IndiannaRose

Just got floor tickets for their Friday show in San Diego--can't wait. This will be my first U2 show (been a fan since ATYCLB). Considering I saw Jane's Addiction and RHCP last weekend (among others), this is just the cherry on the cake...! 

On 9/19/2017 at 3:28 AM, fanfzero said:

Also hope somebody records the 360° broadcast, we never know if something can happen and we miss it due to cameras on main broadcast not aiming at it (aka RIR 2006 Tommy smashing his bass)

Tommy smashed his bass at the Download Festival (same year).

On 9/2/2017 at 10:24 PM, IncitingChaos said:

Amazing that Axl is hiding this voice. I mean realistically he doesn't have many more years left, it's sad to consider but why preserve a voice that's going to be lost to the ages soon enough? Why not give us a time capsule of incredible endurance and talent? People might consider his voice lost after 2002...but we have proof in 2017 that something great was still there. 

I have been repeating the same thing over and over again since 2003. However, few have listened. Axl turns his "rasp" on and off. Evidently, he is doing this to preserve vocal stamina. Back in the early 1990s, he did not have this ability. He has been doing this since 1999 or so (perhaps earlier). This is most likely the biggest difference between his heyday and post-Y2K vocal techniques.  

52 minutes ago, MyPrettyTiedUpMichelle said:

Just curious, which lyrics do you find mediocre?  I see this a lot, that people hate the lyrics but no-one ever gives examples and I'm left scratching my head as to what exactly people dislike about it.  To me, Sorry contains some of the most direct and powerful lyrics Axl has written.  

"You like to have me jump and be good/ But I... Don't want to do it"

"You talk too much/ You say I do"

"Difference is nobody cares about you"

I can see why people like them, but I don't. Axl plays the victim card in his lyrics quite often (it definitely works in some cases), but I think he pushes that narrative too hard here. Here, his words don't sound imaginative nor do they sound particularly original. I do like this stanza, however:

"It’s harder to live with the truth about you than to live with the lies about me"

Sorry is a fantastic song with mediocre lyrics. In regards to the Apollo show: I listen to Chinese Democracy and Better from this broadcast on an almost-daily basis (especially during my workouts). The Sirius mix gives them an edge that I haven't heard in them before. 

On 8/27/2017 at 8:37 AM, Gordon Comstock said:

Has to be posted:

 

Melbourne '88 is one of my favourites too. Same with Music Machine '86.

This performance is incredible. His vocals cut through the music like a razor. 

Mainstream: Slither or Fall to Pieces

Deep cuts: Suckertrain Blues or Come On, Come In

7 hours ago, RONIN said:

I stand corrected. I'm going off press coverage of the event on Night 1 where they said a significantly lower crowd turned out for GnR compared to the prior act before them, NWA. 

There was also talk on the show thread about people dispersing early and not really being into the show. Good to see that wasn't the case.

Coachella is really a weird audience - most of the people who go to that festival are there to be seen, rather than actually being music fans. It's more of a social event afaik.

Gotcha. I saw NWA (loved their show--it was awesome), but you could feel the mood change when GN'R came on (in a good way). People lost their minds on the hits and steadily watched album tracks/lesser known singles. Through out the festival, there were hordes of people wearing GN'R gear...specifically shirts showcasing the classic logo (like the one in my sig). I felt like I was in some sort of twilight zone because when I was a teenager, the band was not considered to be "cool" at all. The opposite was true at Coachella.  

On 7/21/2017 at 4:48 PM, DieselDaisy said:

(Modern) American ww2 films tend to be directed in the same style: lots of Copelandesque music; lots of slow-motion shots of soldiers looking out of sorts and bewildered; even more so, ''why we fight'' speeches. I blame Private Ryan and Band of Brothers.

Personally I miss war films that were chocks away and consisted of people like David Niven and Richard Burton doing espionage missions.

What did you think of Fury?

I watched them 5 times last year, and it didn't get boring. That's probably because I didn't follow every minutia of their set list and overall tour--not interested in being a sports analyst-type for this band anymore. I do think the internet can hamper some of that showtime magic. 

I don't like the sound effects or voice overdubs. My favorite version is the one they performed in 1988--simple and to the point. 

14 hours ago, RONIN said:

Agreed on GnR being irrelevant. Given the tepid response in Coachella, I don't see American teens embracing them anytime soon like other retro rock bands (Nirvana, Metallica, etc).

That is not true. I was at Coachella, and people loved them. 

15 hours ago, killuridols said:

yeah, that list is so like WTF?? am I living in the early 2000's?

Panic at the disco?!!

I dont think those lists reflect the music young people listen to nowadays.

This must be streamed by older people. It makes no sense!

Panic! At The Disco has had a huge comeback. Brendon Urie has led their resurgence. The same can be said for Fall Out Boy (Save Rock and Roll  and beyond). As far as Blink goes, they have been getting more and more popular as the years go by--especially with those who never experienced their commercial peak. They are now seen as pioneers of Pop-Punk (or whatever you want to call it). I go to parties today and when their classic songs come on, the majority of the crowd knows the words. While their future may be in doubt (Tom DeLonge is gone), their legacy remains intact. The Peppers have pretty much been relevant since 1991 and have steadily released hits since. 

It's rather interesting to witness this continental shift of critical appeal. I personally think their Rock & Roll Hall of Fame nomination/induction sealed the deal and gave the necessary momentum to get them to where they are today. They were inducted on their first year of eligibility--that rarely happens. Also, millennials are so far removed from Gen X's grunge-era gripes that they are better able to enjoy GN'R for what it is--just good fucking music. This has been my favorite band since 2000, and I have never seen them be so well accepted in the mainstream. I imagine this is how it was in the late 80s and beginning of the 90s. I really do believe that there is an appetite for something that is more raw, authentic, and straightforward. While GN'R's past may be more representative of that, their music has still passed the test of time. The material embodies those characteristics--regardless of when it was written. As someone else has mentioned, Rock is one of a few genres (perhaps the only one) that is truly driven by aggression. I do think that's missing nowadays, and people are beginning to take notice. As a whole, it has lost so much mainstream traction that it's beginning to take more of an anti-establishment appeal--just like it did decades ago. The only way for the band to capitalize on this is for a new album to be recorded. I don't think they will lead a new resurgence of Rock & Roll (they have been around too long for that), but I certainly believe they can ride the wave. 

I enjoy listening to these earlier versions, but I vastly prefer the final cuts. Having said that, I would have taken out some of the more unneeded electronic sounds out off There Was A Time (2008 version). 

23 minutes ago, Axl Rose aka God said:

Everyone mad at Frank is goofy. You know that Axl wants him to play at a faster tempo, right? Frank is a fantastic drummer, but they need to play the songs a bit faster to make time. 

Axl mentioned that Duff and Slash specifically worked with Frank prior to the tour's beginning. This explains why his current tempos are so different nowadays (in comparison with his tempos from 2006-2014). 

Excellent. It's time to give my wallet some exercise in preparation for the onslaught.

What in the name of FUCK. He was an incredible talent. Unreal.

53 minutes ago, RussTCB said:

I firmly believe anyone expecting to see the original lineup tomorrow night is setting themselves up for disappointment.

While I agree with you, I would find it strange to celebrate the 30th anniversary of such an iconic album without all the players involved in attendance. Maybe Mike Clink will make a cameo...? Hah. 

6 minutes ago, Gnrcane said:

The capacity of the Apollo Theater is 1506. If they sold it to normal fans it would have sold out in 30 seconds. Getting tickets would have been luck of getting picked from a virtual waiting room. Either the prices would have been insane from the outset or would have been scalped my most of the lucky purchasers for insane prices. Either scenario eliminates the normal fan from attending.

The way they've done it is essentially the same except they eliminates the insane price part. Basically some lucky people get to go.

I like your post. However, they could have set up a lottery system (similar to how it's done for late night TV shows). Either way, it'll be a great gig.

2 hours ago, HollyWoodRose84 said:

Ain't that the truth, Indy!  Amazing how now being a "fan" of GnR is so "in."  Trends....ugh.....

Public perception has surely changed. It feels like the early 1990s all over again. 

Out of all VR/Slash songs, this (Anastasia) is the song I would want them to play. I think Axl would do a killer job on vocals.

When I saw Axl perform with AC/DC just a few months ago, his voice echoed the sounds of a chainsaw meeting a hammer. It was phenomenal and most definitely sounded closer to 1993 or 2010 than anything we have heard on this leg of the tour. My point being -- Axl is fully well and capable of singing "raspy", but is choosing not to do so for the time being. It is no surprise that his voice is getting cleaner as we are now aware that he is receiving help from a vocal coach (Ron). That type of singing (raspy) is not meant to be sustained in the long haul as it's quite abrasive for the vocal chords. By my estimation, Axl will return to a slightly raspier style of singing in subsequent months. For example, in 2006 Axl came out at full-force in Hammerstein, mixed in some "Mickey" during the European and early North American shows, and ultimately ended the year with excellent, sword-like vocals by the Gibson Amphitheater shows. I think he'll take a similar trajectory on the NITL Tour. 

Did the crowd have rasp?