? (lame joke is not lame).. Otherwise it might be a defense mechanism from the senior citizen of the internet.. So, whats it gonna be old man ? :D

A thing I wondered was actually, that Slash said he was going back to basics on this record, as far as recording, but I still hear loudness/overproduction ?!?!?! Am I the only one ?

The song, as said, is interesting, I like the vocal melody and different parts, I just think it could stand out more.. Would love to hear an Evader tweaked version.. (Request)..

I like simple RNR, and I like it because of the raw dynamics and intense adrenalin feel you get from it.. But right now, gotta say.. This doesnt feel like it.. Like I said, it sounds like Slash or any given rich guy trying to be dirty..

Shinedown is my RNR than this imo.. And that pretty poppy.. Actually, its about the same.. It just not, what I loved.. I need dirty, nitty gritty, trashed, edgy, imperfect, anxious and sexy rock n roll.. Its just not it.. Its a bland soup of what used to be.. A memory from an old dude looking in the picture book..

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Whiteboy.. haha.. Are you not white or was that an insult or how am I supposed to take that.. hahaha.. But yeah, seriously.. We as in human beings who can hear loudness or bad mixing.. If you can't, your either deaf or slash dick is in there and you are [] ? (lame joke is not lame).. Otherwise it might be a defense mechanism from the senior citizen of the internet.. So, whats it gonna be old man ? :D

A thing I wondered was actually, that Slash said he was going back to basics on this record, as far as recording, but I still hear loudness/overproduction ?!?!?! Am I the only one ?

The song, as said, is interesting, I like the vocal melody and different parts, I just think it could stand out more.. Would love to hear an Evader tweaked version.. (Request)..

I like simple RNR, and I like it because of the raw dynamics and intense adrenalin feel you get from it.. But right now, gotta say.. This doesnt feel like it.. Like I said, it sounds like Slash or any given rich guy trying to be dirty..

Shinedown is my RNR than this imo.. And that pretty poppy.. Actually, its about the same.. It just not, what I loved.. I need dirty, nitty gritty, trashed, edgy, imperfect, anxious and sexy rock n roll.. Its just not it.. Its a bland soup of what used to be.. A memory from an old dude looking in the picture book..

You do realize what the coolface is for right?

I am certainly older then you but not close to deaf yet and you are the only person I have seen so far complaining about the mix so really who is the deaf one here?

IMHO there is nothing wrong with the mix mate it just is not to your taste and you are certainly entitled to your opinion. In fact the mix is very similar to Slash's solo album which was clean and crisp IMHO...Slash's music still has it's edge but it is just not edgy enough for you........Seems to me you are looking for another AFD and that was lightning in a bottle never to be repeated.............

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Ehm.. I always found irony or sarcasm from coolface, but if that is the true meaning, I am not sure ?! Hehe..

And its all in good fun.. Thought it was a hillarious post, a little friendly bantering is always fun.. :D.. Don't know bout the deaf part, but that I am the only one who hears it may be an indication that I am the only one with a critical ear..

I just think it sounds "loud" - Its good sound, but gets a compressed feel.. Unattractive to RNR, but hey, thats just me.. And the weird thing is, it sounds more so than the first album, I love the mix on Ghosts I.e. or Doctor Alibi (though not the song in particular).. I find that weird when Slash said they were going back to old school..

The mix is not for my taste, but I generally like Slash, Myles, Shinedown, Theory of a deadman and that sort of thing, its not to say that a good rock song with good pop production is bad, at all..

But come on dude, you gotta be able to discuss things, and right now, your basically saying.. its perfect, couldnt be any better, even if they tried..

I want a new AFD, fuck yeah, for the love of god, please... But, not happening and thats ok.. I just find it incredible that he talks about going back to roots and find that original sound and yet Steven has a better mix than him..

You might like it, and I'm glad for you.. I think it sounds Ok from the two songs i've heard.. but the mix sounds terrible, and I'm surprised you don't, since your older and know all the classic and amazingly mixed albums from all the greats.. Its just our different tastes, as you said. Lets just hope for the best for Slash in this..

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Ehm.. I always found irony or sarcasm from coolface, but if that is the true meaning, I am not sure ?! Hehe..

And its all in good fun.. Thought it was a hillarious post, a little friendly bantering is always fun.. :D.. Don't know bout the deaf part, but that I am the only one who hears it may be an indication that I am the only one with a critical ear..

I just think it sounds "loud" - Its good sound, but gets a compressed feel.. Unattractive to RNR, but hey, thats just me.. And the weird thing is, it sounds more so than the first album, I love the mix on Ghosts I.e. or Doctor Alibi (though not the song in particular).. I find that weird when Slash said they were going back to old school..

The mix is not for my taste, but I generally like Slash, Myles, Shinedown, Theory of a deadman and that sort of thing, its not to say that a good rock song with good pop production is bad, at all..

But come on dude, you gotta be able to discuss things, and right now, your basically saying.. its perfect, couldnt be any better, even if they tried..

I want a new AFD, fuck yeah, for the love of god, please... But, not happening and thats ok.. I just find it incredible that he talks about going back to roots and find that original sound and yet Steven has a better mix than him..

You might like it, and I'm glad for you.. I think it sounds Ok from the two songs i've heard.. but the mix sounds terrible, and I'm surprised you don't, since your older and know all the classic and amazingly mixed albums from all the greats.. Its just our different tastes, as you said. Lets just hope for the best for Slash in this..

Yeah I was just kidding. Actually that is from some old movie but the name escapes me? I did not take offense I was just teasing as you said it was obvious to everyone but I have yet to see anyone complaining about the mix but you.

Maybe you have perfect pitch like Bumble.... :lol:...........this is a time when I miss Broski as that would really get him wound up

Unfortunately most music these days have the levels pushed into clipping so the nuances get lost in the wall of sound but then again Slash's music does not have much subtlety to begin with so don't know it makes much difference in his case. As far as going back to old school I think he was referring to making a straight ahead rock album which from what I have heard he has accomplished that. They also recorded in analog which is "old School" so I don't think he was referring to the mix itself.

I don't have the critical ears you do but to me the mix is very similar to that of his solo album which would make sense since both are being produced by Eric Valentine. And I never said the mix was perfect. If anything the mix is a little too clean and glassy so maybe that is what you are hearing? A little more grunge would be nice but I have no issue with the clean mix EV has created as I really liked the mix on the previous solo album.

"Better" is subjective mate and you seem to be looking for a slightly less clean mix. Nothing wrong with that but it does not mean there is anything wrong with the mix on Slash's new album it is just not to your taste.

Again, I never said it was perfect but it is not terrible by any means IMHO. It could be a little less clean and in your face but if you liked the mix on Slash's previous album I am surpised you don't like this one as both albums are by the same engineer and sound very similar to me..... too each his own.........:shrugs:

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Ehm.. I always found irony or sarcasm from coolface, but if that is the true meaning, I am not sure ?! Hehe..

And its all in good fun.. Thought it was a hillarious post, a little friendly bantering is always fun.. :D.. Don't know bout the deaf part, but that I am the only one who hears it may be an indication that I am the only one with a critical ear..

I just think it sounds "loud" - Its good sound, but gets a compressed feel.. Unattractive to RNR, but hey, thats just me.. And the weird thing is, it sounds more so than the first album, I love the mix on Ghosts I.e. or Doctor Alibi (though not the song in particular).. I find that weird when Slash said they were going back to old school..

The mix is not for my taste, but I generally like Slash, Myles, Shinedown, Theory of a deadman and that sort of thing, its not to say that a good rock song with good pop production is bad, at all..

But come on dude, you gotta be able to discuss things, and right now, your basically saying.. its perfect, couldnt be any better, even if they tried..

I want a new AFD, fuck yeah, for the love of god, please... But, not happening and thats ok.. I just find it incredible that he talks about going back to roots and find that original sound and yet Steven has a better mix than him..

You might like it, and I'm glad for you.. I think it sounds Ok from the two songs i've heard.. but the mix sounds terrible, and I'm surprised you don't, since your older and know all the classic and amazingly mixed albums from all the greats.. Its just our different tastes, as you said. Lets just hope for the best for Slash in this..

Yeah I was just kidding. Actually that is from some old movie but the name escapes me? I did not take offense I was just teasing as you said it was obvious to everyone but I have yet to see anyone complaining about the mix but you.

Maybe you have perfect pitch like Bumble.... :lol:...........this is a time when I miss Broski as that would really get him wound up

Unfortunately most music these days have the levels pushed into clipping so the nuances get lost in the wall of sound but then again Slash's music does not have much subtlety to begin with so don't know it makes much difference in his case. As far as going back to old school I think he was referring to making a straight ahead rock album which from what I have heard he has accomplished that. They also recorded in analog which is "old School" so I don't think he was referring to the mix itself.

I don't have the critical ears you do but to me the mix is very similar to that of his solo album which would make sense since both are being produced by Eric Valentine. And I never said the mix was perfect. If anything the mix is a little too clean and glassy so maybe that is what you are hearing? A little more grunge would be nice but I have no issue with the clean mix EV has created as I really liked the mix on the previous solo album.

"Better" is subjective mate and you seem to be looking for a slightly less clean mix. Nothing wrong with that but it does not mean there is anything wrong with the mix on Slash's new album it is just not to your taste.

Again, I never said it was perfect but it is not terrible by any means IMHO. It could be a little less clean and in your face but if you liked the mix on Slash's previous album I am surpised you don't like this one as both albums are by the same engineer and sound very similar to me..... too each his own.........:shrugs:

Haha.. Ok.. I laughed hard though, and I needed it, cause man, I was drained, partying and drinking and going out 5 days in a row, takes it toll.. Gotta stop living that hard.. Guess its the lot of the rock n roll heart !

Haha.. I don't have anything perfect, like bumble.. :CoolFace: Either way, imperfection is ten times as beautiful in any instance, at least in my eyes, maybe cause its all a reflection of ourselves...

Aah.. You are completely right.. In fact, that post was incredibly well written and factual, because I was referring to the Analog recording and all those things, I thought that had to do with the mix.. But off of that I can conclude - Eric Valentine :thumbsdown: .. :D

W. rgds. to the first album, some tracks were more "clean than others".. Ghosts is one of the few that does it for me.. But yeah, I'm a Rolling Stones model kinda guy.. I like dualing or complementing guitars.. So in that sense you hit the nail on the head when you said another AFD.. That sound just has magic and dynamics to it, and it should be used.. Only ones that do it these days is A7X and Black Veil Brides, which, musically and stylistically are the most promising on the scene, imho..

Great post CR.. This is why I love to get your take on shit.. Keep it up and thanks alot !

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Well its out there if you wanna look for it ;) The version with 2 bonus tracks so the Classic Rock pack must be in peoples hands now.

Sounds fucking good to me! Anastasia is rocking.....!

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I love Hard and Fast, Crazy Life and Halo at the moment.. Anastasia is very good too..

Those are my primary songs.. Your a lie is directly poor in my opinion..

Am I the only one who thinks the solo on We Will Roam sounds like a sped up version of the Civil War solo ? Its awesome, the rest of the song, eh, not so much..

I love Myles singing it.. Some songs work better than other.. I'll give it 6/10.. Its growing a bit, but still a few things that I'm not really into, and more personality on the songs for their bass-lines and drum parts..

All in all, very decent, still the good ol' rock, with a few weak spots, but better than the first album and its great for the summer.. Nice time of release!

Gotta agree though, Axl on some of this songs, would be murderous.. He would sustain the words more, i.e. halo, would be one screaming, banshee attack straight for the throat.. Its rocking now, but would be outta this world with Ax...

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Got my fan pack Monday and have been cranking this CD in my Jeep back and forth from work since...not a bad song on the whole thing IMHO and some of the hooks have been playing in my head all day.........

favorites

1. Apocalyptic Love

3. Standing In The Sun

4. No More Heroes

6. Shots Fired

7. We will Roam

8. Anastasia

9. Not For Me

10. Bad Rain

Edited by classicrawker

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We debuted No More Heroes from Apocalyptic Love at this show. We’d been jamming it at soundcheck for a few days and decided to bust it out that night. All told we are doing almost the entire Apocalyptic Love album live. Not all in one show as we change them out. From the album we are currently playing live- 1. Apocalyptic Love 2. One Last Thrill 3. Standing In The Sun 4. You’re A Lie 5. No More Heroes 6. Halo 7. Anastasia 8. Not For Me 9. Hard And Fast 10. Shots Fired That means the only songs we are not playing from the record in any live capacity are We Will Roam, Bad Rain and Far And Away. We did do Far And Away for the acoustic show we did for Guitar Center. We are also not playing the bonus tracks, Crazy Life and Carolina. It is quite an achievement to be playing 10 out of 13 tracks from an album live. That’s how proud of Apocalyptic Love we are.

http://toddkerns.com/blog/?p=159

Here's all the songs:

http://www.youtube.com/watch?v=x0Llqd9WuvM&list=PL1210E0AF3413774C&index=1&feature=plpp_video

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Apocalyptic Love Song by Song by DAMMIT

I've been promising to do a little song by song write up of my thoughts on the Apocalyptic Love album so put your iPod on, call up Apocalyptic Love track 1 and turn it all the way up! Here goes.

Apocalyptic Love

As you can tell right off the beginning of the album one of the main things we were trying to capture was how live of an experience it was. You can hear Slash testing out his Wah pedal off the top of the song, you can hear our producer, Eric Valentine, say, "Apocalyptic" over the talk back mics and then Fitz says, "Here we go" before counting us into the lead and title track.

If I recall correctly we were playing with the main riff to this song during soundchecks on the We're All Gonna Die tour. Slash's opening wah wah riff is so classic Slash. Snakey and twisty. When he played it for the first time I could just imagine kids everywhere sitting in their bedrooms figuring out how to play it.

I can't speak for Myles but I know this song is to some degree about the end of the world. 2012, of course, is supposed to our final year on Earth so this song says the world is ending so let's just all get it on. I know I'm dumbing that down a lot but that's kinda what's going on there.

That first chorus is a good example of what a pleasure it is to sing with Myles Kennedy. That's me singing the high harmony along with him. We have got it down to a veritable science at this point. The Heaverly Brothers indeed (Heavy Everly Brothers).

Great riff, great groove, killer solo. Myles really delivers the goods. Great dynamic from the verses to the chorus. Eric made some great arrangement suggestions on this song.

In the heavy riff section before the bridge and during the outro we added some big bass chords to really beef up that section. If I recall correctly it was a cool old Les Paul bass. That thing was gnarly.

It is a real thrill for us to be hearing audiences singing the Whoooaaahhh sections live. A real trip cuz it seems like yesterday we were still putting these songs together at Mates Rehearsal Studios in North Hollywood.

One Last Thrill

The first time I heard this song it was in demo form with Slash on acoustic guitar and Myles singing on top of it. The addition of the bass, drums and electric guitars really took it up a notch.

That's me screaming at the top of the song as we unleash Hell. Myles and I trade off the chorus vocals- Myles-One last thrill it always...

Me-Sometimes you know it comes to get me etc Myles and I added the oohs and ahhs over the bridge section together. We did a lot of singing together which is not very common these days. Usually vocals are recorded individually to control the separation.

This is another good example of how live this recording is. When Slash plays his solo his rhythm guitar vanishes. This is because he actually played it right there and then and that goes for every song on the album. It wasn't overdubbed after the fact.

Myles really pushed himself in the writing of this album. There's an underlying theme on this record of our past indulgences. One Last Thrill before I die. Again, I can't speak for Myles but that's how I understand it.

A real barn burner of a song. We were opening with it for a giant chunk of the most recent tour before switching to Halo. A great solo by Slash again. I think he's playing better than ever.

Standing In The Sun

This song is one of the first 3 songs we recorded months before going in to do the rest of the album. It is currently the 2nd single from Apocalyptic Love.

It's always had such a great groove with that punishing riff throughout. Fitz throws in those 16ths on the high hats Rocket Queen style.

Myles plays a lot of cool guitar on this song actually. I believe that's him on the open chords through the verses while Slash and I hold down the riff.

This is another great example of the Heaverly Brothers doing our thing. The chorus really pops out with those nice open chords and Myles and I singing our asses off. That's me on the higher harmony.

Another doozy of a solo by Slash on this one. Absolute classic Slash.

This one is so much fun to play live. I can't say for sure but I'm pretty sure we'll playing this on Conan later in the year. You never know.

Those Beatley vocals at the end are super cool. A Myles Kennedy creation.

This song is a favorite within the band.

You're A Lie

The first single and a monster at that. This one began life at sounchecks all over the world on the We're All Gonna Die Tour but it didn't resemble this version very much at all. The riff we started with didn't survive to the final version of the song which is totally bizarre as it was the most amazing riff. I'm sure that riff will resurface as another song someday. It is too good to vanish completely.

At one point this song was called Whatever Keeps You Alive and had a totally different chorus altogether. In the 11th hour major surgery was performed on it and it is now the song we have today.

Again Fitz counts in the song which is rare on modern recordings. This was kept to maintain the live vibe we were going for. The intro section set up that snakey, punishing main riff so well.

Myles did a great job of marrying a modern touch with the classic backdrop. The chorus really jumps out with Myles soaring, descending melody. That's me screaming LIE in the background. Eric made me scream til I could barely talk. The things we do for Rock N Roll.

For me I was channeling Dennis Dunaway from Alice Cooper on the bass. That's not overtly noticeable to anyone but me but a lot of the chromatic runs were nods to Dennis and the classic Alice lineup. For me anyway. We added some heavy bass chords like in Apocalyptic Love to the chorus, intro and outro sections of this song to really heavy up those parts. If you listen closely I'm sure you can hear how girthy it gets.

This song went on to be a #1 single at Active Rock radio and really gave the album a kick in the ass. We've played it on Jimmy Kimmel and Jimmy Fallon as well as the Golden Gods Awards.

It's amazing to see the audiences react to this song every night. It is as accepted as part of the classic catalogue as Sweet Child O' Mine or Slither. Truly awesome.

No More Heroes

Between You're A Lie and No More Heroes you can hear Eric say, "All good, Brent?" (I think?) and you hear Brent Say, "Ok" and count us in. I love that stuff. Reminds me of Physical Graffiti by Zeppelin. There's all kinds of cool behind the scenes stuff going on there.

This song didn't have a title for a bit as it was the last lyric and vocal completed for the album. In many ways this song is one of my favorites on the album. Myles was so out of gas by the end of the recording and writing process that he needed a jump start to complete the lyrics. 9 times out of 10 Myles went back to what he started with. This is common in the writing process where you start to second guess yourself. Hard to get subjective enough to know where you stand anymore. At the end of the day I think it's one of Myles' best lyrics and vocal performances on the album.

Again there's a little nod to Rocket Queen with the 16th hats in the opening drum intro. There's some very unique moments going on here for Slash. I suppose the opening picky riff has a bit of Sweet Child O' Mine to it. That nice throaty, neck pick up sound. Beautiful part.

I'm channeling a little Adam Clayton (U2) on my part and maybe a little Benjamin Orr(Cars). Those may seem strange references but that driving pedaling style is what I was going for. Definitely a little Cliff Williams (AC/DC) in there too.

There is a real nice use of space and dynamic in this song. Lots of space in the verses that drive harder and harder through the pre chorus into the big bashy choruses.

Myles and I doubled ourselves up for the choruses together again. My harmony comes in the B section of the 2nd verse "On our own..." Always a pleasure to sing with that man. He is the best. I'm on the high harmony in the bridge section "Still alive..."

The solo section is amazing in this song. The way it breaks down to that outro chorus is super effective.

If you listen closely to the choruses you can here Myles and I singing Ooo Ooo Ooo. Take a listen.

This song has been going over amazing live. Very rewarding.

Halo

This song is also one of the first 3 songs we recorded along with Standing In The Sun and Bad Rain months before we went into the rest of the album.

In many ways I feel like this song is the sister song to Nothing To Say from Slash's first solo album. Definitely the most metal song on the album. The harmony guitar parts at the beginning of the album have a little Slayer in there. There is a little bit of Blizzard/Diary era Ozzy for me in this song though I can't pinpoint exactly what. There's a bit of a Maiden gallop going on with a hint of Love Gun by KISS for me on the bass.

The chorus riff is one of Slash's most gnarly ever.

We've been opening shows with this song lately and it has been epic. This is definitely a fan favorite of the Apocalyptic collection.

At the end of the song I believe that's Slash speaking. Hard for me to say. It's a bit of a blur.

We Will Roam

This song was the most difficult for me to wrap my head around in the beginning. It took me a while to get inside the song. Some songs are like that. Because of this I felt the least connected to this one but at the end of the day it is one of my favorites to listen to.

I think Myles' lyric on this song is one of my favorites he's ever written. It really speaks to me as it is about our gypsy, restless hearts as touring musicians- "And still we roam now forever more, tread the night on steel and stone, and still we roam, never asking more, where we are will be our home"

When I finally heard what he was singing it really struck a chord with me and I found myself right inside the song. It all came together for me then.

For me Peter Hook from Joy Division/New Order was my inspiration for the bouncy, moving bass line. These must sound like such strange references to the hard rock fan but I tell it like it is. There's a nice big bass chord in the last chorus. Eric pushed me to play chords on occasion and I'm glad he did. To be honest he pushed me and all of us the whole way through and it made for such an amazing record.

In the chorus I sing the descending harmony that Eric and Myles came up with. I feel that really makes this song unique. I love clever vocal interplay. The Beatles, The Beach Boys and now the Heaverly Brothers.

I feel this song has a unique feel from what people would expect from Slash and I admire him for taking steps outside of what he is known for. This is why he is still a growing artist 25 years after Appetite.

We have never done this song live. Don't know if we will but I sure love listening to it.

Myles and I harmonize our way out of the song while Slash solos on.

Can't say enough good things about Myles' work here.

Anastasia

I always knew Anastasia was a very important song. I knew it before there was a melody or lyrics in place. That relentless riff was so timeless and the guitar work in the intro and reintro was again things I saw kids learning in their bedrooms for years to come. Once there was that winning melody and that glorious chorus in place I knew we had a doozy. Once Slash put the classical intro on it I knew we had an Epic Classic. Period. This song kills.

It starts with Slash clearing his throat and effortlessly playing a piece that could stand alone as an amazing piece of music before we all come crashing in on a viking warship of rock.

Slash had introduced the melodic bit he plays in the main band intro of the song in his solo sections he would do nightly on the We're All Gonna Die tour. That's how long ago he was working on that piece of music. He was working it out in front of thousands and thousands of people no less. That's the best thing about Slash. His guitar solo section of the evening is different every single night.

I love the slap back effect on the drums giving it that Bonham feel. I play bass chords again in the intro and reintros. They are gigantic.

That's me on the higher harmony vocal in the chorus. I don't think I'm being immodest when I say I like the way Myles and I sound together.

Fitz and I do a nice build up into that final chorus out of the guitar solo.

This song is an epic moment in our live show. Slash solos on the outro for a long time building and building the whole to a massive crescendo. I love the chords Myles plays under the solo. Really builds such beautiful tension. I do a couple of fancy moves on the bass during the outro. Again egged on by the amazing Eric Valentine.

Fitz adds some super cool percussion to this one. Just epic.

If you can't tell I'm a gigantic fan of this song.

Not For Me

I love how Anastasia bleeds into this one. This song was added to the mix a little later on. I remember having quite a few songs together before this one was introduced.

This is one of the greatest performances of Myles Kennedy's career. One of his best lyrics too. Just stellar. That first verse/chorus is amazing.

The part I play in the reintro before the solo is super cool. My nod to McCartney, one of my faves. Eric had a lot to do with that. He's a genius.

That's me on the harmony vocal in the choruses supporting Mr Kennedy.

I think it's cool that Slash kept the verses as his clean Les Paul tone as opposed to an acoustic guitar which we had initially talked about. i think it's way more live sounding that way. Some great guitar work by the man on this one.

Another epic tune and a beloved song live. We added it not that long ago and it will remain in the set for a long time.

Bad Rain

The last of the 3 initially recorded before officially starting the album.

I like the sleek, vampy vibe of this one. There is some super cool, metallic percussion by brother Fitz on this one. Listen close.

I played a crazy 8 string bass that Eric has at his studio on this one. Some kind of Rickenbacker shop class project that sounded too good to not use. The bass tone is HUGE. Check it out.

That's me on the high vocal harmony. Seems to be a pattern. I like the part Eric had me sing with Myles over the bridge. Really builds nicely to the solo.

There is talk of adding this one to the set soon. I'm looking forward to it. It's so much fun to play. I remember putting it together as if it were yesterday.

You can hear me bellowing "Here comes a bad rain!" in response to Myles if you listen closely in the outro of the song.

Hard And Fast

This is another song like One Last Thrill or Not For Me that speaks of past bad behavior that most of can relate to. God knows Myles and I spent enough time talking about it. That's what the reformed do. None more notorious than Slash himself.

"I can't survive another night in the white room cuz a tiny bit always turns to more"

I believe you can hear Eric over the talk back mics during Slash's feedback off the top of the song.

I love Myles ascending guitar part in the 2nd verse. Eric and Myles did a really great job of coming up with complimentary parts to Slash's main parts.

This song is a barnburner. Kind of a Let There Be Rock vibe.

I played a Fender P bass with flat wound strings on it in this song and played it so Hard And Fast that I had to fix parts of it after the fact. I know other way to play. I play super hard. Always have.

Slash rips some classic solo work on this one.

That's me screaming the high harmony vocal with brother Myles in the choruses.

This one is a violent offense live. We've been playing it for a while and it goes over huge!

At the end of the song you can hear me say, "Suck on that!" This song takes no prisoners.

Far And Away

This is another of those songs I just knew was going to be special. So many great things going on it's hard to comment on any one thing.

Myles' performance is outstanding. Such an amazing tone on Slash's guitar.

You can really hear the flatwound strings on the Univox bass I played on this one. I intended to play a fretless for this a la Jeff Ament but decided it called for more of a McCartney-esque touch. I'm very proud of my parts on this one.

I believe Myles plays the swelling, steel guitar-esque parts in the pre chorus. Very nice. Slash brings in that amazing, ghostly descending line in the choruses. So beautiful.

That's Myles doing those tasty soloy bits in the second verse. On top of everything else he's an amazing guitar player too.

Slash's solo is epic. Has that tone where it sounds like it's about to explode.

We've only performed this song once for the Guitar Centre Sessions that were televised. We did it acoustically. I hope we will get a chance to do this one live again. It is a truly beautiful song.

Shots Fired

This is the last song on the US version of the album. I remember playing this one in the rehearsal place when we did the main riff in F# before we changed it to G (most of this record is tuned a half step down except Standing In The Sun which I believe is in 440). It's another great, relentless Slash style riff that carries the whole song. He makes these kinds of riffs up all day long.

I like that slippery, evil, bluesy intro crashing into the juggernaut riff. I'm particularly happy with the gnarly bass tone. There is nice interplay between the open chords Slash plays in the verse over the riff.

That's me on the high harmony in the chorus. The usual. I think we are pretty damned effective here.

We've been playing this one live and it is a driving enforcer of a song. It's awesome that the last song on the record still gets such a warm reception.

I love the solo on this one. The section is very clever. Makes for some cool tension.

At the end of the song you can hear Myles say, "Please tell me you got the sirens at the beginning of that" To which Eric replies, "Fuck yea I did"

Keeping in mind that we were recording around Hollywood and Vine in Hollywood blocks away from the Capitol Records building. A very busy part of town. Somewhere during the recording process a man went on a shooting spree mere blocks away and was eventually killed by a police officer himself. Welcome to the jungle, indeed.

What a great way to end the album....

Oh wait

There's more!

Bonus tracks-

Carolina

In different territories these songs are a regular part of the album.

This song is particularly special cuz Slash breaks out his old friend the Talk Box! Something he used on Anything Goes and a few others back in the day. Pretty exciting stuff.

The funky aspect is a big part of Slash. People think he's all metal somehow but there are examples all through his career of blues, funk, acoustic etc Myles is big on funk too. Well versed in Marvin and Stevie.

Me? I'm a rock dude from the whitest place in the world but if you know me I'm up for anything. Especially a challenge. Especially a musical one.

The cool thing is I kept it pretty open and let the groove find itself in the holes in the pocket. Fitzy got a dirty groove going on this one.

I like my ascending line into the 2nd chorus. That kinda stuff is so Eric Valentine. He likes to change things up from the 1st verse to the 2nd. No sense repeating one's self. I played the same Fender P bass with flat wound strings that I used on Hard And Fast.

The chromatic choruses are a classic Slash thing.

For the drum break those guys were referencing things like Ohio Players. Turned out rad.

My vocal harmony was only brought in on the last chorus of the song which is cool cuz the whole song is a simple octave until that last chorus. Nicely done, Mr Valentine.

Crazy Life

This one I know is on the regular Australian version. This one has a rad Aerosmith vibe. Great groove. Myles worked and reworked this one a lot. He really beats himself up that boy. Turned out great here.

Fitz counts us in again to stay with the live theme and then Slash is laying out a classic snakey Slash lick. I know I played a Gibson Thunderbird for this one. The verse line is super sexy.

Nice big chorus in this one. Nice work, Mr Kennedy.

I remember doing the Ahhhh vocals in the bridge section with Myles. We always had a good laugh together in there.

Here and there in this song there's a little Mr Brownstone feel in there. I'm definitely channeling Tom Hamilton from Aerosmith in this song. Nice big bass chord in the outro.

Fitzy makes nice use of the cowbell in this one. Shades of Appetite.

I'm pretty sure that's me going Whoo! and babbling at the end of the song. Sounds about right as I'm always babbling.

I don't know how insightful any of this was but I hope you can play along with me next time you listen to the album. We had an amazing time making it and we have an amazing time recreating it live for everyone.

Apocalyptic Love is one of the proudest achievements of my life.

Enjoy

Your loyal and humble servant

Todd Dammit

http://toddkerns.com/

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