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Rate: Sorry & Catcher in the Rye w/ Senor Slash


Rate: Mr. Slash on Sorry and Catcher in the Rye  

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Catcher sucks ass either way. Never want to see it on any of my shows.

While Sorry is not one of my favourites, such a boring chorus, I quite like his take.

What I really wanna see them play though is Madagascar. And Shackler's revenge, if they manage to leave out those strange electronic noises and make it rock.

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50 minutes ago, appetite4illusions said:

To me it's almost like the producer is the writer of the solo. They have the guitar melodies and then proceed to just gut them and rearrange them. The fact that Axl said it was note for note though, that's both extremely ambitious and loony toons crazy.

If it was comprised of several licks and several runs, I could understand, but my impression is that they took every note and every phrase and had their way with it. I just don't see how you do that to a legend like Brian May. It's disrespectful and undermines the effort he must have put into it.

In the end, the solo was marvelous and as far as I'm concerned, it's the only solo that ever fit the song. So I'm not saying it didn't work, but the balls it must take to ask Brian May to collaborate and then eradicate the work that was done...huge.

Yeah it is crazy, I guess you are right when you put it this way

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11 hours ago, Wagszilla said:

Slash on Sorry is pretty bad. Sloppy. 

Catcher I've listened to once but was still Bumblefucked so it's for the birds. 

Also I like you friend but all of your threads are false dichotomies and leading questions. 

Absolutely. ;):heart:

12 hours ago, soon said:

I feel the exact same way about slashs takes as Ronin says above.

also always love the philly sorry take, how at 3:05 Axl seems to be conducting slash.  I know Axl just does a lot of those gestures on stage and is probably nothing, but it fits into a narrative and gives me a chuckle. 

Yes! Exactly how I visualize that moment. :lol:

14 hours ago, wasted said:

I like the CD versions. I thought Slash version of Sorry was great. Catcher I thought was good too. In a live setting I think the broader dynamics of the songs matter more, to me they are there in both songs. I like the sonic quality of CD. The subtle, dark atmosphere of Sorry. The jangly, hazy, psychedelia of Catcher on the record is immersive, you always find new bits and pieces and combinations. 

A good song for me is hard to ruin, the lyrics and melody are what matters. I'm not really looking for things to sound the same, throw a kazoo on a rock song. 

There's a lot of cool stuff in the mix if you can find it. I really like what Axl tried to do with Sorry sonically - the only thing I can find fault with are the lyrics which are less than subtle and take me out of the song a bit. If the subject matter was different or if the lyrics had been more ambiguous, I think it would have served the song better. Prostitute works better for me in this context than Sorry. The atmosphere as you pointed out though is great. We'll part ways on Catcher in the Rye -- that one feels overcooked. I don't even necessarily put that on Bumble - they just reinvented the song in a direction that I didn't like as much as the original take.

A good song is easy to ruin wasted, just listen to Robin Finck's interpretation of Sweet Child O Mine. DJ Ashba might have done that one even worse. But I'm with you in that - I love seeing a lot of these songs reinterpreted. Sorry is a great example where Buckethead owns the song, but Slash gives a very compelling new take on it. 

14 hours ago, Silent Jay said:

Terrible poll choices.

Slash does a fine decent job on these two songs, despite the fact the solos both sound under-rehearsed especially Sorry. 

With Catcher In The Rye, Bumblefoot did it a lot better live, also with acoustic guitar in 2010, more control, better phrasing, backing vocals etc. The outro solo is where he truly shined live. It's hard to do better than him, he nailed every ChDm song.

And I feel that Dj Ashba did a better job with the solo on Sorry than Salsh. Buckethead's studio version is king obviously.

 

Sorry you didn't like the poll choices. Do you have a favorite performance from Bumble on Catcher?

I'll check out DJ Ashba's version of Sorry - thanks for the rec.

10 hours ago, appetite4illusions said:

It still totally blows my mind that Axl and Sean Beavan assembled Brian May's solo note for note in the Catcher demo. I've just never heard of such nonsense.

The fact that they took a magnificent artist's improvisation, cut it up  i n t o    p   i  e  c  e  s , and then Frankenstein it back together, well, that's madness.

 

You think after going through all that trouble and coming up with something that was totally appropriate, they would be satisfied. But no, they let Bumblefoot just run wild in the end.

Great post. Agreed - just a case of overcooking something. These songs were gestating way too long. It's why a lot of director's cuts of movies done years earlier often suck like what George Lucas did to his original Star Wars trilogy or Michael Mann's director's cut of Last of the Mohicans. Pointless and often inferior to what they envisioned originally.

It was completely mental to have constructed these solos note for note but it's even crazier that they pieced together a great pastiche of what Brian May originally intended. It all worked somehow. IIRC, Brian May had warmed up to this version and was proud of it.

What is more concerning is whether he plans to repeat this process with Duff and Slash in the studio if they cut a new album. I can't see them encouraging such over-indulgence and I don't think it's even necessary. More often than not, Axl is ruining his own work by being so OCD with the production. I think it definitely makes the case that they need to keep Axl away from production duties as much as possible.

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Why the hell they reduce the synth bridge to almost non existent? As ridiculous as it's sound, it was always the highlight of the song, the core of the psychedelic theme of the song. For the Slash part i think it was great, already better than what BBF done. So my only complaint was the synth bridge. Surprise note, Frank convoluted drumming style actually works great in this song, especially on the outro.

Slash attempt at Sorry is great, the band is also great, so no complaint on this song. Sweaty Melissa on the video looks hawt tho.

Basically the only CD song that Slash hasn't won me is This I Love, other was great, i even consider his takes on San Diego's There Was A Time was awesome. Hopefully i can hear SOD, IRS, and Madagascar on next leg.

Edited by Magnus Cavalerra
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On 4/12/2017 at 9:45 PM, Magnus Cavalerra said:

Why the hell they reduce the synth bridge to almost non existent? As ridiculous as it's sound, it was always the highlight of the song, the core of the psychedelic theme of the song. For the Slash part i think it was great, already better than what BBF done. So my only complaint was the synth bridge. Surprise note, Frank convoluted drumming style actually works great in this song, especially on the outro.

Slash attempt at Sorry is great, the band is also great, so no complaint on this song. Sweaty Melissa on the video looks hawt tho.

Basically the only CD song that Slash hasn't won me is This I Love, other was great, i even consider his takes on San Diego's There Was A Time was awesome. Hopefully i can hear SOD, IRS, and Madagascar on next leg.

 

The synth in the CITR demo was beautiful, agreed. And yeah -- you're right, Frank's drumming is surprisingly good on CITR.  

Nothing can save This I love. 

 

10 hours ago, tremolo said:

I don't know if those videos reflect Slash's best takes on those 2 songs, but based on them, I'll stick to the studio versions.

It seems like Slash listened to the songs a couple times and just mprovised. Too much noodling going on, and not properly crafted solos/licks.

 

I'm sure that if he put enough effort, he could do something beautiful with CIR, which of the 2, might be the one that is more up his alley. Sorry is great as it is and I doubt Slash could come up with something that tops the studio version.

Best takes I could find on youtube. I think with Sorry, the earlier dates are stronger than the later dates as Rovim pointed out.

With regards to Sorry, needless to say Buckethead's take is amazing -- I do really like where Slash takes parts of his solo though. With time, it could be just as compelling as Bucket's (imho). 

Edited by RONIN
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On ‎4‎/‎12‎/‎2017 at 10:50 AM, maynard said:

Songs are too awful for Slash to improve them. I have to say I have zero interest in those CD songs they cover after watching one video of each.

Amazing how Slash and Duff both "Voluntarily" wanted to play the, isn't it???

15 hours ago, Tom-Ass said:

Nope. That is why Axl never released his re-recorded version of Appetite.

More like why he never released a follow up. Still can't, even with Slash and Duff back :lol:

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I really like Sorry and I'm glad they're playing it live.

I haven't listened yet to any of the performances with Slash because I'm hoping they play it at one of the shows I'm going to in June and I want to hear it then. So, I'll come back and vote in a few weeks :lol:

I hate CITR, I don't think even Slash can do anything about that. 

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I honestly don't think it changes that much or that Slash is doing his own thing on CD songs, I think he is just filling FOR the song and not doing HIS thing. 
He never does anything interesting on CD songs, he doesnt even try and you can clearly see this as he changes the soloes and stuff everytime and eveytime he is just shredding. Dont think he cares.  

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11 minutes ago, Silverburst80 said:

Slash's Sorry solo in Philly buries the album version imo

Not in the slightest way. Bucketheads version will always be the best. It doesn't matter how good the others are.

Edited by Sosso
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Please, no more CD content...it still has nothing to do with GnR. Even Slash can't fix the vibe of it. 

Brian May did a great job on CITR, but it's just an Axl song. Slither is more GnR than any song on CD. 

Edited by 2414225
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1 hour ago, 2414225 said:

Please, no more CD content...it still has nothing to do with GnR. Even Slash can't fix the vibe of it. 

Brian May did a great job on CITR, but it's just an Axl song. Slither is more GnR than any song on CD. 

This I Love is practically old Guns. Slash made it sound more Gn'R, but it's still what it is. You're not gonna magically think the lyrics are cool or the tunes themselves all of a sudden are better if you didn't like it before Slash returned.

But I think Axl takes into consideration what a Guns album with Slash and Duff "needs" to be. I'd say we're looking at some CD ll cuts making it, but the rest will be older or newer material. Unless it's a double or a trilogy, that could change things.

 

Edited by Rovim
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