Sing With Me: Slash And His Frontmen

He may be a global icon and the leading guitar hero of his generation, but you have to feel a bit sorry for Slash. Why, you ask? Well, although he's able to unleash rock ‘n' roll gold from his fingertips, he hates singing. Hates it. Over the years, this has meant that collaborating with pesky vocalists has been an occupational necessity.

Here, following the release of ‘World On Fire’, Slash’s latest record with Myles Kennedy behind the microphone, we look at how those sometimes fractious partnerships have shaped the music of the top hatted fretboard sorcerer.

Guns N’ Roses

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Kennedy's only flaw is that he's a nice guy who sometimes lacks the air of genuine danger and menace badass rock singers need to exude. The same could never be said of Axl Rose, who has always sounded like he'd gladly rip out your entrails before beating you with them.

His phenomenally powerful, honey-rotted scream has never been better than on Guns N’ Roses’ legendary 1987 debut album 'Appetite For Destruction', fusing with Slash's storm of similarly aggressive riffs and classic licks on Sweet Child O' Mine, Paradise City, Night Train and Welcome To The Jungle.

That relationship was given added combustibility by Guns N' Roses’ equally strong supporting cast, as Duff McKagan, Steven Adler and, in particular, Izzy Stradlin contributed to the sizzling bond and precociously strong writing that allowed Slash and Rose to shine.

Things got bigger, bolder, and at times way too bloated, on their mammoth 'Use Your Illusion' 1 and 2 albums.  Released on the same day in 1991, they're packed with 30 songs that run the gamut from incendiary rockers and vitriolic attack-dog tunes to orchestrally grandiose ballads, acoustic simplicity and ‘what the fuck?’ fillers.  

Although over indulgent, both Axl and Slash delivered awe-inspiring moments that not only showed their growth as musicians and writers, but also what a mesmerising partnership they were in full flight. Whether riffing like a motherfucker on Locomotive and You Could Be Mine, unleashing stomping grooves with Don't Damn Me and Back Off Bitch or colouring epic beauties November Rain and Estranged with spine tingling soloing, Slash spun an endless array of visceral ideas that matched Rose’s ambitious songwriting beat for beat.

Even though their relationship had soured, 1994’s covers album 'The Spaghetti Incident' still boasted that trademark spark. It may have been maligned, but with raucous punk workouts, knife-edged hard rock and even a doo-wop number, its mix of the baffling, shambolic and brilliant provides a fitting swansong to the most electrifying and intriguing pairing since Mick Jagger and Keith Richards.  

Slash’s Snakepit

While they were on hiatus, Slash and some of his Guns N' Roses band mates joined forces with former Jellyfish man Eric Dover and Alice In Chains bassist Mike Inez for this side project.  

Their 1995 debut album, 'It's Five O' Clock Somewhere', has some choice moments - the sleazy streetwise blast of Dime Store Rock and Beggars And Hangers On's imperious riff – but it's a nasty album that reeks of musicians festering in a rut. The overall dearth of quality here highlighted just how well Rose and Slash worked together to refine their ideas.

To make matters worse, Dover was unfortunately out of his league. With a barbed wire screech that turned some promising ideas into decidedly average tunes, it was like watching one of your mates suddenly playing for Real Madrid alongside Ronaldo.

The band's second and final album – 'Ain't Life Grand' - arrived in 2000 and found a new line-up bashing out a superior effort. There was a carefree vigour fizzing throughout and, from the old school blast of Been There Lately and Mean Bone to the jazzy inflections of the title track and glint-eyed heaviness of Serial Killer, Slash sounded reborn.

New singer Rod Jackson was key to the transformation. A beast of a vocalist with a cavernous bellow, his dynamic versatility gave each track bags of character and energised everyone around him. While there's a slight meat and potatoes rock ‘n' roll vibe, this remains the most underrated album in Slash's back catalogue.

Velvet Revolver

Considering Duff McKagan and Matt Sorum joined Slash in Velvet Revolver, you'd think they would have hired an easygoing singer after their shared Axl related drama. Instead, they picked the one frontman capable of competing with his difficult behaviour: former Stone Temple Pilots vocalist Scott Weiland.

It seemed like a strange fit: rock ‘n' rollers with one of the most prominent alt-rock figures of the 1990s. But, Guns N' Roses were always fuelled by the same no nonsense, punk attitude as the grunge brigade, making 2004’s 'Contraband' a triumphant marriage.

Weiland brought cold turkey edginess and fist-in-your-face aggression that, even though sonically rooted in the present, recalled the spirit of Guns’ earliest work. With his braying baritone he spat, sneered and howled out bruisers like Sucker Train Blues, Do It For The Kids and the roaring swagger of Slither, as well as touching hearts on confessional ballad Fall To Pieces.

The band eschewed classic rock shapes for a meaner, bottom heavy toughness that was a call to arms for the increasingly bland hard rock scene. Slash, in particular, fed off Weiland as his combative and expressive guitar work wrapped around the troubled psyche.

Despite gems like Let It Roll, She Builds Quick Machines and The Last Flight, its follow up, 'Libertad', diluted their identity and chemistry. That a creative and interpersonal chasm had developed between band and – soon to be sacked - vocalist was evident, resulting in a more ramshackle direction and less memorable songs.

Slash

In 2010, Slash invited mates Lemmy, Kid Rock and Iggy Pop to provide vocals and lyrics for a debut solo album that showed what a nuanced, expansive and appreciative writer he'd become.  

Groove-laden monsters like Ghost, the Led Zeppelin-esque headbanger By The Sword and heavy as hell shredfest Nothing To Say mine every inch of the rock ‘n' roll landscape, alongside delicate swooning with Maroon 5's Adam Levine and exotic folk featuring Rocco De Luca.

Perhaps surprisingly, the record’s best song was Beautiful Dangerous, which featured the Black Eyed Peas’ Fergie. There's always been an inherent libidinous quality to the guitarist's rhythmic verve, which combined here with Fergie’s raucous delivery to produce a track that's undeniably Slash, albeit with a very different flavour.

Slash Featuring Myles Kennedy And The Conspirators

After guesting on that solo album, Kennedy was initially employed as Slash's touring vocalist until their relationship blossomed into a full blown collaborative affair.  

The resulting first effort together – 2012’s 'Apocalyptic Love' - is premium grade rock and fuckin' roll, with the vitriolic You're A Lie, swaggeringly anthemic Staring Into The Sun and pogo-drive of Halo all impressing. The sprawling Anastasia – beginning with flamenco picking, classical arpeggios and a pile driving riff – is one of the finest pieces of music Slash has written. Kennedy effortlessly complements the guitarist, bringing grounded angst, introspective soul, and lyrical depth that gives his music a cutting edge.

Slash Upcoming Tour Dates are as follows:

Mon November 10 2014 - DUBLIN 3Arena
Fri November 28 2014 - MANCHESTER Phones 4u Arena
Sat November 29 2014 - LEEDS first direct Arena
Mon December 01 2014 - BIRMINGHAM LG Arena
Tue December 02 2014 - LONDON SSE Arena Wembley
Thu December 04 2014 - GLASGOW SSE Hydro

Click here to compare & buy Slash Tickets at Stereoboard.com.

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