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Long Slash Interview (1)
FRIDAY, AUG 9, 3:30 P.M., SUNSET BOULEVARD, HOLLYWOOD: In Geffen's publicity department, Roxanne apologizes as she carefully pats me down, looking for a hidden DAT recorder. Security is tight The pre-release CDs I'm about to hear, she explains, belong to Slash. Only two sets exist-Axi Rose has the other. There have been piracy problems. Even Geffen staffers haven't heard the music.
Two-and-a-half hours later, I emerge from the listening session~dazed, but convinced that Use Your illusion is a smash. Thanks to the new drummer and keyboard player, the band is tighter than ever, the material is in-credibly diverse, and Slash is in top form. What burnished, ripe tone.
FRIDAY, August 9,10:00 P.M., SUNSET HYATT LOUNGE. The band's controversial image, misogynistic lyrics, substance abuse, ultra-bohemian lifestyle, and internal turmoil have been well documented by both the rock and mainstream press. A Jan. '91 Rolling Stone cover story explored Slash-the bad boy rock star-in all his tattooed splendor, including his take on the "One In A Million" lyrics, widely decried as racist and homophobic. So what am I doing here? "You saw the concert," I hear myself say, "you heard the new album. There's an amazing guitarist behind all the hype and hysteria. Get to know him-player to player. It's time to find the story that hasn't been told."
Slash appears, dressed in black leather. We settle in. Peering through his dark, curly hair, the 26-year-old talks for several hours in a husky voice hammered by cigarettes and Jack Daniels. He's articulate, focused, and has a lot to say about rock guitar.
You've got the warmest, fattest lead tone since Dlckie Betts and Duane Allman.
I was always really into guys with great tone. When I first started playing, without even thinking about it, I instantly went for a particular sound. I tried effects~an Echoplex, a Boss pedalboard-but I could never deal with them. I'd kick the shit off the stage because I move around so much. At one point, I even stopped using a wah-wah pedal because it was such a hassle to run back to it during the song. And I hate having anything mess with my signal. It took me forever to get used to wireless: We went through at least a hundred Nadys before we finally dialed in on the right one that didn't affect my sound.
You're one of those rare players who has a real signature tone.
Think so? Here's an easy way to tell if you can identity it I did the solo in a song on the
new Alice Cooper album. I'm using a [Gibson] Melody Maker with two humbuckers ~so it's not my Les Paul tone but the solo sounds like me when I hear it. I'm a bit perturbed. 'cause Alice has a video for this song with Joe Satriani in it That pissed me off. I love Alice to death, so I don't want it to sound like I'm really angry but it bums me out to have anybody think that it's Satriani playing my solo, right? When I left the studio, all the guitars were done. Somewhere down the line they put in this other guy-maybe from the band, maybe it's Satriani-playing the chorus melody at the tall end of the song. I heard it today on MTV: There's my sound, which is sort of nasty and ratty and then all of a sudden this other guitar comes in. I hope nobody thinks that's me; I want to get that straight
EARLY DAYS
How did you get started?
My first guitar was a one-string Spanish acoustic that was lying around the house. I taught myself a UFO song and "Smoke On The Water." My grandmother was really sweet; she bought me an Explorer copy that I flipped out on. Unfortunately, it was a piece of shit . Then I got a Memphis Les Paul copy . At rehearsal one day, I ended up sticking it through a wall neck first, because I could not keep the fucking thing in tune.
Did you practice a lot?
I was a workaholic; I'd play 12 hours a day. I picked it up really quick because I was naive in a way. I wasn't star struck, and I wasn't so flipped out by other guitar players that they intimidated me. I didn't feel like I was trying to reach some goal-I was just learning. A lot of people go, "It's gonna take me 10 years to reach this place," and it freaks them out I'm real single-minded, so once I got into guitar, that's all I did. It basically replaced school.
At some point you got a good instrument.
That was a B.C. Rich Mockingbird-I wish I had it now. [Quietly] I hocked it during one of my so-called bad periods. But I played that while I was going through different bands. Later, I got a handmade '59 Les Paul copy, built by a guy who makes awesome guitars, better than anything the company produces now-nothing against Gibson. I think that's when I turned into a Gibson freak~Gibson and Marshall. That's been my standard until this album.
When you were coming up, did you Se many hot players in LA?
I couldn't afford good enough concert seats to pick up anything from watching guy~ perform. But for some reason, when I listened I understood how to go about it Eddie Vat Halen was the only one who might have thrown me for a loop, but I never tried to emu late him, 'cause I always thought that style was his. It really bummed me out when every. body ripped off his whole trip. Now I think 'U doesn't even know exactly what he's doin [laughs].
Did you have any formal instruction?
One teacher, Robert Wollan-a great guy who had a lot to do with me getting into guitar-pointed me in the right direction. As a music teachers are supposed to do, he started me reading music and playing "Mary Had A Little Lamb.TM It was so boring! But Robert played the shit out of the guitar-he's still on' of the most amazing players I've ever met I' bring in records, and he'd play "Stairway To Heaven" note for note. He had a great cover band that played Cream and Zeppelin. It real pissed me off, 'cause I'd sit there with this bull shit Mel Bay. Finally, I quit and spent a lot time teaching myself. I worked full-time support my guitar habit and stayed up until God-knows-when practicing and learning. My main thing was Jeff Beck at that time. I re member learning "'Cause We've Ended A Lovers" [Blow By Blow] note for note, getting every subtlety. There was Aerosmith, Ted Nugent, Cheap Trick, and Zeppelin. I sold my soul to the guitar. If I quit playing now; I'd have no future [smiles].
Did you practice scales?
No. Robert tried to instill that in me. I must have learned pentatonic scales in a few posi tions, but as soon as I really started getting into lead guitar, scales went out the window.
Then how do you approach your solos?
I know what key I'm in, but it's more the note I'm looking for. You automatically adhere to certain patterns because the notes are there. Use Your Illusion is the first time I real branched out with passing tones.
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