Slash, Orgy of the Damned Review

by Steven Miller

Since hitting the rock scene in the 80s with the band Guns N’ Roses, Slash’s guitar work has always been synonymous with a particular kind of raw, unfiltered energy—a tone that straddles the line between controlled aggression and melodic eloquence. With Orgy of the Damned, his latest offering, Slash steps away from the high-energy terrain of hard rock and dives headfirst into the rich, muddy waters of the blues. Released on May 17, 2024, under Gibson Records and Sony Music, this album is a collection of classic covers; it’s a homage to the genre that lies at the very foundation of rock ‘n’ roll.

At first glance, the concept of an all-blues-inspired cover album might seem like a curious choice for an artist whose name is so indelibly linked with the sonic architecture of Guns N’ Roses. Yet, as the album unfolds, it becomes clear that Orgy of the Damned is the natural culmination of a lifelong dialogue between Slash and the blues—a conversation that has subtly underscored much of his work, now brought to the forefront with a striking, unvarnished clarity.

From the outset, with the blues shuffle strains of “The Pusher,” penned initially by Hoyt Axton and brought to life by the gritty vocals and harmonica work of Chris Robinson of The Black Crowes, the listener is invited into a world where the blues isn’t merely a genre but a living, breathing entity. The track’s slow-burning intensity is a fitting prelude to the following musical odyssey. Steeped in a weathered wisdom, Robinson’s voice intertwines with Slash’s robust guitar, creating a dialogue between the vocal and instrumental that sets the tone for the entire record.

The inclusion of Robert Johnson’s “Crossroads,” featuring modern blues titan Gary Clark Jr., is a masterstroke. The song’s mythology—Johnson’s alleged Faustian bargain—adds a mystique that Slash and Clark Jr. channel with their electrifying interplay. It’s a meeting of two generations, each paying tribute to a common ancestor, the progenitor of the Delta blues. The rendition of “Hoochie Coochie Man,” with ZZ Top’s Billy Gibbons at the helm, continues this trend of honoring the past while infusing it with new life. Gibbons’ gravelly vocals and Slash’s slide guitar work deliver a version that is rebelliously captivating, embodying the spirit of the blues as a form of musical defiance.

What makes Orgy of the Damned particularly compelling is its willingness to venture into unexpected territories. The collaboration with Chris Stapleton on Peter Green’s “Oh Well” is a prime example. Stapleton’s country-tinged voice adds a unique texture to the track, blending genres in an innovative and natural way. The result is a song that transcends its origins, becoming a hybrid of rock, blues, and country—a testament to the fluidity of musical boundaries.

Perhaps the album’s most surprising—and delightful—moments come from the more unique collaborations. Iggy Pop’s ragged vocals on a stripped-down, acoustic rendition of Lightnin’ Hopkins’ “Awful Dream” reveal a raw vulnerability, starkly contrasting the bravado typically associated with both artists. Meanwhile, the pairing of Brian Johnson with Steven Tyler on Howlin’ Wolf’s “Killing Floor” is a solid listen. Johnson’s voice, still powerful but tinged with the wear of years, complements Tyler’s harmonica in a way that feels like a meeting of titans, each contributing their unique voice to a song that has stood the test of time.

The album’s pinnacle, however, is undeniably the reimagining of “Papa Was a Rolling Stone,” featuring Demi Lovato. Known more for her work in pop and rock, Lovato delivers a performance that is nothing short of transformative. Her voice, layered with the effects of a vocoder and underscored by Slash’s wah-laden guitar, creates an exhilarating sonic experience. The track builds to a crescendo, a full-band jam that leaves the listener breathless and craving more. In this moment, the line between voice and guitar blurs, merging into a unified expression of emotion and artistry.

The closing track, “Metal Chestnut,” is a fitting end to the journey. An instrumental piece, it showcases Slash’s ability to tell a story without words, using his guitar to paint a picture of a world where the blues is both a beginning and an end—a cycle of sound that is as eternal as it is ever-changing.

What makes Orgy of the Damned so compelling is the music itself and the sense of ease and comfort that permeates the entire album. Slash is a musician with nothing left to prove, and this album feels like a return to the pure joy of making music—a celebration of the sounds that shaped him as an artist. The band, featuring Tash Neal, Johnny Griparic, Teddy Andreadis, and Michael Jerome, plays with palpable cohesion and chemistry.

In Orgy of the Damned, Slash offers more than just a collection of covers; it’s a reminder that great music is timeless, and that the blues, in all its forms, will always find a way to speak to the heart of the listener. Orgy of the Damned is a journey through the blues guided by a musician who understands that the greatest tribute one can pay to the past is to breathe new life into it. In this, Slash has succeeded brilliantly, creating a record that is a rock icon’s perspective of the blues tradition—a tradition that will never fade away thanks to albums like this.