The Damned Album

[Leroy Turcios]

DamnedDamned Damned is the debut studio album by English punk rock band the Damned. It was released on 18 February 1977 by Stiff Records. Produced by Nick Lowe, Damned Damned Damned was the first full-length album released by a UK punk group.[1][2] The album peaked at No. 34 on the UK Charts.[3]

After the success of "New Rose" and a tour with the Sex Pistols, the Heartbreakers and the Clash, the band went into Pathway Studios to record the album Damned Damned Damned with producer Nick Lowe, who had previously recorded "New Rose" with them. Following 10 days of recording, the mix was completed on 15 January 1977, the day the master tapes were compiled.[4]

The album cover features the four members of the band after they were hit by pies. Guitarist Brian James recalled: "That was organised by this photographer called Peter Kodick, Stiff Records had assigned him to do the thing. They thought it was a jolly wheeze to surprise us with a few cream cakes, little knowing that we would relish it, get into it and enjoy the whole experience". After the photo session, Damned bassist Captain Sensible noted: "... I had more pie on my face than any of the other buggers and on the back of the sleeve I had my back to the picture, so I went down a photo booth and got some pictures, cut one out and said 'put that on there' so I would have something to show my relatives, because I didn't think we'd be invited to make another album".[4] Stiff, however, used a different photo than the one Sensible gave to the label.[5]

In a contemporary review for NME, Chris Welch praised the Damned's musical ability, opining that the band have "all the residual skills needed for the actual performance of exhausting modern music". Welch remarked that James was the most effective powerhouse guitarist since Pete Townshend and concluded that the album as a whole was "a highly professional production and is much more convincing than some other new wave bands I've heard on record."[16]

BBC Music's retrospective review praised the album's energy, pop satire and general humour, with reviewer Chris Jones commenting, "Each track featured the hammering toms of Rat Scabies and Captain Sensible's bass-as-guitar propelling Brian James' exhilarating machine gun axe into your living room".[2]

The American press has also favored the album. Ned Raggett of AllMusic called it "a stone classic of rock & roll fire" and declared that "Damned Damned Damned is and remains rock at its messy, wonderful best."[1] In a review of the Damned's 2001 album Grave Disorder, Pitchfork critic Joe Tangari cited Damned Damned Damned and 1979's Machine Gun Etiquette as the only two Damned albums that he found "very good".[18]

Regardless, this is an album of many influences, and because of that, the most impressive part of Fables of the Damned may simply be the fact that it successfully combines those ingredients into a successful Stoner Doom cocktail.

Ok, enough of the self-flagellation, I have an album to review and what an album it is. Representing their ninth full-length studio release over the course of three decades, it is an album that has made an incredibly strong impact upon me. And, whilst I have no frame of reference to back me up, this record would also appear to more than ably demonstrate that the quintet have lost none of their hunger or bite over the years.

"As a person, I live very much in the moment, not too far in the past and not very far in the future either," Slash asserts. "So it's hard for me to really look at everything I'm doing in the bigger scheme of things."

The initial seed for the project was planted with the guitarist's late '90s group Slash's Blues Ball, which jammed on genre classics. Those live, spontaneous collaborations appealed to him, so when he had a small open window to get something done recently, he jumped at the chance to finally make a full-on blues album.

Released May 17, Orgy Of The Damned serves as an authentic bridge from his musical roots to his many hard rock endeavors. It also sees a full-circle moment: two Blues Ball bandmates, bassist Johnny Griparic and keyboardist Teddy Andreadis, helped lay down the basic tracks. Further seizing on his blues exploration, Slash will be headlining his own touring blues festival called S.E.R.P.E.N.T. in July and August, with support acts including the Warren Haynes Band, Keb' Mo', ZZ Ward, and Eric Gales.

Wow, that's awesome. That was the track that I knew was going to be the most left of center for the average person, but that was my favorite song when [Stevie Wonder's 1973 album] Innervisions came out when I was, like, 9 years old. I loved that song. This record's origins go back to a blues band that I put together back in the '90s.

Right. We used to play "Superstition," that Stevie Wonder song. I did not want to record that [for Orgy Of The Damned], but I still wanted to do a Stevie Wonder song. So it gave me the opportunity to do "Living For The City," which is probably the most complicated of all the songs to learn. I thought we did a pretty good job, and Tash [Neal] sang it great. I'm glad you dig it because you're probably the first person that's actually singled that song out.

With the Blues Ball, you performed Hoyt Axton's "The Pusher" and Robert Johnson's "Crossroads," and they surface here. Isn't it amazing it took this long to record a collection like this?

[Blues Ball] was a fun thrown-together thing that we did when I [was in, I] guess you call it, a transitional period. I'd left Guns N' Roses [in 1996], and it was right before I put together a second incarnation of Snakepit.

I'd been doing a lot of jamming with a lot of blues guys. I'd known Teddy [Andreadis] for a while and been jamming with him at The Baked Potato for years prior to this. So during this period, I got together with Ted and Johnny [Griparic], and we started with this Blues Ball thing. We started touring around the country with it, and then even made it to Europe. It was just fun.

It had been stewing in the back of my mind subconsciously. So I called Teddy and Johnny, and I said, Hey, let's go in the studio and just put together a set and go and record it. We got an old set list from 1998, picked some songs from an app, picked some other songs that I've always wanted to do that I haven't gotten a chance to do.

Then I had the idea of getting Tash Neal involved, because this guy is just an amazing singer/guitar player that I had worked with in a blues thing a couple years prior to that. So we had the nucleus of this band.

Then I thought, Let's bring in a bunch of guest singers to do this. I don't want to try to do a traditional blues record, because I think that's going to just sound corny. So I definitely wanted this to be more eclectic than that, and more of, like, Slash's take on these certain songs, as opposed to it being, like, "blues." It was very off-the-cuff and very loose.

It's refreshing to hear Brian Johnson singing in his lower register on "Killing Floor" like he did in the '70s with Geordie, before he got into AC/DC. Were you expecting him to sound like that?

I think he was one of the first calls that I made, and it was really encouraging the way that he reacted to the idea of the song. So I went to a studio in Florida. We'd already recorded all the music, and he just fell into it in that register.

When it came to doing it for this record, I wanted to have something different, and the idea of having a young girl's voice telling the story of talking to her mom to find out about her infamous late father, just made sense to me. And Demi was the first person that I thought of. She's got such a great, soulful voice, but it's also got a certain kind of youth to it.

When I told her about it, she reacted like Brian did: "Wow, I would love to do that." There's some deeper meaning about the song to her and her personal life or her experience. We went to the studio, and she just belted it out. It was a lot of fun to do it with her, with that kind of zeal.

"Oh Well" was a song that I didn't hear until I was about 12 years old. It was on KMET, a local radio station in LA. I didn't even know there was a Fleetwood Mac before Stevie Nicks and Lindsey Buckingham. I always loved that song, and I think it probably had a big influence on me without me even really realizing it. So no, it didn't have a direct influence on "Double Talkin' Jive," but I get it now that you bring it up.

Playing with Carole King [in 1993] was a really educational experience because she taught me a lot about something that I thought that I did naturally, but she helped me to fine tune it, which was soloing within the context of the song. [It was] really just a couple of words that she said to me during this take that stuck with me. I can't remember exactly what they were, but it was something having to do with making room for the vocal. It was really in passing, but it was important knowledge.

The session that really was the hardest one that I ever did was [when] I was working with Ray Charles before he passed away. I played on his "God Bless America [Again]" record [on 2002's Ray Charles Sings for America], just doing my thing. It was no big deal. But he asked me to play some standards for the biopic on him [2004's Ray], and he thought that I could just sit in with his band playing all these Ray Charles standards.

That was something that they gave me the chord charts for, and it was over my head. It was all these chord changes. I wasn't familiar with the music, and most of it was either a jazz or bebop kind of a thing, and it wasn't my natural feel.

When you say styles, I don't really have a wish list for that. Things just happen. I was just working with this composer, Bear McCreary. We did a song on this epic record that's basically a soundtrack for this whole graphic novel thing, and the compositions are very intense. He's very particular about feel, and about the way each one of these parts has to be played, and so on. That was a little bit challenging. We're going to go do it live at some point coming up.

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