UsedYourIllusion

20 hours ago, RussTCB said:

Just to clarify the above:

We do NOT need or want anything to do with Tokyo 92 that's already been released. That show was video taped, so an "HD release" won't help. On top of that, we've all heard all of the audio a million times. 

We'd all love to get to get completely new, unheard live audio & video. Should be super easy to produce seeing as there's a ton of it available. 

Is it really tape? It looks crisper than tape to me; maybe it's the beta format, or something. Either way, I think most shows would be higher quality than Saskatoon, which also sounds fine to me, just need a remaster of the audio-like stereo separation. Really it's just wondering if the filmed shows are worth seeing. The 91 shows were so hit or miss with Axls vocals. Still, something would be better than nothing.

Please no Tokyo 92 😂 bad representation of the band

47 minutes ago, Blackstar said:

The show in North Carolina mentioned above was in 1991. Actually there were two shows in North Carolina that not much is known about except that there were very long - the first one, in Charlotte, lasted about 3 hours and the second one in Greensboro, described as "epic" in the reviews of the time, lasted 3 h 35 min.

https://www.a-4-d.com/t1831-1991-06-25-greensboro-coliseum-greensboro-usa

Always good to have someone on which I can thoroughly rely! My mind was a bit hazy on the details, but exactly the show I was talking about! You could be considered the GN'R authority! Leaves me reeling to think about all these potential shows and videos hiding in the vault

38 minutes ago, rocknroll41 said:

Even though I think any concert footage they include should be stuff we’ve never seen before, if they did have to go with shows we’ve already seen in some form (leaked proshots, tv broadcasts, audience recordings, etc), which shows should they go with, assuming you had to pick just one shows from each of the three years (1991, 1992, and 1993)?

Stuff we have seen: Philadelphia '91, one of the Stockholm or Inglewood shows

Probably Chicago or Paris '92,

For my money, either the July 16th Argentina show, or the Hartford '93 shows.

Shows we have NOT seen: 

I think there's a North Carolina show in 92 that's about 2 1/2 long, or the Omaha show where Coma on Live Era comes from

For the love of God, Jesus, Mary, Joseph, and all their little carpenter friends; remix the albums and release Live material. One good show from each year, just anything. It's my favorite GN'R era, and it has, I think, the best live showing of the band (at it's heights). If you really wanna get people drawn back to this band, give em more of the best.

A couple of soundboards/proshots would really make up for 2020 nearly being the end of the World

1 hour ago, RussTCB said:

I totally misread your original question, my bad. I like nin but don't love them. Robin's work in GNR is really the thing I'm most familiar with that he's done. 

No worries at all! I do like his playing, and some Nine Inch Nails, just wish the GN'R experience wasn't so tumultuous. I think the weird mix of industrial, with hard/ballad rock was cool. Better is a perfect example, and TIL

52 minutes ago, RussTCB said:

Off the top of my head? Everything in Estranged. 

Let me be more precise, what's your favorite thing Robin has done outside of GN'R? Do you like Nine Inch Nails at all? 😂 I do love Estranged though

17 minutes ago, RussTCB said:

I'm not saying this in a shitty way, but I've never understood what's so hard for others to understand. 

Slash was in GNR, did some great work with them, then left. 

Another guy (Finck) came along, played Slashs stuff as well or better (IMO, in some cases) then added a ton of his own personality and style to the band. Then he ended up playing my favorite GNR solo (TIL) on my favorite GNR album (CD). All of which is in addition to the kick ass work he did on the rest of that album. 

So, in short, it's very easy for me to prefer Robin to Slash. 

Out of curiosity, what's your favorite non-GN'R-Robin moment or song?

12 minutes ago, Gordon Comstock said:

I guess the question about her age has finally been answered then.

 

"A couple of weeks before Guns N’ Roses kicked off their 2016 reunion tour, keyboardist Melissa Reese got a call from Chinese Democracy producer Caram Costanzo. “We may be looking for a keyboard player,” she remembers him saying. “I didn’t even realize he was talking about me. Then he said, ‘What are you doing for the next few years?’”

Many thoughts flooded her head at once. First off, Reese was just 25 and didn’t really know the Guns N’ Roses catalog outside of mega-hits like “Sweet Child O’ Mine” and “Welcome to the Jungle” (both released before she was born)..."

That's one of the craziest moments of happenstance in music. Just random call and boom you're in GN'R. Obviously the Brain connection is there, but still. Kinda wacky. 

I've always assumed he wrote that song as a, sort of, frame story; but, Axl's defense of the song was weird. Who knows, can't wait to listen

1 hour ago, RussTCB said:

Agreed. These record labels are so fucking short sighted it's unbelievable. People don't buy more music when these things happen, they just go back to stealing it. 

Unequivocally. If were going to have streaming be a platform, which by the way is usually free with YouTube, Spotify, I don't understand why they have an issue with someone streaming music. A paid platform like Netflix makes sense, but streaming music... that is already on a free platform..

4 hours ago, RussTCB said:

Well......this sucks

www.musicbusinessworldwide.com/twitch-users-face-potential-channel-bans-following-platforms-sudden-influx-of-dmca-music-takedown-requests/

This matters to me directly because Twitch was the last place I could share my music spins and encourage others to love and buy music. It matters to a TON of other users for many other reasons too. 

Music is a huge part of Twitch, this really sucks :/

On 4/15/2020 at 2:27 AM, Blackstar said:

Based on Alan Niven's quotes, according to which Bob Clearmountain was mixing the songs while Axl was living in the studio (which we know it was in late 1990 and at least until Christmas), the dates of the Q Sound mixes kind of fit. But on the other hand, like I said, Clearmountain's mixes are not known to have circulated and Alan Niven (where those tapes came from) claimed that he destroyed them.

Is the "Axls advanced copy" bootleg of demos the same as the DAT source?

It would be interesting to add a historiographical section that specifically addresses the different interpretations of events from various books from band members; see how things vary 

4 hours ago, 6lake sa66ath said:

The canned audience sound is the more distracting to me than any overdubbed vocals or other alleged fuckery

Fair enough, when I first heard the Family Values Tour 1999  live album, I knew it sounded familiar. Pretty sure it's the same crowd noise on Live Era 

1 hour ago, t-p-d-a said:

Robin Finck doing backing vocals on It's So Easy

/thread closed

Like 95% sure that's Duff, and did you mean Brownstone?

11 minutes ago, RussTCB said:

People with skipping issues could be getting skips from any number of things, including scratches on the LP. The inner groove distortion, which is the much bigger problem with the US pressings, is caused by the actual mastering and pressing process. 

Huge problem can be with large amounts of bass/sub bass. Daft Punk has problems with skipping on certain tracks; the deep curve for the bass notes and cause the needle to jump

I think, much like Teaching (the profession I'm going in to), being a police officer in the U.S. is such an important service. It's also, incredibly difficult, and isn't very well rewarded for the hard work. I think if the U.S. wanted to solve some of these issues, making the career much more competitive as a job field could help. Higher pay, more upward mobility, much better-standardized training across the country could definitely help. Other nations have problems with police being essentially tantamount to military, especially during the cold war in Latin America. I'm not sure that is a good idea, but having more training could definitely help. Having better psychological training and weeding of bad eggs before they become officers, along with much more accountability in the department could help. 

I wish we could get some old school footage to go along with some NITL tour stuff. Marc, who surely must still have decent contact with the band, could definitely help facilitate stuff. At least, that's what I think 

3 hours ago, Powderfinger said:

I agree with all, but they peaked live on that 72 tour of the states. The bollocks had grown even more by then!

The Taylor period was the best stones ever. Glad I saw them do midnight Rambler with them once.... 

The versions of Sympathy for the devil on the 69 tour are still the best I've heard them play. 

 

That is one of the definitive live albums in Rock. Sort of wish they recorded in the studio a little closer to that version of the song.

13 hours ago, Rovim said:

this is simply not true. It takes more effort for Axl to sound great, sometimes even good these days but come on now... his voice is not gone.

His mid-range is not what it used to be, something like Since I Don't Have You, Paradise City, SCOM, YCBM, all would have to be sung with rasp. That classic Axl voice that is instantly recognizable has been gone for a while, his natural baritone is still there, and depending on how high the notes, he can still hit them.

@Gordon Comstock

I'll admit I wasn't around for the CD tour days, but frank sounded very capable during the 2009-2012 days. Was there really a fuss about it? He may have been the weakest drummer of them all, but his original sound with the band, the kit itself, sounded better to me than Brain's kit. Brain's kit just seems underwhelming, even if the playing is great--Boston 2002 comes to mind. 

1 minute ago, Gordon Comstock said:

You're Crazy or Pretty Tied Up would be cool opening songs.

Pretty Tied up would be killllllller, those cymbals at the beginning, the great rhythm riff and Slash just ripping at the beginning. Then go into ISE

I wish the recording was the direct feed from the mixing desk, rather than the broadcast. It's a pretty great show. Too bad the reunion wasn't around this time. Axl had swag, if only he would've toured all during 2002, 2003, 2004, 2005, 2006

4 minutes ago, bassplayer1993 said:

I like this one. Mixing isn't perfect and the mistakes are left in. Especially audible in "Chinese Democracy" The one thing I got outta these is even more respect for 4tus... and I guess I thought Slash was doing better with Chinese Democracy than he really was. He comes off as very sloppy in these videos.

If they released these shows like Metallica and Pearl Jam and you could buy a pro-shot of 'em then hell yeah I'd  be buying a few shows each month and watching them all.

The mixing is really bad in places. But overall cool thing and I like where this is going. Hopefully more will come soon.

If they had a huge catalogue of proshots, I'd bankrupt myself, especially with 2006-10, UYI proshots. This is good though, we have such a small inventory of proshots materials, I could probably name them all off the top of my head

2 hours ago, TOS--LOA said:

I agree that this NITL SELECTS is too little too late, although I hope it continues and turns into something cool. 

But I don't understand people saying that the mix is bad. This is exactly how NITL GNR sounds in person and has always sounded. Frank's drums are eq'ed terribly always and Slash's tone and playing has always been weirdly shreddy and dry/digital sounding. NITL GNR has always sounded like a completely different band from '88 or ' 92 Era guns. Whether it's in person, on YouTube or even raw tracks from IEM. 

Has more to do with the volume levels, they didn't really normalize, plus the guitars are overlapping in the center channel, Slash is usually in the right channel with Izzy, Gilby, Fortus usually in the left. Just the guitar separation could help a lot

11 minutes ago, downzy said:

I’ve never been nor would I ever pretend to be an audiophile so sound mixing/quality isn’t the most important thing for me. I get for those who are how this is a disappointment. What matters to me is getting to hear, whether decently mixed or not, a clean rendition of what is being recorded live. 

This also reminds me of my old band days when we would pay the sound mixer to record our shows. It was a great learning tool because we could pick up where we made mistakes. They were never mixed well, but well enough to notice where things went wrong if the did. I know people are complaining of not being able to hear everyone, but i watched and listened to it from my iphone with sound coming from my external speaker and could pick up almost everything, including Duff and Melissa’s backing vocals in CD (I think Duff fucks up after the first chorus). Bass isn’t pronounced but it’s still detectable (plus it’s bass, who gives a shit). 

And your right, Boston 02 was a great bootleg (even better show as I was in the audience that night). 

Yeah, I know what you mean. I love the tracks on Live Era that don't have overdubs on the vocals, like You're Crazy, Don't Cry, Paradise City; despite the fact the album is brickwalled and loud. I still love listening to bootlegs, especially audience recordings, like the 1991 Stockholm shows, and the quality isn't soundboard. I just want good representations of how the performances are; so it's more about picking the right shows, than HiFi quality