Author Topic: In Depth Reviews of Slash's Top 10 Post Guns N' Roses Era Songs  (Read 1162 times)

Offline Velvet Revolver

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It's been 20 years since Slash cut ties with Guns N Roses frontman Axl Rose and went his own way with Slash's Snakepit. Since then he has been churning out exceptional tracks with a wonderful revolving squad of rock stars. Many of these tracks passed under the radar, but a few did really impressive on the Billboard charts.

Here are ten songs that have been selected, and given attention to for being hard rocking, emotionally powerful, and fun tracks. There may only be one “November Rain,” but if these songs are any indication, he's going to continue writing amazing songs.

10. 'You're A Lie' by Myles Kennedy & The Conspirators (2012)**

The dissolution of Velvet Revolver was sad, but from the collapse of that super group, Slash endured and formed another great band. Leave it to Slash to power through band break ups and keep on with writing awesome material. Myles Kennedy from Alter Bridge, Brent Fitz of Alice Cooper, and Todd Kerns of Canadian rock group Age of Electric, all assembled with Slash to write power rocking tunes. 'You're A Lie' had a pretty basic riff that repeats itself throughout, and a cutting lick, but where the song really takes off is with the solo. It's a classic Slash face melter.

9. 'Get Out The Door' by Velvet Revolver (2008)**

Velvet Revolver sky rocketed onto the charts with their debut, summoning forth a legion of devoted hard rockers pining for something with the attitude of yesteryear to return to the Billboard 200. 'Get Out The Door' was the third single off of the second full length Velvet Revolver album, Libertad. The song had a lackadaisical groove, and an upbeat melody complimented by Slash's effective use of the talkbox. 'Get Out The Door' had riffs reminiscent of old school punk and early grunge, fused with a simple rock beat and blues rhythm. The band could have been cutting edge if they persevered, but that's not the way things went.

8. 'Just Sixteen' by Velvet Revolver (2007)**

'Just Sixteen' has a sound that could have easily been on any Guns N Roses record. If you could look past the slurred vocals of Weiland, and replace them with the high pitched vocals of Axl, you'll probably hear it, too. Again, sadly the LA super group did not take off past album No 2.

7. 'Fall To Pieces' by Velvet Revolver (2004)**

Contraband's chart topping ballad about the battles of drug addiction and the uncontrolled hedonistic excess was a poignant and powerful way for Velvet Revolver to introduce themselves. The song had a somberness to it, but it was refined by an edge; it expressed sad, sympathetic emotions, without losing the tough spirit of hard rock & roll.

6. 'Mean Bone' by Slash's Snakepit (2000)**

Slash's Snakepit kept the edgy blues spirit of Guns N Roses alive and strong well into 2K. 'Mean Bone' was one of the last singles recorded by this super group. 'Mean Bone' is a fun song, with a great hook, and it's easy to rock out to.

5. 'Dime Store Rock' by Slash's Snakepit (1995)**

'Dime Store Rock' had a high octane pummeling chorus. Jellyfish vocalist Eric Dover could really deliver powerful vocals. The riff at the end of the song was one of the best that Slash ever wrote.

4. 'Spectacle' by Velvet Revolver (2004)**

Contraband debut at No 1 on the Billboard 200. It was an enumerate age for hard rock. Few people in the mainstream industry were even concerned with what the genre was pumping out. “Chinese Democracy” hung in eternal limbo at that point, and few people even speculated that the album would ever come out. Ex-G'NR rockers Slash, Matt Sorum, and Duff McKagan, came together with Danzig and Jane's Addiction guitar player, Dave Kushner, and on the microphone they hailed forth Scott Weiland from Stone Temple Pilots. The excitement that surrounded the release of Contraband was not let down by its release.

'Spectacle' is a simple song, but that is part of what makes it great. It's an easy to listen to, and easy to enjoy hard rocking anthem, with an immediately uplifting introduction. The main riff never loses its power, the licks are engaging, promising, and the solo is just f***ing nasty. For a moment the fusion of forces seemed to stop the world, and music was threatened once again by the real power of hard rock & roll.

3. 'Beggars and Hangers-On' by Slash's Snake Pit (1995)**

1995 was an amazing year for music. Among all of the great songs that came out that year, 'Beggars and Hangers-On' is a wonderful classic that could stand toe-to-toe alongside any other hard rock group of the time.

2. 'Ghost' by Slash's Snakepit featuring Ian Astbury (2010)**

It's no easy task to decide that this song isn't No. 1. Who wouldn't want to hear Ian Astbury's vocals on a Slash track? 'Ghost' is like a culmination of forces from Guns N Roses and The Cult that up until 2010 only existed in rock n roll wet dreams. It's just so damn good. Their styles mixed perfectly, and created a deep rhythmic melody, powered by a really interesting lick that mixes finely with a deep southern styled riff.

1. 'Doctor Alibi' by Slash's Snakepit featuring Lemmy Kilmister (2010)**

This isn't the first time Slash collaborated with Lemmy Kilmister of Motorhead. Slash also provided a shredding solo on 'Ain't No Nice Guy' with Lemmy and Ozzy back in the early 90s. Slash stands behind Lemmy the entire way through on 'Doctor Alibi,' though, and from the sounds of it – they're still no nice guys after all. The track is a crossroads between two generations of hard rock music.

'Doctor Alibi' has a killer riff, a wonderful hook, and the visceral gutter punk grunt of Lemmy is never one to leave you unsatisfied. If you ever wondered what Slash would sound like if he were in Motorhead, this is it.

8. 'Just Sixteen' by Velvet Revolver (2007)**