Myles: “That’s just a fun, up-tempo track. He had some good ideas about resequencing a few chords in the pre-chorus, which made the chorus pop.” That was one of the tracks that was elevated in the studio by Dave Cobb. From a musical perspective, it’s just a cool vibe. Lyrically, it’s a song about playing the fool no more, and having the last laugh at the end of the day. Myles: “ April Fool has a certain swagger. My voice cracks a little bit.”Ī post shared by Myles Kennedy (opens in new tab) But I love my dog so much, so there’s an authentic emotion that comes through. People are like, ‘Oh, come on, it’s just a dog…’. "It’s probably my favourite song, but the hardest one to sing, because to be totally candid, sometimes I get a little emotional. The song is written from his perspective, the narrative that might’ve been going through his head as he’s waiting for his owners to come rescue him. It was heartbreaking, because he was terrified, running around the house, trying to hide. My wife and I were trying to get home, but this horrible storm came through and we were watching our Shih Tzu on the camera. Myles: “That one was inspired by an event that happened a few years ago. It’s a weird riff, because there’s a bend and then the open strings and stuff, so it’s easy to stumble.” I don’t have those kind of expectations, but it is a little bit like that. The new Sweet Child O’ Mine? I don’t compare the two. ![]() And it turned out it was about his dog! It was one of the riffs that I was a little apprehensive about sending to the guys, because it was very ballady. I was totally thinking about a human relationship. Slash: “When I heard Myles’ lyric, I thought this was such a sweet and almost sad song. Essentially, this whole thing has been going on in the spirit realm, which I thought was an interesting twist." "But by the end of the song, the person realises they’ve been a ghost as well. It was written from the perspective of someone who thinks they’re having relations with a ghost. Like, I see a cobra coming up out of a basket. When I hear that song, I think of a serpent dancing. Myles: “That guitar intro has a very mysterious Eastern quality, which is another element Slash has in his sonic toolbox. There’s a certain nastiness that really appeals to me.” Slash: “I’m looking forward to playing that one live because it’s definitely got a sexy swagger, in a raunchy kind of way. Sometimes, as a person who’s just sitting on his couch watching it on TV, I remember thinking to myself, ‘Wouldn’t it be great if it didn’t all end up just being empty promises?’ Like, ‘Let’s see some follow-through here’.” ![]() ![]() We’d just come out of all the political campaigning and all that when this was written, so we’d heard a lot of politicians making promises. Lyrically, this song is for anybody who wants to follow their heart and live life as they see fit on their own terms.” You don’t want to have harmonies everywhere, but I felt like the verse melody needed it, and bringing Todd into the mix really helped. Myles: “We all ended up being quarantined at the end of the album sessions, but there was this pool house that we turned into a studio, and me and Todd finished the vocals in there. There’s little glitches and this and that in my playing, but I think that’s part of the character.” Slash: “Again, the solo to C’est La Vie was a totally improvised melodic thing that I thought came out really cool. When he sent me the demo, I hadn’t heard the music in a couple of years and the melody came right back to me, which is usually a good sign.” During the Living The Dream tour, I can remember standing in an arena when Slash brought that riff in. For example, C’est La Vie, that’s about someone who’s in an abusive situation and eventually finds the strength to move on. I think it came out really heavy and it’s got a Godzilla-type cadence to it.” I had Todd come in and do the bass for the demo, and he was like, ‘Yeah, cool riff. Slash: “All things considered, that riff was something that probably excited me more than anybody else.
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