Can you imagine what it must be like to be Slash (who for the thousandth time was not born in Stoke On Trent)? You start as the guitar player in the most dangerous rock n roll band on the planet, make the best rock n roll album ever made, then just because you can, you take your top hat and you end up with a solo career that fills arenas for fun.
It’s the level of stardom and cool that we mere mortals (even if we were really born in Stoke on Trent) can only dream of. Let’s be honest, me and Mr. Hudson share one thing in common and it’s a football team that we support. Nothing else.
So then imagine being Slash and not being satisfied. Imagine deciding you’d quite like to make a blues record.
Now, here’s the clever bit. Because you’re Slash and you can’t sing, you rope in some of the (and I mean this literally) biggest stars in the damn world to help you.
And that’s basically “Orgy Of The Damned” in 177 words of waffle.
My god.
Right from the moment that Chris Robinson turns up for a glorious “The Pusher” this is special. This is probably the most fun record of 2024.
Made because everyone just wanted to make a record, “Crossroad Blues” sees Gary Clark Jr crackle in a way he never does on those Workday adverts, that’s for sure.
That reckons without “Hoochie Coochie Man”, mind you. The Rev Bill himself is here, and you’d better clear the room (Christ, imagine being Slash and not being the coolest man in the room….) ‘cos he’s coming through.
Country’s finest voice Chris Stapleton rather neatly underlines that on “Oh Well” , and “Key To The Highway” sees Dorothy bring the sass and the soul of the type that Fergie from Black Eyed Peas did 14 years ago or so when he stuck out the “Slash” album.
Mention of that one is deliberate given that the premise is similar. Slash and a load of singers (the current collaboration with Myles Kennedy was born from that) and he’s never sounded as happy since.
Iggy Pop was on that one, and he’s back on this too, for a sort of menacing version of “Lightentin’ Hopkins’ “Awful Dream” but the fact Paul Rogers is here for “Born Under A Bad Sign” almost overshadows everything else.
We also need to take a moment to digest “Papa Was A Rolling Stone”. Can I be honest here, Dear Reader? This thing is right up my alley, mostly, but I am not aware of Demi Lovato. If you aren’t either, head here and listen to her own this.
“Killing Floor” was – if I recall correctly – the first single they stuck out from “….Damned”, and it reminded everyone that Brian Johnson was rather good (and now he’s back in black, as it were) oh and by the way, the harmonica here? That’ll be Steven Tyler….
Stevie Wonder’s “Livin’ For The City” stretches the boundaries of “blues” a bit, but who cares? While the ending is interesting for two reasons. First “Stormy Morning” is turned into a massive, epic soaring thing, making it perfect for Beth Hart to do what she does – and she plays the part of Beth Hart superbly, if you will.
But secondly, there’s “Metal Chestnut”. The only thing written specifically for this project. A gorgeous instrumental thing that is Slash – I’d argue – like you’ve never heard before.
That sort of vibe, of course, is all over this. Slash as you’ve (sort of) never heard him before. Plus, speaking personally, I am glad that he’s only gone for the old standards here, in the main. This is not some chin-stroking exercise in who knows more about blues music. This is a load of famous, talented people having what sounds like an orgy of fun.
Rating 9/10
