ALBUMS DE SLASH > Tout ce qu'il faut savoir sur la discographie de Slash

1. The Pusher (Wayne Hoyt Axton)
2. Crossroads (Robert Leroy Johnson)
3. Hoochie Coochie Man (Willie Dixon)
4. Oh well (Peter Alan Green)
5. Key to the Highway (Charles Segar, William Broonzy)
6. Awful Dream (Sam (Lightnin’) Hopkins, Clarence Lewis, C. Morgan Robinson)
7. Born Under a Bad Sign (William Bell and Booker T. Jones)
8. Papa Was a Rolling Stone (Barrett Strong, Jesse Norman Whitfield)
9. Killing Floor (Chester Burnett)
10. Living for the City (Stevie Wonder)
11. Stormy Monday (T. Bone Walker)
12. Metal Chestnut (Slash)

Awful Dream
Written by Sam (Lightnin’) Hopkins, Clarence Lewis, C. Morgan Robinson
Published by Demain Music Company

Vocal – Iggy Pop
Guitar and Solos - Slash
Drums - Michael Jerome
Iggy Pop appears courtesy of Thousand Mile Inc

SLASH: “Oh, now, this is an interesting story. When I got the Blues band back together, I had an idea for the overall feel and the vocalists in my head for the whole thing, and as we went from song to song, we found the right fit. In our conversations about singers, Iggy Pop is somebody that I’ve been friends with and worked with for many years, and I really have the utmost admiration and respect for him. Johnny, our bassist mentioned that Iggy said in an interview he’d like to do something in the blues genre. I’d never heard that, so I called Iggy, and we talked about the record. Since I didn’t have a song earmarked for him yet, I asked him if there was a particular song he would like to do, and he said ‘Awful Dream’ by Lightnin’ Hopkins. Listening to the original track, I imagine it’s Lightnin’ Hopkins sitting on a stool with an acoustic with a pickup, and a very old school, primitive version of an electric-acoustic, and then there’s someone in the background playing very loose drums, and you can tell it’s a one-take almost made up on the spot recording. So, I very loosely learned that version. Iggy came to my studio in L.A., and we just sat down, he was on one stool, and I was on another, and I had my man, Michael Jerome come in and play some drums, and we just grabbed the tape live. So, it’s really, really very cool, and spontaneous. Iggy’s interpretation of that song is actually sort of sublime. And I think it’s something that nobody’s ever heard from him. Then there’s something cool on it at the very end of the track. We’re just playing the vamp out and I have my headphones on and I’m hearing this thing that sounds like a harmonica and I turn around and it’s Iggy singing the harmonica parts. It is really cool. So yeah, that was a very special moment on the record.�