Slash
Slash with Anthony Bozza
Copyright
HarperCollinsPublishers 1 London Bridge Street, London SE1 9GF
Copyright © 2007 by Dik Hayd International, LLC.
Slash and Anthony Bozza assert the moral right to be identified as the author of this work
A catalogue record for this book is available from the British Library
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Source ISBN: 9780007257751
Ebook Edition © OCTOBER 2007 ISBN: 9780007481033
Version: 2018-08-23
To my loving family, for all their support through the good times and the bad
And to Guns N’ Roses fans everywhere, old and new; with out their undying loyalty and limitless patience, none of this would matter
Copyright
Introduction
1. Stoked
2. Twenty-Inch-High Hooligans
3. How to Play Rock-and-Roll Guitar
4. Education High
5. Least Likely to Succeed
6. You Learn to Live Like an Animal
7. Appetite for Dysfunction
8. Off to the Races
Photographic Insert
9. Don’t Try This at Home
10. Humpty Dumpty
11. Choose Your Illusion
12. Breakdown
13. Coming Up for Air
If Memory Serves
Photography Credits
About the Authors
Credits
About the Publisher
Having Considered All Things
It felt like a baseball bat to my chest, but one swung from the inside. Clear blue spots lit up the corners of my vision. It was abrupt, bloodless, silent violence. Nothing was visibly broken, nothing had changed to the naked eye, but the pain made my world stand still. I kept playing; I finished the song. The audience didn’t know that my heart had done a somersault just before the solo. My body had delivered its karmic retribution; reminding me, onstage, of how many times I’d intentionally served it up a similar loop-de-loop.
The jolt quickly became a dull ache that almost felt good. In any case, I felt more alive than I had a moment before, because I was more alive. The machine in my heart had reminded me of just how precious this life is. Its timing was impeccable: with a full house in front of me, while I played my guitar, I got the message loud and clear. I got it a few times that night. And I got it every time I was onstage for the rest of that tour, though I never knew when it was coming.
A doctor installed an implantable cardioverter-defibrillator in my heart when I was thirty-five. It’s a three-inch-long battery-powered generator that was inserted through an incision in my armpit. It constantly monitors my heart rate, delivering electroshocks whenever my heart beats too dangerously fast or slow. Fifteen years of overdrinking and drug abuse had swollen that organ to one beat short of exploding. When I was finally hospitalized, I was told I had six weeks to live. It’s been six years since then and this piece of machinery has saved my life more than a few times. I’ve enjoyed a convenient side effect that the doctor did not intend: when my indulgences have caused my heart to beat too dangerously slow, my defibrillator has popped off, keeping death from my door for one more day. It also shocks my heart into submission when it beats fast enough to court cardiac arrest.
It’s a good thing I got it adjusted before the first Velvet Revolver tour. I did that one sober for the most part; sober enough that the excitement of playing with a band I believed in to fans who believed in us moved me to my core. I hadn’t been that inspired in years. I ran all over the stage; I basked in our collective energy. My heart raced with excitement hard enough to trigger the machine inside me onstage every night. It wasn’t pleasant but I began to welcome those reminders. I saw them for what they were. Strange moments of alienated clarity, moments out of time that encapsulated a life’s worth of hard-won wisdom.
1
Stoked
I was born on July 23, 1965, in Stoke-on-Trent, England, the town where Lemmy Kilmister of Motörhead was born twenty years before me. It was the year rock and roll as we know it became greater than the sum of its parts; the year a few isolated bands changed pop music forever. The Beatles released Rubber Soul that year and the Stones released Rolling Stones No. 2, the best of their collections of blues covers. There was a creative revolution afoot that has never been equaled and I’m proud to be a by-product of it.
My mom is an African American and my dad is English and white. They met in Paris in the sixties, fell in love, and had me. Their brand of interracial intercontinental communion wasn’t the norm; and neither was their boundless creativity. I thank them for being who they are. They exposed me to environments so rich and colorful and unique that what I experienced even while very young made a permanent impression on me. My parents treated me as an equal as soon as I could stand. And they taught me, on the fly, how to deal with whatever came my way in the only type of life I’ve ever known.
Tony Hudson and his sons, 1972. Slash looks exactly like his son London here.
My mom, Ola, was seventeen and my dad, Anthony (“Tony”), was twenty when they met. He was born a painter, and like painters historically do, he left his stuffy hometown to find himself in Paris. My mom was precocious and exuberant, young and beautiful; she’d left Los Angeles to see the world and make connections in fashion. When their journeys intersected they fell in love, then got married in England. And then I came along and they set about creating their life together.
My mom’s career as a costume designer started around 1966, and over the course of it, her clients included Flip Wilson, Ringo Starr, and John Lennon. She also worked for the Pointer Sisters, Helen Reddy, Linda Ronstadt, and James Taylor. Sylvester was one of her clients, too. He is no longer with us, but he was once a disco artist who was like the gay Sly Stone. He had a great voice and he was a supergood person