Jeff Slate is known as a world-class frontman and songwriter on the New York City music scene, where his band’s monthly residency in the heart of Chelsea draws sellout crowds and famous guests. But it was a long and winding road to that coveted place as part of New York’s cultural firmament.
Slate came up in the mid-1980s US East Coast post-punk scene, playing CBGBs and other legendary clubs of the day as the singer, guitarist and principal songwriter of the Mindless Thinkers, named by Steve Jones of the Sex Pistols at a drunken aftershow party. By the early ’90s, Slate was a solo artist, and made his name after working with The Who’s Pete Townshend, touring with Sheryl Crow and founding the mod-influenced band The Badge. Taking a page from the likes of The Kinks, The Who and the Small Faces, The Badge released three albums of original material, as well as numerous singles, EPs and live releases, before going on hiatus.
Jeff’s fourth solo album, The Last Day of Summer, featuring Dave Stewart, Duff McKagan, Earl Slick, members of Paul Weller’s band and Noel Gallagher’s High Flying Birds, is due May 17th via Schnitzel Records. The photoshoot for the album was done by none other than famed rock photographer Bob Gruen.
Today Glide is excited to premiere the aptly titled “Till New York City Dies,” a swooning folk-rock that immediately brings a sense of warmth as a tribute to the city of its namesake. Reminiscent of the softer fare of Tom Petty, the song feels like a delicately beautiful ode to both feelings of love and the Big Apple. Backed by some serious musicians, Slate dips into a sound that incorporates folk-rock, country, rock, and classic poet crooner. The end result is a song that feels like the kind of anthem that New Yorkers can rally behind with its timeless lyrics and infectious sound.
Jeff describes the inspiration and process behind the tune:
“New York City Dies was born during long, solitary walks around the City during the pandemic lockdown. The chorus came first, and of course anchors the song, but because the music had an unexpected bounce to it, it pointed the direction of the song in a positive direction, rather than somber or hopeless.
Strangely, because it was tracked individually, with all the players working to my acoustic guitar and voice, everyone seemed to know just what to do without me having to explain it. Ben Gordelier, the drummer from Paul Weller’s band, was first, and added a shuffle beat and upright bass that helped point the way, but his bandmate, Steve Cradock, Weller’s long-serving lead guitarist, chose to add piano, and his part lightened things even more.
Earl Slick’s country-tinged, Stonesy guitar, and the atmospheric parts that Leonard Cohen producer Don Miguel added were icing on the cake to the rest of the parts that co-producer Eric Lichter and I added, taking a sad song and making it better.”
LISTEN:
