Slash's Snakepit
| Company type | Supergroup |
|---|---|
| Industry | Music |
| Founded | 1994 |
| Founder | Slash |
| Headquarters | Los Angeles, California , United States |
| Products | Music albums, live performances |
Slash's Snakepit emerged as an American rock supergroup originating from Los Angeles, California, established by Guns N' Roses guitarist Slash in 1994. Although frequently regarded as Slash’s solo endeavor, he emphasized that Snakepit functioned as a collaborative band with equal input from all members. The original roster featured Slash alongside Guns N' Roses colleagues drummer Matt Sorum and guitarist Gilby Clarke, bassist Mike Inez from Alice in Chains, and former Jellyfish guitarist Eric Dover handling lead vocals.
Their first album, It's Five O'Clock Somewhere, was launched in 1995. For the ensuing tour, Slash brought in James LoMenzo and Brian Tichy, both from Pride & Glory, to substitute for Inez and Sorum, who were engaged elsewhere. The band toured extensively across the United States, Europe, Japan, and Australia until financial backing from Geffen Records was withdrawn. This led to Slash rejoining Guns N' Roses and the dissolution of the group.
Following his departure from Guns N' Roses in 1996, Slash initiated the cover band Slash's Blues Ball. After touring in 1997, he enlisted bassist Johnny Griparic from Blues Ball to assemble a revamped Snakepit lineup featuring vocalist Rod Jackson, guitarist Ryan Roxie, and drummer Matt Laug—both Roxie and Laug having previous experience with Alice Cooper. Their sophomore release, Ain't Life Grand, arrived in 2000 and was supported by tours opening for AC/DC as well as headlining performances. Guitarist Keri Kelli replaced Roxie for the touring cycle. After concluding the final show, Slash disbanded Snakepit due to members’ waning dedication. Subsequently, he formed Velvet Revolver in 2002 with drummer Matt Sorum and bassist Duff McKagan, both ex-members of Guns N' Roses.
Formation (1993–1994)
Following a two-and-a-half-year global tour promoting Use Your Illusion I and Use Your Illusion II, Guns N' Roses guitarist Slash returned to Los Angeles. He sold his residence known as the Walnut House and relocated to Mulholland Drive, where he constructed a modest home studio dubbed The Snakepit above his garage to develop demos from compositions created during the tour. Slash collaborated frequently with Guns N' Roses drummer Matt Sorum, later joined by fellow bandmate Gilby Clarke and bassist Mike Inez of Alice in Chains, working mostly during nighttime sessions.
Slash presented these demos to Axl Rose, who initially dismissed them but later showed interest in incorporating some into the forthcoming Guns N' Roses album. By 1994—the year Guns N' Roses entered a hiatus—twelve tracks had been recorded. Choosing to move forward independently, Slash decided to finalize these Snakepit demos with Sorum, Clarke, and Inez, adding former live guitarist of Jellyfish, Eric Dover, as lead vocalist. This recruitment caused friction between Slash and Sorum since Dover’s inclusion occurred without Sorum’s consent.
It's Five O'Clock Somewhere and breakup (1994–1996)
All twelve songs featured lyrics co-written by Slash and Dover, with Slash expressing his frustrations toward Guns N' Roses frontman Axl Rose. Guitarist Clarke contributed the track "Monkey Chow," while "Jizz da Pit" was an instrumental piece composed by Slash and Inez. Recording took place at both Conway Recording Studios and The Record Plant, with production handled jointly by Mike Clink and Slash. Mixing duties were undertaken by Steven Thompson and Michael Barbiero, all of whom had previously worked on Guns N' Roses’ debut album Appetite for Destruction. Additional contributions came from Duff McKagan, who co-wrote "Beggars & Hangers-On," keyboardist Dizzy Reed, harmonica player Teddy Andreadis, and percussionist Paulinho da Costa. The album's artwork was designed by Slash’s brother Ash Hudson.
Released through Geffen Records in February 1995, It's Five O'Clock Somewhere derived its title from a phrase Slash overheard at an airport. Despite Slash’s preference for simply The Snakepit as the band's name, the label insisted on using Slash's Snakepit instead. The album peaked at number 70 on the Billboard 200 chart and reached number 15 on the UK Albums Chart. "Beggars & Hangers-On" was issued as the only single, while a music video was produced for "Good to Be Alive," directed by August Jakobsson.
Critics generally received the album positively. Metal Hammer praised its "sleazy, downtrodden blues hard rock," whereas AllMusic’s Stephen Thomas Erlewine highlighted impressive guitar performances but criticized weaker songwriting. Devon Jackson of Entertainment Weekly described it as "relaxed headbanging and Southern-tinged blues-rock," while Classic Rock characterized it as "a loose-limbed record with heavy guitar-led punk-style pop-rock."
The band embarked on an extensive tour throughout the United States, Europe, Japan, and Australia, with bassist James LoMenzo and drummer Brian Tichy stepping in for Inez and Sorum, who had returned to Guns N' Roses. Sharing stages with bands like Metallica, Slash noted that this period was free of drama, focusing solely on delivering rock performances. However, as preparations began for another leg of touring, Geffen informed Slash that Axl Rose was ready to commence work on a new Guns N' Roses album and consequently withdrew financial backing for Snakepit’s tours. This development led to the group’s disbandment shortly afterward.
Slash's Blues Ball and the band's revival (1996–1999)
In 1996, Slash parted ways with Guns N' Roses due to creative disagreements with Axl Rose. Subsequently, he toured Japan alongside Chic and contributed to the soundtrack of Curdled. He then established a blues cover group named Slash's Blues Ball, which included Teddy Andreadis, Bobby Schneck, Johnny Griparic, Dave McClarem, and Alvino Bennett. This ensemble performed sporadically up to 1998, headlining a jazz festival in Budapest and interpreting works by B.B. King, Steppenwolf, Otis Redding, as well as selections from Guns N' Roses and early Slash's Snakepit.
After completing a 1997 tour, Slash and Griparic aimed to resurrect Slash's Snakepit. They conducted auditions for over 300 vocalists, primarily unknown talents. Jon Stevens was considered but ultimately returned to his solo endeavors. The role eventually went to Rod Jackson of Virginia’s band Ragdoll after Griparic presented his demo tape to Slash. Guitarist Ryan Roxie and drummer Matt Laug, both formerly connected with Alice Cooper, completed the lineup. Rehearsals and recording sessions took place at Mates Studio and Slash’s home studio in Beverly Hills.
Ain't Life Grand release and subsequent dissolution (1999–2002)
The band produced Ain't Life Grand with producer Jack Douglas at both Slash’s personal studio and Ocean Way Recording, featuring guest appearances by Teddy Andreadis, Jimmy Zavala, and Lee Thornburg. Although initially backed by their record label, the album’s release was postponed when Geffen Records—by then merged into Interscope Records—declined to release it, deeming it incompatible with their roster. Slash reacquired the album rights and signed with Koch Records. Following the recording sessions, guitarist Roxie departed and was succeeded by Keri Kelli.
Koch released the album on October 20, 2000, with "Mean Bone" as the lead single. Despite touring alongside AC/DC and embarking on a headlining theater tour, the album’s commercial performance lagged behind their debut effort. Reviews were mixed: while Slash’s guitar playing was lauded, critiques targeted the songwriting quality and group dynamics. Two months after release, Koch dropped the band from their roster.
During AC/DC's Stiff Upper Lip tour late in 2000, Slash was hospitalized due to cardiac myopathy attributed to substance abuse issues, forcing him to withdraw from the tour. After undergoing treatment including defibrillator implantation and rehabilitation therapy, Slash's Snakepit resumed touring by mid-2001, performing co-headlining shows with Billy Idol. However, citing reliability concerns among members, Slash disbanded Snakepit in early 2002 to concentrate on solo ventures.
Activities following the breakup
After dissolving Slash’s Snakepit, Slash initially intended to produce a solo album but soon collaborated with Steve Gorman of The Black Crowes and an unnamed bassist. Alongside former Guns N’ Roses colleagues Duff McKagan and Matt Sorum, they formed The Project—a precursor to the hard rock supergroup Velvet Revolver—which later incorporated guitarist Dave Kushner and ex-Stone Temple Pilots vocalist Scott Weiland. Velvet Revolver released their debut Contraband in 2004 followed by Libertad in 2007 before parting ways with Weiland and entering hiatus in 2008.
With Velvet Revolver inactive, Slash turned his attention toward his solo career, unveiling his self-titled debut album Slash on March 31, 2010. The record featured prominent guest artists such as Andrew Stockdale (Wolfmother), M. Shadows (Avenged Sevenfold), Kid Rock, Ozzy Osbourne, Myles Kennedy (Alter Bridge), and Fergie. For the supporting tour, Slash assembled a band including Kennedy on vocals, Todd Kerns on bass, Brent Fitz on drums, and Bobby Schneck—formerly of Slash's Blues Ball—on guitar.
Musical style
The sound of Slash's Snakepit has been characterized primarily as a fusion of hard rock and blues rock, incorporating aspects of southern rock. Although often regarded as Slash's individual or side endeavor, Slash maintained that the group functioned as a collective with equal creative contributions from all members. In a review by Rolling Stone critic J.D. Considine, distinctions from Guns N' Roses were emphasized: while Guns N' Roses leaned heavily on melody, Slash's Snakepit placed greater emphasis on instrumental expression. Vocalist Eric Dover received acclaim for his passionate delivery and avoidance of typical genre clichés. The guitar riff in "Good to Be Alive" was likened to the style of Chuck Berry, and the overall musicianship was commended. Stephen Thomas Erlewine from Allmusic recognized Slash as an exceptional guitarist who revitalized familiar rock and blues motifs.
In his evaluation of Ain't Life Grand, Steve Huey described vocalist Rod Jackson as merging the bombast of '80s pop-metal with influences reminiscent of Faces-era Rod Stewart and Aerosmith, a description that broadly suited the band's sound. Nevertheless, Huey considered Slash’s guitar performance somewhat subdued and expressed reservations about the songwriting, though he labeled the album as a "competent, straightforward record" likely to resonate with enthusiasts of raw, traditional hard rock. Malcolm Dome, writing for Classic Rock, observed that Ain't Life Grand exhibited "clarity, intent, and uniqueness," signaling an advancement in atmosphere and concentration.
Personnel
- Final line-up
- Slash – lead guitar (1994–1995, 1998–2002)
- Rod Jackson – lead vocals (1998–2002)
- Johnny Griparic – bass, backing vocals (1998–2002)
- Matt Laug – drums, percussion, backing vocals (1998–2002)
- Keri Kelli – rhythm guitar, backing vocals (2000–2002)
- Former members
- Gilby Clarke – rhythm guitar, backing vocals (1994–1995)
- Eric Dover – lead vocals (1994–1995)
- Mike Inez – bass, backing vocals (1994–1995)
- Matt Sorum – drums, percussion, backing vocals (1994–1995)
- James LoMenzo – bass, backing vocals (1995)
- Brian Tichy – drums, backing vocals (1995)
- Ryan Roxie – rhythm guitar, backing vocals (1998–2000)
Timeline
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Studio albums
| Album Title | Details | Highest Chart Positions | |||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|
| US | AUS | AUT | CAN | GER | NED | NOR | SWE | SWI | UK | ||
| It's Five O'Clock Somewhere |
|
70 | 26 | 15 | 19 | 19 | 19 | 27 | 11 | 15 | 15 |
| Ain't Life Grand |
|
— | 56 | — | — | 58 | — | — | — | 96 | 146 |
Singles
| Single Title | Release Year | Top Chart Positions | Associated Album | |
|---|---|---|---|---|
| US Mainstream Rock |
Australia | |||
| "Beggars & Hangers-On" | 1995 | 21 | 85 | It's Five O'Clock Somewhere |
| "Good to Be Alive" | — | — | ||
| "Been There Lately" | 2000 | — | — | Ain't Life Grand |
| "Mean Bone" | — | — | ||