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Jerry Cantrell taps into the zeitgeist on new solo album ‘I Want Blood’

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Jerry Cantrell‘s unique guitar playing often places him high in “best guitarist” rankings. His music, characterized by its heavy tones, intricate layers, and deeply personal lyrics – as heard in Alice in Chains’ “Rooster,” “Cut You In,” and his four solo albums – is complex, intentionally vague, and always impactful. Occasionally, he admits that only a German word can truly convey his meaning accurately.

In the beginning of the song “Vilified,” the first track from his new album titled “I Want Blood,” he sings, “Create the sensation / Of what’s genuine and factual / Here comes a wave of schadenfreude / Here comes a twist on hidden meanings.

Indeed, it’s not common to employ ‘schadenfreude’ in lyrics, but I was glad to have used it this time,” Cantrell laughs heartily.

As a movie enthusiast, I’ve noticed that at various moments, there appears to be an increased delight in stirring up confusion and blaming one another. In essence, the theme of this song resonates with our current state, a time when such behavior seems to be more prominent, right under our noses. The term ‘chaotic’ gets tossed around often, and I believe it accurately captures the essence of what we’re experiencing.

Finding a suitable adjective for Cantrell may prove challenging due to his multifaceted personality. From the 1990s onwards, he has shown himself to be prickly at times, goofy as evidenced by his antics like wearing a blue Speedo on MTV’s “Headbanger’s Ball” at New Jersey’s Action Park, thoughtful, serious, and even erratic. However, it’s worth noting that he has been sober for the past 20 years, which is commendable.

Born in Tacoma, Washington, Cantrell was once a high school choir president with dreams of becoming a rock star. He attempted to hand a demo tape to Axl Rose at a Guns N’ Roses concert but, according to legend, the red-headed singer casually discarded it into a nearby trash bin. Despite this minor setback, Alice in Chains managed to rise above the competitive Seattle grunge scene and achieve deserved fame through several successful studio albums and EPs during the early to mid ’90s.

The band was affected by addiction, tragically claiming the lives of two of its members: singer Layne Staley in 2002 and former bassist Mike Starr in 2011. However, guitarist Jerry Cantrell moved part-time to Los Angeles, where he discovered a thriving community of sober artists. He has been substance-free for an impressive 20 years now. Cantrell, aged 58, shared, “I continue to live in the Seattle area as well, but Los Angeles essentially became my second, sober home. My ‘Bermuda Triangle’ is primarily made up of Seattle, Oklahoma, and Los Angeles.

His performance at the Tulsa Theater can be considered a local event since his father’s family has lived in Oklahoma for many generations. In a phone conversation before the concert, Cantrell mentioned that his day was already packed. After soundcheck, an afternoon meet-and-greet and interview, he planned to freshen up, get energized, and put on a rock show. By the way, he added, his younger brother [David] is likely eager for him to end this call.

Life appears as fulfilling as the tunes he’s composing, but there’s no lack of Cantrell lyrics that explore a drug-laden gloom. The song “I Want Blood” seems to be filled with layers of meaning and innuendo, with titles and lyrics such as “Off the Rails” or “Throw Me a Line,” which could signify battling desires and substances or searching for redemption. At one point, these struggles might have been indistinguishable from each other.

Cantrell points out, ‘Being a sober alcoholic is an integral part of who I am.’ While not every song or the entire album directly addresses this topic, it’s a recurring theme like threads in a tapestry. When composing songs, I aim to embed multiple interpretations within certain phrases or lines. Essentially, my goal is to reflect my life experiences and offer them back to the world in an authentic and honest manner,’ Cantrell explains.

Despite a prosperous music career with Alice in Chains (fronted by William DuVall since 2006) and numerous other projects, as well as solo endeavors, neither touring success nor record sales can alleviate the pain of losing many peers in the Seattle music scene. Moreover, the passing of his mother Gloria from cancer at such a young age (age 21 for Jerry Cantrell) has left an indelible mark. However, this singer-songwriter skillfully channels past sorrows into current expressions, demonstrating resilience and determination in both his artistry and life.

According to Cantrell, maintaining records requires a great deal of dedication and sustained focus. He emphasizes that it’s crucial to keep your goals clear amidst the challenges and unpredictability. In his words, creating a record is an incredibly turbulent process, almost like bringing something new out of nothingness from the depths of obscurity.

In both musical and personal aspects, there’s usually a hint of irony and even playfulness amidst the shadows. It’s crucial to maintain a sense of humor about oneself and the world at large, or else the journey might become an excessively lengthy struggle.

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One memorable instance that comes to mind? Performing with Spinal Tap, not just the film, but my fleeting stint onstage at the Universal Amphitheater, a legendary venue now known as the Wizarding World of Harry Potter since 2016. My memory is a bit blurry, but I remember being asked to play “Christmas With the Devil” with them. The talented Toto guitarist, Steve Lukather, was there, and I believe Jennifer Batten (famous for her work with Michael Jackson) was present too. You’ve already got two musical titans. I arrive, without a guitar or an amp, I recall. They had all their massive Bradshaw systems, amps as big as aircraft control towers, set up on stage.

Harry Shearer and Michael McKean, who are bassist Derek Smalls and guitarist David St. Hubbins in their rock band personas, approached Cantrell with a touch of embarrassment. “We asked you to join us,” they said, “but we’ve got others here, and we don’t have an amp for you.” They had a small battery-powered Marshall amp on the counter, and Cantrell suggested, “Just put that on stage, secure it with tape, and set up a large microphone all the way down to it. That would be [pure] comedy!

The duo was surprised Cantrell was up for the schtick, Shearer questioning, “You’ll do that?”

Cantrell enthusiastically agreed to play the Stonehenge drum set from Spinal Tap, and everyone thought it was fantastic. He still fondly recalls that experience as his own unique ‘Spinal Tap moment’, which he collaborated with Michael McKean on creating.

In the process of crafting the deluxe edition of “I Want Blood,” Cantrell embraced an improvisational approach. With a desire to offer collectors something unique yet without additional songs, he decided to experiment by adding a spoken-word interpretation of Device’s “Vilify.” However, he found the outcome wasn’t quite as captivating as he had hoped.

Fortunately, during the creation of “I Want Blood,” Cantrell was surrounded by a team of gifted individuals. His demo partner, Maxwell Urasky, is one such talented musician. Recognizing his potential, Cantrell asked, “Hey, man, would you be interested in adding some music to this? I’ve just finished writing a record, and I don’t want to write another piece of music.

Urasky created a “score” for a spoken-word adaptation of “Vilify.” Once completed, Cantrell presented it to producer Joe Barresi (who has worked with Queens of the Stone Age, Tool, and Bad Religion), along with potential collaborators Greg Puciato and Tyler Bates. They all agreed that every song on the recently finished album should have a spoken-word version. With a two-week deadline, there was still work to be done on the remaining eight songs, requiring new music and soundscapes for Cantrell’s recitations. After writing the lyrics for each song, Cantrell sent them to his musical collaborators.

Everyone came together in unity. Even I was taken aback by the end of the day, and he chuckles, “Wow, that’s amazing! I couldn’t have imagined it any other way. If you hadn’t been involved, attentive, and experimenting, you wouldn’t have made it this far. It’s always exciting to see what I can accomplish or be a part of accomplishing, or even create something new.

He follows in the footsteps of dark-themed artists such as Jim Carroll or William Burroughs, often compared to William Shatner and Leonard Nimoy, in the realm of spoken word. As Cantrell humorously puts it, “Shatner and Nimoy.” He finds amusement in delving into that tranquil, audiobook-like tone, but for now, he’s concentrating more on music than pursuing a career in audiobooks, although reading Cormac McCarthy aligns well with his songwriting style.

Cantrell doesn’t compose straightforward tunes that are simple to understand, but it appears he aims for visibility, and encourages listeners to find pieces of themselves in his music. The effort to listen is rewarding for everyone. While creating a record undeniably brings satisfaction, it’s also the response from the audience that matters, as the singer-songwriter points out. “This is a good record,” he emphasizes, adding, “I wanted to release this and take ownership of it; I believe in it.” He throws it out there, and has been fortunate enough to have people understand, appreciate, and connect with it. In essence, that’s the essence.

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2025-03-04 14:31

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