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  1. Illusion I vs Illusion II

    I. II is mostly filler for me.
  2. Jumpin' Jack Flash

    Why do you say that? Yeah the song was recorded like this: -Brian and Keith recorded two acoustic guitars into a tape recorder with Charlie playing a 1930s era toy drum. Back then, early tape recorders if you played hard enough would become overloaded so the effect would sound electric and distorted. That's the basis. You can hear the tape recorder track on the studio cut, too, they didn't abandon it (same with Street Fighting Man - no electric guitars on there, just an overloaded acoustic on a tape deck and Brian's sitar) -Above that, Keith overdubbed his main rhythm (right side) Brian overdubbed his main rhythm (left side), then Brian overdubbed his high note parts (during the choruses), and Keith overdubbed bass guitar (Bill Wyman only plays the organ on the track). Charlie overdubbed an actual drum track on top. I love their 70s stuff I just feel a certain primal edge was missing after Let it Bleed. A certain satanic darkness. I'll go you one better and say I think their last good album was actually Dirty Work. Ever listen to that one? It gets such a bum rap but it's basically Mick and Keith at war on tape. And I love Satanic Majesties very much. Here is how the basic track was recorded. And you can hear that on the studio cut - it's the thundering rhythm under the main electric rhythms.
  3. the doors

    I would say there's only a very small number of people who captured what Jim was all about, in different ways, after he was gone: Iggy Pop, Jim Carroll, Patti Smith, and Kurt Cobain. No one else really. Some might've aped his vocal style or mannerisms better but those four are the only ones who came close to what he was about as a human being and rockstar, and even then, each one isn't the full picture, only aspects, Iggy the attitude, Jim the poet, Patti the rebel, Kurt the tortured soul. I agree too he was getting better as he was getting on. The band was getting tighter and tighter too. I mean Morrison Hotel and LA Woman - that's an amazing back to back set of releases. They were so prolific, I mean, two albums in 67 and then one every single year without fail after - that's talent. And most of Morrison Hotel and LA Woman recorded while Jim was on trial and then convicted and waiting for an appeal - some bands would crumble with their lead singer looking at jail time, they put out their best record instead. LA Woman was recorded all live too you know. Very few overdubs, the main music recorded all in one room. They were one of the last American bands that played the blues that actually lived and breathed the blues. All the later guys like Aerosmith might've sounded "bluesy" but no soul.
  4. Jumpin' Jack Flash

    It's almost sort of proto punk, proto glam but without all the bullshit of glam isn't it? What's amazing is that song has like 6 or 7 guitar overdubs on it but it doesn't sound polished at all. Also the riff is funky to me. There's a funk edge to that riff that they never really recaptured later. It's like lightning in a bottle. I know most people prefer the 70s Stones but I feel they lost a certain primal edge after the 60s. I think in 68 they were authentic. Brian was the real mccoy as far as scumbags go, Keith was a heroin addict, had just become one, Mick was doing DMT and fucking with everyone's head - 68, Beggar's Banquet, that whole album is voodoo to me.
  5. Jumpin' Jack Flash

    I'm a big Stones fan and the history of this song also makes it all the more interesting. The Stones had just come off a very rough year in 1967 and this really was like a back against the wall comeback song. Have you ever seen the music video for it? It's one of the most primal videos there is and one of the first true rock videos IMO.
  6. Jumpin' Jack Flash

    Anyone consider this one of the best rock singles ever? https://www.youtube.com/watch?v=RAxHYqEeyDY
  7. The importance of Mike Clink

    From my understanding he was involved only very briefly in early 1997, maybe a few weeks at best but Axl rapidly moved on to Moby.
  8. One of the most genuinely groovy GN'R tracks in the 70s sense of the word. Not their best but arguably their most Stones-esque and Matt is no impediment here.
  9. We always talk about how important Izzy/Steven/etc are to the GN'R sound but one person whom I never see discussed is Mike Clink. Mike produced every GN'R record from AFD to the Sympathy for the Devil single. How much of the classic GN'R sound would you say was a credit to him as their producer? Could they recapture that sound/feel etc without him? Consider for example how important George Martin was to The Beatles' sound or how integral Jimmy Miller was to the Stones' sound from 1968 to 1973.
  10. Given how long it dragged on, I think Slash would've (grudgingly) went along with it if it meant Guns would actually get some work done. Even though it was a two lead situation, it was at least with someone he liked and respected as a person and musician unlike Paul Huge. I think if Axl hadn't balked at Zakk's supposed demands, Slash would've reluctantly went along with it. In 1995 Slash was halfway out the door mentally anyway so what did he care as long as it meant GN'R would do something more than waste studio time?
  11. You can tell it was post 1993 vocally because Axl's vocals are already starting to sound a little "Mickey." The album came out I believe in April or May 1996 in Japan so my guess would be the vocals and guitar were recorded anywhere from whenever the Outpatience formed in 95 to early in 1996. I asked the keyboardist if he had any session logs to give a date but he did not have them anymore.
  12. Duff says in his book that some of the sessions with Zakk included Zakk at the piano working out some really cool stuff. Also, the song "The Rose Petalled Garden" off BLS' first record came from a riff Zakk developed during these sessions. While the sessions themselves only lasted 1-2 weeks, they kept Zakk in limbo for almost 6 months as to whether he was going to be hired or not. It got to the point that they kept him hanging for so long that Ozzy booted him from the Ozzmosis tour because his status was so up in the air. It ultimately fell apart because Axl was told, through management as usual, that Zakk demanded 1 million up front and his own tour bus to join.
  13. Bingo. CD isn't a bad album IMO but it's so wildly inconsistent and when it came out, it was incredibly dated. It's a lot like Duke Nukem Forever in some ways. That game would've been cool if it had come out in 1998 as originally planned and no one would hate it. If CD came out in 99/2000 as Axl seemed to originally have wanted, it would've been relevent and a good album. Not GREAT, but I'm sure it could've done 5-6 mil in 1999 or 2000 and have a better legacy. But coming out in 2008...It felt like some relic from the late 90s/early 00s, and it made Axl appear...bland and vacant as an artist.
  14. True artists write under pressure. Axl's excuse in the 90s that he couldn't write lyrics because he would have nothing to write about besides lawsuits was bollocks. I honestly think he really exhausted his tank on the UYIs lyrically speaking. I mean he says everything on those records, what else could he have said on a follow up?