808

Whatever you think it's about...THAT'S what it's about!

[l808l]

Where are these pictures from Laynes condo from

From some forum, I don't remember exactly

[laynethomasstaley-deactivated20]

Clash of the Titans tour 1991

[wewillalwayslovelayne]

[then-a-demon-came-to-him]

“I’d watch their set from the side of the stage and anybody that’s been on the side of the stage you hear the sound of the monitors, you hear the sound of the band coming back through the speakers…. Layne’s voice, he was so loud, just out of his body, you could hear his voice above the sound of the monitors and that always kind of amazed me how much wind he had in his singing voice. That’s a singer that can sing!!!

~ Barrett Martin

[chaineddeceit]

[laynethomasstaley-deactivated20]

Layne’s letter to his mom dated 1-25-94

[laynethomasstaley-deactivated20]

Around this time (87-88) another Holt composition titled, “It’s Coming After” was recorded.  The song had great meaning to Layne.  Bergstrom called it “a song Layne was crazy about” adding “he loved it.  It had a David Bowie-esque kind of….  It was the most industrial song of the group.  It isn’t necessarily industrial - it just had some elements of that for that time.”  At the time, Holt was in a band in LA with Faster Pussycat singer, Taime Downe.  He originally wrote “It’s Coming After” with Downe’s voice in mind.  Faster Pussycat just got signed and I thought, “This would be something that would look good on them” Holt said.  One day Holt read Layne the lyric, “I’m gonna stretch your skin across her frame and paint it….”

‘So what happens to the rest of that part?” Layne asked.

“I don’t know but that’s where I wanted to go.”

After a few days Layne decided he wanted the song for himself.  The next time he saw Holt he told him, “I got it.”

“But there’s some things…” Holt interjected.

“I got this one.”

“It was weird for him to be that confident with me.  It was weird for him to throw down the gauntlet on it,” Holt recalled with a laugh.  He explained to me what he did and I was like, “Oh my fucking God, it’s the swagger.” he said referring to Layne’s vocal performance on the song.  

“It’s too bad it wasn’t released at that time because it would have been huge.  If it had come out in 1987 when Layne and I first did it, it would have been huge because the swagger and the sense of dark core that he gives it.  This was his partial genius, where I started to go,  Oh wow maybe I needed to give him more freedom and not stick around so much.”  The song was released on Second Coming’s L.O.V.Evil album in 1994.  

Several years later, Layne told Holt in one of their final conversations, that it was one of his favorite songs to sing, ever.

[intoxicated-inside]

[then-a-demon-came-to-him]

‘’First time he met Layne, Layne had a bunch of dreadlocks with little bits of metal stuck in ‘em. That’s just Layne’s style, you know. And my dad looks at him and goes ‘Hey boy! who shot all them BB’s  into your hay-yur?’ ’’

~ Jerry Cantrell

[then-a-demon-came-to-him]

[then-a-demon-came-to-him]

Layne & Jerry 

Alice In Chains

[then-a-demon-came-to-him]

Alice In Chains - Sludge Factory

‘'Layne has a bunch of those big ass candles and he got ‘em down at the Pike Market place down in Seattle. They’re gigantic and they burn forever. So Layne thought it would be a good idea to get a bunch of those and put 'em on the stage. We’ve never been a band that really likes bright light on stage anyway. We like to keep it a lot more dark & a little bit more moody.“ ~ Jerry Cantrell

[then-a-demon-came-to-him]

[memesalldaylong]

[cantrelldepot-blog-blog-blog]

Jerry Cantrell plays the wrong chord and Layne gives him a WTF look. Brilliant performance

[cantrelldepot-blog-blog-blog]

[cantrelldepot-blog-blog-blog]