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Popular Content

Showing most liked content since 06/05/2020 in Posts

  1. 25 points
    Hello everyone. I don't think it's any big secret that GNR is planning on releasing a UYI boxset sometime in the future, like they did for Appetite and Lies. Before we even get into it, I cannot guarantee that GNR will ever release this, I am just told that it is being planned. But they are in the research stage now but, as you can imagine, there is a ton to go through. I am referring to audio and video. For example the Bob Clearmountain mixes of UYI that Tom Zutaut mentioned. Since there's so much, they thought it might be easier to ask you guys what to look for, i.e., what you would like to see in the box. Of course I will take any feedback offered, but more along the lines of rare recordings, shows we don't already have audio/video of, things that are theorized to exist, etc. Or even stuff you have that GNR/the label/etc. might not have. Please keep in mind that I can't guarantee any credit or anything like that. I'd imagine you would get credit if they end up using something from your collection that they didn't have, but otherwise I kind of doubt it. But this is your chance to speak (indirectly) to the label about what you want to see in this boxset. No, not interested in any ideas regarding pricing, knick knacks, etc. Just audio/video. So let me know (either reply here, PM, email, FB message, etc.), and I will pass on the info. Lastly, I just want to say that even if you know the label has something and you want to see it in the boxset, I can't guarantee anything. Thanks everyone, you rock!
  2. 25 points
    We're running out of topics.
  3. 20 points
    First we spell check our headlines
  4. 20 points
    A lot of fans where hoping that Slash and Duff would bring changes to the way GnR operates. As time went by we all had to realise that they just replaced their replacements. It seems like they don't really care about anything except the money. The reunion feels heartless and soulless.
  5. 19 points
    The documentary of the UYI Tour is the most interesting thing that they have IMO. Having that properly remastered for HD would be fucking awesome.
  6. 19 points
    Pantages Theatre 1991 show, or maybe a compilation of the warm-up shows (they were shot on film, so could be remastered in great quality) Any and all UYI demos with Steven playing on them (even if it's only instrumentals - we know there's recordings of him playing songs like Locomotive and Coma, among others) Any and all of Izzy's "home demos", like the tracks Matt mentioned in his book. Obviously any unreleased tracks like Ain't Goin' Down, or covers that didn't make it onto TSI? (the track Nightcrawler comes to mind). Higher quality versions of the "alternate" demos, like 14 Years with the longer outro, Don't Damn Me with the alt vocal take, and (if possible) the West Arkeen tracks like Bring It Back Home, Just Another Sunday, etc. A "rarities" compilation - soundboard recordings of songs like Breakdown, Coma, Locomotive, Bad Apples, Garden Of Eden, cover songs, songs with Baz, Shannon Hoon, Brian May, etc. A Skin N' Bones show on cd/vinyl (Boston '93, New Haven '93 are good shows from the US leg, Greece '93 and Milton Keynes '93 are good shows from the Euro leg) But most importantly, and I cannot stress this enough: NO BULLSHIT. No trinkets, rings, mini lithographs, coins or guitar picks thrown in just to jack up the price of the box set. Fuck that shit.
  7. 18 points
    Source: https://www.instagram.com/p/CCLfhSxAO5Z/ After all these years I decided to publish these pictures that I've had since '92. My dad owns a photo studio and most newspapers used to develop their films there. Back in 1992 the music photographer for the local newspaper shot GNR and took about 3 films, over 100 pictures of the show, all in B&W. My dad asked the photographer if he could give me some shots and he said he only needed one pic for the story and let my dad keep the films. I kept these three shots, plus the ones from Slash, Matt, Gilby, and Duff that you can see on GNROnTour. One day during the deep cleaning of the lab, someone threw out the original films. I've kept these shots safe, I was only 9 back then, now I'm 37 with two kids, my wife thinks I'm crazy that I kept these three pictures intact through moving countries, etc. Enjoy. One day I'll tell the story how the Caracas '92 bootleg came out.
  8. 18 points
  9. 18 points
    One strange thing is how Sorum was such a Casanova? He claims to have been touched-up by Stephanie Seymour. He claims Liz Taylor was wanting to shag him. He claims Naomi Campbell molested him. He apparently gave Sebastian Bach sex tips. Etc etc. I am no woman but surely, for groupies, Sorum (alongside Dizzy) was basically Poundland? He was this little dumpy guy with a 1980s housewife perm!
  10. 17 points
    I swear to God an ostrich with Down’s syndrome could manage this band better than Fernando Lebeis.
  11. 16 points
    I went ahead and listened to it. This is what he said: "I've been jamming with Duff, and I've been jamming with Axl, and I've been doing stuff like that; so we've been getting some work done that way. I'm basically just focusing on writing new music, recording demos and recording guitar stuff for Guns."
  12. 16 points
    I get where Fernando is coming from. I mean, when Metallica uploaded their Manchester gig in its entirety last week, I recall thinking "wow, this is so disrespectful to George Floyd." And when Bumblefoot released his two acoustic EPs over the last month I thought "you callous bastard."
  13. 16 points
  14. 15 points
    Good to see Frank is keeping busy. Insane that he has the sheer audacity to release anything during a plague year though. EDIT: I see Fortus is involved too, so...... Good to see Fortus is keeping busy. Insane that he has the sheer audacity to release anything during a plague year though.
  15. 14 points
    Reading this thread gives me the feeling that I am in the minority, but I still think it’s awesome that they are back in GNR. Before the reunion, I always said to friends that I have seen every band that I wanted to see in my life multiple times except GNR with Slash and Duff, but that that would never happen. How grateful I was when the reunion was announced. As they did not go to Europe in 2016, I crossed the Atlantic to see two shows in Chicago that year. Every time they go to Europe I try to see as many shows as possible and I enjoy it every time as much is I can. The NuGNR era does not do anything for me, although I visited three shows back then (more like a “it’s better than nothing”). CD does not do much for me, as Slash and Duff are not on the record. I like hearing them playing some of these tunes live though (CD, Better). I enjoy it while I can and while they are around. It’s the soundtrack of my life. The glass is half full!
  16. 14 points
    This has now turned into the GN'R gay fantasy thread.
  17. 13 points
    No doubt, especially with the new info that Melissa is like 73.
  18. 13 points
    Every alternate mix of the album tracks that are available. A few soundboard shows from the tour along with a couple of unseen, remastered for HD, full length footage of concerts too. Oh, and I would like for it to be priced correctly out of the gate so I don't have to wait a year to pay the price it should've been in the first place
  19. 13 points
    The fan edition of NITL selects can be found HERE and it does feature Troubadour unlike the official clips released by GNR!!!
  20. 13 points
    Matt even talks shit about Axl's vocal coach, Ron Anderson, calling him a "creepy person" without really elaborating. I think the one who comes off the worst in the book is Matt himself. This is a guy who brags about coming up with a "system" for picking up girls backstage and marking the ones who had given blowjobs to crew members so that the band avoided them.
  21. 13 points
    PS......the passage where he claims that Stephanie Seymour starting RUBBING HIS BALLS while sitting right next to Axl was probably the most entertaining GNR moment of 2020 for me so far.
  22. 13 points
  23. 12 points
    Slash & Duff are merely doing what Tommy and DJ/Robin/Ron did: playing the same setlist every night with little to no effort and cashing a paycheck. Doesn't seem like progress to me.
  24. 12 points
    He can't even say that respectfully. There's a big difference between what he said and "we haven't felt right releasing more videos due to the current events."
  25. 12 points
    I think the bigger problem is and lately has turned into: “whats the point anymore?” you mention 2016 compared to now. In 2016, we never would have thought this would have happened the way it did. Duff joined Axl’s last Nu-Guns era band in 2014, and then the GNR entity ceased to exist for a little more than 2 years. it seems like during that time, 2014-16, somewhere along the lines, one of those 3: Axl, Duff, and surprisingly (but maybe not unsurprisingly) Slash saw the money signs, saw that big retirement check floating on the horizon and essentially figured 2016 was the best time to secure that money. heres the thing: in 2016 I would have never said that. I didn’t want to believe it. I didn’t want to think that Axl Rose, the man who had literally spent a decade and a half trying to show the world he was better without that top-hatted guitarist everyone knows and loves, that he didn’t need those guys. Now all of a sudden, a little more than 4 years after snubbing a R&RHOF reunion, its peaches and cream in GNR land and Axl now wants to share the stage with Slash? Right. It all happened so fast, along with AXL/DC and stadium tours and Slash playing CD songs... it was all alot to handle and it was easy to get lost in the chaos. a chaos that GNR so rightly earned and deserved with their history. but now, its come to 4 straight years of touring, playing essentially the same structured setlist they have been playing since the UYI era, with Chinese Democracy spread throughout, and with no end in sight. You have to look at that, mixed with the fact that BOTH Duff and Slash have put out albums, ALBUMS, and not only promoted the fuck out of them, but TOURED them in the same time GNR has been touring the same “Not In This Lifetime” that should have ended late 2017-early 2018. This whole time period has seen no music but a re-release of an album Axl once compared to ‘jerking off’ only 4 years after creating most of the songs on it with a song on it thats 30 years old.. i don’t ‘hate’ any of the big 3. I think they all have become in some way ‘savy’ business men in the 30+ years they’ve been in the industry. I think its more all a situation of cirumcstance: -duff rejoined the band and Axl saw how different a persons life could be when you have 15+ years away from the circus. -duff was probably in Axl’s ear during those nu-gnr’s years telling Axl that slash has ‘changed’ ect, etc. probably anything to get the 2 in a room together. -Axl and Slash get in a room together and talk and figure it out once and for all. This is the moment we as fans always wanted, and sadly we may never get to hear unless Axl writes that ‘tell all’ book we’ve always hoped for. -Slash, fresh off the fruits of 3 Slash albums and a slew of live albums and tours, as well as a shit ton of alimony from a divorce (lets be real here.. it happened, and he lost a LOT of money, we shouldn’t deny it) as well as establishing his brand and image over the whole music industry was probably ready to bring his image back to Guns N’ Roses. Why? Money. It was probably great to fix things with Axl, but come on? Whats the next conversation after that? “when are we going to tour this thing?” That had to be the first thing SLASH asked. - they did it, and have been doing it since 2016. Its almost like you can tell now they don’t know what to do. Even if they WERE going to play Hardschool, that song is 20 fucking years old already! the argument with the big 3 is simple: you’re telling me the big 3 who created Appetite, Lies, and both UYI have been up each others asses for 4 years, FOUR years don’t have a single piece of music written? Anything else, the looks, noodling etc is all bitching for the sake of bitching or bias to these arguments. of course, we all know it goes way deeper than the big 3. GNR could be a well oiled machine, even if they don’t have a new album to promote, but of course as we know the management lacks the simple capability to communicate in any sort of capacity...
  26. 12 points
  27. 12 points
    Matt had talked a bit about the UYI songs and his playing on them in this interview from 1991: https://www.a-4-d.com/t4740-1991-06-dd-modern-drummer-matt-sorum-guns-n-roses-new-stickman He said then that his favourites were Coma and Locomotive: My favorite is probably a song called "Coma." The song is about ten minutes long and has a lot of different kinds of parts. It starts out real heavy, almost like Metallica or something, and then it breaks down into a Pink Floyd thing. I overdubbed some timpani over it, and I used a gong on it. I warmed up the gong with a Superball, which makes a really eerie sound, like you’re under water. I have some really eerie effects in the middle where I use triangles and shakers and stuff. There’s a song called "Locomotive" that I like a lot, which is about eight minutes long. It has kind of a funky groove on it, sort of like "Welcome To The Jungle." At the end it goes into something that almost sounds like "Layla." It goes out with a lot of Phil Collins-type tom stuff. I did timbale overdubs on the end fills. What he says about the same songs in the book: Then there were the tracks like “Coma,” which I just didn’t get at all. I mean, a ten minute rock song? [...] Something else I quickly noticed was that the songs varied hugely in length. Some were only three minutes or so—an ideal length, in my opinion—whereas others seemed never to end. “Locomotive” was one of those songs. It lasted over eight minutes, and though I was new behind the drums, I couldn’t help but ask, “Does this song really need to be so long?” Slash looked at me, a cigarette hanging out of his mouth like usual, and said, “Yeah, man, it’s cool.”
  28. 12 points
    It’s just Matt’s point of view and people here are promoting this like 100% accurate.
  29. 12 points
    someone needs to distribute around the leaked version since it looks like this won't be coming out anymore. I really want to read it.
  30. 11 points
    He's playing with them now.
  31. 11 points
    Here is what he said exactly: Slash: "I’ve been pretty much a homebody [during the quarantine], but I’ve been back and forth between my studio and the house and doing a lot of writing and recording on my own. I’ve been jamming with Duff, and I’ve been jamming with Axl, and I’ve been doing stuff like that; so we’ve been getting some work done that way. But I haven’t been doing much else. I haven’t been doing any collaborations with the odd artist and whatnot – I’m basically just focusing on writing new music, and recording demos, and recording guitar stuff for Guns and whatnot."
  32. 11 points
  33. 11 points
    GNR fans everywhere will forever owe a debt of gratitude to Myles Kennedy. In a pre-reunion world where it looked like Axl/Slash would never share the stage again he was responsible for Slash being able to revisit the GNR catalog again in ways he hadn't been able to in the 15+ year period after he left the band. GNR is a notoriously hard band to cover without sounding like bad karaoke, so Slash was essentially limited over the years to the "easy" ones like Brownstone and It's so Easy that can be more easily handled. Myles range however let him thread that needle of having a guy who can credibly sing the songs without sounding like he's trying to be an Axl impersonator or lead a cover band. People don't appreciate how hard that is to do, and the fact he is the first guy Slash trusted in that way since leaving GNR should tell you how much he respects his talent. As someone who just missed the band's height before breaking up in 93 (I was born in 81) it was thrilling to finally get to hear Slash playing SCOM,Nightrain, Civil War, YCBM and others on a nightly basis after fearing I might never get a chance to see him do it live. I finally got to see GNR with the reunion, but will always be thankful Slash found Myles at a time when I was wondering if I would ever get to see Slash rip through the GNR classics and have them sound damn good in the process. Myles took an impossible assignment and more than credibly pulled it off without ever looking like DJ Ashba parody trying to be Slash when faced with a similar task. He was humble, sang the songs, and never tried to be something he's not and I think that is why people respected Slash's band the way they did as it never came off as trying to be a GNR cover band even when they were playing the songs (musically they actually sound more like GNR did than GNR does these days). I stand by that much of the supposed backlash on this board against Myles was because deep down in places people don't want to admit they knew he was doing a good job and wished like hell Axl would be a professional like that who took it as seriously, keeps himself in shape, looking good and sounding good despite growing older. Axl wouldn't have become the butt of jokes as he has if he took his job even half as seriously as Myles does. The constant attacks on the guy in these parts actually struck me more as the school yard kid who goes up and harasses the girl he really likes while telling anyone who will listen how much he hates her.
  34. 11 points
    Roberta Freeman makes her 3rd appearance on the podcast for a truly important conversation. As a black singer, what is her take on the Black Lives Matter movement? How does she feel about the controversial GnR song "One in a Million"? What racist experiences has she faced? Please join us for a necessary discussion.
  35. 11 points
    With Duff it began more after that Yahoo interview where he pretty much lied about their past behavior. And the whole punk thing is so laughable now because he's so far from where he used to be back in the day. I also really didn't like that he got his daughter (who is incredibly untalented imo) as the opener for some of the shows when there are way more deserving artists out there.
  36. 11 points
  37. 11 points
    Axl book titles, Knock-knock, Who’s There: Not Axl But He Should Be Here Anytime Now Apocalypse Soon From Cornrows to Cornrows, my journey from Lafayette to the pinnacle of rock stardom ... And Another Thing About Annette Benning Seeing Red The Life’s and Times of John Bonham Leak This Book
  38. 11 points
    Would it not be better if he did it well?
  39. 11 points
    " Am 9. Juni hätten Guns N' Roses das Happel-Stadion zum Kochen gebracht - nach der Corona-bedingten Absage haben Axl Rose, Slash & Co. zumindestens ein Trostprogramm für alle Wiener Fans: eine phänomenale Streaming-Konzertreihe mit dem Titel "Not In This Lifetime Selects" zu sehen ab sofort auf YouTube! " Guns N' Roses would have brought the Happel-Stadion on fire on June 9th - after the corona-related cancellation, Axl Rose, Slash & Co. have at least one consolation for all Viennese fans: a phenomenal streaming concert series entitled "Not In This Lifetime Selects" can now be seen on YouTube! What a consolation for the "GnR fAm" in vienna. I hope you have fun with the 13 minute phenomenal video.
  40. 10 points
    Hi all, I have been revising the history section at Appetite for Discussion and thought I should give you a heads up about this. If this is new to you here's some background: I am currently in the process (and have been so these last years) of writing the history of Guns N' Roses based on what the band members themselves have said. The idea was to get a bit away from conjecture and biases and assumptions and instead handle each topic in the band's history from what they themselves have said. The good thing about this is of course that it at least tells their story from their perspective (not necessarily the truth, of course, but hopefully also not exaggerated stories to sell a book or to display a bias), the drawback is that it will be less informative on things the band members haven't wanted to talk about, or be biased towards band members who were more vocal than other. I expect this work to result in the most comprehensive source on the history of Guns N' Roses, ever and wherever. The format (or my prose) doesn't necessarily make it very entertaining as a long-read, but hopefully it can serve as a reference source whenever people want to go back and check up on something or to fact check statements. It should also be a fantastic resource for anyone who wants to write their own version of the history of the band. Pick and choose quotes and you can basically write whatever narrative you want. The way I go about doing this work is plowing through articles and interviews from the beginning of the band's history and forward in time. This means that the history section won't be finished until I have gone through everything ever written about the band (which is a lot). I update the older sections of the history whenever I come over newer articles that shed light on those periods. So it is a living document that is constantly refined and expanded. I am currently working on articles from 2002. To do something like this having access to a large repository of articles and interviews is crucial. Thankfully we have just that over at A4D, much to @Blackstar's credit (who we all know is awesome). In addition to having a memory and overview that is mindboggling to someone like me, she is also a skilled researcher and scholar. Currently, our database contains in excess of 2,500 unique articles and interviews, but it is growing day by day. I have copied all the articles into a word document and to give you an idea of how massive this database is, the document is currently comprised of 138 pages (font size 9) containing 1,836,917 words. Trust me, there is no book on Guns N' Roses that is anywhere as comprehensive as this, and what authors have done is start with a much smaller set of articles to basically create the story they wanted to tell. What we have is the real deal. The unabridged, unshortened, ultimate collection with its warts and all. If you want to browse this section and read contemporary articles from the band's history, this is the link to the index https://www.a-4-d.com/t2861-interview-and-article-index (By looking around you will also find that the site contains more articles that have simply not been indexed yet (this happens as I write the history.) My history writing is currently focused on the year 2002, but most of this work takes place in a hidden section of the site. As soon as I feel a section is finished (it never is, though) I move it to the open area. Currently the open area only covers the time period 1984-July 1987 (I recently moved everything else in anticipation of the revision work). I expect to quickly add more sections to this area over the next weeks so that it will contain the history from 1984-2001. The new revised edition contains more chapters, images, and more quotes. You can browse this area here: https://www.a-4-d.com/f1-the-history-of-guns-n-roses-as-told-by-guns-n-roses This is all free for everyone to browse and read. registration shouldn't be required (except perhaps to see images). Keep in mind that no section of the history is finished until I have gone through all articles. Currently there are almost no quotes from after 2002. Still, I hope you will all find this valuable and appreciate the work that we have done to get where we are. This will only get better and better.
  41. 10 points
    What? I just saw a video on youtube, the first one you get when you type "robin finck guns n roses" on youtube. It's a pretty shitty solo spot first, then comes SCOM. And I have to say, the way Robin plays that main solo is insane. Passion, feel , the bends, it sounds wild and awesome. It sounds better than Slash. Fucking hell.
  42. 10 points
    And we are omitting the constant arm pointing the roof that annoys me reaaaaaaally bad...Come on, Axl can sing weak nowadays but when you watch him you can notice his legendary artistic aura...very few have it, Axl is one of those few.
  43. 10 points
    Ahh crap, some wind today by my house. I hope GNR respects my privacy at this time and doesn't release anything while I rebuild.
  44. 10 points
    My opinion (formed from what I have read and from how things developed and ended up) is that Axl never really intended to release new music with the Bumblefoot/Ashba lineup - if he released anything, it wouldn't have been stuff written by that lineup, only stuff that was reworked by them and Axl had originally written with members that were long gone (Buckethead, Finck, Freese/Brain). He seemingly enjoyed touring with that lineup - especially as Ashba was easy going, didn't cause any problems to Axl and genuinely admired him - but I don't think he was keen on writing with them. Axl never really promised new music between 2009-2014. Sure, Fortus, Ashba and Dizzy would say every now and then that it was "happening," but I think their optimism was more down to the fact that material existed and it had been worked and reworked, so they figured it would be released some day, than to any knowledge or certainty that Axl was going to release the material; plus, it's very telling that during that same period Tommy and (especially) Bumblefoot came off as much less optimistic. I also think that most of the NuGnR members, especially those who stack around for long, were in it for the income they made more than for anything else. This doesn't mean that they didn't work or didn't put any heart in their work - although I don't care for most of the instrumentals from the Village leaks, Tommy's bass work stood out for me. But I guess any "normal" musicians who want to be creative would want to do the "normal" cycle: see the music they work on getting finished within a reasonable time period, then it being put out there and then it being played live. I can see that, even if they otherwise liked Axl and got along with him, they must not have been happy playing for years songs they didn't create, so the main thing that kept them there would be the decent income/salary they made, which would have been difficult to find anywhere else. When Axl, by 2014, said that he was "going to start looking very seriously at what [he was] doing in that regard" (=releasing music), Bumblefoot had already quit, and Tommy's situation was uncertain (for different reasons: personal problems). From what has become known since then, there are signs that Axl, at that time, had also started looking very seriously at the reunion. I assume those signs couldn't have been - and weren't - interpreted that way by the fans at the time, as a reunion seemed like the "unthinkable," something that would never happen. As we've also learned since then, Axl never completely ruled out the reunion as a possibility, but it "never felt right." I guess one of the reasons it didn't "feel right" was the bitterness with Slash and that Axl didn't feel that they could ever patch up; another reason was that Axl didn't want to throw out the people in his band just like that and deprive them of their job. But in 2014 both those issues weren't as big obstacles as they had been until then: Duff played shows with NuGnR, he and Axl were getting along, he was a good mediator between Axl and Slash, and Slash gave signs that he was willing to make some compromises; and NuGnR members had quit or were about to quit. So, probably, when Axl saw that NuGnR was actually over and that a reunion might work, he thought of the distant possibility of working with Slash and Duff on some of his existing material. The ideal thing for me would be brand new music by the current lineup (and some input from Izzy, if possible), because I'd want it to represent where this band is now. However, if for whatever reason the only realistic possibility is to get old songs/"leftovers", I would totally prefer to hear these songs with Slash and Duff than with Bumblefoot and Ashba, so, in this sense, I'm glad the 2009-14 NuGnR lineup didn't release anything. Also, people take it as granted that "leftovers" means the supposed CD2 album with songs like The General etc., but I don't think that has to be necessarily the case. The "vault" contains song ideas from the mid-90s that were scrapped after Slash left, and probably songs that were developed during the NuGnR era but had their roots in the mid-90s as well as songs that were mainly written by Axl (maybe co-written by Dizzy and Tobias) with not much writing contributions from the other members, so there is old stuff that would be more comfortable for Slash and Duff to work on than the "pure" NuGnR material. I don't know if Slash and Duff are only in it for the money. Maybe they are, but at least they're in the band playing songs that they contributed in creating and that made the band what it is, and I much prefer this than the situation before that. I don't get why people thought that Slash and Duff could make Axl release music (and because they haven't so far this makes them his underlings or whatever), although, as the history of the band shows, they never managed to "make" him do anything (only to motivate him, but when Axl was in a state to get motivated). Sure, some things, like, for example, having a second keyboardist are a compromise - as well as, probably, Frank, playing CD songs etc. But again, they made compromises in the past, too - for example, they accepted a keyboardist in the band (Dizzy) in the first place, although they didn't want one. And, as far as the CD songs go, Axl played Slither, too. Some people also seem to have had an ideal perception of Slash and Duff as characters, like that they never were business driven and that they would do the supposed "right thing", based on picking certain things they said. But they always were businessmen - at least Slash always was and Duff has been for a long time - and had good public relations. For example, the choice of Scott Weiland for Velvet Revolver was above all a business decision.
  45. 10 points
    I pretty much agree with what everyone says about the book. Just a few GN'R tidbits I noticed that I haven't seen mentioned here: -The first day Matt rehearsed with the band, it started with him just hanging out with Duff and Slash. Izzy came in after a while, and played acoustic demos of a couple of songs (I cannot remember which ones he said, but they are both songs that made the album). He describes the demos as very "raw." After going over the chord changes with Izzy, Slash and Duff start playing over Izzy's song. Matt describes it as basically two different things going on: Izzy playing with the underlying song with his roots-y sound, and Slash and Duff doing their own thing over the song (he specifically mentions how Slash's guitar parts and Duff's bass lines play off each other perfectly). Matt says the second he heard this jamming, he realized this was the Guns N' Roses "sound" and what made them so distinctive. To Matt's credit, I think this may be the most detailed and accurate description of the GN'R dynamic. -Lars has been mentioned here a few times, and I think everyone knows Lars is a very competitive man, but it seems like Lars really felt a bit jealous/threatened of Guns N' Roses' success and the amount of their output during the Use Your Illusion era. At different times, Matt mentions Slash and management both getting mad at him for "talking shop" with Lars. -On the Metallica note, Matt does go out of his way to stick up for Axl in regards to the Montreal riot. As stated earlier on the thread, Metallica kept adding more and more pyro to the show to upstage Guns N' Roses (to the point that Matt believed they had broken their contract - which specifically addressed such matters). Matt says he was a little pissed off when Metallica said the band was just "chilling backstage." Apparently they were all together, and as soon as they got the word, Axl immediately got up and said "let's get out there as quickly as possible." Metallica had insisted on using their own lighting rig and sound equipment/PA, so during a normal show, it would usually take 55 minutes to an hour to get Guns N' Roses' rig ready. That night, the crew managed to do it in 45 minutes, but Matt says that Axl was not lying when he said the PA was malfunctioning. He could hear it from the drum set. -Dizzy knocked up three different women during the Use Your Illusion tour. Matt suggests child support may be the biggest reason Dizzy stayed with Guns N' Roses through the 1990s. -One day during the late 1993-1997 era, Axl came into the studio in a particularly good mood and exclaimed that "I think we may have a good verse and a good chorus." Matt asked Axl to clarify what he mean, and Axl said that he had one good verse for a song, and a good chorus for another song. This was after approximately four years of work. Matt states that this was when he really lost all hope that anything could come of the sessions. -During the same time period, Matt was the one who first explained the looping process to Axl. Axl apparently heard some loops in a song Matt produced for another artist. Matt explained the whole concept of Pro-Tools and looping to Axl (Axl had never worked on anything but tape before). After that, Axl became obsessed with looping. This was all at the same time Slash had all but officially left, and Axl was learning guitar. During the few times Axl came in and rehearsed with Matt and Duff, Axl would play some terrible guitar part, immediately scream for the engineer to "loop it," and make Slash and Duff jam on that riff for hours. -At one point in 1994/1995, the band finally decided to have the entire band at that point - Slash, Axl, Duff, Dizzy, and Matt meet in one room to have a meeting, air out any grievances, and genuinely try to pave a path forward for the band. Apparently, it mainly turned into Axl bringing up random issues he had with Slash and Duff from the early and mid 1980s; things that neither Slash or Duff actually remembered. When the band finally got to discussing music, Axl brought up "modernizing" the band with synthesizers. Slash went back and forth with Axl on this for a while, but eventually gave up and left the room. This was the last time Slash did anything with the band before officially leaving in 1996. -Matt actually likes the Libertad record a lot, and says he considers it even more impressive given how fractured the relationship in the band was at that point between Scott and everyone else. As had been stated before, Rubin was supposed to produce the record, but basically dismissed all the songs the band had brought to the table and told them "keep writing." Scott brought up the idea of Brendan O' Brien. Slash and Duff were against the idea because they thought it would just fuel the idea that Velvet Revolver was a Stone Temple Pilots/Guns N' Roses mash-up rather than a true band. Matt, however, was all for the idea just to keep the ball rolling, and Duff and Slash eventually gave in. Brendan apparently really liked all of the songs, and made some "solid" suggestions to improve them; at which point the band commenced recording. I thought this was particularly interesting given how Dave Kushner told this story on Appetite for Distortion a few years back, but saw it as a negative (he felt the band rushed into the second album way too quickly, and should have spent more time working on better material).
  46. 10 points
    She says they are like big brothers. Axl did this During a 2018 show at Aloha Stadium in Hawaii, she felt a tug on her hair midway through a song. She looks back and sees Axl Rose standing there with a big chunk of blue hair in one hand and a large pair of scissors in the other. “I’m like, ‘What the fuck is going on?'” she says. “I stopped playing and started screaming. He runs away and I don’t know if he’s taken off a huge chunk or what.” It turns out the hair wasn’t hers — it was all a practical joke that Axl spent weeks meticulously plotting out. He even had a tour assistant bring him different wigs with all sorts of shades of blue so he could find the perfect match for her hair. “They went through all the possibilities of what might happen,” says Reese. “Someone even said she might grab the scissors and stab you. But he was so pleased with himself and it was pretty fucking rad.”
  47. 9 points
    Don't know if this was posted before, but I feel like celebrating my 500 post with something really cool. I think it's a pretty sweet idea and something "the big 3" (+ Steven Adler please) could have done as sort of a Corona special. I enjoy this a lot more than the "selects" our little Mr. Wannabe Manager graces us with so far. Kudos to the guys who did that video, I really like it.
  48. 9 points
    The relationship between Slash and Michael Jackson wasn't just professional but developed into a personal friendship: Slash: "[Michael Jackson] was great, you know? I mean, I know a lot of people have... You, know, because he’s such a celebrity, a lot of people have... they think different things about what he is as a person. But, as far as I was concerned, he was just real sweet, and he works real hard and he was real down-to-earth, so we had a great time, you know. That’s why we’re gonna go in and do something else, and, like, finish the whole project out that we started on. I had a great time." MTV Rockline, March 1992. Slash: "Oh Michael’s a sweetheart. He’s a really cool guy. […] We’ve been workin’ together for a couple of years now on different stuff. […] I like him — he’s such a sweet and gentle man and actually pretty ordinary. […] People thought it was weird, us working together. I just think that in the end it’s all music — whatever kind you’re into." The Liverpool Echo, June 8, 1992. And when understanding how Axl might have reacted to Slash being close to Jackson in 1993 and onwards, when the sexual molestation rumours began, the context is of course that Axl was the victim of child abuse himself, possibly also sexual abuse. Around the same time that Slash was bonding with Jackson and fawning over the idea of having such a friend, Axl was starting to open up about his childhood, deal with the memories in a very public way, and started to do charity work for abused children (like donating money to organizations that helped abused children and inviting such organizations to have stands on the UYI shows). Axl: "I'd like to be part of an organization working with child abuse. Sexual abuse and child abuse. I figure you gotta start somewhere." Rolling Stone, September 9, 1991. So when the allegations against Jackson started in 1993 and Slash not only continued to collaborate with him, but also expressed support for Jackson on a personal level, it might have been hard for Axl to accept this lack of sensitivity for his own past and what he was dealing with at the time and feel it like a betrayal. Slash: "Well, that was sort of a shock, I mean cos I’m (?) me and Michael Jackson, like, on two completely opposite ends of the spectrum. But I was still really flattered. And I can understand, yeah, that he might be a little eccentric, but he’s an awesome talent." The Big Breakfast Channel 4, May 28, 1993. Slash: "Well, I mean, I feel sorry for him now, but only because – I mean, no one knows what the real story is, but the way that the media works... Especially nowadays, everything is so intense. You can’t walk down the street without somebody accusing you of something. So it’s hard to tell what the real story is, everything is blown out of proportion. So I know he’s going through it hardcore." Musique Plus, January 1994. Slash: "All the shit that’s going on with him now ... I just hope when it’s all said and done, that it turns out not to be true. […] You can never bury negative press whether it’s right or wrong. And that’s a drag. Especially considering that negative press is a lot more difficult when you’re a popular role model like he is." The Calgary Herald, January 29, 1994. Slash: "There's all this controversy going on with him but that has nothing to do with us playing together […] The guy's not as naive or as innocent as anybody might think; he's a very smart, quick-witted guy, fun to hang out with but obviously he's a little different – but so am I." Guitar, February 1995 Slash would also imply that the friendship with Jackson caused some turmoil, possibly in the GN'R camp, but still defend Jackson: Slash: "It was just when the controversy about Michael and those kids broke out. I know Michael, and I know he's different, but he isn’t capable of doing that kind of thing. So he asked me to do it, and when I told people that I was going to record with Michael, they looked at me in shock and were like, ‘But haven't you heard about the kids? Are you gonna put yourself in the middle of this?’ I told them that I’d heard the stories, but Michael was my friend and I wanted to play with him. So I did three songs for him […]. " Popular 1, February 1995; translated from Spanish. I also don't think this case broke the band, but that there is some truth to Goldstein's claims seem plausible to me and it sheds light on the complexity of Axl and Slash's relationship in the period where they decided to go their separate ways. More on Axl's childhood and statements on being abused: https://www.a-4-d.com/t4995-13-july-november-1991-use-your-illusions-are-out-so-is-izzy#19578 More on Slash and Michael Jackson: https://www.a-4-d.com/t4997-14-november-1991-april-1992-the-biggest-band-in-the-world#19638
  49. 9 points
    They all suck tbh. Axl can't sing and sounds like Mickey Mouse. Slash is an attention whore, who can't play the guitar anymore. Duff is spineless and has money. Fortus isn't Izzy. Melissa is a girl which is icky. Dizzy wasn't on Appetite. As for Fernando, he has a job that everyone of us on this forum without any knowledge of the music industry could do better. Beta, well she gave birth to Fernando. ...And Frank is the worst. It's his drumming (and feel) that ruined the nitl tour by forcing Slash, Duff and co to play the songs faster. He's responsible for it all.
  50. 9 points
    I've been holding off on saying anything about this because I am just so disappointed at this point. At this rate, I see it like this: It's extremely telling to me that the band hasn't said ANYTHING on social media in almost 2 weeks. When is the last time thats happened? So many people want to come on here and tell me "oh GNR just doesn't update their social media and its nothing to look into, this is just the norm.." Bullshit. GNR have 3 primary social media accounts: Facebook, Instagram and Twitter. One of those accounts is bound to get updated at least once a week, even if it is a bullshit picture of the band or, recently, something to sell us. So, now you're telling me GNR land has gone silent for 13 days straight in the wake of a black mans murder that has literally turned the world upside down, but yet want to be vocal about things like "covid-45" and the current administration when this indirectly ties into the current administration and pretty much all of life right now? Right. They are afraid of getting cancelled. There can't be another excuse. It happened recently to J.K. Rowling, and many other 'celebrities' or figureheads around the world. They see the smoke, and truly they don't want it coming into GNR land. That one word on that one song from 32 years ago has the power to put a pause on all the progress the band has made since 2016 and certainly anything they are about to do in regards to 'new music' or rereleases. Anyone denying that just isn't in-tune with what is going on in the world right now and how the younger generation thinks and acts. The Band thinks that if they are silent, no harm can come from it. Fernando's 'excuse' is absolutely laughable in every way. I'm surprised he even said anything to be honest because it seems just as easy to be silent in this case. The band themselves didn't even post a statement of solidarity regarding anything thats happened with George Floyd. They were peer pressured and forced by their peers and the music industry at large to post an ominous black square with a simple hashtag and thats fucking it. If no one else did it, I doubt they would have themselves. So why now all of sudden its "we are doing this in respect for wold events." Are you fucking kidding me? The amount of laziness from Axl right down to Fernando is amazing. If theres going to be no music, nothing worth any amount of substance at all anymore: WHAT IS THE FUCKING POINT? You can't maintain a multi-million dollar business in this day and age and have absolutely ZERO communication with the people who have PAID to put you there. I think im going to have to take a break from here and this band until literally anything picks up again. Its too much bullshit and makes me sad when I think about. Theres a reason why I've gotten into other bands since NITL started. Theres more value in other artists who actually care for their fans, and some have younger managers than Fernando, and some even do the management and promotion themselves. It seems like the only 'value' GNR have given their fanbase recently is drama, drama, and more drama. They should try to put Vince from WWE out of business because Axl and the boys have a way better storyline going on.