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zepsun

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About zepsun

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  • Birthday October 25

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    St Johns, NL, Canada
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    Music, Movies, partying

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  1. I'm a music nerd as well, and while a lot of work musically went into CD - over 10years of it - the production is actually quite bad. There are mistakes all over the record. Overlapping cuts, chopped off words, unclear words, easy to hear pitch shifted vocals. It should have been better consider the amount of time spent on it. I think what makes a guitarist good is the same thing that makes a vocalist good. Innate sense of melody not driven by knowledge of scales, and the ability to make something raw sound interesting. Examples: End of It's So Easy in Tokyo 92... random fuckin notes, and they still sound good. Dive bombs in YCMB from Paris 92 and Tokyo. The extended solos on live versions like Move to the City, Rocket Queen and sometimes Live and Let Die.. I play guitar, and to my ear someone who learned music by listening and figuring it out, instead of studying classical musicians and using a metronome, has always grabbed by attention. To me technical players (Yngwie/BH/Ron) sound like they are mimicing each other... Page, Slash, Perry, Jeff Martin etc., all have this blues/edge to their playing that made them stand out.
  2. "Turn around bitch, I gotta use for you, besides you ain't got nothin' better to do, and I'm bored."
  3. The song itself is great, but I think Axl would just feel cringey singing those words. No doubt everyone in the band probably has LGBT/immigrant/non-white friends, and it's more of a respect thing now. He can try to say he was being metaphorical or whatever, but I think he wrote it at the time pretty literally - not caring he was being racist/homophobic. I bet he feels that he can't support that language anymore, and doesn't want to promote that song for fear of it reflecting badly on him today. That's fair - people change.
  4. How can we get these again? lol How can we get these again? lol
  5. Fucccckkk.. This just proves how amazing Slash is... imagine at 19? coming up with those kinds of solos. Listening to SCOM and hearing things for the first time (I'm a guitar player). WOW He is also barely using any distortion and hitting those legato notes perfectly... #heaven. lol
  6. My parents are into country music mostly. I play guitar, and in my teens I played it super loud. 120watt amp that was turned up loud enough to hear outdoors - so I could generate feedback for Estranged of course. Mom hated Estranged (probably because she could only hear the leads and not he overall song melody), but she loved SCOM. The softer songs like Patience, Don't Cry, etc., were tolerated, but I wouldn't say they liked them. Used to Love Her and You Ain't the First would get interesting reactions, because they didn't think GNR made songs that country-ish. My friends liked GNR in high school during their mainstream success, but after 93, it was clear that only a few people were still aggressively into them like I was/am. I think they became over-saturated. They needed a clear break between Estranged, and what would have been a 1996 album. People were starting to wonder around then, if another album was coming out. They were still getting top 10 placement in year-end "best of all time" shows - so they definitely could have come back with a popular album.
  7. Haha... are we doing this? Agreed... new civil war tone is total shit. I think he's mixing in some DSPs... his amps aren't even as 'live' as they used to be. Some backstage iphone clips I've seen, you can't hear the stage sound at all because it's all in the in-ear monitors. The tone in the second solo for Civil War Tokyo 92 is soooooo amazing... he's using the neck pickup with his volume rolled off slightly. (Similar to the tone in Pretty Tied Up) Jungle, tokyo 92, the intro... best way to start that song... Was pretty staple during the UYI tour. The leads behind the verses especially at 1:21 I feel like they are a bit choreographed these days. They seem to be doing the same positions and movements on stage every night for certain songs. Maybe it's just cause we have more access to seeing every show... Difference between Appetite era and UYI era tones are his distorted levels. He almost used next to no distortion in shows like the Ritz and it sounded amazing. And then there's his Patience solo at the AMAs '88 - holy fuck... best Patience solo
  8. I've been a Slash-a-holic since I started playing guitar 24 years ago. He is a more advanced player now - technically speaking. He likes to shred more - this also might be a result of the songs being played much faster - it does take away some of that breathing which usually allows for more melodic phrases. I used to admire his ability to make bad notes sound so cool and metal. Long steel bends off-pitch that end up sounding like sound effects rather than notes. Like in It's So Easy Tokyo 92 - starting here almost at the end... albeit he is running, but it fits in so good... and then there's the similar style notes starting the outro at 3:22. I think he is just feeding off his studio solos, enabling him to play around with it live. TIL would have been way better if he had been the original guitarist on it and did a Don't Cry/Nov. Rain type of thing. The chord progression in TIL fosters repetitiveness in a solo, so my guess is, if Slash, Axl, Izzy had wrote it together the chord progression would have a different feel behind the solo, and Slash would have come up with something more suitable. There was one night in 2016 where be basically did a perfect solo - forget what show. He still does some cool things, like the sustained bits in Estranged - he bends down to the sustained note instead of sliding... kinda sounds cool. Slash's best moments to me, are the ones where he is going outside of a scale to hit some insane bends, he is using melody, stops and sustains, to create unique phrasing end of Estranged solo (like at 6:36 in the video), OR sweet phrasings like the outro extended solo in Rocket Queen behind "don't ever leave me...." Also Fortus needs to stop copying what he's doing an octave lower though - it's a bit annoying, at least to me.
  9. #goosebumps #fuckinggreat #losefrankgaintaylor lol
  10. GNR Videos Now in 1080p

    Dead Horse is an awesome title - it's so GNR... When Axl says "sometimes it feels like I'm beatin' a dead horse," it's almost like a throwback to "used to love her, had to kill her," - It's totally their vein. I lived in that era, so I guess to me, all those titles made sense. I remember on the cassette cover for UYI1, the 'b' and 'a' in "Back off Bitch" was blocked by the crease in the case, and because it was GNR I assumed it was "Fuck off Bitch" I never found any of their songs cringey like Bon Jovi's for instance.... why the fuck is he always singing about Gina and Johnny... his lyrics were always so fake sounding to me.
  11. Anyone wonder what those few seconds of guitar are from right after Duff says "loosen up you guys" before the drum count?
  12. He was supposed to produce AFD I believe, but GNR didn't want him. Probably was still sour about it.
  13. I have another theory about his voice.... In order to get the rasp effect of his voice, I don't think he actually used to shout much. It requires excellent diaphragm control, slower/controlled breathing, minimal lung force - all of which help control the vocal cords and slow their vibration which allow for the rasp effect. Now that he is older, I think he is relying on his lungs more for breathing while singing especially when he is active on stage. He hasn't really blown out his voice, as he reaches higher notes no problem.
  14. Sail Away Sweet Sister

    Paris was better overall but the final note in Tokyo matched Slash's "D" note perfectly.
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