KillerStar is no David Bowie cover band. Instead, it’s an uncanny project from U.K. guitarist Rob Fleming and drummer James Sedge, who brought in musicians from many of Bowie’s bands to create an evocative self-titled debut.
Within its glam-filled grooves, listen for the sound of guitarists Earl Slick and Mark Plati, bassist Gail Ann Dorsey, and piano virtuoso Mike Garson, all alumni of the Thin White Duke’s ensembles.
KillerStar craftily evokes Bowie, but has its own sound.
It was never intended to be a David Bowie homage, but of course when you have many longtime collaborators and band members, they conjure memories of his music.
We started writing and recording demos with no preconceived idea of where it would lead. I asked my friend, Emm Gryner, to sing backing vocals; she had been in Bowie’s band and suggested asking Gail Ann Dorsey to play bass. One thing led to another, which led to Earl Slick agreeing to play second guitar. Same for Mike Garson on piano and Donny McCasin, who played sax on “Falling Through.”
The single “Should’ve Known Better” finds you soloing with melodic lines over Garson’s piano at the end.
From the outset, I wanted to go for melodic lines that added to the cinematic vibe of the outro, blending into the track alongside Mike’s stunning piano. It was definitely one of those solos where I really felt it when recording. That lead is from the original demo; I intended to replace it, but it felt so right that I left it in.
What did Earl Slick bring to the party?
Earl sent us tracks and we were blown away by his contribution. He gave us beautiful playing that perfectly fit into the vibe of each song. Amazing riff playing, but also subtle ambient parts including exquisite Ebow. Earl said it was great to work with his old bandmates again and we were overjoyed how everything gelled.
What’s your favorite guitar moment of Earl’s on the album?
I love the driving rhythm guitars from Earl and myself on “Feel It.” They blend really nicely and have so much power. His Ebow on “Falling Through” is delicious, as are his tone and the riffs on “Go (Hold On Tight).” For my guitar moments, I’d probably pick the outro lead on “Should’ve Known Better.”
In “Go (Hold On Tight),” there are complex layers of guitars. What was Mark Plati’s contribution?
Mark added lead lines where you can hear the parts double-up and harmonized. Earl also provided several tracks of guitar on that track and is playing most of the main riffs and lead licks, while I’m playing rhythm. We have an alternate version of that song where Mark added more guitar and keyboards. He did a fabulous remix and we plan to release it.
“Falling Through” is expansive FM rock, touching on Pink Floyd.
It’s quite an adventure – a song of two halves, really. The first half recalls Pink Floyd in that it begins as a cinematic ballad with a few twists. Then it takes off into something different via some incredible saxophone by Donny McCaslin and also polyrthymic drumming from James. Lyrically, it’s evoking a moment in time and a special place of stillness.
Which guitars, amps, and pedals did you use on the album?
For many songs I laid down a basic rhythm track using an early-’60s Gibson LG-1. On most songs, it’s blended very subtly and creates a bed for the electrics.
For electric, I used my Fender Custom Shop Tele, especially for the leads. There’s also a ’68 ES-345 I bought off Johnny Marr a while ago. It’s an incredible guitar with a lot of mojo. I also used a ’62 ES-330, which has been one of my main guitars for years.
My amps were a Fender Vibroverb ’63 reissue and Princeton Reverb, and pedals included an Xotic EP Booster, original Klon Centaur, and an MXR phaser.
What’s behind Bowie’s eternal appeal?
Maybe it’s his musical and artistic journey from the ’60s through 2015. David had an unparalleled career that encompassed so many styles of music. It must be such an exciting journey for young musicians and fans to explore, just as it was for many of us growing up and witnessing it firsthand.
Also, instrumentalists are inspired by – and learn from – the musicians who worked with him. David had a knack for putting together the right people at the right time. We feel incredibly privileged to have worked on the KillerStar project with so many of them.
Rob Fleming with his Custom Shop Tele, surrounded by his ’68 ES-345, ’63 LG-1, and ’62 ES-330. Behind him is a mint-green custom axe that was played by Earl Slick at a 2016 Bowie tribute concert.
This article originally appeared in VG’s March 2024 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.
