Slash brings real heat to Orgy of the Damned!
Slash has been part of American music since 1981. It is hard to think of the '80s and '90s rock scene and not visualize the tall, muscular Guns N’ Roses lead guitarist in his trademark top hat. He has formed many bands and played many styles. His current album, Orgy of the Damned, is a collection of tried-and-true Blues powerhouse tunes played with some of the industry's heavy hitters. Each track is a marriage of the original song, the featured artist's own style, and Slash’s interpretation on guitar.
It is a serene afternoon as I sit in my comfy chair out on the lawn, watching the dogs frolic and play in the sun, when I receive a copy of Slash’s Orgy of the Damned, and I dig right in. A sonic delight from the first downbeat till the last outro, the album is solid, and I am an instant fan.
The album starts hard out of the gates with The Pusher, featuring Chris Robinson of the Black Crowes. There is minimal deviation from the original Hoyt Axton rendition, but there is more. Chris’s voice is unmistakable, gritty, and soulful; he enunciates every syllable like a vocal crash cymbal, pointed, sharpened, and directed at the listener. Slash's guitar solo adds just the right amount of definition and mimics the vocals.
Crossroads with Gary Clark Jr. hits right between the eyes like the original. Robert Johnson's genre-defining song has been recorded and played by every serious blues musician on the planet, and this version is a purist’s dream. A true homage to Blues, with Slash's guitar bending and screaming while the amazing Gary Clark Jr. gives voice to the arrangement. This song alone is worth seeking out.
ZZ Top’s front man, Billy Gibbons, knows soulful blues, and the choice to add him on Hoochie Coochie Man is a no-brainer. Billy’s growling, half-spoken, half-sung style fits the song perfectly. Slash roars on the guitar solo, matching Billy’s voice and giving the song the powerful emotion that has made it a standard. The lines stay true but offer a fresh, vibrant rendition.
Fleetwood Mac's Oh Well, sung by Chris Stapleton, fits just right at this point. The album weaves a tale of blues progression, starting in the '60s, then moving to its beginnings, and now returns to the late '60s when blues became harder and more electrified. Oh Well was a standout for Fleetwood Mac and has become a standard, now redefined and improved by an iconic Country star and another British guitarist. The original stands the test of time, but this version is a triumphant reimagining.
Key to the Highway matches the vocal fireworks of Dorothy with Slash’s guitar theatrics. Dorothy Martin is a master of melisma, the blues vocal style of bending a single syllable over several notes, stretching and pulling feelings into the words. Her band meshes with Slash seamlessly, giving the feeling of a cohesive group rather than a featured artist. Another must-listen song on an album full of winners.
Iggy Pop gives his interpretation of the Lightnin’ Hopkins tune Awful Dream, delivering a memorable, eerie rendering. The blending of Iggy’s melancholy vocals with Slash bending and strumming is a tribute to the master bluesman. Hopkins is credited as one of the greatest guitarists of all time, and Slash shows no fear in taking on the defining members of the Blues, confidently showcasing his chops.
The Albert King standard Born Under a Bad Sign, featuring the legendary Bad Company frontman Paul Rodgers, is sheer magic. Dark, gloomy lyrics grate against slow, angst-filled guitar bending that would make Albert smile. For those just dipping their toes in the Chicago Blues scene, Albert King is one of the Windy City’s crown royalty, and to pull off a cover of his standard so authoritatively is a credit to the musicianship of all involved. Play this one late at night while cruising the back streets of the city and feel what it’s like to be part of a V.I. Warshawski novel.
Demi Lovato lends her vocal talents to the Motown tour de force Papa Was a Rolling Stone, giving the mostly blues album a little more soul. To those who grew up with the Temptations version, this rendition feels a little thin, lacking their full harmony, but it is spectacular in its own way. Demi’s crystalline vocals with impeccable diction leave ample room for Slash to open up the guitar line. Truly listenable and fun to sing along with anytime.
Howlin’ Wolf's Killing Floor has been noted as one of the defining moments of Chicago electric blues. AC/DC’s Brian Johnson has electrified audiences for years wherever he goes. Put them together with one of the greatest living guitarists, and you have the recipe for a fully charged hit. Having Steven Tyler play harmonica on the track just pushes this one into the stratosphere. The song positively vibrates with all that talent, yet there is no overkill, just solid, emotional blues.
I thought the surprises and mind-opening realities were over until I heard Stevie Wonder's Living for the City with London Souls founder Tash Neal. The song about sacrifice is like a personal testament for Tash, who was left in a coma from a hit-and-run accident and had to claw his way back. Slash brings a more bluesy side to the song, giving it a more visceral feel than the original.
American blues contralto Beth Hart is utterly stunning on the T-Bone Walker classic Stormy Monday (but Tuesday Is Just as Bad). Sultry and eloquent, the note-bending diva exemplifies the West Coast Blues sound pioneered by Walker. The point and counterpoint between the sung words and passionate guitar lines simmer near the boiling point, ebbing and flowing like a soft breeze through a screen door. It’s the perfect blending of guitar and human voice to form a single living instrument.
Metal Chestnut, the only original song on offer in this collection, starts off light and playful and then stretches to a burning metal pinnacle. Slash soars once again with the type of solo reminiscent of his days with GN’R. The shortest song on the album, it feels like his personal signature to his fans, a thank-you for listening and following his long and storied career.
Orgy of the Damned is a definitive collection of blues standards performed by some of today's greatest living artists. Some question why create such a collection when the originals are all available, but the answer is obvious: the originals are not Slash in 2024. This is an homage to the past with great respect and passion. The album is an essential collection, especially for those who love the blues or those who want to discover the history of true American music.
