New Sean Beavan Interview Talking Chinese Democracy, Axl, GNR, NIN & More!

[Order of Nine]

18 minutes ago, killuridols said:

'The hand...' is representative of how NIN sounds in general, regardless of the year it was released, NIN doesnt have a ChinDem kind of album with a Shackler's on it. 'The hand...' is consistent with the rest of NIN's material.

So if Shackler's was recorded in 2000 it is still outdated because NIN was making that music 10+ years before Axl. 

 

 

The song was written by bucket, it had no writing credits from Robin, I know you guys would LOVE to make the correlation but it's just not there. Just like there's virtually nothing metal about that song or album. 

The song sounds like something very similar from Monsters and Robots which came out a year before this song was recorded. That album has more similarities to that song then ANY NIN song.

Loved how you guys DODGED all the facts you missed that we're pointed out to feed your echo chamber.

Edited February 23, 2018 by Order of Nine

[J Dog]

1 hour ago, Blackstar said:

Shackler's sound reminds of 90s stuff in general and it's subpar compared to the good songs of that era.

But most of the electronica/industrial-ish rock of the mid-late 90s wasn't original either. It was heavily influenced by earlier bands that Axl was listening to in the 80s, e.g. Killing Joke, Bauhaus, Front 242 etc. Some Manson songs in particular are almost Bauhaus rip-offs.

Since Axl liked that kind of stuff in the 80s, it's only natural that he later liked NIN and other bands that were influenced by it.

Killing Joke, that band had some tunes. Eighties!

[MillionsOfSpiders]

Just now, J Dog said:

Killing Joke, that band had some tunes. Eighties!

AKA - Come As You Are  

[Blackstar]

4 minutes ago, J Dog said:

Killing Joke, that band had some tunes. Eighties!

Yeah, great song and Kurt Cobain ripped it off

[J Dog]

6 minutes ago, MillionsOfSpiders said:

AKA - Come As You Are  

 

5 minutes ago, Blackstar said:

Yeah, great song and Kurt Cobain ripped it off

Whaaaat? Cobain was a genius! A true artist in every sense of the word!

Spoiler

And he totally jacked that riff 

 

[killuridols]

15 minutes ago, Order of Nine said:

The song was written by bucket, it had no writing credits from Robin, I know you guys would LOVE to make the correlation but it's just not there. Just like there's virtually nothing metal about that song or album. 

The song sounds like something very similar from Monsters and Robots which came out a year before this song was recorded. That album has more similarities to that song then ANY NIN song.

Loved how you guys DODGED all the facts you missed that we're pointed out to feed your echo chamber.

I don't wanna make anything because, unlike you, I'm not here to impose my opinion on others and put them down for what they say or think about the music of this band.

If you think it sounds nothing like NIN or nuMetal that's fine. The rest of your angry reactions are not needed.

I still don't understand why you get so worked up with it, as if it was a sacrilege to make comparisons or find influences for Axl and GN'R. 

[Order of Nine]

1 minute ago, killuridols said:

I don't wanna make anything because, unlike you, I'm not here to impose my opinion on others and put them down for what they say or think about the music of this band.

If you think it sounds nothing like NIN or nuMetal that's fine. The rest of your angry reactions are not needed.

I still don't understand why you get so worked up with it, as if it was a sacrilege to make comparisons or find influences for Axl and GN'R. 

Angry?

 

I think it's hilarious people like you are here "fans" you don't know the facts and let me guess you think CD was a solo effort from Axl and you don't like the songs?

That's hilarious to me!! 

You'll be here hating on what you hate another few years from now I'm sure of it.

 

[killuridols]

1 minute ago, Order of Nine said:

Angry?

I think it's hilarious people like you are here "fans" you don't know the facts and let me guess you think CD was a solo effort from Axl and you don't like the songs?

That's hilarious to me!! 

You'll be here hating on what you hate another few years from now I'm sure of it.

Yes, each of your words contain angry feelings and bitter emotions towards the opinion of others because you must believe you are the only valid GN'R fan in the world.

It's not worth to discuss anything with such a hater. But chances are you wont be here for much longer

[Order of Nine]

3 minutes ago, killuridols said:

Yes, each of your words contain angry feelings and bitter emotions towards the opinion of others because you must believe you are the only valid GN'R fan in the world.

It's not worth to discuss anything with such a hater. But chances are you wont be here for much longer

When someone had no idea of what they are talking about I call it out. 

And I've been here since 2001, just not as a member and yeah most people here love to complain and hate on a band that they are "fans" of. 

Just calling it as it is. 

 

[F*ck Fear]

There is nothing NIN about Chinese Democracy. 

Please point my in the direction of the NIN songs that Shackler's Revenge is supposed to sound like.

[Order of Nine]

3 minutes ago, F*ck Fear said:

There is nothing NIN about Chinese Democracy. 

Please point my in the direction of the NIN songs that Shackler's Revenge is supposed to sound like.

Lmao

 

I know right!?

Supposedly it's "hand that feeds" 

Nothing remotely similar about it, melodies, chord progression, NOTHING.

[History2010]

People here seem to be mistaken on what NIN actually sounds like haha. Oh My God is the only GNR song that is close to that sound. 

[F*ck Fear]

I literally just listened to With Teeth a week ago. I did not hear anything on it that sounded like Shackler's Revenge 

[Order of Nine]

Just now, F*ck Fear said:

I literally just listened to With Teeth a week ago. I did not hear anything on it that sounded like Shackler's Revenge 

But Axl used to wear a NIN shirt!?

And that means guns is now "nu metal" 

But there's virtually nothing metal about that CD.

[F*ck Fear]

Paradise City sounds like NIN too. You hear that synth? 

[Modano09]

As a NIN fan I'm almost offended by what people seem to think NIN sounds like. 

[Order of Nine]

Just now, F*ck Fear said:

Paradise City sounds like NIN too. You hear that synth? 

Yeah, and my head's still recouperating from all the double bass on CD. To many breakdowns and blast beats for me to count.

[Order of Nine]

Still waiting to hear what part on CD has all these breakdowns. And why such a metal album has so much piano???

 

[Pam Grier's Ghost]

On 2/21/2018 at 8:13 PM, cineater said:

He's from Ohio!  I don't know what it is about folks from Ohio but it means something.  They're like America's small town, like a clan.  And it's true, they have something for graveyards.  I think it's their secret party place.  They run into each other somewhere in the world and they go off in a corner and talk like long lost buds mostly about who they know from Ohio, cars, roads and other towns.  Met a few of them and they are all pretty cool, down to earth folks.  Don't party with them, you're an amature.   

hehehe... He mentioned going to Cleveland State. That's my college. I knew about hocking hills too.

Edited February 23, 2018 by Pam Grier's Ghost

[RONIN]

Here are some quotes which prove the indisputable fact that GnR was a collaborative band effort where every member's contribution was treated with the utmost respect by Axl:

It's Axl's band, and he runs it the way he wants. And whatever he wants to do is gonna happen. So we can work on songs all year long and come up with 20 songs, but when it comes down to it, if Axl writes 10 songs, he'll go, 'I want my 10 songs on the record'. And that's what's gonna happen [War Of The Roses! (Gilby Clarke interview), Kerrang!, May 1994]. 

Duff, explaining what Matt meant Axl was wrong about: About schedules and the way Axl was late for the next album. Susan, my girlfriend, was pregnant. We were going to have a baby, but this band was becoming a dictatorship, everything had to get done in Axl’s way or it wouldn’t get done at all. It wasn’t like that when we started out [Duff McKagan Interview, Hard Force Magazine June 1999].

Slash: (...) Guns N' Roses had become a dictatorship. (...)The whole process was dictated by Axl, and although I know he wanted input from me, I was suffocated by the tension and I couldn't think straight [bozza, Anthony, & Slash (2007). Slash. Harper Entertainment: New York, p.390].

It's like everybody is on Axl's side from the business point of view, y'know? Everybody's scared that they're going to get fired. Because if Axl decides that he can't work with you you'll get fired, no matter what I say! I can fight till I fucking turn blue, but I won't be able to get anything done with the band if Axl won't work. And that's how the latter part, from "Use Your Illusion" till now, has been. And that's why we had big blow-up dolls and background singers and horns! It was ridiculous [Guns N' Roses: Is It All Over? Does Anyone Care? Metal Hammer, November 1995].

Slash, about recording 'Sympathy For The Devil': Once we got around to listening to the track, [Axl] had some constructive critisism. Via a lot of communications between middle people, I was told that I needed to rerecord my guitar solo so that it sounded more note for note like the Keith Richards original. Now that really pisses me off, most of all beause the message reached me three times removed like we were playing a game of telephone. (...) "If you don't change it, I won't sing." I swallowed my pride - yet again (...). When I got a DAT of the song with Axl's vocal oon it, I noticed that there was another guitar layered on top of mine in the solo. Axl had gotten Paul Huge to double over me. (...) That was it - having another guitar player record over me without telling me was a much disrespect as I was willing to handle [bozza, Anthony, & Slash (2007). Slash. Harper Entertainment: New York, p.380].

[Order of Nine]

8 minutes ago, RONIN said:

Here are some quotes which prove the indisputable fact that GnR was a collaborative band effort where every member's contribution was treated with the utmost respect by Axl:

It's Axl's band, and he runs it the way he wants. And whatever he wants to do is gonna happen. So we can work on songs all year long and come up with 20 songs, but when it comes down to it, if Axl writes 10 songs, he'll go, 'I want my 10 songs on the record'. And that's what's gonna happen [War Of The Roses! (Gilby Clarke interview), Kerrang!, May 1994]. 

Duff, explaining what Matt meant Axl was wrong about: About schedules and the way Axl was late for the next album. Susan, my girlfriend, was pregnant. We were going to have a baby, but this band was becoming a dictatorship, everything had to get done in Axl’s way or it wouldn’t get done at all. It wasn’t like that when we started out [Duff McKagan Interview, Hard Force Magazine June 1999].

Slash: (...) Guns N' Roses had become a dictatorship. (...)The whole process was dictated by Axl, and although I know he wanted input from me, I was suffocated by the tension and I couldn't think straight [bozza, Anthony, & Slash (2007). Slash. Harper Entertainment: New York, p.390].

It's like everybody is on Axl's side from the business point of view, y'know? Everybody's scared that they're going to get fired. Because if Axl decides that he can't work with you you'll get fired, no matter what I say! I can fight till I fucking turn blue, but I won't be able to get anything done with the band if Axl won't work. And that's how the latter part, from "Use Your Illusion" till now, has been. And that's why we had big blow-up dolls and background singers and horns! It was ridiculous [Guns N' Roses: Is It All Over? Does Anyone Care? Metal Hammer, November 1995].

Slash, about recording 'Sympathy For The Devil': Once we got around to listening to the track, [Axl] had some constructive critisism. Via a lot of communications between middle people, I was told that I needed to rerecord my guitar solo so that it sounded more note for note like the Keith Richards original. Now that really pisses me off, most of all beause the message reached me three times removed like we were playing a game of telephone. (...) "If you don't change it, I won't sing." I swallowed my pride - yet again (...). When I got a DAT of the song with Axl's vocal oon it, I noticed that there was another guitar layered on top of mine in the solo. Axl had gotten Paul Huge to double over me. (...) That was it - having another guitar player record over me without telling me was a much disrespect as I was willing to handle [bozza, Anthony, & Slash (2007). Slash. Harper Entertainment: New York, p.380].

http://www.blabbermouth.net/news/guns-n-roses-bassist-talks-chinese-democracy/

[Order of Nine]

12 minutes ago, RONIN said:

Here are some quotes which prove the indisputable fact that GnR was a collaborative band effort where every member's contribution was treated with the utmost respect by Axl:

It's Axl's band, and he runs it the way he wants. And whatever he wants to do is gonna happen. So we can work on songs all year long and come up with 20 songs, but when it comes down to it, if Axl writes 10 songs, he'll go, 'I want my 10 songs on the record'. And that's what's gonna happen [War Of The Roses! (Gilby Clarke interview), Kerrang!, May 1994]. 

Duff, explaining what Matt meant Axl was wrong about: About schedules and the way Axl was late for the next album. Susan, my girlfriend, was pregnant. We were going to have a baby, but this band was becoming a dictatorship, everything had to get done in Axl’s way or it wouldn’t get done at all. It wasn’t like that when we started out [Duff McKagan Interview, Hard Force Magazine June 1999].

Slash: (...) Guns N' Roses had become a dictatorship. (...)The whole process was dictated by Axl, and although I know he wanted input from me, I was suffocated by the tension and I couldn't think straight [bozza, Anthony, & Slash (2007). Slash. Harper Entertainment: New York, p.390].

It's like everybody is on Axl's side from the business point of view, y'know? Everybody's scared that they're going to get fired. Because if Axl decides that he can't work with you you'll get fired, no matter what I say! I can fight till I fucking turn blue, but I won't be able to get anything done with the band if Axl won't work. And that's how the latter part, from "Use Your Illusion" till now, has been. And that's why we had big blow-up dolls and background singers and horns! It was ridiculous [Guns N' Roses: Is It All Over? Does Anyone Care? Metal Hammer, November 1995].

Slash, about recording 'Sympathy For The Devil': Once we got around to listening to the track, [Axl] had some constructive critisism. Via a lot of communications between middle people, I was told that I needed to rerecord my guitar solo so that it sounded more note for note like the Keith Richards original. Now that really pisses me off, most of all beause the message reached me three times removed like we were playing a game of telephone. (...) "If you don't change it, I won't sing." I swallowed my pride - yet again (...). When I got a DAT of the song with Axl's vocal oon it, I noticed that there was another guitar layered on top of mine in the solo. Axl had gotten Paul Huge to double over me. (...) That was it - having another guitar player record over me without telling me was a much disrespect as I was willing to handle [bozza, Anthony, & Slash (2007). Slash. Harper Entertainment: New York, p.380].

https://www.google.com/amp/fasterlouder.junkee.com/guns-n-roses-dizzy-reed-im-very-proud-of-chinese-democracy/832327/amp

[RONIN]

15 minutes ago, Order of Nine said:

https://www.google.com/amp/fasterlouder.junkee.com/guns-n-roses-dizzy-reed-im-very-proud-of-chinese-democracy/832327/amp

Tommy: (...) Axl as a producer is trying to get the best out of eight guys and get them all in a song, like trying to pull everyone in. You know, mush it together like a fucking piece of clay or something. Trying to form a piece of art work out of it. It takes time. (...) He has a way of working with people and pulling them in. Get you to bring something to the plate that's gonna be special and cool for that song. And it just takes a long time. Because you got eight guys you know. So that process takes a while [This tastes like pretzels - the Tommy Stinson interview, Here Today... Gone To Hell!, 2004].

Matt: GN’R turned into a Gestapo – It was run by one guy who had his vision of what Guns was supposed to be, at that point. In this band, we like hanging out together and playing music with each other, it’s like we can’t wait to come up with a new riff. With Guns, we’d come up with a new riff and Axl would be like, “That sucks!" [breaking The Big Machine, Metal Edge January 2005].

Duff: What I do regret is we let down a huge fan base that was there waiting for a next record, and Axl made us all--we all balled at one point or another. We couldn't deal with him. There wasn't any sort of rationality. It's just too bad. God, I don't want to come off bad mouthing him because the guy has a lot of great attributes. But how it worked before was the band would write all the music and rehearse it all, and kind of give it to Axl and he'd write lyrics to it. Or Izzy or I would already have lyrics, and he would just come in at the end. Later he wanted to be the ringleader and it didn't go anywhere. And I guess it still hasn't. Whatever, I have no resentment [Thrasher Magazine, January 2005].

[Order of Nine]

11 minutes ago, RONIN said:

Tommy: (...) Axl as a producer is trying to get the best out of eight guys and get them all in a song, like trying to pull everyone in. You know, mush it together like a fucking piece of clay or something. Trying to form a piece of art work out of it. It takes time. (...) He has a way of working with people and pulling them in. Get you to bring something to the plate that's gonna be special and cool for that song. And it just takes a long time. Because you got eight guys you know. So that process takes a while [This tastes like pretzels - the Tommy Stinson interview, Here Today... Gone To Hell!, 2004].

Matt: GN’R turned into a Gestapo – It was run by one guy who had his vision of what Guns was supposed to be, at that point. In this band, we like hanging out together and playing music with each other, it’s like we can’t wait to come up with a new riff. With Guns, we’d come up with a new riff and Axl would be like, “That sucks!" [breaking The Big Machine, Metal Edge January 2005].

Duff: What I do regret is we let down a huge fan base that was there waiting for a next record, and Axl made us all--we all balled at one point or another. We couldn't deal with him. There wasn't any sort of rationality. It's just too bad. God, I don't want to come off bad mouthing him because the guy has a lot of great attributes. But how it worked before was the band would write all the music and rehearse it all, and kind of give it to Axl and he'd write lyrics to it. Or Izzy or I would already have lyrics, and he would just come in at the end. Later he wanted to be the ringleader and it didn't go anywhere. And I guess it still hasn't. Whatever, I have no resentment [Thrasher Magazine, January 2005].

http://www.blabbermouth.net/news/a-perfect-circle-guitarist-says-he-became-close-with-axl-rose-during-making-of-chinese-democracy/

[RONIN]

Brian May's recollection of the Beavan sessions:

"Okay - well I have a lot of history with those guys as you know, um, because, well I was on tour with them for a while - you know, my own band supported them - which was great fun. They also did the Freddie Tribute with us, and I think I regard them as great friends, Axl in particular. Um, and they just said "Come over and do some stuff." It's a long story to be honest and I won't bore you with all the details, but Axl was feeling that er he was in a difficult place because the guitarist that he'd been working with on this new album had sort of replaced Slash, because er they fell out, sadly. I think that is sad actually, 'cos they both, well you know, brilliant talents and great with each other, but the guitarist that had done most of the tracks had departed and Axl had a real emotional attachment to what he'd done, and yet he didn't want him on the album - and I hope I'm not saying too much here - he didn't really want him to stay on the album because he'd disappeared, you know - so he's feeling a kind of divided loyalty and he said: "Brian, can you come and do stuff which I WILL LIKE, (laughing) and I won't feel too bad about ditching this other stuff?" So I did, I went over there, and I think I played on three tracks, um and messed around on various other things, but it worked out pretty well as far as I can tell. Um, and its very strange cos most of the Guns'n'Roses people are not there cos Axl sacked 'em all, you know, so you're talking about Axl and the new Guns'n'Roses, but BOY is there a lot of energy there, you know, and his singing is outrageous. There's some great tracks on it." (2000)

"Well (sigh) Axl sort of holds Queen and, and our whole thing in a great deal of respect so I always figure as long as I tell my truth, he's fine - and, and its always held out so far. He's always been very good, you know, to me. He will tell you if he doesn't agree what, with what you say. I mean, I went in and immediately, you know, Brian May opens his mouth and "Blab, blab, blab" - and I told exactly what I thought of, of the stuff as it was and some of it he went "Yeah", and some of it he went "I couldn't do that" - you know like some of the suggestions you know and that's it, and Axl's a very emotionally kind of 'connected' person, I mean, to the point where he, he's so intense about EVERY single note that's on there, and the solos that I played, um, he was totally into it VERY much in the way that Freddie used to be. You know, Freddie used to go through my solos and, and say "You know there's this particular note here and I think if you did this and this and this", you know and I thought I would just go in there... I'd forgotten, you know, what Axl was like, and I thought I would just go in there and he'd like it. He did like it, but he wanted to get into EVERY single take of every single note, and sort of string, you know ... I would go in there and he, from, from one day to another, Axl would have been in there like from 5 o'clock in the morning to 7 o'clock in the morning, comping little bits of my solos and saying "Can you get Brian to try this?" You know, he's UTTERLY meticulous." (2000)

"Catcher in the Rye" is a great track .. I was pretty surprised to find a mix of it in my inbox this week .... after all these years. I wonder who leaked this stuff. Yes, my guitar is there, nice and crisply recorded. It was a blast doing the sessions. I had flown out to LA specially to play on the record for Axl. I've sat on whatever I have or know about these songs ever since that moment .... out of respect for Axl .... confidentiality is part of respect for me. So I will watch with interest. I like the track a lot and always did ... and it still sounds very fresh ... the thing that hits you first is that incredible, incredible voice ... we've been missing it for far too long. Axl is magic. "
<<<<<>>>>>

"Well, a lot of people have been asking about me and Axl.

It's very simple really ... Axl is making his record, and he can do whatever he wants ! After all these years I'm still a huge fan.

It was such a long time ago, it tends to recede into the mists of time, for me ... I certainly don't remember anything about disapproving of any 'comping' Sean Beavan had done - I remember it, I had actually comped it up with him myself. Of course, soon afterwards, Sean was taken off the project, although I have to say I thought the tracks were overall sounding bloody good at that time! I'm not sure if we know where the version that was 'leaked' to the public came from. I have my own rough mixes, which I took away at the time for the purposes of working on the stuff further if necessary, but nobody but me has ever heard those. I kept them totally private, because that's the professional way to be. I actually played on three tracks.

The scenario was very different from what folk-lore seems to be embroidering it into. So maybe I ought to say something ...

What happened, the way I remember it, was this. I had been on tour with GN'R, and had a very good relationship with them ... they were much kinder to me than they needed to be, as a support artist to them as they toured the USA and Europe. We had some great times. People will recall that GN'R also guested at our Freddie tribute concert, at the good old Wembley Stadium, as it was then. They did an amazing job on Dylan's 'Knocking on Heaven's Door', and they donated all the proceeds of their live recording to the newly-founded Mercury Phoenix Trust - that's a nice answer to anyone who accuses GN'R of being anti-gay.

Well, some time later, once I was back home, Axl phoned me up, out of the blue, and told me he felt he was losing his way over guitars on the tracks on the album, and asked me if I would come over for a couple of days to LA and have look. The idea was not that I become part of the band! It was more about me coming in as a friend, giving what I could to the project, as an objective outside opinion, and doing a bit of guitar playing as well. I said I'd be very happy to do that. His people booked me on plane, and I arrived a couple of days later. It was fun. Axl came down to the studio from his house, where he was also working in parallel on other stuff in his home studio, and, with Sean, played about 20 tracks to me ... pretty much almost the whole album as it stood at that time. That's a lot of listening time! But it was all fascinating. My comments were mainly appreciations, and reassurances, and I liked most of the guitar that was already on there, but I remember having strong 'producorial' feelings about making sure Axl's great vocals didn't get swamped in too much guitar ornamentation.

Then I played some guitar ... working with Sean. Over the next couple of days I went in and spent most of day there, trying things out on various tracks. Axl actually stayed away from that time on, getting Sean to take up rough mixes of what we'd been doing each night, and sending back appreciative comments. Then I went home!

Oh .. we also had a nice evening having dinner up at Axl's home, with a few friends and record company guys, during which Axl played everybody a whole bunch of tracks that were NOT already on the album ... which he had been working on separately. It was evidently already a mammoth project.

In my mind, I gave it a small piece of my life, without any thought of getting anything back, except the feeling that I'd contributed a little to the journey of the album project. I didn't ask to be paid, or even credited, and I certainly didn't put any constraints on whether the guys had to use my work or not.

I'm totally relaxed about the outcome, as I always was, and I hope that Axl will now feel liberated, by the final emergence of his magnum opus, to move on, and get back out there where we all want him to be, rockin' around the world...

http://bravewords.com/news/queens-brian-may-comments-on-axl-rose-snub-reports-im-totally-relaxed-about-the-outcome