Earl Slick – Guitarist For Lennon, Bowie & NY Dolls (INTERVIEW)

New York has been enjoying some unusually mild weather this year. Not even the Nor’easter that slammed most of New England in October seemed to make an impact on the state, only dropping an inch of snow in Earl Slick’s backyard. “We’ve not had a winter,” the guitarist said with a hint of bewilderment in his voice. “Right now it’s maybe 40 degrees out and it should be 20 degrees or below”.

Up early on this late February morning, Slick has already been out walking with his beloved Banana, the brown Newfoundland dog that has become his favorite companion. “She’s a real girlie girl,” he says with pride after showing me a photo of Banana with a sparkly silver bow on her head. “All my fans know about her. I mean, she’s been all over the damn place with me. I don’t even go to the grocery store without her coming. As a matter of fact, she comes in the studio and you’ll see a lot of shots of her in the control room”. Slick’s laugh is infectious as he talks about his beloved pet. “When we were filming with David Johansen, he was doing a harmonica solo. For some reason we decided to put the harmonica outside and she’s like walking around in the background. It’s hysterical”.

If you were lucky enough to catch the big Motley Crue tour last year then you caught Earl Slick getting down with the legendary punk band the New York Dolls, snarking some sassy blues riffs while Johansen slinked around the stage like a rascally alley cat. Still sporting the black spikey hair and the essential rocker wardrobe, there are no signs that Slick has aged since the 70’s. “[My kids] are 32 and 26. It feels weird having kids that old. I still act like a sixteen year old,” Slick says with a laugh.

Having spent quality time with both David Bowie and John Lennon providing inventive guitar sounds to such albums as Young Americans and Double Fantasy, he has never stayed satisfied. Instead, he keeps chasing the rock & roll dragon, developing new projects that fill him with that tingly excitement that a new band chemistry naturally provides. He is currently reviving Phantom, Rocker & Slick and they are hitting the concert trail with their brand of rockabilly rock, while over these past few weeks he has been spending studio time with a local punk band. And on top of all that, he has recorded a few songs with his Dolls bandmate David Johansen and Motley Crue guitarist Mick Mars.

Lucky for Glide, Slick spent this particular Monday morning chatting about his admiration for Keith Richards, his youth playing baseball in Brooklyn, his aggravation with today’s music reality shows, and his excitement for upcoming projects. But he starts off by sharing a favorite memory of working with John Lennon on the icon’s Double Fantasy album.

I want to try and stay focused on you and your musical career but I’d like to ask if you would share a special memory from when you were recording Double Fantasy with John Lennon.

Wow, there was a ton of special moments in there but there’s one special moment, which is funny because it ended up on a recording because we recorded both Double Fantasy and Milk & Honey at the same time. That was one continuous session and then they picked out the ones for Double Fantasy. Then we were going to finish the next batch in January and January never happened for John. That album came out a few years later. But on some of the outtakes there is a spot where there is a solo coming up and John yells my name out. It’s on the recording in a box set that came out a while ago. I remember when I got it being like a twelve year old again. I must have listened to that, John saying my name right before my solo, like a hundred times (laughs). I just kept playing it back.

John was one of the guys, very funny, very light-hearted and we had a ball. He was a very good friend and we hit it off on day one. We got along really well. The whole thing was special, just being with one of the guys who inspired me to actually do what I do for a living. Every once in a while I would look around the studio and go, “It’s John Lennon in the damned vocal booth. How did this happen?” Just being able to be with one of the very few guys that I had that kind of affection for before I worked for him, know what I mean. And the other one being Keith Richards. I would say John Lennon and Keith Richards are two of my biggest heroes and biggest inspirations in this business. Just being there was special, period. I mean, being asked to do something like that was just like WOW.

So how did you get the gig with Lennon?

It was this whole cloak and dagger thing going on because John hadn’t done anything for five years. He wasn’t in the press, he was totally invisible. And I had gotten a call from my manager saying that Jack Douglas, who co-produced the record, had a project for me. I was in LA and he wanted me to fly out to New York and said it would be around this time, whatever the dates were, and my manager asked who it was and he wouldn’t tell her. So I said, let me think about this. I knew Aerosmith wasn’t looking for a guitar player cause he produced those guys as well. And I started thinking and thinking and this is really weird how you just get a sense. And I went, you know what, he’s worked with Lennon before, Lennon hasn’t done anything in five years, I think it’s John Lennon. My manager said, “You’re out of your mind”. Well, a couple days later, I said to call him back and see if you can beat up on him a little bit and see if you can get him to talk (laughs). And it was John. Isn’t that weird? It was so bizarre.

Do you feel lucky to have been chosen?

It’s an odd feeling looking back. In retrospect, at the time all I felt was elated and excited and “Oh my God, John Lennon wants me to play on his record”. In hindsight, it was just what they would call a synchronicity thing. We had crossed paths via David Bowie on the Young Americans album, cause we’re both on “Fame”. There was a Beatles song recorded on that album as well, which was “Across The Universe”. It could have been anybody so why was it me? That’s what I kept thinking to myself and I still do to this day.

But here is the story that everybody knows: The first day I walked in the studio I was so freaking excited that I got there like an hour early. I couldn’t help myself. I wanted to get there before he did to get my gear in the place and get comfortable. I walk in there and there was nobody there except John was already there, sitting on a chair in the middle of the main room playing his guitar. I went over to introduce myself and he says, “Good to see you again”. And I said, “Again? Did we ever meet?” Because to the best of my knowledge when we did the Bowie record we didn’t do our parts together. He’s convinced that we did and I wasn’t sure that we did, the reason being that back then in those days we were all, let’s say, chemically enhanced. He said, “No, we were there together”. And I said, “John, trust me, you’re a Beatle, even if I was completely smashed I would remember” (laughs). And we both laughed and joked about it pretty much the whole time we knew each other. Every once in a while he’d go, “You sure you still don’t remember?” (laughs)

Well, let’s talk about Earl Slick. How would you describe yourself to someone who may not be familiar with who you are?

Wow, it’s hard to do cause you don’t want to sound full of yourself. I think that because of the music that captured my attention as a kid and where I grew up, which was in New York City, I’m a real street kid and I approach things from that angle. I’m very passionate when I play and my guitar playing and my art comes from my gut as does the way I live my life. I believe in the whole art form of rock & roll and I live and breathe that lifestyle. And I don’t mean it in the way like being a rock star cause when somebody calls me that I want to throw up. I hate the term. I’m a guitar player, I love being a guitar player. I can be aloof at times and that probably comes from just a hair bit of shyness and I’m a bit suspicious of people till I know who they are.

That’s normal for a lot of people. So what you’re saying is that you’re just an ordinary person who happens to play guitar.

Yeah, parts of me are really normal and parts of me I would say are pretty damn eccentric (laughs)

You have a boldness to your playing but have you ever had an issue with self-confidence?

As far as guitar playing goes? No, never. My confidence in myself as a guitar player and a person is very strong. I don’t profess to be THE best guitar player in the world. I don’t think there is any such thing as the best guitar player in the world. I think that what I do, I do better than anybody else does and I think that other guys that are really good, they do better cause nobody can be me and I can’t be them. In other words for me, I communicate with my guitar. That’s how I communicate the best. When I got a guitar in my hand, even when I’m doing an interview, if I’m doing an on-camera interview I always have a guitar in my lap. It’s like a talisman or something, like my little security blanket. But yeah, I’m very confident in my guitar playing because I know what it is. I don’t profess to be something that I’m not. This is who I am, this is how I play and I hope you like it but if you don’t then you can listen to another guitar player. And that’s cool because not everybody has to like me. If you do that’s fine, if you don’t that’s fine. I don’t give a shit (laughs)

You’ve worked with the kids in the School of Rock. What do you see in them today as they’re coming up and trying to be working professional musicians compared to when you were a kid?

I wouldn’t want to be them. I can tell you that right off the bat. This art form that I do, when I started doing it, it was roughly maybe twelve years old, ten years old. It’s over fifty years old now. It has morphed and changed, technology has changed. It was very simple when I started. It still wasn’t like a piece of cake like you just walked in and said, “I want a record contract” or “I want to be this or that”. We looked at it more from the point of view that we were just happy to be playing and all I had to really do was be a good guitar player. I’m making that sound simpler than it is but I had to be a guitar player, that was it, that was my passion. I wanted to play in a band, I wanted to play in front of people and I wanted to make records. The thought of even possibly ever getting a record contract was not something that I even thought about. I just had a guitar in my hand and I played it. And the moment I play my guitar, the rest of the world shuts off and that’s when I’m at peace and that’s when I’m just 100% me.

These kids now they ask for advice and I don’t even know what to tell them. But I do tell them things. I tell them you need to be passionate about your instrument, you need to be passionate about what you do and you need to be doing it for the right reasons. If you’re doing this cause you want to be a rock star, go back to school. It’s not about that. That is something that happens over long periods of time if you put the hours and the time and the passion in the work and really love what you’re doing and if you’re really that good, you’ve got a shot. They have to have websites and Facebook and MySpace. They have recording gear in their basement that could do things that they can pay four thousand dollars for that it would take a hundred thousand dollars to do before because now you have computers to record on. I think they’re confused about everything. And what stupid ass shows like all these celebrity this and celebrity that and that stupid Simon Cowell show “American Idol”, to me, that is sending a message out to any bozo who sings in the shower or plays guitar in his bedroom that he too can be a rock star. And I think it’s the cart before the horse.

Those shows make it look easy. And with the internet you have all this access to information, like I can type in your name and find out everything about you in like two seconds.

Exactly. Granted, I’ve got a lot of years of doing this under my belt so it appears on the internet. I didn’t create that internet thing. It just happened because everything I do or have done gets online somehow. And these kids think that because they have a website or they have a little recording they made in their basement and they’re going to start posting that every single day, sooner or later something is going to happen. And they are sadly mistaken. It’s not their fault, it’s the new world. The whole idea of rock & roll and being a camaraderie was all about a whole bunch of different musicians hanging out together and playing on each other’s records. If my band was off one night I’d go see my friend’s band play. It’s almost like having a marriage online where you marry somebody but one guy lives in California and one guy lives in New York. What is that?

That’s an illusion

Exactly. There is so much going on right now that’s smoke and mirrors that these kids don’t know which way is up. And I don’t want to sound like some old man or something, it’s just life in general has turned into that. People just don’t know how to walk up to a girl and say, “Hey, you want to have a cup of coffee?” No, they have to go on matchdate.net or dot com or whatever the freak it is. It’s the whole world has turned impersonal and it’s happening to the music. Who was the last real – and let’s use the word – rock star? Lady Gaga is probably the closest thing to being the new Madonna. But damn she’s talented. Did you ever hear that girl sing with just a piano? It’ll blow your mind. But she does the whole other thing, which has gotten her where it’s gotten her and she’s very good at what she does. I have a lot of respect for her as I always did for Madonna. But these girls worked their butts off and they’re smart and they’re talented. I may be rambling here a bit (laughs)

No, you’re not the only one to talk like this. It seems to be all about the show and not the music.

And there’s nothing wrong with the show if you can back it up with the music. But the kids they don’t really even know which way is up because the whole market and the internet is flooded with MP3’s that are on downloadable sites, and there’s a lot of them, of guys who couldn’t get arrested before and it’s clogging up the pipes. How does the real talented guy get out there? You know my competition were the guys that had made it already. Now a new guy, a really talented guy, he’s really competing with all the incompetents because the incompetents are flooding the internet with all of their amateur hour shit, which I think comes from a lot of these TV shows saying pretty much anybody can be a star kind of thing. There is a lot of work and dedication involved.

I do a Q&A when I do a thing with the School of Rock kids. It’s like a three day thing and I come in the first day, I meet the kids, there’s parents there and we do a question and answer. The next day is rehearsal and then I sit in and I do a gig with the kids, which is always a blast. But you get a kid like say17 years old, and he’s at that point in his life where he has to make some decisions. And he says, “What do I do if I want to be a full-time musician and really do this for a living?” And I say, “Don’t bother with school and quit your day job”. And all of a sudden you see a bunch of parents glaring at me. But you can’t have it both ways.

Art is a really weird thing. It’s an all-consuming full-time lifestyle. It’s not a hobby. I mean, it can be a hobby and I know a lot of guys
that have jobs, friends of mine that have good jobs and they do quite well and make really good money. But their hobby is they buy themselves a guitar and on the weekends they get a couple of their buddies and they play a gig. And they are perfectly cool with that. And that is perfectly ok. Instead of playing golf that’s what they do. They have a passion for music. But they made a decision to get into another field to earn a living earlier in life but they still can go out and enjoy music. There’s nothing wrong with that. But if you’re talking about having a career and making a living at this then you have to look at it from the point of view that you are about to leave society as it is prescribed.

This is a subject I can go on for days because I think that the reason we’re not seeing that special guitar player or that special singer, and I’m not talking about the pop world. Forget the Gagas and Madonnas and the Kelly Clarksons and that whole thing. I’m talking about rock & roll bands. First of all these poor guys hardly have any place to play anymore. The clubs either charge them to play or pay them so little that they can’t even buy a cup of coffee. Before, I was actually making a living playing in clubs, before I actually had an opportunity to work with David Bowie. I was making a living. You can’t do that now.

That’s a shame because live music is the best thing.

Of course it is. But you know what, you can get anything you want on the internet. It made things a lot more special when you had to wait a week to see your favorite band play one or two songs on a TV show. Or you had to wait for that fan magazine to come out every month to see a new picture of them. Now, you go on the internet and you can just watch it all day and that’s nice and I do it. Last night I had like a YouTube fest … But if that is how you’re going to do it, because bands either have videos or they make home videos and they put them online, the motivation to go see the band kind of goes down. When you make things so easy to get to through this little machine that we all have, to me it cheapens what we do and shows like “American Idol” cheapen the art form. They turn it into a fucking circus.

I grew up loving the Rolling Stones. Still do.

Are you kidding me? I live by the Stones.

Keith Richards was like my idol when I was like ten years old.

Me too. Out of everybody in the world, over everybody, and God rest John’s soul, even over John. Him and John come close, they’re my two heroes but when it comes down to it, here is a guy that is 68 years old that his entire demeanor as a human being is the essence of what rock & roll music is all about. And what is funny too when I read Life, I saw a lot of me in that, in just the way he describes things and the way he does things. It’s just kind of a piratey attitude kind of thing.
What you were like when you were a kid?

You know, I was a street kid. I grew up in Brooklyn so we did a lot of street games like stickball and that kind of stuff. Then I got into playing baseball and I wanted to be in the New York Yankees. That was my first thing. Then when the music started I was still playing baseball and I was pretty good at it but I was a catcher and I was always breaking something. Kids have no problem after they hit the ball of throwing the bat straight back and hitting the catcher (laughs). It was duck and cover, right. Finally, somewhere about six months into playing guitar, I broke another finger and I said that was it. I can’t play anymore. And that was the end of baseball and then it was the guitar. I remember having a splint on my finger for about a month and I couldn’t play cause it was on my left hand.

How did you get your first guitar?

I got the first guitar in 1964 because I’d seen The Beatles on Ed Sullivan. That was the spark that got me into it. Then when I saw the Stones, the deal was solid, that was it, that’s when I made the commitment, when I saw the Rolling Stones. And then I basically hounded my father until he couldn’t stand it anymore and he went out and bought me a cheap guitar and said, “Here you go, Bud. This is it. This is the last piece of equipment that I’m buying you. If you get good enough on this you figure out how to buy your own”. And I love a challenge.

How long did it take you before you were comfortable?

Let me see, 1964 puts me at 13 years old and probably within a year I was comfortable enough, even less than that maybe; comfortable enough to grab some of the neighborhood kids and start putting together little bands in the basement and the garages and all that stuff. By the time I was, let’s say, 15 years old, when they had high school dances where they actually had bands, I was good enough to do that. Back then basement parties were very popular, like sweet 16 parties and it was always the girls obviously and they would have them in the basement and we would play at those things. Then they had some underage clubs that we could play at, then the high school dances. Then we figured out the money was really when playing in the clubs. The drinking age in New York, even being in the club, was 18 So by the time I was not even 17 old, we all got fakes IDs so we could play in the bars and I started playing in the bars that young.

What was the name of that band?

Oh God, we had a bunch of bands. There was one band I had called Mack Truck, which would have been in the late 60’s, that actually did quite well. We had this really good manager who was connected, let’s say, and he could get us into anywhere we wanted to get and he could get us really good money.

Where would you play?

We played everywhere. There was a big club that he owned on Staten Island that used to be a theatre. He had taken all the seats out and turned it into this big room and it had the go-go dancers in the cages all painted up in day-glo paint and stuff. And we’d play in there and he would really pay us a lot of money. Then he would put us in the clubs mostly in Manhattan, in the Village and Uptown. I met a singer named Jack O’Neill and we started a band called Beau Jack. The Mack Truck was a little bit too much on the pop side for me but the Beau Jack band was much more bluesy and this guy was Jagger-esque in his singing. So we had a really good band for a while and we played all over the city.

Do you remember playing with anyone else who became famous?

Back in the day? A few guys came out of my neighborhood that actually did very well: a drummer named Tommy Price who played with Billy Idol and Joan Jett, a bass player named Kasim Sulton who ended up playing with Todd Rundgren and Utopia, Meatloaf. They’re both still out there playing. And David Johansen. I was living on Staten Island at the time this all happened. A pedal steel player, an Italian guy named Hank DeVito ended up in Nashville eventually writing like seriously big hits for some big artists. So it was a breeding ground for a lot of successful guys. Frankie LaRocka was a drummer who played in David Johansen’s band, he played with Bryan Adams, he played in Scandal when they started. He played with Bon Jovi for a short period of time. Matter of fact that song “Runaway” he is on that. He didn’t think the band was going to happen so he quit. Ouch.

Did you ever have like a normal job?

I’ve had two normal jobs. One job I had in the summer, although I can’t tell you what year it was, but it would have been like 1965. One of my mother’s girlfriends, her husband owned a gas station and I needed an amp so I worked at the gas station. And as soon as I had exactly enough money for the amp, I quit. Then right out of high school, my old man was all over my shit about jobs and school and blah-blah-blah, so to shut him up I went and got a messenger job on Wall Street. Basically what I did was I worked for this company and they had curriers back then on feet. It was a coffee company so I would take these little coffee samples and they’d give me train fare and I would get on the train and I would deliver these little packages to the companies. I had that job for four weeks. I was making $50 a week doing that but I was still playing at night and making $200 a week playing at night. So trying to go to work and getting out of the house by 7:00 in the morning when you finished playing at 4:00, when you’re seventeen years old you can do that. But after a month I went, screw this. What the hell am I doing? And that was the last job I ever had.

How long have you been called Slick?

The singer from the band Beau Jack, Jack O’Neill, named me that. He was in Florida and every time he would introduce us on stage we’d have a different name. It was just an inside joke in the band. And he’d come up with some whoppers and for some reason I got stuck with that name. That would be about 1969, maybe 1970.

Whatever happened to him?

I stay in touch with him. He has like a blues band that he sings with on the weekends. He lives out in Jersey but he never made it. He was actually going to be the singer for the first Earl Slick Band album that came out. There were basically two singers in the band at the time, him and a guy named Jimmie Mack. And the record company when it came time to sign the deal, I got hit with the ultimatum that to this day I kind of regret doing. Jimmie had more of a pop voice and Jack was more rougher, more like the Stones, and the record company said, “You know the only way we’re going to sign this is if Jimmie is the lead singer”. And it was a big record contract back then. You took a $120,000 contract in 1975 it’s a lot of money.
We had already cut a whole album with a producer who had worked with Cream who I knew through a friend of mine and they didn’t want him either. So they bought him out, bought the masters out and buried them. The masters were gone but I did find a cassette that we cleaned up and remastered and I had a small internet label about twelve years ago and it was released as Lost & Found. You might even find it on Amazon or ebay. And that was that band. And I had some of the Bowie guys in that too. David Sanborn played on that, Michael Kamen played on it, Mike Carson played on it.

Why haven’t you made a solo record in a while?

I have stuff in the can. I’ve got stuff recorded. To be honest with you, I’m not sure what the hell to do with it right now. I’m really not sure because I’ve got one project where we’ve got about nine or ten things recorded. I’ve got to remix it and we’ve got to figure out what to do with it. And there are some other bits and pieces I have. The idea of going out and getting another record contract at this point is just not terribly appealing to me.

But we’re working on taking some tracks from this thing and wanting to do a package with it. I had a photographer and a videographer come in and document everything and he actually went ahead and made a hard cover book and it looks amazing. So what we’re going to do with this is take maybe four or five of the tracks, mix them and take maybe five minutes of video footage of the sessions with the book and sell it as a package. That I would like to do.

As far as putting out an Earl Slick record and thinking I’m going out and work it on the road is not appealing. It just isn’t. Right now, what is in the works is re-releasing the Phantom, Rocker & Slick album. So me, Slim Jim and Lee, we’ve all decided that we want to do this. So we’re looking at getting logistics together right now to go out and do some dates this year. That would be great.

Then I went in the studio after we finished off the Dolls thing. I got a hold of Mick Mars of Motley Crue and me and Mick and David Johansen went in the studio up here and we cut two tracks and they came out great. But we got major scheduling problems going on right now as far as getting us back in there. But we wanted to cut a whole record and put it out. I just don’t know logistically how the hell we’re going to do it. It sounds crazy. Me, David Johansen and Mick Mars together but for some reason it absolutely fell into place.

It sounds kinetic, like lots of energy sparking all over.

Oh yeah, there was some serious energy going on and I was very happy with the outcome, as everybody else was, but we’re not really sure. The biggest problem right now is that everybody has got things going on.

How is Mick doing?

Mick is great. I mean, I swear to God, I got to give him credit cause if I had the condition he was in I’d be one grumpy ass SOB. And he is not. We had a ball, we became really good friends on the Motley tour and I consider him one of my better friends these days.

When you write, does it come natural to you?

When it comes, it comes. If it doesn’t come, it doesn’t come. It’s weird. The switch is on or the switch is off. The more I do it, I’ll get on a roll. Like any other artist there’s days when you wake up and you go down to write and you’re sitting there for a couple of hours and you’re going, you know what, not today. Then there’s days where stuff just flies out. It just comes out of the universe. I don’t know where it comes from, it just floats in on a radar or something.

What is something that you like or like to do that all your fans out there may not know about you.

I like the forest. I like being outdoors. Probably comes from being around a lot of people for most of my life. And I absolutely adore my Newfoundland dog. I’ve had two before that and it’s something I will have probably for the rest of my life cause I just love these dogs. And this dog outweighs me by fifteen pounds.

How did you find this dog, or this breed of dog?

A really long time ago I lived in Venice Beach for a little while; I lasted about a year down there (laughs). I couldn’t take it anymore. I did it as an experiment and this is going back to around 1990. I had an apartment that was right on the main boardwalk there in one of the old buildings on the sixth floor. So I just loved people-watching out the window and I started spotting this big black dog every day and I’m going, “Christ almighty that’s a cool dog”. So one day I saw the guy and I ran down the stairs and introduced myself and I saw the dog and I fell in love with this dog. So I became friends with the owner and the dog and I thought, man, one of these days when I’m in the right spot I’m going to get one.
I got my first one in 1997 and he needed a home. He was adopted, his owners had gotten a divorce and they couldn’t keep him. He was three. Then about a year and a half later it happened with a puppy and I took her too. So I had two of them for a while. They were four years apart or something. They’ve both gone now, the last one, the younger one, went almost two years ago. I decided after she went, I wanted to give it a little bit of time. But I started looking at breeders and I found this great breeder at Casa Loma Newfoundlands. They’re in Pennsylvania. So I thought, well, I’ve had a black one, I’ve had a black and white one and I’m very interested in a brown one.

I got in touch with the breeder and said I’m looking for a dog, blah-blah-blah. She had a litter coming up but she asked me if I was opposed to taking an older dog? I said it depends on how old. I don’t want one that’s ten years old that I’m only going to be able to have three or four years and it breaks my heart. She said, she’s only three years old and she came out of a home where they weren’t treating her very well so the wife felt really bad and brought it back to the breeder and said, “Could you please find her a good home?” She said to me, “Are you willing to give this a shot?” and I said, “I’m coming right down”. I said, “I can’t take her right now cause I’m really busy for the next month but if you don’t mind holding on to her, if I like her when I see her, then I’ll grab her”.
Well, she went home with me that day. She is my best friend.

I’ll tell you one thing about dogs, like this one I pretty much rescued from a really shitty situation and they know it. And these kinds of dogs will be closer to you than any human you’ve ever met. I prefer dogs over people anyway.

What is something else that you like to do?

I like to read, a lot actually. I read everything from like Stephen King type books to a lot of sociology type books about what makes societies and people tick. I’m very interested in that. Matter of fact, Howard Bloom wrote a book called The Lucifer Principle. It’s an amazing book, I love the book. A lot of Stephen King and Michael Connelly and I like the Alex Cross books. I read Dean Koontz cause they’re easy but they’re not Stephen King though. I read the entire Gunslinger thing twice. I’ve got all nine books.

Chris Broderick has only been in Megadeth since 2010 but he has already made it his home. Join us next week to find out more about Dave Mustaine’s current and most popular shredder.

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