Chris Slade, as will transpire, has nothing left to prove. Having played with some of the biggest names in music history, the drummer now spends his time with his own Timeline; a band he loves with the same passion as any of his others. Back with a new album, 'Timescape' has seen him become more involved in the song writing, as well as singing. "It was a revelation to me that that was coming, and it was coming fairly easily", he reveals as we sit down for a chat over Zoom. Talking the new material, his early days of being headhunted by Elvis, to working in the '80s with Paul Rodgers and Jimmy Page, to his stints with AC/DC, we joined Chris for a chat about his storied career. On the razor's edge; Eamon O'Neill.
Hi Chris, how are you doing today?
I'm good, thank you very much.
2024 has been a busy year for you; you've been out in the road with Timeline, and you've released an album, which must be very exciting.
It is. We've all been together twelve years as Timeline, the same people. We've always been working and we've always been recording, but I was so pleased when we were recording covers, you know; ACDC, Asia, Uriah Heep, the stuff that's on the album, so I thought it would be an album of covers, but about two and a half, three years ago, I started writing songs. I've always written lyrics since the '70s with [Manfred Mann's] Earth Band, so I've always been a lyricist of sorts, but I never - or hardly ever, shall I say - tried writing melodies. And these melodies weren't just song melodies; there were lines for bass, for strings, guitar arpeggios, things like that, and vocal harmonies.
So you ventured outside of your comfort zone?
It was a revelation to me that that was coming, and it was coming fairly easily. You know, it's always hard work. People think it's easy, that it just pops in your head and that's it, but it's not like that at all. There's a lot of hard work, after the 1% of inspiration, and 99% perspiration, which is absolutely true if anybody's tried doing it! But in the end, I was so pleased with what I came up with, and then the guys wrote the song as well. The band wrote the songs without me. I mean, it shows they also can write.
You're talking about melodies, and you've worked with some of the masters including Paul Rodgers, Jimmy Page, David Gilmour, Tom Jones, Angus Young, and Malcolm Young, so you've obviously picked up something along the way.
Yeah, it all went in somewhere and now it's coming out. It's still happening, and I'm pleased to report that it doesn't stop. When we released this album, I wanted a double album. There's nine tracks on one side of things, and maybe it's nine and nine, I can't remember, but it's very close. And they're long songs. They're not pop songs. I'm not a pop singer, nothing like Taylor Swift, but my hair is luxurious!
You must be pleased to have some new, original material out.
I was very pleased to get this CD out because it showed the band in its entirety. It showed that the band can play anything, and they're phenomenal musicians, all of them. This is one of the best bands I have ever worked with. As I say, we've been doing it for twelve years, and when we do a show, they only complain when we stop after two hours.
The first couple of tracks that I heard are 'Sundance', and 'We Will Survive', which, with their heavy keys, are reminiscent of Deep Purple.
I'm glad you think so, thank you. Yeah, it's a matter of mixing, and whatever is predominant in the mix sort of goes into the ears first. But yes, I'm pleased with that analogy, thank you. I don't think it's very Deep Purple, and I'm a great admirer of theirs, of course. They're great musicians, obviously. Ian Paice is a tremendous drummer. I know him well. I wouldn't compare us with anybody; to me, it's a diverse album, and it shows off the sides of the band, as I was saying, with covers and now with originals.
Where did you meet the guys in the band?
I first saw them in a pub in Kent, and after I saw them the first time, I went back as often as I could, because I really enjoyed what they were doing. They were doing covers like Genesis and Kansas and everything in between, and so I knew they could play and they were doing it perfect, even vocals, so I knew they were really good musicians and really good singers, all of them. You mentioned Tom Jones and Paul Rodgers and David Gilmour; why would I think about singing when I've worked with those people? How could I possibly call myself a singer after working with those? But the guys persuaded me to do that last song on the album.
That's 'Time Flies' that you're talking about, which is quite a genteel track, isn't it? There's a Rush quality to it.
Oh, thanks again. You know, you can't judge it yourself. I just know that I get the chills when I listen to that, even with me singing, because it's got quite a few production ideas in it. I've always had production ideas, even with Earth Band in the 1970s, and I wanted to put them into this song, even with cross fade. You just mentioned the first and second songs, and they cross faded so perfectly I had to do that, even though it's like the wrong thing to do, to put two long songs together to open an album. I knew it was not the most ideal, but they went together so well that I had to do it. They lent themselves to cross fading.
I think you've earned the right to do what you want on your albums; I don't think you have anything left to prove at this stage, have you?
No, thank you again. No, I don't need to prove myself, except to myself, of course, and the guys; that's the only criteria, really. It's; in your opinion, is it good enough? I wouldn't put it out if I didn't think it was good enough. In fact, there's stuff left in the can that I thought isn't finished yet, or isn't isn't good enough, so everything that's on there, I can give it the seal of approval.
I'm good, thank you very much.
2024 has been a busy year for you; you've been out in the road with Timeline, and you've released an album, which must be very exciting.
It is. We've all been together twelve years as Timeline, the same people. We've always been working and we've always been recording, but I was so pleased when we were recording covers, you know; ACDC, Asia, Uriah Heep, the stuff that's on the album, so I thought it would be an album of covers, but about two and a half, three years ago, I started writing songs. I've always written lyrics since the '70s with [Manfred Mann's] Earth Band, so I've always been a lyricist of sorts, but I never - or hardly ever, shall I say - tried writing melodies. And these melodies weren't just song melodies; there were lines for bass, for strings, guitar arpeggios, things like that, and vocal harmonies.
So you ventured outside of your comfort zone?
It was a revelation to me that that was coming, and it was coming fairly easily. You know, it's always hard work. People think it's easy, that it just pops in your head and that's it, but it's not like that at all. There's a lot of hard work, after the 1% of inspiration, and 99% perspiration, which is absolutely true if anybody's tried doing it! But in the end, I was so pleased with what I came up with, and then the guys wrote the song as well. The band wrote the songs without me. I mean, it shows they also can write.
You're talking about melodies, and you've worked with some of the masters including Paul Rodgers, Jimmy Page, David Gilmour, Tom Jones, Angus Young, and Malcolm Young, so you've obviously picked up something along the way.
Yeah, it all went in somewhere and now it's coming out. It's still happening, and I'm pleased to report that it doesn't stop. When we released this album, I wanted a double album. There's nine tracks on one side of things, and maybe it's nine and nine, I can't remember, but it's very close. And they're long songs. They're not pop songs. I'm not a pop singer, nothing like Taylor Swift, but my hair is luxurious!
You must be pleased to have some new, original material out.
I was very pleased to get this CD out because it showed the band in its entirety. It showed that the band can play anything, and they're phenomenal musicians, all of them. This is one of the best bands I have ever worked with. As I say, we've been doing it for twelve years, and when we do a show, they only complain when we stop after two hours.
The first couple of tracks that I heard are 'Sundance', and 'We Will Survive', which, with their heavy keys, are reminiscent of Deep Purple.
I'm glad you think so, thank you. Yeah, it's a matter of mixing, and whatever is predominant in the mix sort of goes into the ears first. But yes, I'm pleased with that analogy, thank you. I don't think it's very Deep Purple, and I'm a great admirer of theirs, of course. They're great musicians, obviously. Ian Paice is a tremendous drummer. I know him well. I wouldn't compare us with anybody; to me, it's a diverse album, and it shows off the sides of the band, as I was saying, with covers and now with originals.
Where did you meet the guys in the band?
I first saw them in a pub in Kent, and after I saw them the first time, I went back as often as I could, because I really enjoyed what they were doing. They were doing covers like Genesis and Kansas and everything in between, and so I knew they could play and they were doing it perfect, even vocals, so I knew they were really good musicians and really good singers, all of them. You mentioned Tom Jones and Paul Rodgers and David Gilmour; why would I think about singing when I've worked with those people? How could I possibly call myself a singer after working with those? But the guys persuaded me to do that last song on the album.
That's 'Time Flies' that you're talking about, which is quite a genteel track, isn't it? There's a Rush quality to it.
Oh, thanks again. You know, you can't judge it yourself. I just know that I get the chills when I listen to that, even with me singing, because it's got quite a few production ideas in it. I've always had production ideas, even with Earth Band in the 1970s, and I wanted to put them into this song, even with cross fade. You just mentioned the first and second songs, and they cross faded so perfectly I had to do that, even though it's like the wrong thing to do, to put two long songs together to open an album. I knew it was not the most ideal, but they went together so well that I had to do it. They lent themselves to cross fading.
I think you've earned the right to do what you want on your albums; I don't think you have anything left to prove at this stage, have you?
No, thank you again. No, I don't need to prove myself, except to myself, of course, and the guys; that's the only criteria, really. It's; in your opinion, is it good enough? I wouldn't put it out if I didn't think it was good enough. In fact, there's stuff left in the can that I thought isn't finished yet, or isn't isn't good enough, so everything that's on there, I can give it the seal of approval.
I wanted to chat to you a bit about your history, and there's an amazing photograph of you and Tom Jones and Elvis Presley. Talk to me about that day; what that was like to actually meet arguably the biggest rock star that has ever been?
I call that photograph 'who's that with Slade?!' I was 21 I think, when that picture was taken. It was in Las Vegas, and I was working there with Tom Jones. Tom was huge at the time, massive, and we had a month in Las Vegas, and it was sell out every night. I say "we", of course, it was he, but we were his backing band. Elvis, threw a party for Tom because they were friends. Elvis came to Vegas to see Tom perform, no other reason. He saw us a few times. That wasn't the first time. I think that was the third, if I remember correctly, so it was the third time I was meeting him. I'd never met him in a social context. I'd met him with the Memphis Mafia in his hotel in Hawaii. He and Priscilla were there. They were married at the time, of course, and I knew that he was a big, big fan of Tom, and Tom was a fan of Elvis, of course; as you say, the biggest rock idol, arguably, whoever lived,
What happened next with Elvis?
We went to his his apartment for a party, and we had a great time. He wasn't drinking or doing drugs, or he hadn't reached drugs yet, and Tom and I, none of the band - The Squires - had ever done drugs in our lives. We drank a lot, but no, drugs just wasn't in our upbringing. It wasn't in our culture at all in those days; don't forget, it was the early '60s, and we were brought up through the '50s. But, and he was a very gracious guy, Elvis, and very polite, just like he's reported to be, which is extremely polite to everybody. And then just after that meeting and that photograph, he offered me a job playing drums.
Wait; Elvis Presley offered you a gig playing for him?!
Yes. I nearly got to do it, but Tom got a little bit jealous about it, and said; "you can't do it". I said; "well, I can", but I was contracted to Tom, and to cut a long story short, I was speaking to Joe Esposito, which was his right hand man, and Colonel Tom Parker's right hand man, and I was talking to him regularly. This went on for weeks, and I said; "yes, I'd love to!" I'd be stupid not to, wouldn't I, even though I'm with the biggest singer in the world at this time; that's how I got that offer from the other biggest singer in the world. But Tom honestly at that time, nobody would believe me, but this is absolutely true, Tom was bigger than Elvis and Frank Sinatra put together. It was phenomenal. He also had a weekly TV show in the States and in Europe, and at some points that changed into daily in different countries. He was massive. I can't explain to you how big he was; a bit like the Beatles with the adulation, which wasn't screaming teenagers; they were more mature; they were screaming twenty year olds!
You said that this went on for weeks, the negotiations to try and get you, so what happened?
Well, in the end, I couldn't make rehearsals, so they said; "that's okay. We'll get somebody in, we'll play with that guy, and then you can come in and take over at the end because you know the songs". And I, of course, said yes, and I kept saying it, but Tom's tour kept extending. I think in the end - and was I talked to by everybody; agents, managers, Tom, especially - and I think the management went to Colonel Tom Parker and said; "you can't steal our drummer", and that's where it ended. The drummer they got in was Ronnie Tutt, who I knew was a great drummer, because I used to listen to him on the Andy Williams show on TV, which predated Tom by a few years. He became Elvis's drummer, and it was going to be me and Ronnie playing drums, but that never happened either because Tom's tour kept going. About a year after that, I left Tom, so I should have just walked then.
I call that photograph 'who's that with Slade?!' I was 21 I think, when that picture was taken. It was in Las Vegas, and I was working there with Tom Jones. Tom was huge at the time, massive, and we had a month in Las Vegas, and it was sell out every night. I say "we", of course, it was he, but we were his backing band. Elvis, threw a party for Tom because they were friends. Elvis came to Vegas to see Tom perform, no other reason. He saw us a few times. That wasn't the first time. I think that was the third, if I remember correctly, so it was the third time I was meeting him. I'd never met him in a social context. I'd met him with the Memphis Mafia in his hotel in Hawaii. He and Priscilla were there. They were married at the time, of course, and I knew that he was a big, big fan of Tom, and Tom was a fan of Elvis, of course; as you say, the biggest rock idol, arguably, whoever lived,
What happened next with Elvis?
We went to his his apartment for a party, and we had a great time. He wasn't drinking or doing drugs, or he hadn't reached drugs yet, and Tom and I, none of the band - The Squires - had ever done drugs in our lives. We drank a lot, but no, drugs just wasn't in our upbringing. It wasn't in our culture at all in those days; don't forget, it was the early '60s, and we were brought up through the '50s. But, and he was a very gracious guy, Elvis, and very polite, just like he's reported to be, which is extremely polite to everybody. And then just after that meeting and that photograph, he offered me a job playing drums.
Wait; Elvis Presley offered you a gig playing for him?!
Yes. I nearly got to do it, but Tom got a little bit jealous about it, and said; "you can't do it". I said; "well, I can", but I was contracted to Tom, and to cut a long story short, I was speaking to Joe Esposito, which was his right hand man, and Colonel Tom Parker's right hand man, and I was talking to him regularly. This went on for weeks, and I said; "yes, I'd love to!" I'd be stupid not to, wouldn't I, even though I'm with the biggest singer in the world at this time; that's how I got that offer from the other biggest singer in the world. But Tom honestly at that time, nobody would believe me, but this is absolutely true, Tom was bigger than Elvis and Frank Sinatra put together. It was phenomenal. He also had a weekly TV show in the States and in Europe, and at some points that changed into daily in different countries. He was massive. I can't explain to you how big he was; a bit like the Beatles with the adulation, which wasn't screaming teenagers; they were more mature; they were screaming twenty year olds!
You said that this went on for weeks, the negotiations to try and get you, so what happened?
Well, in the end, I couldn't make rehearsals, so they said; "that's okay. We'll get somebody in, we'll play with that guy, and then you can come in and take over at the end because you know the songs". And I, of course, said yes, and I kept saying it, but Tom's tour kept extending. I think in the end - and was I talked to by everybody; agents, managers, Tom, especially - and I think the management went to Colonel Tom Parker and said; "you can't steal our drummer", and that's where it ended. The drummer they got in was Ronnie Tutt, who I knew was a great drummer, because I used to listen to him on the Andy Williams show on TV, which predated Tom by a few years. He became Elvis's drummer, and it was going to be me and Ronnie playing drums, but that never happened either because Tom's tour kept going. About a year after that, I left Tom, so I should have just walked then.
I wanted to touch on the early '80s and The Firm. I mean, you mentioned drinking and drugs, and as far as I'm aware, Jimmy Page was shaky enough around that period. What that was like working with those guys?
It was great. It was a great experience. Pagey was not doing drugs. He gave that up. He was just drinking white wine spritzers, actually, all the way through The Firm, and he didn't do that too often. That was just when we were at bars, you know, chatting. I'd met Paul [Rodgers] in 1971 when he was in Free, and Earth Band did a tour of Australia with Deep Purple, and Free was opening the bill. I knew him, and he was always a great singer, and he was incredibly skinny in those days, and so was I.
Tony Franklin was on bass; a tremendous, fretless bass player, and it was a great unit. And it went for two years, which is quite a long time. You know, Earth Band was seven years; Tom Jones was seven years, so I'm used to those sort of time frames, but this lasted two years and two albums. People say; "well, why did it end?" Well, I don't know why it ended. You'll have to ask Pagey or Paul that, because I have no idea. Me and Tony were not part of the managerial ins and outs, and that's good, because you stay out of the way, and you do your job when you're required to do it, and then you go home; it's that simple, and somebody else just makes decisions.
Do you think The Firm is underrated?
Definitely. Definitely an underrated band, without a doubt. We were going to try to get back together. There was a period, and this little band you've never heard of, I'm sure, called Led Zeppelin got back together. Silly name that, but yeah, I heard they were quite good! So the Firm got knocked on the head.
Are you talking about around the time of the Ahmet Ertegun tribute gig, in 2007?
Yes, and Tony and Pagey were talking about it, and he said; "oh, you know, it could happen", and I said; "oh, I'll keep my fingers crossed!", but it never happened, and never will, in my opinion. Now, of course, you know, Paul has done so much more, with Queen, and his own career, and he's singing better now, I think, personally, than he did back then, and he was great back then; the greatest blues voice, from these islands, certainly.
Did you know what was being discussed; was it going to be a tour? A one off? Maybe another album?
No, I don't. As I say, Tony and I were not part of those discussions.;they were between Pagey, Paul and the management.
It was great. It was a great experience. Pagey was not doing drugs. He gave that up. He was just drinking white wine spritzers, actually, all the way through The Firm, and he didn't do that too often. That was just when we were at bars, you know, chatting. I'd met Paul [Rodgers] in 1971 when he was in Free, and Earth Band did a tour of Australia with Deep Purple, and Free was opening the bill. I knew him, and he was always a great singer, and he was incredibly skinny in those days, and so was I.
Tony Franklin was on bass; a tremendous, fretless bass player, and it was a great unit. And it went for two years, which is quite a long time. You know, Earth Band was seven years; Tom Jones was seven years, so I'm used to those sort of time frames, but this lasted two years and two albums. People say; "well, why did it end?" Well, I don't know why it ended. You'll have to ask Pagey or Paul that, because I have no idea. Me and Tony were not part of the managerial ins and outs, and that's good, because you stay out of the way, and you do your job when you're required to do it, and then you go home; it's that simple, and somebody else just makes decisions.
Do you think The Firm is underrated?
Definitely. Definitely an underrated band, without a doubt. We were going to try to get back together. There was a period, and this little band you've never heard of, I'm sure, called Led Zeppelin got back together. Silly name that, but yeah, I heard they were quite good! So the Firm got knocked on the head.
Are you talking about around the time of the Ahmet Ertegun tribute gig, in 2007?
Yes, and Tony and Pagey were talking about it, and he said; "oh, you know, it could happen", and I said; "oh, I'll keep my fingers crossed!", but it never happened, and never will, in my opinion. Now, of course, you know, Paul has done so much more, with Queen, and his own career, and he's singing better now, I think, personally, than he did back then, and he was great back then; the greatest blues voice, from these islands, certainly.
Did you know what was being discussed; was it going to be a tour? A one off? Maybe another album?
No, I don't. As I say, Tony and I were not part of those discussions.;they were between Pagey, Paul and the management.
We obviously have to talk about AC/DC; can you believe how popular 'Thunderstruck' is? It's up there with the top tier AC/DC songs; does that amaze you?
It does. I thought it was good. but I didn't think it was that good at the time. You know, I knew there was something good there, but you don't think about that. I've played on other albums and thought; "oh, that's a great song!", and it never goes anywhere, so to speak, so you can never tell. But you know, I think with AC/DC, there was an idea it might do something, but what it has done is just amazing. Armed forces all over the world use it as motivation for troops in almost every country.
What's the secret?
They are tremendous songwriters, Angus and Mal, and they're geniuses in their writing and arrangements. Everybody knows that. I think some people - press included - are a bit down on AC/DC because of Angus being up front looking absolute nuts, which he does on stage; they think it's a bit of a joke, but there's nothing to joke about with AC/DC, I promise. One of the best bands that's ever been, in my opinion, and people say; "oh yes, the three chord trick". There's no such thing, right? And; "Back in Black's got eighteen chords, so I'm going to write one, one day with twenty-two chords in it. It'll be even better than 'Back in Black!" Yeah? Good luck!
'Thunderstruck' obviously dominates that album now, but 'Money Talks' was a great single.
Yeah, absolutely. As I said, they're great songwriters, and it was a hit all around the place - not like 'Thunderstruck', but it was a big hit, and it helped 'The Razor's Edge' to go stratospheric. All those things did, you know; 'Money Talks' and 'Are you Ready'
Yeah, 'Are you Ready' is another brilliant song.
You know, they're so clever those guys, because they are pop songs played heavy. That's their secret. And they got themselves put into the heavy metal section of the record stores. There was a directive that went all around the world that said; 'This is a Heavy Metal Band', and that was Angus and Mal saying; "we're heavy metal; we're not pop or rock; or we're heavy metal, okay?" So you always see 'heavy metal band ACDC'; they engineered that. They ain't stupid, those guys. Last time around, when I was with them, in '15, '16, we played to 80,000 people every night,
I wanted to ask you about the last song you recorded with AC/DC, 'Big Gun', which came out in '93 and was attached to the movie 'Last Action Hero'; it's got such a great riff.
It's a tremendous riff. I actually say that when we do it with Timeline, I mean, it's on this album. I always say, crap movie, but a great riff! I thought the movie was terrible, to be honest, absolutely on any level. I think it's awful. Some people like it. I think Arnie is great. I think he's got a tremendous sense of humour, Arnold Schwarzenegger, and you could tell by the way he wore a schoolboy suit in the video.
How long did you spend in the studio on working on 'Big Gun?
It was done in about one or two days. We went - the band, that is - to LA to record it, from UK. They were in the UK at the time, living in the UK. Well, Angus actually was in Holland. I think Malcolm was living in the UK, and we all flew to LA to do this recording. They explained it was a one off, and it was for a film, and they played it to me on the plane, and I thought it was tremendous. I love that riff because it's a bit like 'Peter Gunn'; It revolves around itself. It's never a ending riff, you know, and using Peter Gunn's analogy, I thought, you know, what a great riff, what a great song, and that's why we do it in Timeline. And it's not on an AC/DC album, except for a compilation album for the movie the Last Action Hero, and it was a huge selling album because there were a lot of names on it. So yes, I love that song.
Do you know was that riff left over from 'The Razor's Edge', or was that something completely new?
I've no idea of what the guys have got, but they have always recorded demos, and the drums are played by Angus or Malcolm. They they are both drummers. They both play drums, and as drummers - even Phil Rudd, I don't care what he says - we have to play what Angus or Mal play, or at least the equivalent of, or as close as you can get it. That is what they want; that's the brief, that's the job, and you follow their directive. Now, if there's something in it that's not, really drum-like, like you say; "well, it don't fit", that fill or whatever. But there's no fills actually, because Angus and Mal don't do fills; they just play straight, just like you hear on their records, because that is what they want, and that is what the guitars play off, is a straight forward beat; boom, bash, boom.
So when they demo'd, one of the guys was sitting at the kit?!
Yeah, they've always done that, even in the beginning, and people who say different are wrong, simple as that.
It does. I thought it was good. but I didn't think it was that good at the time. You know, I knew there was something good there, but you don't think about that. I've played on other albums and thought; "oh, that's a great song!", and it never goes anywhere, so to speak, so you can never tell. But you know, I think with AC/DC, there was an idea it might do something, but what it has done is just amazing. Armed forces all over the world use it as motivation for troops in almost every country.
What's the secret?
They are tremendous songwriters, Angus and Mal, and they're geniuses in their writing and arrangements. Everybody knows that. I think some people - press included - are a bit down on AC/DC because of Angus being up front looking absolute nuts, which he does on stage; they think it's a bit of a joke, but there's nothing to joke about with AC/DC, I promise. One of the best bands that's ever been, in my opinion, and people say; "oh yes, the three chord trick". There's no such thing, right? And; "Back in Black's got eighteen chords, so I'm going to write one, one day with twenty-two chords in it. It'll be even better than 'Back in Black!" Yeah? Good luck!
'Thunderstruck' obviously dominates that album now, but 'Money Talks' was a great single.
Yeah, absolutely. As I said, they're great songwriters, and it was a hit all around the place - not like 'Thunderstruck', but it was a big hit, and it helped 'The Razor's Edge' to go stratospheric. All those things did, you know; 'Money Talks' and 'Are you Ready'
Yeah, 'Are you Ready' is another brilliant song.
You know, they're so clever those guys, because they are pop songs played heavy. That's their secret. And they got themselves put into the heavy metal section of the record stores. There was a directive that went all around the world that said; 'This is a Heavy Metal Band', and that was Angus and Mal saying; "we're heavy metal; we're not pop or rock; or we're heavy metal, okay?" So you always see 'heavy metal band ACDC'; they engineered that. They ain't stupid, those guys. Last time around, when I was with them, in '15, '16, we played to 80,000 people every night,
I wanted to ask you about the last song you recorded with AC/DC, 'Big Gun', which came out in '93 and was attached to the movie 'Last Action Hero'; it's got such a great riff.
It's a tremendous riff. I actually say that when we do it with Timeline, I mean, it's on this album. I always say, crap movie, but a great riff! I thought the movie was terrible, to be honest, absolutely on any level. I think it's awful. Some people like it. I think Arnie is great. I think he's got a tremendous sense of humour, Arnold Schwarzenegger, and you could tell by the way he wore a schoolboy suit in the video.
How long did you spend in the studio on working on 'Big Gun?
It was done in about one or two days. We went - the band, that is - to LA to record it, from UK. They were in the UK at the time, living in the UK. Well, Angus actually was in Holland. I think Malcolm was living in the UK, and we all flew to LA to do this recording. They explained it was a one off, and it was for a film, and they played it to me on the plane, and I thought it was tremendous. I love that riff because it's a bit like 'Peter Gunn'; It revolves around itself. It's never a ending riff, you know, and using Peter Gunn's analogy, I thought, you know, what a great riff, what a great song, and that's why we do it in Timeline. And it's not on an AC/DC album, except for a compilation album for the movie the Last Action Hero, and it was a huge selling album because there were a lot of names on it. So yes, I love that song.
Do you know was that riff left over from 'The Razor's Edge', or was that something completely new?
I've no idea of what the guys have got, but they have always recorded demos, and the drums are played by Angus or Malcolm. They they are both drummers. They both play drums, and as drummers - even Phil Rudd, I don't care what he says - we have to play what Angus or Mal play, or at least the equivalent of, or as close as you can get it. That is what they want; that's the brief, that's the job, and you follow their directive. Now, if there's something in it that's not, really drum-like, like you say; "well, it don't fit", that fill or whatever. But there's no fills actually, because Angus and Mal don't do fills; they just play straight, just like you hear on their records, because that is what they want, and that is what the guitars play off, is a straight forward beat; boom, bash, boom.
So when they demo'd, one of the guys was sitting at the kit?!
Yeah, they've always done that, even in the beginning, and people who say different are wrong, simple as that.
Did you go and see AC/DC this time around, on their recent 2024 tour?
I was going to go to France because I didn't want to go to the zoo that is Wembley, because it's impossible there backstage. There's people there that; "who's that guy?" I don't know, hundreds of people get backstage, and I didn't want that, so I thought we will go to France, because we go over there quite regularly. It's not far for us to go, we're just by the ferry, and I'm so used to that, because you do it all the time. I just did it like two weeks ago. So yes, I was going to go, and then I couldn't, unfortunately, because of things like this [interviews]. Honestly, I'm trying to promote this album, so I've done, literally hundreds of interviews.
What's happening going forward?
I actually go back to my hometown in a month or so to do a gig, which I'm very excited about. Actually, I haven't been to Ponty [Pontypridd, Wales] for a while. My older brother still lives in that area, and he started me off on drums, by the way, my brother Danny, so if you don't like my playing, blame Danny! It's not my fault.
The Chris Slade Timeline's 'Timescape' is available now.
I was going to go to France because I didn't want to go to the zoo that is Wembley, because it's impossible there backstage. There's people there that; "who's that guy?" I don't know, hundreds of people get backstage, and I didn't want that, so I thought we will go to France, because we go over there quite regularly. It's not far for us to go, we're just by the ferry, and I'm so used to that, because you do it all the time. I just did it like two weeks ago. So yes, I was going to go, and then I couldn't, unfortunately, because of things like this [interviews]. Honestly, I'm trying to promote this album, so I've done, literally hundreds of interviews.
What's happening going forward?
I actually go back to my hometown in a month or so to do a gig, which I'm very excited about. Actually, I haven't been to Ponty [Pontypridd, Wales] for a while. My older brother still lives in that area, and he started me off on drums, by the way, my brother Danny, so if you don't like my playing, blame Danny! It's not my fault.
The Chris Slade Timeline's 'Timescape' is available now.
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