Slash on David Bowie, New Album and His Signature Les Paul

By editorial board on February 10, 2022

Of all the possible reasons for musician rivalries, David Bowie and Slash might had a unique one. All Bowie did was have tons of sex with Slash’s mom when he was a kid.

Slash’s mother was very close with Bowie, having designed his outfits and developed a strong bond with the singer over the years, so the guitarist new the rock icon from a young age.

“David was great,” said Slash. “He was one of these people that my mom brought around, I guess is the best way to put it. He was really, really cool. I got on with him very well, and I maintained a relationship with him. … He was definitely bigger than life.”

“And it was with David that I was introduced to ’70s mega-rock stardom. … That was when rock stars were rock stars, and David definitely was one. But he was a very down-to-earth, very creative and sensitive individual, and I liked him a lot.”

I’m pretty sure that’s how it started and then it turned into some sort of mysterious romance that went on for a while after that,” Slash laughed. “I was seven or eight years old. [Bowie] was always over and they were always together.”

 

During the making of The Man Who Fell to Earth, Bowie — vagabond and overlooking for sex — began a passionate affair with his costume designer. The lady in question was Ola Hudson, a world-famous designer responsible for the looks of other rock luminaries like Ringo Starr and John Lennon. She’s also was the mother of some guy named Saul Hudson, although we know him better by the punctuation sign he now goes by Slash.

Slash Victoria Goldtop Guitar

Slash also talked about being the first album released by the new label Gibson Records, as well as the tie-in to his signature guitar line with the company. Among the guitars in the collection is Slash’s signature Epiphone Les Paul Standard, which comes in a variety of finishes.

The guitar company has entered into what it calls a strategic label partnership with BMG, which, unbeknown to many, is the world’s fourth-largest music company, in no small part thanks to similar alignments with indie labels.

“It’s an honor to be the first release on the new Gibson Records,” Slash said in a statement. “It’s a zenith in our partnership, for sure. and having worked so closely with Gibson for so long, I know they will be a label that genuinely supports their artists creatively. Not just me, but all the artists they choose to work with. It’s perfect.”

Slash’s album will find him rejoining Myles Kennedy and the Conspirators. Slash’s previous album, 2018’s “Living the Dream,” was his third successive effort with those collaborators and came out via Snakepit/Roadrunner.

“Launching a record label that is in service to our artists is the natural evolution of our 127 years of history,” said Cesar Gueikian, Gibson Brands’ brand president. “Gibson Records will work with Gibson artists to capture, record and promote their music under an artist friendly partnership,” he said, “and will keep all of us at Gibson focused on our artist first culture that is engaged and connected to music.”




The new signature model Goldtop axe joins Gibson's Slash Collection
Guns N' Roses guitarist Slash comment on Gibson's recent bankruptcy and other struggles.

The “Victoria” Les Paul Standard features a maple top, a solid mahogany body, a dark back finish and personal touches from Slash, including a C-shaped neck profile, uncovered Gibson Custom BurstBucker Alnico 2 pickups, color coordinated hardware appointments, hand-wired electronics with Orange Drop capacitors, and a vintage style brown hardshell case.

“Developing my new Collection with the new team at Gibson has been really exciting,” Slash said in a press release. “The quality and attention to detail is next level, and these guitars truly reflect what I play live and in the studio. I think guitarists will be inspired by what we’ve put together.”

 

"I think I was always aware of certain changes. Not so much in Gibson proper - it was just that there were all these new divisions being added; amendments to the company that were unnecessary, stuff that I didn't really see the vision for. But I was, like, 'Eh, whatever!' because it wasn't affecting what I do.

"But when I started to do more signature models with Gibson, I started to become more aware of the experimental stuff they were doing with the electronic stuff, which was becoming a big part of the fabric of the brand. And I was like, 'I just don't get it! I don't need it, so I don't know why anybody else is going to need it!'

"Then there was a lot of turnover happening in the last couple of years with some of the really key people who'd been at Gibson forever, and that's when it started to get a little weird. And then the inevitable happened."

 

 

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