Right around ten-years ago, I entered my freshmen year of high school and coped with this awkward transition by listening to Guns N’ Roses’ Appetite For Destruction on my walkman. As my hair grew longer and I waited for my bus every morning, this album provided a daily dose of attitude in order to persevere through these surrounding changes by staying true to myself. For a fourteen-year old just learning how to play the guitar, there’s something mystical about rock n’ roll when it provides the inspiration to overcome any obstacle. Regardless of my school’s social hierarchy or bullshit overcrowded classes, songs like “Out Ta Get Me” and “My Michelle” opened my eyes to the emotional conveyance achievable by learning this six-stringed instrument from heaven.
Flash-forward nearly a decade later, I experienced this sense of déjà vu after I listened to the premiere of Slash’s “World On Fire” featuring Myles Kennedy and The Conspirators. Once the cowbell kicked into a vintage assault of metallic riffage, this track’s bombastic attitude shot a bolt of adrenaline through my body as if I heard the second coming of “Rocket Queen” or “It’s So Easy.” In my eyes, very few guitarists in the mainstream eye could elevate a track quite like Slash considering his ability to craft elegant melodies through bluesy tones of self-expression. On his latest LP World On Fire, Slash commandeers the spotlight through a seventeen-track – yes, seventeen – whirlwind of inspirational guitar playing that showcases a musician still hell-bent on pushing the barriers of his creativity.
What’s the secret behind Slash’s recent success? He just happened to recruit the most talented frontman in rock over the last decade. Straight up, Myles Kennedy’s [Alter Bridge] four octave vocal range, world-class songwriting skills, and expert knowledge of music theory reignited Slash’s creative prowess. In a music world consumed by egotistical deception, Kennedy’s humbleness and professionalism goes against the dreaded stereotype of narcissistic frontman…something Slash knows very well. If anyone hasn’t listened to Alter Bridge, check out my interview with Myles Kennedy and get a glimpse of his incredible personality. Back in 2010, Slash assembled a touring lineup featuring Kennedy, bassist Todd Kerns [Sin City Sinners], and seasoned session drummer Brent Fintz. Four years later, this lineup organically evolved into a full-fledged band actively contributing ideas on World On Fire. Honestly, I’d be ripping off the reader if I didn’t give well-deserved props to “The Conspirators.” No questions asked, “The Conspirators” share a level of chemistry missing in Slash’s career since the original Guns N’ Roses.
After recording two successful LP’s with producer Eric Valentine, Slash chose to collaborate with Michael “Elvis” Baskette [Alter Bridge] on World On Fire. While I genuinely enjoyed Valentine’s efforts on Slash & Apocalyptic Love, Baskette’s quench for loud guitars and huge melodies opened up endless possibilities to expand Slash’s repertoire. Make no mistake, Baskette’s influence on standout tracks like “The Unholy” pushed Slash to use vintage delay effects and heavily distorted amplifiers that intensified the dramatic lyrical content. Right off the top, Baskette’s existing chemistry with Myles Kennedy was destined to translate onto this record. Do yourself a favor and check out Alter Bridge’s masterpiece “Blackbird” for a crash course in musical perfection. To Baskette’s credit, World On Fire recalls the roughest edges of Appetite For Destruction. The relentless grooves on “Wicked Stone,” “Too Far Gone,” and “Withered Delilah” summon the addictive hooks of vintage Guns N’ Roses while Kennedy’s melodies represent the heavier influence of Alter Bridge. Allow me to draw a quick comparison, Velvet Revolver ultimately tried and failed to achieve this balance. Slash’s insistence on recording to tape captured the looseness of Appetite in ways no longer obtainable through Pro Tools.
From a guitarist’s standpoint, the positive energy surrounding “The Conspirators” totally brought out the best in Slash’s performance. “30 Years To Life” features slide guitar and clap-along rhythms that transition into Iron Maiden style duel leads. Slash’s guitar playing seems re-energized by the fact that he’s having fun without a bunch of rockstar ego’s standing in his way. In fact, Slash felt confident enough to release 17 songs without trimming down the tracklist. To his credit, this was a deliberate attempt to avoid reissuing the album with bonus tracks sometime next year just to rip off the consumer. However, I initially questioned Slash’s decision since there’s always a possibility of filler overshadowing the best material. For a band firing on all cylinders, I didn’t want to see negative reviews or lack of fresh ideas hamper their progress. Let’s not forget, Apocalyptic Love came out just two-years ago and hit songs like “You’re A Lie” and “Anastasia” still receive frequent airplay. Looking back though, Slash is no stranger to releasing large quantities of music. Does Use Your Illusions 1 & 2 ring any bells? Even Slash’s solo debut featuring Ozzy Osbourne and Lemmy Kilmister contained 16 songs altogether.
In terms of variety, World On Fire continues to diversify the blueprint originally established on Apocalyptic Love. “Shadow Life” screams radio airplay and should garner chart topping success like “You’re a Lie” due to the modern edge of Kennedy’s infectious chorus. “Beneath The Savage Sun” showcases Slash’s appreciation for the hard-hitting nature of Alice In Chains and Metallica and crosses borderline metal territories. Longtime listeners – MUST – hear Slash summon his inner Michael Schenker and Randy Rhoads during the guitar solo! Once the middle bridge kicks in, Slash composes a classical lick of Paganini proportions and proceeds to light up the fretboard. “Iris of the Strom” displays Slash’s signature ability to write addicting leads that perfectly suit Kennedy’s soaring vocals before the song transitions into a Hendrix infused wah solo. In my opinion, the highlight tracks from World On Fire feature a combination of challenging riffs and classical leads that push the limits of Slash’s performance.
For longtime listeners interested in reliving Slash’s glory days, I can’t imagine Guns N’ Roses fans disliking “Battleground,” “Stone Blind,” “Bent To Fly,” and “Avalon.” “Battleground” summons Slash’s “Use Your Illusions” knack for crafting ballsy ballads as Kennedy’s uplifting Beatles inspired harmony demands audience participation. “Bent To Fly’s” acoustic introduction sounds like the sequel to “Anastasia’ before the bluesy riffs take over and summon the melodic grandiosity heard on “Don’t Cry” or “Civil War.” “Avalon” and “Stone Blind” channel the essence of Duff McKagan and Steven Adler’s rhythm section as Kern’s rumbling bass lines and Fintz’s powerful drum fills reignite the relentless sunset strip aura of Slash’s crunchy riffs.
Straight up, I’m beyond impressed by this band’s ability to craft such high-quality material considering the limited timeframe afforded by Myles Kennedy’s commitment to Alter Bridge. Throughout the writing process, Slash and Myles communicated ideas back and forth through e-mail so each second was maximized once they jammed in person. Make no mistake, this is Slash’s best effort since his heyday with Guns N’ Roses. I understand the boldness of this claim considering the high quality material found on Apocalyptic Love, Slash, and the criminally underrated It’s 5 O’Clock Somewhere. Unlike some of his ex Guns N’ Roses bandmates, Slash breathes new life into his sound by staying open-minded to his producer’s suggestions.
As I stated earlier, I questioned Slash’s decision to release 17 songs since it’s a handful of new material to digest. When listening from top to bottom, certain songs share the same key and start to blur after a while. From my perspective, I think World On Fire is best served in smaller portions for the sole purpose of garnering appreciation for the whole picture. Instead of trying to pummel through 17 songs, listen to five or six songs at a time just to avoid feeling overwhelmed. To his credit, Slash maintains a healthy balance between satisfying his creative interests and reconnecting with his established fanbase. In fact, Slash’s current path marks a full-fledged return to the brightest moments of Guns N’ Roses early days. Aside from Kennedy’s vocals, Alter Bridge fans should also enjoy World On Fire due to the distinct heaviness of Baskette’s production. At this stage of his career, Slash seems determined to combat the depressing music environment and knows the importance of staying relevant. In a music world consumed by corporate pop and redundant post grunge disguised as modern rock, it’s inspiring to hear someone as iconic as Slash continue to dig through the trenches and fight the battle for rock n’ roll.
Rating: 8/10
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