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Zig Zag - 1735
 

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Zig Zag - 1735

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ZIG ZAG

Released: October 2003
© Copyright - Earl Slick
Label: Sanctuary Records
Produced and Mixed by: Mark Plati
Pre-Production: Jack Schell / 1735 Merkaba Studios
"1735" Co-written by Earl Slick and Jack Schell.
Jack Schell has Keyboard credits on "Dancing with Eleanor"; "Believe (Robert Smith/The Cure vocals; "St. Mark's Place (Martha Davis/The Motels vocals); and, "The Cat".


Produced by Mark Plati (Bowie, Duncan Sheik, Natalie Imbruglia), the highly anticipated Zig Zag was Slick’s first album of new material in 12 years and features four instrumentals and a half-dozen tracks co-written by guest stars such as David Bowie, Robert Smith of The Cure, Martha Davis of The Motels, Spacehog’s Royston Langdon and Def Leppard’s Joe Elliott. “The idea to do a record came to me in 2000,” says Slick. “After years of constant work, I took a much-needed break and spent some time hiding
out in the High Sierras."

"But then I did some dates with David and felt inspired and started to write again,which I hadn’t done in a long time. I called Mark Plati, who I knew from David’s band and admire greatly, and asked if he’d be interested in making a record with me. That led to a conversation with Bowie, who graciously offered to sing a track. That started the ball rolling with other vocalists, which was a nice surprise, considering I originally planned for it to be an all-instrumental album.”

The variety of voices woven throughout Zig Zag lends depth and resonance to Slick’s searing guitar work, be it Royston Langdon floating an airy melody over the meaty rhythm of title track “Zig Zag” or Martha Davis painting a trippy picture of New York City’s east village on the spiraling “St. Mark’s Place.” 

"Main Cure man Robert Smith adds a cool melodic breeze to lead single “Believe,” while Joe Elliott amplifies the dark and dangerous “Psycho Twang.” “Each vocalist wrote his or her own melodies and lyrics,” says Slick. “Some of them got really rough demos from me and still managed to come up with amazing ideas. They really helped make this a unique record.”

Blistering instrumentals such as “Pike St.” and the beautifully melodic “Dancing With Eleanor” prove Slick’s as potent a player as ever, one that can generate heat whether laying down quiet, intimate melody lines or delivering a devastating flurry of raw, rabid leads. He shines on “The Cat,” a dark and slinky track he describes as a “f*#cked-up spaghetti western-sounding song.”

“I wrote it at the house of my buddy Jack Schell, who engineered all the early demos,” he says. “I was inspired after seeing this little black cat that kept walking past the room I was in. One day I asked Jack about it and he gave me a weird look and said, ‘I don’t know what you’re talking about. I don’t have a cat.’ Of course, that freaked me out because I didn’t just see it once, I saw it several times—I know I did.That really spooked the sh*t out of both of us,” he laughs. “Of course, no one’s seen the cat since.”

Keywords: "Earl Slick", “Zig Zag”, "1735”, "Dancing with Eleanor", "Believe”, "St. Mark's Place”, "The Cat"

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