Slash, the GRAMMY-winning, world-renowned rock guitarist who has played in Guns N’ Roses and Velvet Revolver, as well as his own groups Slash’s Snakepit and Slash Ft. Myles Kennedy & the Conspirators, has released five solo albums overall, and now six with “Orgy of The Damned”. After landing on the top of the charts with his first solo album, “Slash”– which featured Ozzy Osbourne, Chris Cornell, Fergie, Myles Kennedy, Iggy Pop, Beth Hart, and more on vocals — he formed the solo band Slash Ft. Myles Kennedy & the Conspirators who’ve been touring worldwide and making music together non-stop for over a decade.

A great cover takes something old and makes it new again. This is the philosophy behind Slash’s new album, “Orgy of the Damned”, a collection of 12 dynamic songs that shakes up and revitalizes blues classics with a stripped down, instinctive approach. Working in a similar way to his 2010 self-titled solo LP “Slash”, which featured multiple guest vocalists, the acclaimed guitarist teamed up with numerous musicians and singers to create a singular expression that pays homage to the blues. By celebrating both well-known and largely undiscovered songs, Slash offers a nostalgic nod to the past while reinvigorating the songs with his inimitable guitar playing and the spirit of collaboration.

“Orgy of the Damned” showcases a lesser-heard aspect of Slash’s musical prowess. While he has always embraced a broad range of styles and genres, the album offers a glimpse into his early inspirations and ongoing obsessions. Instead of recording with his signature stack of amps, he kept things basic with a small combo amp and a few old guitars, taking advantage of an opportunity to explore a unique side of his playing.

“With any of the hard rock bands I’m in the music is usually delivered at a frenetic pace with a certain amount of aggression,” he adds. “This album is still in my style, and it still has its own sort of aggression to it because that’s the way I play. But at the same time it has a simple, stripped down sound that is transparent and stark. It was a different approach. I don’t often do these kinds of records and you don’t always hear recordings of me in this context. But I loved what we captured in the moment.”