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Showing content with the highest reputation on 10/10/2021 in all areas

  1. Some fun interviews lately, including the writer of the Scooby Doo episode. FYI Josh Freese is scheduled for Wednesday! I won't bombard him with GN'R questions, but I'll ask a few
    7 points
  2. Didn't get into that. I did ask beforehand if there's any topic I should stay away from, he was cool with anything. But there was a pause/laugh that he might not be able to control what he says (in regards to the band now). Seeing as the focus was his podcast and the beginning years, I just didn't want to push it and possibly make him look bad. He does mention that he tried to get the current members involved in 50 First Gigs, but oddly the Zoom started cutting out then. However I noticed his eye roll when he said it and just made the choice to keep it positive/avoid anything potentially negative.
    5 points
  3. Never had that experience at any of the SMKC shows I've been to in the UK. They're smaller shows, the majority of the crowd knows the material, and gets into it. If anything I think that's more a case with GN'R shows with many people waiting for the likes of Jungle, Sweet Child O'Mine etc.
    3 points
  4. I Don’t Care About You. Since I Don’t Have You. Black Leather. Ain’t it Fun. All of those have awesome vocals.
    3 points
  5. What are you talking about? Shotgun Blues is awesome.
    3 points
  6. I'd like that, too (and Ι don't think being in one room would be a necessary condition to work on new songs). I'd want them to write something new that would represent who they are as band currently - something "mature" that could be, for example, a combination of some stripped down acoustic stuff (like a mature Lies) and some Axl piano driven or a bit more "complex" stuff. I think they could create something really good if they went to that direction. If they tried to write rockers in the vein of AFD, though, I honestly don't think they would come up with anything better than Hard Skool, which is not bad, of course - it's a good/decent rock song, although not at the level of their top notch material. Actually, most of the comments I've heard or read from casual fans who heard HS without knowing anything about its story or alleged origins have been rather positive, saying that it's what they would expect a new Axl-Slash rocker to sound like.
    3 points
  7. Exactly, Nightrain/Rocket Queen was a nice surprise for the crowd, but now Slash has his own bangers like Starlight, By The Sword or Anastasia.
    2 points
  8. Can't confirm, I think the audience knows what to expect on a SMKC show and they seem to enjoy it. Besides, they only played Nightrain on their last run but everyone looked pretty satisfied with that gig I went to.
    2 points
  9. 2 points
  10. They wouldn't care. They didn't even want to be there. Cornell's widow put the whole thing on and turned it into a Hollywood spectacle. Axl would've just added to the mainstream draw with Metallica and Foo Fighters. Vedder and McCready weren't there because of her. Vocals certainly weren't taken into consideration if they let Juliette Lewis and Perry Farrell out there to sing Chris' songs. I love Jane's Addiction, but Perry was brutal and Lewis was even worse. The weird thing is, the list of guest performers was pretty much known by everyone there that night, but Axl wasn't on it. There weren't any huge surprises, either. I'm not saying he wasn't booked to play, but there wasn't even a rumor that he was going to be there.
    2 points
  11. Yeah, honestly that hyperbole may be what really gets me. I watch a few clips because people state “this HS was F’ing awesome. Axl killed it!!” or “Axl kicked serious ass on PC tonight!!” and then after the clips I’m left wondering what the hell is going on as the performance is passable in a live setting at best. Shrugs shoulders emoji.
    2 points
  12. I had a thorough look at the online repertories of ASCAP, BMI, GMR (Global Music Rights) and SESAC, which are PRO's (Performing Rights Organizations) that collect royalties on behalf of songwriters and their publishers, so they list all the musicians who receive songwriting royalties for each song: https://www.ascap.com/repertory#/ https://globalmusicrights.com/Catalog https://www.sesac.com/repertory/search https://repertoire.bmi.com/ These data are the result of the way a band has decided to split the publishing rights/royalties between the members and may not be identical to the writing credits in an album's liner notes - for example, a band member may not be credited as one of the writers of a particular song, but may be entitled to royalties for it. Axl is on SESAC, Slash and Duff are on GMR, and the rest of the members (old and "nu"), as well as the outside writers (West Arkeen, Del James, etc.) are on ASCAP or BMI. ASCAP and GMR report the percentage they control over other PRO's; for example, on a song listed as co-written by Axl, Slash, Izzy, Duff and Steven, ASCAP reports the percentage it controls, which corresponds to the combined shares of Izzy and Steven, and the same goes for GMR in regards to Slash and Duff's combined shares. SESAC doesn't provide this information, which would be Axl's share - however, in some cases it can be calculated based on the information from the other PRO's. BMI sometimes does and other times doesn't reports the percentages for its own repertory that is separate from ASCAP. Appetite For Destruction and GN'R Lies In the albums' liner notes all original songs are credited collectively to "Guns N' Roses" and, wherever the case, to additional songwriters (West Arkeen on It's So Easy, Chris Weber on Anything Goes, Reckless Life and Move To The City). The information in ASCAP and GMR confirms what we know from other sources about how the publishing was split between the members: Axl 25%, Slash, Izzy and Duff 20% each, and Steven 15%. For example, ASCAP controls 35% of Welcome To The Jungle (Izzy's 20% + Steven's 15%) and GMR controls 40% (Slash and Duff's 20+20%), which leaves 25% for Axl. In the case of additional songwriters, as expected, the band members' shares are decreased: on It's So Easy, ASCAP controls 54% (which includes Izzy's, Steven's and West Arkeen's shares) and GMR controls 28% (Slash and Duff's combined share); on Anything Goes, Reckless Life and Move To The City, ASCAP controls 41.5% (Izzy's, Steven's and Chris Weber's shares) and GMR controls 36% (Slash and Duff's shares). So what's left is, apparently, Axl's share. Use Your Illusion I and II Unlike Appetite and Lies, the UYI liner notes list specific writers for each song (e.g. Axl and Izzy on You Could Be Mine, Slash and Axl on Locomotive, etc.). However, that doesn't affect the way the publishing for each song is split: according to the PRO's, the four "main" members (Axl, Slash, Izzy and Duff) get a fixed percentage for each original song written entirely by the band. Only this time the way the shares were calculated was more complicated compared to the shares for AFD and Lies songs, so the percentages are not round figures (according to Slash's book, that happened because they had to calculate a small share for Matt - and I guess Dizzy, too - as well as because of the many outside writers like West Arkeen, Del James, etc.). For example, although only Axl is credited for writing November Rain in the album liner notes, GMR (Slash and Duff) controls 47.68% and ASCAP (Izzy) 24.26% - and these shares apply for every original UYI song that doesn't have additional writers (the decimals in the ASCAP shares differ slightly from song to song - it may have to do with the publishers). The remaining percentages obviously include Axl's shares and, probably, Matt's and Dizzy's small shares (the data for Matt and Dizzy are not clear; ASCAP lists them as writers on some UYI songs and SESAC lists them on all songs). So, the fact that, for example, Slash is not credited in the liner notes as a co-writer on Estranged, doesn't affect his royalties. The formula they seemingly used was: first they determined who wrote what (ie. the writers of each songs that we read in the liner notes) and the percentages of each one's contributions on each song (e.g. Don't Cry, 50% Axl and 50% Izzy); then they calculated all that together and determined each one's shares on the album as a whole (at least the songs that didn't have outside writers) so Izzy, for example, had a share around 24.5% on the album; and then they applied those percentages to each song. In the case of the songs co-written by outside writers, the percentages vary: - Right Next Door To Hell: GMR (Slash, Duff) 32.52%; ASCAP (Izzy) 16.18%. So the rest includes the shares of Axl, Timo Kaltio and probably Matt and Dizzy. - Bad Obsession: GMR (Slash, Duff) 33.38%; ASCAP (Izzy, West Arkeen) 47.1%. So the rest includes the shares of Axl and probably Matt and Dizzy. - Back Off Bitch: GMR (Slash, Duff) 38.84%; ASCAP (Izzy, Paul Tobias) no info. - The Garden: GMR (Slash, Duff) 9.54%; ASCAP (Izzy, West Arkeen) 54.84%; BMI (Del James) no info. So the rest includes the shares of Axl, Del James and probably Matt and Dizzy. - Don't Damn Me: GMR (Slash, Duff) 40.44%; ASCAP (Izzy, Dave Lank) 28.55%. So the rest includes the shares of Axl and probably Matt and Dizzy. - Yesterdays: GMR (Slash, Duff) 15.72%; ASCAP (Izzy, West Arkeen, Billy McCloud) 68%; BMI (Del James) no info. So the rest includes the shares of Axl, Del James and probably Matt and Dizzy. Ain't Goin' Down (pinball machine) GMR (Slash, Duff) 50%; ASCAP (Izzy) 25%; So the remaining 25% is Axl's. Shadow Of Your Love ASCAP has no information about it. GMR and SESAC list Axl, Slash, Izzy, Duff, Steven and Paul Tobias as writers (without percentages). Appetite For Destruction 2018 reissue (Locked and Loaded) - "new" songs. The Plague, New Work Tune and Ain't Goin' Down No More (instrumental) can be found only on ASCAP. All Axl, Slash, Izzy, Duff and Steven are listed as writers. ASCAP (Izzy, Steven) controls 37.48%, so their combined share is slightly higher than for Appetite/Lies songs. West Arkeen songs/"Hell House demos" - Crash Diet: West Arkeen, Axl, Del James and Daniel Clarke are listed as writers. ASCAP (West Arkeen) controls 31%. - Bring It Down Home: West Arkeen and Axl are listed as writers. ASCAP (West Arkeen) controls 50%, so the other 50% is Axl's. - Too Much Too Soon: West Arkeen and Duff are listed as writers. ASCAP (West Arkeen) controls 90%, so the other 10% is Duff's. - Sentimental Movie: West Arkeen, Duff and Del James are listed as writers. ASCAP (West Arkeen) controls 75%, so the other 25% is divided between Duff and Del James. * There's no information at all about Just Another Sunday (most likely because it's not on the West Arkeen tape). Chinese Democracy + Oh My God In this case, the credits in the album's liner notes coincide with the names found in the repertories * (EDIT: I made the mistake to think that the credits on wikipedia are based on the album's liner notes, so I didn't bother to look at the booklets. But I then realised that they're based on the repertories, so there are additional writers who are not credited on the album - I've marked them in yellow). Axl is on SESAC (doesn't give info on percentages). Dizzy, Robin Finck, Tommy Stinson, Paul Tobias and Pitman are on ASCAP. Buckethead, Brain and Josh Freese are on BMI . So the data provided by ASCAP and BMI about the percentages they controls on each CD song may be actually informative, at least to an extent, about each member's contributions: - Oh My God: 50% Axl; 48% divided between Dizzy, Paul, Sean Riggs and Tommy; 2% Josh Freese. - Chinese Democracy: UPDATE: 50% Axl; 27% divided between Josh Freese and Caram; 21% divided between Dizzy, Paul, Robin and Tommy; 2% Eric Caudiex. - Shackler's Revenge: UPDATE: 50% Axl; 45% divided between Buckethead, Brain, Pete Scaturro and Caram; 5% Robin; . - Better: 50% Axl; 50% Robin. - Street Of Dreams: 63% Axl; 37% divided between Dizzy, Paul, Tommy and Robin. - If The World: 55% Axl; 45% Pitman. - There Was A Time: 50% Axl; 50% divided between Dizzy, Paul and Tommy. - Catcher In The Rye: 67% Axl; 33% divided between Dizzy, Paul, Tommy and Robin. - Scraped: UPDATE: 52% Axl; 48% Buckethead and Brain Caram (thanks, @Voodoochild). - Riad N' The Bedouins: 50% Axl; 50% divided between Dizzy, Paul, Tommy and Robin. - Sorry: 50% Axl; 50% divided betweeen Buckethead, Brain and Scaturro. - I.R.S.: 75% Axl; 25% divided between Dizzy and Paul. - Madagascar: 50% Axl; 50% Pitman and MLK estate. - This I Love: 100% Axl. - Prostitute: 90% Axl; 10% divided between Paul and Robin. It seems that Axl reserved a fixed 50% for himself for lyrics, melodies and probably production. Then his percentage might increase depending on the part he had in writing the music. So, for example, it appears that Axl wrote most of the music on Prostitute (since he has 90%) and a big part of the music on I.R.S (since he has 75%). Absurd As far as the "liner notes" go, there seems to be a return to the Appetite/Lies formula (which is a common formula used by many bands): it's credited collectively to "Guns N' Roses". As I posted in the Absurd thread the other day, the song has now been added to the ASCAP and GMR repositories (SESAC is yet to be updated). ASCAP lists Axl, Slash, Duff and Dizzy as writers/royalty recipients. ASCAP (Dizzy) controls 30% (15% directly to Dizzy + another 15% for his publisher), so this is Dizzy's total share. Pitman, who is also on ASCAP, is not listed as a writer. Updated ASCAP listing: GMR has not yet been fully updated with all the writers and Slash and Duff's share: Hard Skool Liner notes: Similarly to Absurd, on the various platforms (Spotify, etc.) the song is credited collectively to "Guns N' Roses". However, according to the press release issued by the band, it was written by Axl. Publishing/royalty shares: The song hasn't been added to any repertory yet. But, based on the press release and what happened with Absurd, it's safe to say that only Axl, Slash and Duff will be listed as writers/royalty recipients - which means that it won't appear on ASCAP, since none of Axl/Slash/Duff is represented by them.
    1 point
  13. He did. Back then, he said her album was heavy (of course, he was talking about the lyrics). I think he mentioned her also as a great singer.
    1 point
  14. That mid-2000s (2003-2005) period that was his 2nd recluse period doesn't get talked about enough.
    1 point
  15. So strange seeing an “overlap” of 2002 Axl and 2006 Axl there.
    1 point
  16. Hard Skool in Billboard's charts 10/9/2021 (second week): - Hot Rock & Alternative Songs: #33 - Hot Hard Rock Songs: #2 (*Absurd peaked at #5 on 8/21/2021) - General Digital Song Sales: #21 - Rock Digital Song Sales: #4 (*Absurd peaked at #6 on 8/21/2021) - Hard Rock Digital Song Sales: #1 (Absurd peaked at #2 on 8/21/2021) - Mainstream Rock Airplay: #19 - Rock & Alternative Airplay: #29 (*on 10/2/2021) Canada: - Hot Canadian Digital Song Sales: #26 - Canada Rock: #45
    1 point
  17. A 3 year old boy was missing for 4 days in Pleasantville TX. he was found alive and well. This is a good story. The rest of the news sucked. Good luck. Sometimes with pre-sales they don't post all tickets for sale, so keep trying if you don't get pit right away.
    1 point
  18. For each tour every track from the most recent SMKC album gets played at some point, which is pretty cool
    1 point
  19. They did Battleground in Japan. Great videos on youtube where u can see Myles enjoying Slash's 2nd solo which he really loves.
    1 point
  20. Getting a cavity drilled without novacaine>my world
    1 point
  21. I doubt any bands that have been around for decades hang out like they did when they first formed. Does anyone think Aerosmith regularly goes to dinner together? I'm 13 years younger than Axl and the friends I still have from the 80s and 90s I don't spend nearly the time with or talk to them nearly as much as back then. I have a business with two friends from 20 years ago and we basically only see each other or talk for business purposes.
    1 point
  22. Look forward to listening to these tonight, especially the Scooby Doo one. That (and Looney Tunes) really came out of the blue so intrigued to learn more. Amazing that you managed to secure Josh! Would be great to hear his thoughts/memories from Hard Skool as it’s pretty clear that’s him on the Rough Mixes version.
    1 point
  23. That was fun, good interview. I must have missed Axl was into archeology. Michael has a cool job and he's so into it. How do you get a job like that?
    1 point
  24. Actually, NO! So continue laughing and mixing up people/topics/posters. No wonder you are laughing so much.
    1 point
  25. I have to revisit my opinion, it will indeed be a friday. But not the next friday.
    1 point
  26. .It was a Brilliant fight. Wilder took some serious punishment. Respect to him.
    1 point
  27. The show is waaaaay better. I re-watched Casino the other night and it really puts into perspective how bad MSON is.
    1 point
  28. Imo hard school sounds like a track that didn't make the cut on a Slash record. I still enjoy it mind you, but it doesn't feel like a band created and has so much emphasis on 'Hey Slash is in the band and of course we have to have a bass intro to remind ppl of duff'. Imo if they wrote together both slash and duff would have ample opportunity to stamp their mark on the band musically, instead of what sounds to my ears forcing themselves on it. Of course that would require Axl getting on board with writing and recording etc.
    1 point
  29. https://ibb.co/z6Bjx3s I think it's just this one?
    1 point
  30. Yes, he was in shape by the end of 2001. I would love to see the video footage of that show
    1 point
  31. This is probably the best Axl`s look ever. And in 2002, Axl never looked worse ...
    1 point
  32. Here we go: 1998 2000: 2001 Brazil:
    1 point
  33. That being said there were some killer moments that night. Fiona Apple singing All Night Thing was unexpected (until her last min announcement) and was amazing
    1 point
  34. You think anyone with an IQ over 15 would believe your shit, fuckhead?
    1 point
  35. Now that HS and Absurd are out, GnR has 90 officially-released songs (26 of which are covers)
    1 point
  36. 1 point
  37. Yeah there was a decent buzz because it was a nice tribute, but now when they play it you have to think it's 4yrs later and they are playing this instead of Patience or Don't cry or any of the other songs they have on their alts list. It is a nice tribute but it should be relegated to very, very rarely performed now, days like Chris's birthday or the date he passed or something like that! Then again!!! I'm sure the people at the show hearing it aren't complaining! it would have been much more special had they played it at Slane and then not played it again
    1 point
  38. Seriously, how hard is it to make a DVD? https://www.facebook.com/gunsnroses/videos/1493253241029775/
    1 point
  39. A fantastic example of Axl's versatility as a vocalist (lost on most people with only a superficial knowledge of GN'R) and a fantastic song to boot.
    1 point
  40. Bone Thugs-n-Harmony - Foe Tha Love of $
    1 point
  41. In years gone by, I thought that an impossibility and held, axl the perfectionist, in high quality control regard. But these two releases has popped that illusion. Now that's a shame given I love gnr so much. Poor mixing aside, The more I listen to released HS the more one dimensional the song becomes. I don't really how else to say it, does that make sense?
    1 point
  42. Say what y'all want about "Absurd," but it's 100 percent a headbanger at a live show.
    1 point
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