“Warmth of a slo burning flame”: In Conversation with Chris Hale (Slo Burn)

By: Marc Gaffney & Chris Hale

Dearly beloved we are gathered here today to discuss feel. Feel is the word is the word that you heard, it’s got groove it’s got the real thing.The essence of any music, especially the man I was lucky enough to converse with, is the way you nod your head when you hear that first chord or that ethereal chorus that grabs you like a mother bear from the Revenant and keeps you in check while your auditory system finds an elite place to plateau.

The actual 2 and 4 on the floor is what I am talking about. Locking of guitars with a tight rhythm section, letting you air out after that nice head space of the burn down period, eloquent and decisive, keeping a collective mind and body, becoming one, hence the music is your Sherpa, driver of your emotional and being of substance.

It is the few that can harness the kinetic energy from exploding and slowly funneling itself through you like a 12 year old Scotch, like Robert Redford would dig on.Why Robert Redford, because the guitar player behind this Slo Burn is Chris Hale, one of the coolest mother fuckers to slap on a Gibson and let you dig in on the journey that he and his brothers collectively drive the train to eternal synthesis and yes, FEEL.

So please sit back and enjoy my chat, and you will be dammed, if you’re lucky.



Sludgelord: Thanks Chris for taking the time to speak with me.

Chris: Thank you

Sludgelord: So how did the Slo Burn get together happen?

Chris: John had invited us out to the desert to work on some original ideas he had for his solo record. He had an idea that it would be cool to have a track with some of the Slo Burn guys on it. So we went down and it was really fun, was great to be back in a room together and just hang out and make some music and that was it for a while. So we went out had some Magarita’s and some more fun and Damon laid down some bass on his record and we just started talking more and more that we should do this and then somebody threw out, 2017 is going to be 20 years so we said let’s start to do something then. So we got a booking agent involved and it just kind of happened.

Sludgelord: From being so young when the band started to now, do you feel as if you and the band are playing better?

Chris- It is night and day, I was a 19 year old kid, Brady was 18, Damon was 19, we all have had 20 plus years, just the couple of rehearsals we have had and at the first rehearsal, Brady and I just stopped and starting laughing as it was so much better than it ever was that we were just laughing. Holy shit, It is funny to hear, people saying Slo Burn was so great and for us, being the musicians playing it, I mean I guess it is like a child actor that gets to go back and watch a show they were in and it is so much better now, it feels right now, vision is easier made now then back to then.

Sludgelord: Your thoughts are a bit clearer now?

Chris- Yes, I mean the thought process now is easier to execute the process. When you are a kid, 19, 20 years old you would say that will do, now you know what you are doing and you can actually do it. Let’s make it better. I’ll be honest some of these songs I have not played in a long time, so when it came time to play them and re-learn them, I have a box of old Slo Burn videos, and I have to be honest, I was fucking embarrassed. I was saying I can’t watch this. I would say to Brady you were great and John has always been bad ass but watching myself, I was like “fuck, I can’t watch this”.

Sludgelord:  Good thing is when you can really understand and admit that. No falsifying in your head.

Chris: It would be terrible if you were watching back and were like, Dam I used to be so good. I wish I could play like that again.

Sludgelord: If I thought that way, I would say fuck it, time to buy an accordion.

Chris:  Yeah, I think like that, sorry guys this reunion isn’t happening anymore.

Sludgelord: Would you become a baseball pitcher?

Chris:  Yes.

Sludgelord: It is the 4 original guys, first show is Desertfest?

Chris:  Yes, so originally we were just going to do some shows in June.  We went into this, and we were not like, let’s get back and do a fucking world tour. Another record. We were all like, hey, we are all busy with other stuff. Damon and I have Brave Black Sea. The most important thing was, Slo Burn, we are not a pop band, we didn’t look at it as we are going to do a tour and be set for life. We are doing this because we wanted to do it. There are so many Slo Burn that never got a chance to see us play, maybe discovered the band, 5 or 10 years ago, so we are doing it for that. It was never about this is going to get us rich. Fuck that, it might help pay my gas bill. That’s about it.

But you know the goal was let’s do a few shows and see how it feels. If we are all having a blast then let’s talk more and see what else we can do, The response was kind of overwhelming for us and then we got offered to do Desertfest in April and we were like, fuck let’s do that. So now we are doing that in April and these other shows in June and then the Psycho Vegas in August came up and they wanted to do an exclusive thing with us as where it our only US show in 2017. You know, it felt right at the time and if we are going to do that then what better place to do than Vegas. If we were gonna do it in Mobile Alabama I don’t know how many people would want to come and see us. Nothing against Mobile but it is not a destination place. So we are gonna see, so far we are getting along great and it is sounding better than ever. Who knows what the future holds. I have a hard time imagining we are gonna do this and go, that was fun, see you guys.  I don’t see us getting fully back together as the main thing but I also don’t see us saying that was fun and never doing it again

Sludgelord: Psycho Vegas is so much fun.

Chris: I live in Vegas and I was sick during that time and I was so bummed because I couldn’t go. I had buddies showing up and playing and also my kids were sick so I didn’t even end up going. I am really  stoked to be playing this year.

Sludgelord: It is amazing the people that come. It solidifies why bands do it.

Chris: Right on, you know living in Vegas you know it is like Mariah Carey and fucking Elton John, and to have this stoner doom metal fest come and do so well that the immediately want to do one next year, it is awesome to see and hear that. You wanna be a part of it

Sludgelord:  So you have this going on, what are you playing now? I know you are a Les Paul guy but really there is never enough gear.

Chris:  I know. So I have been going back and forth thinking should I  use different gear for Slo Burn than I do with Brave Black Sea. Different sound, it is a one guitar band, a simplified heavy sound. I worked very hard and long for that sound that I said I might as well use it and tweak it. I am using a different guitar, I am using, what I was using, funny story, for Brave Black Sea I have 2 Marshall 4-12 cabs, one with Vintage 30’s and one with Greenbacks in it. Then one was powered by a 1978 Marshall JMP, and one with an Ampeg V2, 1976. I found this amp just sitting on the floor out here in Vegas. I always go to the same place and I was like, what is up with this and he said, it is one of the best sounding amps u will hear in your life that no one wants to buy because it looks like an old bass amp or something. So I wanted to try it out, took it to a practice and was fucking blown away. So I bought it and then the first Slo Burn rehearsal it blew up.

Sludgelord: Oh Fuck

Chris: Now for Slo Burn going with 2 JMP heads and 2 cabs.   Brave Black Sea I usually use old Les Pauls and in Slo Burn I am going with my SG. It is not much of a change but it is enough of a different feel and sound I guess. I get all my dirt sounds from pedals. Between different overdrives and fuzz pedals.



.

Sludgelord:  Are there certain pedals that u love?

Chris: Yea, as far as overdrive pedals, I love the Fulltone OCD pedal, it is just a fucking killer sound, it is very honest and you can get it to sound really heavy. I love the Earthquake Device pedals for fuzz and I sometimes use the V Vex Wooly Mammoth, it is a bass fuzz and it’s fucking pummeling. I usually put all those pedals through a G Vex which may or may not have had something to do with blowing up my Ampeg. I don’t know if you have ever played one but they are crazy, the super hard ons are super hard on your tubes, that’s for sure. Then I will use different delays and wah’s but the pedal board for Brave Black Sea is much bigger than for Slo Burn. When you have just a guitar and bass player, you can’t go off too much whereas Brave Black Sea you can go off a little more, psychedelic, just a different thing.

Sludgelord: Playing wise, do you play everyday?

Chris: Everyday. You know right after Slo Burn I got into Another band and we were together for like 3-4 years and then after that into another band for like 3-4 years and after that I had a bad taste in my mouth for the music industry and I took about year, year and a half off where I was like, fuck this and I felt a huge void in me so ever since then whether I was going to be in a band or not I was always going to play guitar.

To this day now, I have days where I will work on music, I have a studio in my house and somedays I will be in there for 6-7 hours and the next day could be 20 minutes. It has to be at least that 20 or 30 minutes, it is funny as my wife and I joke about it. I will be in a crappy mood and she will say to go in my studio and play guitar because you need to get yourself straight. If I don’t get some kind of playing out or a song that is in my head, if I don’t play then I feel different. I will be in an irritable mood and it is something I have to do.

With that being said, I don’t sit and practice scales for hours upon hours. I am not a shredder and it has never been my thing. If someone puts on a Dream Theater cd and says jam along with this, I can’t. I love to jam, I like to jam old blues, I always have to be playing. How about yourself, are u the same way?

Sludgelord: I find it is therapeutic.

Chris:  It is, that’s the word I was looking for.

Sludgelord: If I am a little bit off, even playing for 10 minutes, it helps put things in perspective, my hands still work and I can still play so it does help and things aren’t that bad after playing. I am not someone that would sit down and listen to Rising Force and let me match what Yngwie is doing. It is great guys can shred but that has never been my thing.

Chris:  Exactly, It has never been about a solo or lead work for me, it is about the vibe and journey of the song. Never my spot to shine or show all my years of practicing and I have never tried to play like that. If I really dedicated myself to that then maybe, but it has never been my thing.

Sludgelord:  Yea I am into the groove of the song, it has to fit or I’m not feeling it at all.

Chris:  Totally, you know I love to throw on a delay or something, it is really about changing up the sound or vibe of it. Never about, hold on here it is (making a solo sound).

Sludgelord:  Here it is, 2 minutes and 42 seconds

Chris:  Look how fast I can play this scale.

Sludgelord: That’s great, the whole wanker thing is a bit much for me.

Chris:  I remember there was this period as I was living out in Hollywood for a while after Slo Burn and I guess there was this time after Korn and all of that but every member of the band had to showcase their individual playing abilities. It was like watching the drummer play a 30 minute drum solo, bass player 30 minute solo, guitar player a solo or an effects solo. The songs weren’t there anymore. Nobody was writing songs.  Check out our abilities. I would much rather watch someone like Bill Ward or John Bonham, they are playing these beats and it is like the one fill comes along and holy fuck that was amazing. They don’t need to do a ton of stuff you know, they do what benefits the song.

Sludgelord: Right on. In terms of listening to music, do you like pretty much everything?

Chris:  Kind of, I guess. Mostly I am guilty of just listening to older stuff as it’s hard for me, a lot of the newer stuff that comes out now feels like people are writing strictly to be on the radio and I’m not going to be someone that hates on that. I get it, if people are making a career out of it by playing music then fuck man, do your thing. It is not something that I can get into. I am not gonna lie, I have some guilty pleasures. I am not going to buy a CD but if I hear it I will secretly get into it. I’m not gonna be yelling, turn this fucking shit off. I listen to a lot of old blues stuff you know Lightning Hopkins, Jr Kimbrough that type of stuff, Zeppelin, Sabbath, ZZ Top, I love that type of stuff and I still love bands like Fu Manchu, trying to think of newer stuff I listen too.

Whenever I am writing I don’t let myself listen to anything for fear of it creeping in, we have been writing a new Brave Black Sea album so I am in writing mode so I have not allowed myself to listen to anything that is around now. I guess it sounds boring that I don’t listen to anything, ha. But I do, I love The Black Keys, not so much their newer stuff but older. When it was just 2 dudes, bad ass. It reminded me of old desert bands. Like if someone would have told me that this record is from 2 guys from Palm Desert in 1992 I would have totally believed it. That kind of stuff and more recently, I like a lot of singer songwriter type of stuff. Like Rocky Bottalado, it’s very honest and cool.

Sludgelord: I find to not listen to all kinds of music you are doing yourself a disservice.

Chris: Totally, and on the other hand I will throw on old soul albums or Hank Williams. It is just good stuff. I feel in a weird sort of way that I will allow that sort of music to influence me. There is no way you are going to listen to a Slo Burn song or a Brave Black Sea song and say, he is ripping off Otis Redding. It is not gonna happen, when you put the vibe of that in and layer it with heavy drums and heavy guitars, it gives it this non-intentional thing.

Sludgelord: I love that, makes it sound great. I think that is the best stuff. It makes it easier for white people to find the one they can clap their hands to it.

Chris:  It is so try, I guess that is a good way to put it. (Both of us are laughing and have been laughing).

Sludgelord: When I write I want stuff like Joni Mitchell or CSNY. Stuff with feeling.

Chris: Totally, great harmonies and melodies and really dynamic. When I was younger I always thought 3 or 4 guys is all you need. Now I really respect bands with 9 guys. Keys and percussion. To make it all sound great is such a cool thing.

Sludgelord: I remember the first time I saw Chicago, I was like Holy Shit, it was so heavy. A great Rock n Roll band with horns.

Chris:  Definitely. It is almost sad when you see people shut it down because it is Chicago. If you give that shit a chance you will be blown away. Some people take my wife, not really into a lot of the radio acts, Linkin Park for example, we shared management and rehearsed next door, they were playing a show in Vegas and I told her, just see the difference between an arena show and in a small venue. She went and after she was blown away. The production and Chester’s voice were amazing. She wasn’t converted or will be buying the cd but it was a breath of fresh air to see something like that. It is cool to see full bands and then you see ZZ Top which is on the opposite end of the spectrum and it is just 3 older dudes up there and they just fucking kill it. You go from being blown away, saying we need a 7 piece band and horns and then 3 guys killing it, Billy Gibbons is like, fuck you, amazing.

Sludgelord: As soon as he breaks into “Just Got Paid”, you are like. Ok I guess we only need 3 dudes.

Chris:  One of my favorite riffs of all time. Billy Gibbons tone man, people would say its tons and tons of fuzz pedals, and then he comes out and it’s the cleanest tone but so heavy, in a different way and then the groove those guys get, fuck. It is unreal.

Sludgelord:  So you have Slo Burn being lit up again, after many years and it sounds better than ever. I can’t thank you enough for taking the time and speaking to me as it has been a true honor brother.

Chris:  This was amazing talking and thank you. As I said, who knows what will be in store for Slo Burn, but we are writing new songs and will be definitely playing 2 new ones at these shows so I can’t wait.

Sludgelord: So you better get on the treadmill in 2017.

Chris: Yes, I’m looking to forward to it.

What you have read folks was glittered with Class. Chris Hale, ladies and gentleman is a player’s player. He outs the song first and let’s his groove flag fly, ya heard.

Being able to converse with a player as such for a guy like me is pure pleasure. This was one of those times when the people you revere and in actuality hipper than you could ever imagine

The thing that gets lost on many neophytes of the rock is that without pioneers such as Mr. Hale, there would be no Psycho Vegas or Desertfest. For that I am thankful and really excited for what is to come from Slo Burn and their volume of goods to follow.

Remember, you don’t need a weatherman to know which way the winds blow

Eat a peach, Gaff the Rulah.

The End

Band info: facebook

VIDEO PREMIERE: Desert rock Legend John Garcia produces acoustic gold with "Kylie"

John Garcia. The living desert rock legend and most distinctive voice of an entire genre, is finally back with a new studio album! Normally you would expect some heavy guitars, pounding drums and fuzzy tunes from Mr Garcia.  But not this time, as he is about to release something extremely special and presenting himself stronger and more emotional then he has ever been.

After successful tours all over the world, playing Kyuss, Slo Burn, Hermano and his solo project, John Garcia recently blew away the audiences with a unique live acoustic performance. Now the desert king has unveiled the first and hotly anticipated details about his upcoming acoustic solo album, entitled 'The Coyote Who Spoke In Tongues' and is set to be released on January 27th 2017 on Napalm Records!

John Garcia comments satisfied: "This record is one of the most important of my career, difficult and challenging to do, but worth every minute of sweat!"

Recorded and mixed by Steve Feldman and Robbie Waldman, mastered by Gene “The Machine” Grimaldi at Oasis Mastering in California, 'The Coyote Who Spoke In Tongues' offers an emotional acoustic ride through John Garcia's solo work as well as songs by Kyuss in new arrangements like you have never heard before!  'The Coyote Who Spoke In Tongues' will be a MUST-HAVE for every fan of the desert rock and Kyuss era, and at The Sludgelord we present the UK premiere of “Kylie” taken from this one of a kind release, which you can check out below and can be preorder here

 ‘The Coyote Who Spoke In Tongues' track listing

1). Kylie
2). Green Machine
3). Give Me 250ml
4). The Hollingsworth Session
5). Space Cadet
6). Gardenia
7). El Rodeo
8). Argleben II
9). Court Order

Band info: facebook

Zun - "Burial Sunrise" (Album Review)

By: Victor Van Ommen

Album Type: Full Length

Date Released: 25/03/2016

Label: Small Stone Recordings

The slowness of “All That You Say I Am” or the moment in “All For Nothing” that the bass loses its raunchiness and transforms into a lush swelling of lower tones, define this record. The mood is laid back, the pretense is absent, and the vocals that drift by like a breeze on a cold night add up to something special.  “Burial Sunrise” is a record that is musically spot on as well as one that encapsulates the spirit and soul of Desert rock.

“Burial Sunrise” CD//DD//LP track listing:

1). Nothing Farther

2). Into the Wasteland

3). All For Nothing

4). Come Through the Water

5). All That You Say I Am

6). Solar Incantation

The Review:

Zun’s “Burial Sunrise” is pushed by serene melodies that reflect the peacefulness of a clear and vast night sky. Helmed by none other than Gary Arce (Yawning Man) and fronted by two of the most recognizable voices in the desert - John Garcia (that guy from Kyuss) and Sera Timms (Ides of Gemini) – Zun’s debut has been regarded as one of the most anticipated albums of the year. To further support this claim, there’s Mario Lalli (Fatso Jetson) on bass, Robby Krieger (The Doors) on electric sitar, Bill Stinson (Ten East) on drums, and Harper Hug (Brant Bjork) playing the role of producer as well as contributing some drum tracks and synths.

Despite the cast of musicians, I’d hesitate to call Zun a supergroup. There’s a unified vision on “Burial Sunrise,” and a unified vision is not something that is inherent in the concept of a supergroup. This makes for a sense of togetherness and in doing so avoids the potential pitfall of each contributing musician fighting for the limelight. Sure, Zun might have been put together by Arce, but there´s no sense that this is his band or that he is the boss. The sounds and grooves contributed to “Burial Sunrise” by this family of musicians therefore sound free, like everyone involved had the greater good of the record as their goal. This chemistry has resulted in an arresting mix of spacious melodies, malleable grooves, and a laid back atmosphere.

This being a collective effort is the through-line of the six songs that make up “Burial Sunrise.” Arce’s guitar is instantly recognizable in that he writes sounds, not riffs. Arce uses Zun to continue his quest in experimenting with effects, driving the mood of the record by way of hypnotic passages. His playing is underscored by a rolling rhythm section which keeps a steady push to the meandering songs, upon which Garcia and Timms are able to build. Be it the march of “Into the Wasteland” or the to and fro of “Come Through the Water,” the bass and drums are kept in the center of the mix, having the other instruments rotate around them like planets rotating around the sun. Both rhythmic and free, Zun has succeeded in capturing the psychedelic sound of the low desert.

This relaxing vibe resonates through these songs. The slowness of “All That You Say I Am” or the moment in “All For Nothing” that the bass loses its raunchiness and transforms into a lush swelling of lower tones, define this record. The mood is laid back, the pretense is absent, and the vocals that drift by like a breeze on a cold night add up to something special. Neither Garcia nor Timms have been hired to help sell this record, they are just straight up a perfect fit for these songs. Garcia’s quiet croon in album opener “Nothing Farther” is unintelligible but no less a key ingredient in the overwhelming vibe of the track. Timms adds to this with her melancholic delivery, allowing her voice to seep through all of the empty spaces in the mix, pushing the music far apart which in turn adds to the spaciousness of the album.

“Burial Sunrise” is a record that is musically spot on as well as one that encapsulates the spirit and soul of Desert rock. Zun will probably never tour and might not even make another album, but “Burial Sunrise” makes for a worthy stopgap for each one of these artists involved. It’s nice to hear something as fresh as Zun while waiting for that new Yawning Man album to make the scene.

“Burial Sunrise” is available here

Band info: facebook

Luna Sol - 'Blood Moon' (Album Review)

By: Victor Van Ommen

Album Type: Full Length

Date Released: 11/09/2015

Label: Slush Fund Recordings |

Cargo Records

Luna Sol has the material – the riffs, the attitude, and the songs – to be able to stand on their own two feet.  if you’re looking for some burly, tough, guitar driven, American rock music with inviting choruses and a strong sense of melody, then go ahead and slip this disc in your car’s CD player and go for a long drive.

‘Blood Moon’ CD//DD//LP track listing:

1.BRIDGES

2.DEATH MOUNTAIN

3.DECEMBER

4.LEADVILLE

5.PRETTY ROTTEN

6.OPERATOR

7.STANDLEY LAKE

8.YOUR WAR

9.IN THE SHADOWS

Luna Sol is:

David Angstrom | Guitar, Vocal

Shanda Kolberg | Guitar, Vocal

Shannon Fahnestock | Bass, Vocal

Pat Gill | Drums

The Review

There’s something real tasty about this brand of rock. I love that stomp borrowed from the blues, the crisp, heavy guitar left over from the ’00 American rock, and then there’s that obvious Desert influence. This is a realm of rock music that is perhaps over saturated so it will take some work if Dave Angstrom wants to stand out from the pack. Read that last sentence one more time. That’s right, Luna Sol is Dave Angstrom’s new band – the man behind Hermano – so even if separation from the pack isn’t in the cards, you know these riffs are going to be USDA approved. Let’s take a listen.

A gentle tapping of a cymbal makes way for a palm muted guitar that instantaneously blows up into the riffy, head bobbing strut of “Bridges.” Not a minute in and the chorus has hit, not two minutes in and it’s hit twice.  Is that John Garcia singing? Nope, but he does make a guest appearance two songs later in “December,” making a Hermano reference obligatory. What’s remarkable is that Garcia’s involvement is not used as a crutch, his appearance could have been done by anyone, really. That’s proof enough that Luna Sol has the material – the riffs, the attitude, and the songs – to be able to stand on their own two feet.

Just one listen and this album will stick. It’s a grower, but not in the sense that it’s complicated music or an acquired taste, but more in the sense that the riffs only get better with repeat spins. “Leadville” and “Death Mountain” both hit with the immediacy of a QOTSA bounce which is a good flip side to the more fluid riffing in a song like “Your War.” Nick Oliveri makes an appearance on “Pretty Rotten,” a song allegedly not about drugs, which if you believe that, then “Standley Lake” is not about a murder. By this point, if shedding light on the Luna Sol party by name dropping Garcia, Oliveri, and QOTSA in combination with “the blues” and “American,” doesn’t pique your interest, then you might as well move on. But if you’re looking for some burly, tough, guitar driven, American rock music with inviting choruses and a strong sense of melody, then go ahead and slip this disc in your car’s CD player and go for a long drive.

Band info: bandcamp |facebook

'Death Acoustic', Not for an Over Sensitive Barista': A Conversation with Nick Oliveri

By: Marc Gaffney

If you have listened to anything my band has churned out, a lot of it has an ode to the stylings of Nick Oliveri. I was a huge Queens (QOTSA) fan while he was present and totally destroying bass lines as well as great vocals, especially on my favorite tune, ‘Millionaire’.  Therefore, when approached about chatting with Nick before his 38 day overseas tour, I jumped the fuck at it.

It is not every day you can converse with someone that you revered for the music he has put out and music that has clicked in a part of your growing up as a musician from 20 something into your 40’s.  I am going to say that this was an interview that flowed and weaved in and about such subjects as Ian Gillian singing for Sabbath or what songs are pleasures to sing when doing an acoustic gig.

The thing that levitated higher than anything was when we spoke about what that Nick loves to play and truly loved making music with the gentlemen he grew up with. There was no guarding; rather he openly discussed his love for Brant, Josh, especially Mario Lalli and others.

Sit back, relax and make a smoothie of sorts, or a jack and coke or whatever floats your boat down Oliveri lane.

Sludgelord: Hi Nick, thanks for taking the time and having a chat with us while you are getting ready to hop on a plane a few hours from now.

Nick: You think it would be harder getting stuff together with a full band, but here I am just myself and an acoustic guitar and it’s not an easy thing (laughing.)

Sludgelord: You have more shit to worry about since it is just you?

Nick- Yeah, I have my stuff on my shoulders to get ready

Sludgelord- So hitting the road on your own, there is a ton of material in your catalogue, are you picking and choosing from Kyuss to Queens…, to your last record, in which I fucking loved that sum bitch?

Nick: There are some set some songs I am gonna do you know, some tunes that have to be in the set, people in Europe come to see me and will want some Kyuss stuff like ‘Green Machine’, so I will make sure I will play that, you know if I am in Ireland, and we are having a great time and everyone is singing along too, if someone yells out a Ramones song I will play that too, It is part my show and part their show and we are all doing the ‘Death Acoustic’ thing together is what makes it work. I love it when people are singing along and if they ask me to play a song, if I know it, I am gonna play it. But like I said there are certain songs I like to play, like I have a certain opener and a certain one to close with. Singing wise I have to throw a few of the rougher ones closer after I fry my voice my bit, it starts to sound good and raspy so I will put them there. There is stuff for later for when my voice sounds stressed and stuff that sounds a little nicer in the middle, sing a little softer, actually I put the raspier stuff very much in the beginning, the middle and I guess the ending too(laughter from both.) I am doing 36 shows in 38 days so I am gonna go over there and it is gonna be a good time. A lot of hurry up and wait. I have a person that will be driving me, but when you are by yourself you are sitting there, do I drink a beer, talk to people, I love talking to people and for me that is a lot of fun. You know I actually did an acoustic tour in the states when at the end I was actually driving myself and then you go everywhere, it was a hard one. Your shows start to falter too when you are staying awake just trying to get to the gig. You start asking yourself what are the words to that song again?

Sludgelord: What was the impetus to do this tour by yourself and not with a full band?

Nick: Well, when I do my band, in which I love doing as I have a few of them, when I do my own band, I make sure my band makes money as they have kids and I don’t. I am gonna be ok at the end of the day, but I always wanna make sure that my band goes home with something. They get paid before I get paid. So for right now, for lack of a better word I need to do these acoustic tours and make some money and that is the god’s honest truth. I am gonna have a great time, have fun and meet some great people, but it is also work you know. When you are up on stage by yourself, you have no one else to depend on, you can’t look at a band mate and say wow, you killed it. If you hit a bad note or sing a bad note you have no one getting you ought of it. Its there and people are seeing and hearing it. The rule I have, Mistakes, don’t make them.

Sludgelord: That’s a great fucking shirt, ‘Mistakes, Don’t Make Them’

Nick: it’s truly what a stripper feels like when she gets up on stage, it’s all eyes on her. I didn’t appreciate strippers as much as I do now, because really it is them all alone on stage.

Sludgelord: Are you a big gear head when it comes to touring?

Nick: I am down with gear, I like gear. I collect stuff mostly old stuff, some of the cheaper bass stuff like the acoustic 360’s, well they are not cheap anymore, but the old Sunn Heads, Entwistle used Sunn’s and John Paul Jones played an Acoustic Head, those things sound great, Used to be able to find them at pawn shops for 160 bucks, now they are all sought after. Tubes sound warmer, but for traveling I have been going with Solid State lately. They can bounce around, take the heat and be practically fine. With tubes, you gotta match them if something goes wrong and fix it and who am I kidding, I do not have anyone carrying my gear at the moment.

Sludgelord: Back in the day, were you running 2 8-10s with a Mesa Boogie and SVT head?

Nick: My band was doing quite well so I used a lot of stuff. The Mesa was a 400 t with 20 tubes in that thing, was bad ass. Remember they used to make Mesa’s with the road case built right in it. Those things, you could get in a car accident and the mesa was still ready to roll. But like anything they are a lot of money to make and fix, but they seem to be a sought after amp. They sound great and they are awesome.

Sludgelord: I saw you guys tour, in which I think was the start of the tour when you came out with all white tolexed cabs

Nick: That was fucking sick, so awesome

Sludgelord: Then I saw you later on that tour. You were playing 2 Ampeg cabs and that 400t and it was so fucking loud.

Nick: Yeah, I was facing my cabs at each other with an omni mic in the middle and were so loud before that we could not hear the vocals, so that was why we started facing the cabs at each other, Josh was playing a v4b, so he was cranking that up for tone, we turned it up to get the get the crunch and for our sound man to be able to do his thing and have a little to play with.

Sludgelord: It sounded im- fucking- peccable my man, insanity, and you also had the Brian Wilson pic on the cab also.

Nick: Our sound man Hutch is one of the best in the bizz for sure. I think he is still working with the Queens, I saw him recently and it just sounded so good. I forget whom he was doing sound for but it was amazing, I walked around the Wilshire and would notice where it would sound like shit, Hutch walks around the whole room to make sure it sounds good in every part of the club. 

Sludgelord: So the person driving you around, will they also perform as your snd person?

Nick:  She is a friend of mines girlfriend who tour managed the Dwarves so she is gonna drive and also help with the selling of merch. I am going to rely on this little Di I have, this little electric acoustic amp with a mic and if the sound guy can’t get that going, I am going to be bummed. If you can’t get the vocals up over the guitar we are in for some trouble. We are going from Romania, Croatia and Iceland. The language barrier sometimes, you ask for the guitar to be brought up, I have learned to be patient and point at the instrument, and it turns out all good. They for the most part all know how to speak English, I wish I knew how to speak another language, but hey the more they know, the better my night will be imagined,

Sludgelord:  What you bringing over for guitars?

Nick: I have a Hofner and they are great, I have yet to get one of the Paul McCartney ones not for playing but would love to record with one. I also have a Maton from Australia which I use. It has a whole in it, stickers all over the thing, it has been through the ringer and back.

Sludgelord: So you are doing ‘Death Acoustic’ and just before the end of the year you come out swinging with a bad ass rock record, 'Leave Me Alone' .  I thought it was better than the last album from the other band you used to play in and my band gets lumped in with Queens all the time and Kyuss.  So for me, your album really brought a lot of emotions from high and low and had some bad mother fuckers playing on it. Hit me with how you came up with the idea of the album and how you came up with the guests to lay down their style and mesh with yours.

Nick: Lemmy got sick and Phil Campbell who is a friend of mine text me while I was making the record and I text him back and letting him know I was making it, he replied back, what do you need done on it? Do you need guitar and I was like ‘yes, you kidding me’, one of my heroes, would you play a solo on it.

Actually I was gonna do another acoustic album but then I decided I would make an electric album and play drums on it, then I thought it would be even more interesting if I played drums, bass guitar and sang on it. So I needed some solos and would have never thought of asking Phil because I thought he would say no, and he did. Once that happened I started Calling friends, I called Dean Ween, he did his right away, I let them have full creativity as far as the solos and wanted them to put their signature solo on there, I wasn’t gonna say, can you put a bend right here, and a pull up. You can hear the other guitarists know that the other players are on it and everyone was going for it. I got 15 seconds to shine so I am gonna show my thing and they are really going for it. I was so happy how it turned out.

Sludgelord: You can tell it’s a communal album and has a nice grooving vibe, you are like a heavy Todd Rundgren.

Nick: It was short and sweet and to the point. I was gonna make a longer record but kids today don’t have time for a double album. People are digging vinyl but are still listening to a song or two. Fuck, I could definitely sit down and still listen to a whole record. But I do understand people do not have that time and it is what it is, so I figured if I put out a few shorter albums this year it would be better than one long one. I’m trying to work on a new now, Joey Castillo on drums, my band is gonna do a split with EyeHateGod. Looking at doing a new Dwarves record. Trying to stay busy and keeping the ball rolling. The key is playing in stuff that I like. 

Sludgelord: That is the key, if you can smile at work, you are beating the system.

Nick: If it’s not something I love, I can’t do it with conviction. I can’t get behind it and I can’t do it. I have been fortunate enough to have some great friends that will have me on their records and in their bans,

Sludgelord: It definitely shines through in everything you have done. I was chatting with Mario Lalli about ‘Millioniare’, its one of my all-time favorite songs, and your delivery is a mother fucker on it.

Nick: It is badass. I love Mario. I have known him for a long time. He is a great inspiration from the desert scene, where we are from down there. He is a bad ass man, been making great songs for a long time. I saw him in 9^th grade at lunch time, they were called Across the River and it blew my mind, Alfredo on drums, Reeder on bass either Mark or Mike Anderson I can’t remember his name and Mario on guitar. It was badass. Mario went through this phase when he wouldn’t sing for a while, he was doing an instrumental thing with a mic set up but wouldn’t use it. Everybody would go and wait for him to sing because when he sang it was great. Then one day he started singing again and it was amazing.

Sludgelord: Because you are in 9 thousand bands, there is a similarity but sonically they are all on a different palette. Is that something you strive for? Because each time I see you play, no matter whom it is with you have a huge fucking smile on your face.

Nick: I really get off on playing. I get so many different things for all the bands I have been fortunate to and still play with. I don’t play in another band that sounds like the Dwarves, I don’t play in another band that sounds like Bl’ast. The thing is, some of these guys are my favorite musicians so why would I not play with these guys.

Sludgelord: You as a musician, as there certain cats that you site as humungous influences? There are a lot of different things I hear coming via musically and vocally.

Nick: I am a huge Thin Lizzy fan so I hope that comes through. There are not a lot of bass player singers as there are guitar player singers and I don’t think Phil is one of those that gets enough praise for his bass playing. There are a lot of opposing notes in his bass lines while he is singing when you try and dod that as a player and singer is really hard, how is he doing that. Of course I like Sabbath, Black Flag, I love Rose Tattoo, and I love the simplicity of Rose Tattoo. That is a lot of what drives me. ‘Rock and Roll Outlaw’, ‘Nice Boys’ ‘Don’t Plat Rock n Roll’. I throw that shit on when I’m in different moods, Motorhead, you put on ‘Bomber’, it’s got everything, just killing it. ‘Volume 4’ by Sabbath, ‘Highway to Hel’l, Then the Brian Johnson era ‘Back in Black’, takes me through my childhood. I slept with this girl for the first time and the song was by AC/DC. I was so lucky to grow up in a time with such great music. We had the Ramones AC/DC and Evil Kinevil growing up and kids don’t have that growing up. They have time outs. We learned the hard way.

Sludgelord: A thing that pops up to me, were you a Deep Purple fan as a kid

Nick- Fuck yes, I will have no idea where things come from at times and then I will listen back and will say, that sounds like Devo or Deep Purple. It’s a tip of the hat and obviously came from a great place. Bringing up Deep Purple, the Born Again album by Sabbath, that’s a good record. For a later band with three singers, that is a great record. You wouldn’t think because they got the singer from Deep Purple to sing with Sabbath you think it might be ok, but that album is rocking, it kills it. I’m putting it on after I get off the phone.

Sludgelord: So you are touring as a singer, guitar player, bass player, writer, drums on the last album, do you see yourself as one of the above or a guy who simply fucking loves everything about playing music?

Nick: All of the above, I am the best at playing bass, I am aware of that, however, I write songs on guitar, and drums are fun. I once had a person tell me you better get a punching bag or a drum set, well drums are musical so I will get those. So I can hit them hard and playing is a really good time for me. The last record I wrote some of the riffs while playing drums so it’s a little different than I am used too. Then when I transposed it on guitar, it sounded like a cool riff. I had to practice to get my stamina up so I could make sure I could play them in the studio. I was really happy with the way it turned.

Sludgelord: So you have this tour, are you looking to bring this show west coast and even east coast or what are your plans?

Nick: I would like to do it. In September, October and November I have stuff with the Dwarves, not every day but we will do shows on weekends, 5 show clips.  I wanna do some shows out East and try on days off to set up some solo shows with whatever band I am with.  Plus Fenway, one of the original ball parks left. That and Wrigley, They tear them down, there would be an issue. Speaking of Boston I loved Draw the line by Aerosmith, they rocked so hard back then.

Sludgelord: So for guys our age, you must have been a Van Halen fan.

Nick: They fucking Rocked. Everything about them was so huge, it wasn’t the Beatles but you could listen to the band with your parents, Zep was like that too, was so fucking good. I got to hang out with Jimmy Page and he was so nice. The guitarist I was hanging out with said Jimmy, “I grew up with your music, and Jimmy said, I did too mate” and left, was amazing.

Sludgelord: So having the utmost privilege to converse via interviews with other musicians you are from, Tony Tournay told me once that he was with Josh in 98, just the 2 of them were up, touring overseas and he looked at Josh and said. “Do you believe we are touring and playing music for a living with guys we grew up with” Are you still close with people you grew up with?

Nick: Yea I am. I just did a guest Dj thing at the Monty Bar and I saw Josh and Brody and I see Tony every now and again. Tony will come out to see an acoustic show and show support. I really think it is supportive to stay close, I saw Brant not long ago at a Bl’ast show, invited him on down, put him on the list, It’s important to stay close with your friends, even if you have had a falling out at times. You are living your life, hanging with each other, on tour with each other, and sometimes we have an argument but its more like brothers fighting, no big deal, right?  We still all love each other like bros and I know in a real fight they would all have my back and I love them for that.

Sludgelord: Well my man I know your flight is gonna leave in about 11 hours so I just wanna say Thank you so much for taking the time and I wish the tour is an amazing success and above all else, life lets you rock the roll

Nick: My pleasure and thanks again for speaking with me and take care.

As you can clearly see by the words and heartfelt answers, this man is a musician that has his hands in many pies, some custard, some apple, some pumpkin, the thing is, taken out they are all a delight to eat. They leave you simply wanting more.  Nothing is better than listening to an album or a live show and you simply get in your car or on a train and need to turn that shit on, so the ultra high of the melody stills spikes a place in the medulla and cochlea.  The boogie keep on racing at a 4x4 tempo or at an outright 7/8 jam of proper and nut slapping proportion.

If you are overseas and Nick pulls into town with his acoustic and you miss it. Take yourself to the nearest ER and see if your nuts still work and if you still have a beating in your heart, because to miss these shows is to miss a man on a plan and also on a journey of letting rock n roll be his muse, and the key is, to have fun with the audience.

This is not as common as you think; some cats get up and will not deviate from that list, even if the crowd is yearning for it, like the characters from 28 Days Later. They have a rage and a few songs can turn that rage into a head bopping and locking groove of the funk stature, because the fan has come first and this has been relayed to them.  So when you go to witness an artist like Nick, enjoy what he does and have fun with it. The more fun you have, the way more fun he will have and this is simply called a connection. Connect and let the music be your Sherpa through the valleys and peaks of rock n roll.

I truly wish you the best in all you do, ‘The names Dalton,’ ‘Man, I’d thought you’d be bigger.’

Full list of Remaining Tour dates:

August 5th: Jagerklause (Berlin, GER)
August 6th: Ostpol (Dresden, GER)
August 7th: La Casa (Cottbus, GER)
August 8th: TBA (Bucarest, Romania)
August 9th: Chez Heinz (Hannover, GER)
August 10th: Hafenklang (Hamburg, GER)
August 11th: DB’s (Utrecht, NL)
August 12th: Gebr De Nobel (Leiden, NL)
August 13th: De Pul (Uden, NL)
August 14th: The Lane (Oostburg, NL)
August 15th: De Hip (Deventer, NL)
August 16th: Leperfest (Leper, Belgium)

'Leave Me Alone' by Nick Oliveri’s Uncontrollable is out now on both regular LP/CD and collectible leather sleeve LP through Schnitzel Records and is available for streaming at the link here and you can read your review here

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