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It's a comfortable and familiar fit that poses only one significant problem: nobody bothered to write any songs; they're just playing for the sake of playing.
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Maddeningly tame, neither replicates the whiskey-soaked sleaze and instantly classic riffs that have earned Slash his deservedly legendary status. Thank goodness, then, for three reliable road warriors, who ride in on a much-needed rescue mission.
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Slash shoots a little too wide for its own good, but the album showcases him as the guitar hero we've always known and as the songwriter we probably haven't appreciated enough.
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This first true-solo effort sees the man responsible for some of rock's most iconic riffery joining forces with the friends he met on the way (including The Cult's Ian Astbury, Lemmy and Iggy Pop) and is a rocking riot from the off.
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Does it offer us an exclusive window into Slash's soul? No. Is it a neat CV and a sneaky way of auditioning the next Velvet Revolver singer? Probably. Like any other mixtape from a friend, listen to it in the car, then stick it in the cupboard under the stairs with the others.
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What is disappointing about Slash, however, is the fact that it seems getting the names into the studio was where the creative process began and ended. So many of the songs here would simply not make it onto new albums from anyone involved.
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Team-ups with Ian Astbury ("Ghost"), Chris Cornell ("Promise") and Wolfmother's Andrew Stockdale ("By the Sword") produce familiar sparks but die out quickly. And a ballad with Adam Levine of Maroon 5, "Gotten," aims for "November Rain" but ends up pretty soggy.
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MojoThankfully Slash doesn't lack guts, tunes, potent solos or giant-slaying riffage. [May 2010, p. 92]
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The top hat-wearing guitar hero has gingerly handpicked a diverse palette of vocalists to accompany each of the 16 tracks and contribute to the lyrics, while he takes care of the riffs....Yet the iconoclastic guitarist is careful to never upstage his guests.
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Biggest irony? A trillion bucks' worth of vocal talent can't top 'Watch This', a crunching Dave Grohl-embellished instrumental jam. Sounds like a convenient juncture to give Axl a reconciliatory ring, fella.
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This disc might not change your life, but it's an undeniably solid hard rock album that proves how much credit Slash deserves for the success of his former band.
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Slash goes through all the proper motions (distorted guitars, squint-eyed staring-into-the-distance guitar solos, loads of star power), but the end product doesn't satisfy me on a visceral level, and closer examination only magnifies the fact Slash can't establish instant chemistry with just any name he pulls out of his address book.
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Q MagazineThe result is disjointed but fun--and way more entertaining than Chinese Democracy. [Jun 2010, p.131]
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With the quality patchy and the tunes themselves only average, the album feels like a bit of fun for the artists rather than a serious undertaking.
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UncutPredictably, Slash is most at home snuck behind Kid Rock and Iggy Pop, and accompanying Lemmy's below on "Doctor's Alibi." [Jun 2010, p.98]
Awards & Rankings
User score distribution:
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Positive: 39 out of 44
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Mixed: 2 out of 44
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Negative: 3 out of 44
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Aug 21, 2010
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Apr 16, 2012
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Mar 29, 2011