5. His Guest Spots Always Make Their Songs
https://www.youtube.com/watch?v=em8JuUW-OOE From Michael Jackson and Daughtry to Lenny Kravitz and Alice Cooper, Slash has helped add his own flair to the proceedings whenever necessary, always being more than some hidden gem element when it comes to recording. In the case of the Kravitz entry he co-wrote the brilliantly staccato-sounding Always on the Run, whereas with Michael Jackson he supplied the intro riff-session for Black and White, as well as the guitar lines and solo for all of Give In To Me. Known as someone you can call when you need that extra injection of passion and personality to a song, there are actually over 130 separate instances of Mr. Hudson lending his string-bending prowess to all manner of different artists and genres. 4. The Amount Of Techniques Hes Showcased Is Unbelievable
https://www.youtube.com/watch?v=FS_QM9H_nXk We've already covered the '92 Tokyo gig as one example of when a Slash improv-session is then meticulously pulled apart and studied forever more, but the really amazing thing is that this happens almost every time you see him live. An entire crowd of people can check out a section of a song where Slash is firing off any number of improvised finger patterns and riffs, and we'll all come away wanting to replicate different parts of what we've seen. In addition there are certain patterns that are just so incredibly enjoyable to listen to that they transcend to people who don't even play the instrument, whilst simultaneously blowing away those that do. The 'really fast bit' in Sweet Child o' Mine's solo, the superbly picked outro to Paradise City, the slide intro to Beggars and Hangers-On, the talkbox solo on Hair of the Dog, or the intro on Carolina... there's something about Slash's feel on the guitar that makes every action so unmistakably, enjoyably him. Let us know your favourite solos, or sections of solos in the comments below!