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EJSundayModerator
(acolyte)
04/06/04 11:26 AM
Earl Slick  

"The thing about David that's interesting is that he is an artist. Truly an artist, whereas a lot of pop stars, or rock stars, or whatever the hell you wanna call them, I hate all those words, David is a true artist. And that's what the magnetism is for me being involved. I get very bored with stuff that doesn't change. With a lot of artists there's a sound, and that's the sound. I just get fuckin' bored, you know. I really like the fact that David will really throw some weird shit at you at times. You're like, 'What the hell is that?!' And then you figure it out and you go, 'Oh, okay,' and you get it. You're always on your toes with David, and I like that."

Earl Slick, concertlivewire.com, January 2004



ohramonaModerator
(stardust savant)
01/05/05 12:11 PM
Earl Slick new [re: EJSunday]  

"When we work with David, it's not like a session where you go in and he says, 'Oh, I want you to play these notes there and there, here's your paycheck, get out.' It's a give and take thing. You hang out, you say, 'I've got some ideas. What do you think?' 'Oh, I think this.' 'Well, let's work this out.' We spend a day and we do it from a band perspective, even though it's his record."

"One thing about David that you see very few artists do when they bring people in to work with them is that David brings in people that already do the thing that he's looking for. He brings you in specifically for a purpose and he lets you do what it is that you do. And he likes what you do or you wouldn't be there. It makes it real easy to work because he's not bringing me in to do some other thing that I just don't do. He recognizes who you are and what it is you do and you work together with that, which makes it a lot more fun and way more creative."

"I wasn't intending on writing an album, but I started writing and somewhere in the midst of the thing I decided that I would make a record. David's largely responsible for that because when I got started working with him again I got reinspired to even write. I went through a long period of time where I really wasn't doing much writing. Then he offered his services and we wrote 'Isn't It Evening.' It's one of the first songs I recorded and it inspired me to write the rest of the album."

Earl Slick, PRICK, Vol. 5, Issue 4, January 2005, by Jonathan Williams


ziggfried
(acolyte)
08/05/05 09:35 AM
Re: Earl Slick new [re: EJSunday]  

"Michael [Kamen] took to me. He was helping me out producing demos for my band. He brought me into a couple of recording things. He was still going with this band way back and I was playing guitar with him…He met David and he suggested to David that he should audition me. So in large part Michael put me here."

Earl Slick, NewsBeats, 2004



ziggfried
(acolyte)
08/05/05 09:35 AM
Re: Earl Slick new [re: ziggfried]  

“Years ago Michael Kamen was producing some tracks of mine and we were in the same band together. After Mick Ronson left the band, David was looking for a new guitarist. And I tell you -- if you were looking for this type of gig -- you'd never find it. Something like this has to fall on your head. But one day Michael comes to me and says, "You'll never guess who's interested in your playing?"”

Earl Slick, 18 July 2000



ziggfried
(acolyte)
08/05/05 09:36 AM
Re: Earl Slick new [re: ziggfried]  

“[Bowie] was mixing Diamond Dogs [in RCA studios, New York in 1974]…it was an audition, but it was a strange audition because there was no band there. I turned up with a guitar, met David, who was in the control room, and I remember distinctly that he was in dark clothes, dark glasses, and a fedora. I came in, went in the main studio (they already set up an amp that I had requested) and I put the headphones on. They played me a couple of tracks from Diamond Dogs, took the guitars out of the mix, told me what key it was in and told me to play! I was a cocky little bastard though! I remember being in the studio by myself and looking into the control room which was almost black, just having a sense of, Boy, this is a weird situation. He then came into the studio with a guitar, we started talking, he plugged the guitar into the amp and we jammed around for a little while and that was it. Coco said that they would call me in a week, because they had other people to listen to. I got a phone call the next morning. Then I shot up to the hotel, we talked, and that was it.”

Earl Slick, Strange Fascination (1999 edition), p.202



ziggfried
(acolyte)
08/05/05 09:36 AM
Re: Earl Slick new [re: ziggfried]  

“The only thing that was constant was [drummer] Tony Newman and [bassist] Herbie Flowers. There was always something going on between them. I had really, really long hair when I met David and he had it all cut off for the tour because it was part of the show. We had these outfits that David had made for everybody – I had like a 40s-style suit – it was pretty cool stuff. And Tony hated his, so one day he came in covered from head to toe in tape, like white tape like a mummy, and he got on his drums like that. Another night he came on stage and he had shredded his clothes, his shirt was torn up. Tony didn’t really give a shit about anything; he made his statements in his own way.”

Earl Slick, Strange Fascination (1999 edition), p.203



ziggfried
(acolyte)
08/05/05 09:37 AM
Re: Earl Slick new [re: ziggfried]  

“David is personally not communicating [during the 1974 tour]. I can’t talk to him any more, all of a sudden it’s all change and I become seriously unhappy…I thought I was important to the thing but I’m starting to feel like a fuckin’ throwaway. David had gone completely in a direction I didn’t like, not to mention it wasn’t the way I play.”

Earl Slick, cited in Alias David Bowie (1987 edition), p.485



ziggfried
(acolyte)
08/05/05 09:38 AM
Re: Earl Slick new [re: ziggfried]  

“I was a very willing person…But I didn’t become good friends with David. Everyone was so drugged-out drunk and busy all the time I don’t think you knew who your friends were…This was when the excess started to come into the picture, and I think a lot of the stuff David did during that time, he doesn’t have very good memories of. It was a real upside-down time for him. It is because of that, the amount of coke that was going down, and it’s not a good time of his life. I was a mess, I was on a roll, and I was living the life of what a rock‘n’roll guitar player was supposed to do. I was doing everything. It was way out of hand.”

Earl Slick, Strange Fascination (1999 edition), p.206



ziggfried
(acolyte)
08/05/05 09:38 AM
Re: Earl Slick new [re: ziggfried]  

“When [Bowie] went in to finish the Sigma sessions, I got this kind of insulting phone call from Pat Gibbons, Bowie’s tour co-ordinator. He said that I probably wouldn’t be doing the tour because they found Carlos [Alomar]. But, as it turned out, I was called in to do the tour because what nobody was thinking about at the time was that Bowie couldn’t just go out and play eight new songs from Young Americans. They needed me back for the rock material. But when I did come back in after the Pat Gibbons phone call I was always looking over my shoulder thinking they were going to fire me. In 73 when I toured with Carlos, it was fine. In 74 there was a bit of friction. But Carlos to me was the perfect team member for when we went out live because there were different styles that needed to be covered. We covered all the bases; we were a very good guitar team.”

Earl Slick, Strange Fascination (1999 edition), pp.214-215



ziggfried
(acolyte)
08/05/05 09:39 AM
Re: Earl Slick new [re: ziggfried]  

“[Bowie] had one or two songs written [for Station To Station], but they were changed so drastically that you wouldn't know them from the first time anyway, so he basically wrote everything in the studio…[The album was challenging], especially when he walks in and says 'I've got this new song that I haven't written yet.'…The tracks went down pretty fast once we learned them.”

Earl Slick, Circus, March 1976




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