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life_247

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Everything posted by life_247

  1. No-one really knows where TIL came into the picture - Axl says he was convinced by everyone else to put it on the record and wasn't part of the sessions so maybe it didn't resuface until much much later. The album credits also only point to Eric Caidieux and Caram Costano getting creddit for Sub Drums and editing (all tracks credit)- no-one is actually credited clearly as recording it. Also after these rough mixes RTB came on the scene and re-recorded a lot of the album (theres his new drums work on those later discs). So very little of this instrumentation possibly features on the end album - even the guitar work was re-amped at one stage (if was kept and not re-recorded completly prior to that). Obviously BH went back over and recorded parts onto all these songs, that were later altered by re-amping and then further takes by Bumble. Also Fortus plays guitar on CD, Better (rather more obviously), Street of Dreams, TWAT and Prostitute so there's a chance that these were all completly re-recorded or at least altered quite significantly post his arrival in 2002.
  2. And they're currently coming out as quick as Buckethead albums!!
  3. This disc is less cohesive than CD1 - it feels less like it fits together maybe why they are on the 3rd disc. But also this is the result of ~3 years of jamming and writing away with different players from different backgrounds so I’m not surprised to find a whole heap of different sounding stuff on here. It’s all work in progress stuff. The difference was Axl & Co were doing all this in a full commercial studio constantly so they probably ran with these ideas a lot further than most bands do. Fair Enough - not every song you make can be another AFD level banger. Id love to know the though process to these discs and why the tracks are grouped in the way they are! Shame we might never know.
  4. With the exception of Silkworms (which is silkworms, a genre all of its own). That first CD of rough mixes sounds very Guns meets Queen with a sprinkling of Axl weirdness on it. But also go look at what rock/metal bands were putting out in late 99 - 02. Loads of NuMetal inspired tosh (not that NuMetal is all rubbish but for some reason every established rock band felt they had to have a go). Unlike the final CD product we got to me these sound less like a product of their time somehow.
  5. I think the thing is that most musicians go through a phase where they don’t want to play the classic songs they wrote in their 20s/early30s and go off and do something different. Its why so many bands break up or people leave because they don’t want to do the same thing over and over again. But I think Axl kept the name (although I think we would of got CD2 & 3 of he hadn’t) and was happy with its legacy. I mean he took the entirely new band on tour and most of the set list was Appetite. He was happy to belt out SCOM every night.
  6. He's like the polar opposite to Fortus, who is great live but everthing he's ever recorded has been proper meh. I'll have Slash as the best but Buckethead is also amazing - I always wonder if Axl had stuck his own name on a record (or another name) with BH and just let rip (no baggage of the GnR name - which there is whatever way you look at it) how amazing that would of been! We can always hope after the reunion record we get a Hevan & Hell esque CD line-up reunion (not you Ashba)
  7. So basically i think RTB continued in 2001 with Brain redoing the Drums and BH guitar work. They also obviously finished better into a full song at some point as at this stage it was a early demo. Axl probably did some more vocals etc. Then in 2002/3 they did all the orchestrations and stuff probably post that aborted tour etc. But then Bucket left in early 2004 and they didn't do a whole lot until 2006 - hence Tommy put out that solo album in 2004 and went and toured it etc. So i think the real inactive years were probably mid 2003 until 2006.
  8. Bit of confusion on this point. I need to listen to it again versus the 99 Freese version (It leaked first). Brain and Bucket joined together in 2000 as both Finck and Freese left when their contracts ran out in 1999 (Freese at least said they were all under contract for 2 years 97-99 and he had to decide to renew or go and do something else).
  9. So looking at the Dates I still think this is the Roy Thomas Baker work post those two 2001 shows (HoB on NYE and RIR3). So I believe this is Brain on drums but can’t be too certain on that front. EDIT: No it’s not! It’s the work that was done in 2000 - sorry being an idiot. But it does sound very different to the 1999 leaks: This first disc sounds very like the Illusions meets queen, versus the 1999 stuff which sounded much more like the Industrial sound Axl talked about. Those after Bucket stuff, looking at the leaks the second CD could well be all Bucket/Brain demo!
  10. I'm torn between this one and the 1999 one with Freese on drums. But its like picking between 2 fine beers - hard to say which i like better and both get the job done!
  11. Calling it now - best version of the Blues & Rhiad are on this disk!
  12. Wow I was wrong about these discs - someones done some funky stuff to those previously released leaks, they're like mono'd or something. These sound like they need mastered and thats about it! Just so we're all clear (I'm sure someone answered this before) - this is actually the second attempt at the album. Sean Beavan / Youth did the original version of the album with Josh Freese (which also has leaked out there and sounds very raw, very different). This is the result of the Roy Thomas Baker sessions where they effectivly re-recorded the whole album I believe. But this is close to the album that they were looking at releasing in 2001 with that tour that got binned. However is there no Bucket on this disc at all?
  13. 100% agree - Hard School is such a strange choice to leave out, it blends so well with the old style Guns and I love the BH guitar work. Since this hadn't leaked prior to the album this would of been a perfect first single, get it out to rock based radio and it would of got a lot of plays especially in 2008. Although the whole release of CD was so messed up! Perhaps has that Illusions meets Industrial thing going on too. Both of these tracks are the most old meets new guns songs so its an odd thought that they would be held over for the second album - surely you put these songs out first then move to the even further uncharted territory. But that would make sense but this is GnR that we are talking about
  14. The Leak History

    erm ok - Quick question back on topic - the "Madagascar 2001 - RTB" which I believe leaked out some time ago, where do we think thats from because compared to the songs from the Zutaut discs we've heard its got something approaching a proper mix. Fingers crossed someone sat down in late 01/02 and mixed all these tracks!
  15. The Leak History

    You don't have to apply for copywrite - it will be in the contracts because the label was picking up the tab. While it will be technically legal to own the physical CDs - you wouldn't own the license to listen, reproduced, etc. Think of it this way - you own the physical hard drive on your PC with the leaks on it. Doesn't mean you've paid for the license to listen to it or have the right to redistribute. Now the orignal guys are very much in the clear with how they obtained it but the minute they started making copies and distributing they are very much able to be caught and sued. No one is likely to go to jail but you could get hit with one hell of a fine.
  16. The Leak History

    You’d need to ask a lawyer or two - even then they might not all agree. Interscope/Geffen (or whoever owns it all now - I forget!) probably own the discs, Zutaut probably only had possession of them in legalistic terms (IE think like a work phone - you have it and use it but you don’t own it). But I’m really not 100% sure, also I’m from the UK (so are you looking at your profile pic) so US law could be quite different. It’s complicated by the physical disc and the license - they aren’t the same thing
  17. The Leak History

    Yup - you can own a CD but it’s illegal to upload it to the internet. Even the “owning” of those discs would be one hell of a legal grey area.
  18. Which let’s be honest historically hasn’t exactly been his strong point. Personally I want to hear the complete 1999 Sean Bevan album, it’s interesting for fans to hear the first draft - that’s what leaks are for (or box-set deluxe things - wink wink Axl). Also the set of leaks appear to actually be mixed! Some of these early draft versions of songs we haven’t heard before are little bit disappointing because we want to hear a finished version first. If it was a dropped song or two it’s fine but a few of these leaks have real potential. But we aren’t ever going to get a CD II, the band that made it was practically gone by the time the first one released (The 3 main guitarists and drummer that wrote and recorded CD had gone not long into that tour!!). Other than some of the piano led stuff that Axl/Dizzy wrote and maybe some stuff that Fortus came up with later on why would they now dip into the Finck/Bucket work?? Makes 0 sense. But the whole CD era has always fascinated me and there was so little unused/cut material from the original era GnR. Chinese appears to have heaps of songs recorded to some level of completion over the years. Here’s hoping for more!
  19. I can’t really get into it whereas Hard School is great (how did that get dropped over Scraped?) and also Perhaps is fantastic - it’s like UYI meets CD. But the mixes (or lack thereof) on these are as the disc states ROUGH. They basically aren’t mixed at all, someone’s just balanced the levels in the studio which makes quite a lot of it very muddy. I noticed today on Hard School there’s some clipping at one point. Also looking at the discs is it possible that all of Disc 2 is Bucket tracks? I’m just wondering how these discs are/were split up GUNS N' ROSESRough Mixes CD #21. "P.R.L." 11/08/00 w/out THYME (no gtrs.) 3:542. "EYE ON YOU" 11/07/00 (VER.1) 3:363. "IF THE WORLD" 11/07/00 (VER.1) 5:054. "MUSTACHE" 11/07/00 (VER.1) 4:105. "QUICKSONG" 3/27/00 (10) 4:006. "ZODIAC 13" (no vox) 11/08/00 (VER.4) 4:387. "TONTO" 7/14/00 BLK/FRG dat (#3) 3:548. "REAL DOLL.com" 9/14/00 B. Head cd (#2) 4:049. "SHANKLERS REVENGE" 9/14/00 cd (#1) 3:2610. "I'm SORRY" 10/26/00 B. Head cd (#1) 6:00
  20. Hmm it sounds a bit of a mess to me in some places - especially the chorus in places. The vocals sound like a bit of a scratch track to me, the most demo like of all the songs so far. Its got potential and sounds quite different to a lot of the stuff that ended up on CD.
  21. From the Eddie Trunk 2006 Interview: "Bach: Hey, how do you feel about Pro Tools on lead vocals? Axl: What do you mean? Bach: Like, I mean I just went through this horrible experience doing this album with this guy that like took my lead vocals and like put them and made them so perfect that it was nauseating, like that's the style now of producing lead vocals, like making it so perfect that to me it sucks Axl: I think that there all types of different ways to do it, I mean you can definitely overproduce it and make it too perfect that it's a nightmare and it makes it sterile. Or you can use a little bit of everything. You can push it every way possible using the technology and doing it, everything you can do. We.... the only thing you have heard has been the leaks but there's different things where its just like.... I don't like to stretch things with Pro Tools or anything like that. I don't like that kind of cheating...It's a lot faster. " So he's not using Auto-Tune/Melodyne like a pop music producer that would be rediculous - you can use vocal tuning just to simply tighten up the vocals. Also some people prefer to do 1 or 2 takes and use a complete take of the song and use a little touch of tuning rather than chopping up multiple takes. I highly doubt Axl uses it live - it doesn't really work live very well unless you are wanting to do the Auto-Tune brickwall effect (Cher effect), due to the issue of having to decided how much it attacks and holds. I'm pretty sure the 1999 versions have no tuning on it, whereas the RTB era recordings have had vocal tuning done on them. Of course it could be some form of other vocal processing that has created the slight phasing/lack of clarity you get from it (its also present on everything made in the last 20 years to some extent so everyone (myself included!) is so used to it now). The final album has vocal tuning on all vocals, its standard procedure - it must of been incorperated when they completly re-recorded the album with RTB, which is when I believe they moved to Pro-Tools (Eric Caudeix et al.).
  22. I'm not sure what else you'd put on Hard School - Atlas feels like some of the intro and synthy sounds need work. It needs a proper mix to seperate out some the guitar layers and give it a little air (it sounds a bit like its being played in a small room) but instrumentation wise I'd say its pretty done. I'm assuming both of these are from the late 2000 rough mixes CD's - the stuff that Roy Thomas Baker worked on. Has anyone worked out where the 1999 tapes came from - because it doesn't seem to be clearly part of the locker.
  23. Oh its not about sustaining the note in tune, its the tuner kicks in and smooths out the notes during the rapid note changes - IE the artefact isn't the holding of the "given" its the robotic smoothing of the speedy bit before it. It can be quite hard to describe it but you basically loose the clarity as the tuning is trying to snap you to a note but you are changing too fast for it to figure out what your doing. All these songs from CD have vocal tuning on them, Axl has admitted as much and is also pretty standard in all modern recordings.
  24. Its most obvious on Hard School on that first verse the "every chance that was given" is quite obvious as Axl changes vocal pitch quite a lot (Correctly, its just quite a change of notes for normal mortals!). You have to kind of know what your listening for but if you listen to it the vocals there sound almost "synth" like. Its due to the Auto-Tuning being set to attack too quickly and at that point its changing pitch quite a lot. Also judging by the era of these songs Auto-Tune was very new so it could also be some in-experience of the engineers part, whereas now people are lot more comfortable using it. Also back then I'm not 100% sure you could of used it "live", you might of had to feed it for offline processing. Its set at a pretty decent level for the chorus, to me from the "rough mixes" angle its just been set to work by an engineer as something sensible over the whole song and given a mix. Possibly even with the view to return and do some over-dubs in places but just lets the auto-tune fix it for now to listen back to.
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