STACK #208 Feb 2022

MUSIC FEATURE

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Broods: Caleb and Georgia Nott.

Slash (centre) with Myles Kennedy (second from right) and the Conspirators

Walsh and Jeff Beck and Joe Perry and Peter Frampton: Do You Feel Like We Do , do you remember that song? There‘s a talk box solo in that. Rocky Mountain Way by Joe Walsh: there‘s a talk box solo in there, too.“ At the end of several tracks, we can hear the babble of discussion taking over. Slash says this talk is “usually cut off,“ but there is a little of it on 4 . “There is enough casual or candid chit-chat on the record for people to get the idea that we‘re human beings in a room, talking to each other, trying to get through this,“ he says. It adds to the record‘s in-the-moment spirit, something Slash felt strongly about from the moment this project was conceived. “For the longest time, I‘ve always sound! It‘s so small and compressed; there‘s no ambience. What we‘d always do was play the songs together live, then I would go back into the control room and listen to the monitors really, really loud... But the most important thing is to be able to have a good sound while you‘re doing it, so I just wanted to put the amps in the same room as the drums and the bass and record like you would if you were playing in a club or something. But no engineer or producer will do it that way, because there‘s a small amount of bleed from the instruments that goes under the drum mics, and under the guitar mics, and blah, blah, blah.“ “But on this particular record, what I‘ve always wanted to do finally came to light! Dave Cobb... just want[ed] to record a band, in a room, live. And I was like, ‘F-ck‘! There was a moment, like the sky parted,“ he says, then mimics the revelatory ‘Ooooh‘ of a biblical choir. “So we got in a room, set the backline up, and we just jammed! That, to me, was like an orgasmic experience...“ wanted to record live in the studio,“ he says. “We‘ve always done it where you all go into a room, but everybody‘s got headphones on... I always hated playing with headphones. I can‘t stand that

INTERVIEW SLASH

4 by Slash featuring Myles Kennedy & the Conspirators is out Feb 11 via Sony.

In this extract from our interview with rock titan and everlasting icon Slash, we learn how the Guns N‘ Roses axeman links the spirits of voice and guitar, and why working with famed producer Dave Cobb on the new album with Myles Kennedy and the Conspirators was an “orgasmic experience“; read the full piece online at stack.com.au Words Zoë Radas

S lash‘s craftsmanship breathes through 4 ‘s scalding electric guitar solos, which speak to the listener as clearly as if they were literal speech;

and it‘s going from your mind to your fingers as instantaneously as possible. So it is singing, in its own kind of way.“

For the longest time, I've wanted to

Then there is the option of using your actual voice with a talk box, as in C‘est

record live in the studio. I always hated playing with headphones. I can't stand that sound! There's no ambience...

what he creates isn‘t just a series of notes, but tone and inflection too. “Melodies, for me, are a kind of a voice,“

La Vie – a meshing of voice and guitar. “It‘s a little amplifier that‘s in a tiny little box; it has a hole in it with a tube coming out of it,“ he explains. “The tube goes into your mouth, and the sound comes through that tube, and you can form tonal changes with your mouth. I learnt from guys like Joe

he agrees. “It‘s a way of singing using the notes on the guitar, for sure. I think that‘s really important; it‘s important for solos to have a melodic quality. You‘re singing a melody,

Continue reading the full article online at stack.com.au

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