SPILL ALBUM REVIEW: SLASH – ORGY OF THE DAMNED

SLASH
ORGY OF THE DAMNED
GIBSON RECORDS

Slash has returned with, Orgy Of The Damned, his first solo album without Myles Kennedy and The Conspirators in nearly 14 years. Much like his 2010 self-titled release, his latest record sees a star-studded, revolving lineup of guests vocals performing a range of classic blues covers. Music, from the likes of Robert Johnson, Lightnin’ Hopkins, Howlin’ Wolf, Peter Green, and Stevie Wonder among others, is brought to life from collaborations that see artists such as Brian Johnson, Gary Clark Jr., Iggy Pop, Chris Stapleton, and Dorothy shine alongside Slash.

The Black Crowes’ Chris Robinson joins Slash to open the album with “The Pusher”, a sauntering and powerful track. The chemistry between Slash and Robinson makes this mid-tempo song soar. While it may seem like an odd choice for an opening song with its slower pace, “The Pusher” sets the tone for the record immediately. Unlike most of Slash’s past work, Orgy Of The Damned is a blues album through and through. This is further established on the following songs, “Crossroads”, led by Gary Clark Jr. on vocals and guitars. The electrifying rendition feels faithful to that of the original while “Hoochie Coochie Man”, featuring Billy F Gibbons is a traditional blues rendition that hits hard. To hear Gibbons and Slash side by side on the record elevates this song among the best collaborations on Orgy Of The Damned. 

Slash’s new album stands without a moment of weakness, making for a stellar love letter to the blues. Whether it be Chris Stapleton singing Peter Green’s “Oh Well” or Demi Lavato on The Temptations’ “Papa Was A Rollin’ Stone”, Orgy Of The Damned is, through and through, a blues album of classic caliber. Seemingly recorded largely live off the floor, Slash and his band sound incredible, with the titular guitar hero paying homage to one of his biggest veins of influence with a range of stellar solos, crunching riffs, and tasteful lead lines, all of which, curated with exceptional tone and craftsmanship. Slash’s presence across Orgy Of The Damned remains effortlessly cool as his ebbs and flows between the ultimate leading force and the steady sideman. In addition to the aforementioned collaborations with Robinson, Clark, Stapleton, and Gibbons, the jangly, acoustic “Awful Dream”, featuring Iggy Pop, the brisk “Killing Floor”, featuring Brian Johnson, and the funky “Living For The City”, featuring Tash Neal are necessary highlights. Furthermore, the album closes with the sole original track on the record. “Metal Chestnut” is an instrumental track that feels orchestral in its composition that stands alongside a recorded performance from Slash that feels yearnful, further establishing Slash as one of the most emotive guitarists ever.

If anything, Orgy Of The Damned is a fun record of excessive rock and roll indulgence. Beyond this, however, Slash and his motley crew have delivered a record that stands as a preservation piece that brings the creative output of some of the earliest blues icons, along with those of the ‘60s revival, into our modern era. This is especially apparent when you consider the inclusion of popular artists of today. In such, Orgy Of The Damned shines not only for its collaborative nature, but as a demonstration for the timelessness of the blues.

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