bojan

3 minutes ago, bojan said:

 

 

Sorry if it has been discussed already.

Nothing new, but the whole interview is pretty interesting.

Cheers!

Guns part is around 1:21:40

Sorry if it has been discussed already.

Nothing new, but the whole interview is pretty interesting.

Cheers!

Well, it could have been two years from now, to make it round forty 😉

Seriously though, don't you think it's a funny coincidence? The leaker must have aimed that date.

The icing on the cake is that it was leaked exactly 38 years later, to date!

6 hours ago, Waemoth said:

This is being shared by torrent. 

Would you be so kind and point me in the right direction?

I know there's a YouTube video but I'm a greedy downloading mutherfucker 😁

3 hours ago, GoodOlJohnnyK said:

There’s nothing more boring than a guitarist who thinks that technical proficiency means greatness.

Not that anyone cares but I received an offer to audition for a major pop act when I was fresh out of college in 2010, (again, this is actually irrelevant because this shouldn’t matter). I was in my early 20s at the time. I can say that, as hard as I practiced for the gig, the hardest part wasn’t the music - it was competing against guitarists who could do absolutely amazing things on guitar and, more importantly, look cool doing it. I was a recent college grad with no money for cool rock star clothing, so I showed up in what I thought would be a decent replacement: some ripped up jeans and a white t-shirt. A lot of the other folks there looked like extras from Sons of Anarchy, while others looked right off of a runway. Some could play circles around me, others I actually thought I was “better” then. But all of the ones who moved on had one thing I didn’t at the time - showmanship. I did my best “rock star” but I fell short.

The purpose of this story is to poke holes in Nuno’s premise that a gig like that requires a level of musicianship unattainable to a good guitarist: that’s not necessarily true. Fortus, for example, could have probably sleepwalked through his Rihanna gig. Showmanship plays a *big* part in it. And those touring guitarists often are amazing because that tends to be who gets invited to and selected for those gigs. You have to have chops. But you often don’t use them.

Nuno Bettencourt can shred up and down the neck at an incredible rate of speed, playing clean, fluid licks with exceptional technique.…

…and no one fucking cares. Because the point is that, until you write something worth a damn, all the fast licks and sweep picking and tapping don’t mean a damn thing.

The press that Nuno is getting for the Rise solo dubbing him the new Eddie Van Halen is so annoying and it seems to have gone to his head. First of all, it’s only guitar-centric media that acts this way. No one outside of hard rock or guitar nerd culture cares.

Second of all, Eddie Van Halen changed guitar playing forever not just through his incredible technical ability but also his sense of melody and songwriting. So many of Eddie’s solos weren’t actually that difficult (think Ain’t Talkin’ Bout Love or Everybody Wants Some) - but damn were they tuneful and memorable! The Rise solo is…impressive, I guess? But the song sucks, so who cares? There are plenty of songs with flashy guitar playing - why has this one been falsely propped up as some sort of spiritual successor to Eruption?

Third of all, these days technical ability is overrated because as good as Nuno Bettencourt or Slash are, there’s always gonna be some dude on Instagram who can play faster, cleaner, and more complex licks, two hand tapping while diving the whammy bar with his dick. So at that point, you have to move on to songwriting chops. Nuno wrote “More Than Words,” which is a classic song that people know and remember. That’s incredible. It’s very hard to do. But Slash wrote Sweet Child O’ Mine, the November Rain solos, Welcome to the Jungle, Paradise City, Nightrain, Brownstone, the guitar melodies and solos on Estranged, the list goes on. In a competition over who is more important to rock history, it’s not even debatable.

And in terms of who could handle the Rihanna gig? Slash would walk in with his top hat and the musical director would fire Nuno Bettencourt before Slash was done plugging in his guitar. Because while Nuno’s busy whipping his hair around, Slash is an icon of rock n’ roll and his *look alone* would nail the gig. There’s no musical style that Nuno performs on those Rihanna songs that Slash couldn’t do - the idea that Slash couldn’t handle switching between reggae and dance pop is particularly absurd - and anything he does that is outside of Slash’s repertoire, like sweep picking, isn’t necessary for the gig.

Nuno’s a dickhead because all of his false modesty (“Slash is a hero of mine!”) doesn’t make sense when the clear premise of what he was saying was “this gig is so fucking tough that even the best guitarists like Slash can’t do it - but I can! I’m more than rock n’ roll, I’m a *real* musician!” Only to walk it back like a little bitch once Fortus disagreed (and disagreed incredibly respectfully).

For him to then knock Fortus makes even less sense. “I’ve never heard of you outside of the Rihanna camp and as a replacement player in Guns N’ Roses.”

Well no one knows Nuno Bettencourt outside of Extreme. And no one under, say 42 knows Nuno Bettencourt at all except for maybe some older shredders working on their skills at your local Guitar Center.

Furthermore, Fortus has played THE EXACT SAME GIG! Before Nuno! The amount of nerve to then turn around and slam the guy who just did your exact gig, and then try to big time him by saying you’ve never heard of him, when Nuno himself hasn’t been relevant since 1991 is staggering.

So on the one hand, he’s talking some bullshit about Slash. Then he tries to walk it back and say he’d never do such a thing and deflects and tries to turn it on Fortus. So he’s talking out of both sides of his mouth and it’s all bullshit.

Sounds like Double Talkin’ Jive to me.

I wish Axl would let this home fuck have it on stage.

"two hand tapping while diving the whammy bar with his dick" - priceless 😂😂

Simon Binks, a guitarist and singer-songwriter for Australian Crawl defended GN'R under YouTube comments pretty fiercely.

Then someone of course answered him and said that Simon knows it's a ripoff and is covering the whole thing up 'cause he probably got good money to be shush about it. They presume it's not Axl, Slash or Izzy's idea but Geffen executives etc...

Anyway, sorry, didn't mean to stir shit up, we have enough drama with the band as is, but lately they did some cool stuff with setlist/approach so kudos for that.

11 minutes ago, doakes said:

What are the odds that the band heard either one of the above mentioned songs?

Australian Crawl were on Geffen.

The plot thickens 😬

On the other hand, writing a song that doesn't remind you on someone else's is a pain in the ass, especially consciously trying to avoid it when you already have a part that fits right in.

God knows all my solos have Slash written all over them.

10 hours ago, drlaban said:

Listen to Jennifer Rush - 25 Lovers

Yeah man, pretty similar melody, although the second chord in the verse progression is not the same (some minor chord if I'm not mistaken) and the chorus is different. Good catch however!

I got you, I agree, but it isn't just the verse part D-C-G, it's also the chorus, melody behind it and short solos after the chorus. Just sayin'... People got sued for less (Verve comes to mind, Ed Sheeran also).

I think I'm a hardcore GN'R fan, taking shit from time to time defending my band, but I also got ears.

Thanks for the input guys!

First time making a thread so go easy

I'm wondering what's your take on similarities between SCOM and the mentioned track that was published 2 years prior to SCOM, also on Geffen, IIRC.

Guns is my favorite band since '91, the reason I play the guitar and all that stuff, but listening to this track leaves a bitter taste, even if I don't want it to and still defend GN'R.

Sorry if it was discussed earlier, couldn't find it.

Peace and rock on!

P.S. Didn't want to link the track from YouTube, just in case.

Do you guys think that the big three actually sat down and saw the footage top to bottom (individually, of course and unfortunately)?

Been a fan since '91 (9 years old then) and this really is the holy grail, the epitomy of GNF'NRS!

Also, do they themselves realize how amazing they were and what they can do to make things sound/look better now?

How do you guys interpret Axl's sarcastic Osaka 2009 quote then? "And for the idiots....but no, this song was not written about somebody I used to know."

Not gonna post the link, but one can find it easily...

How's that for provocation?

Since it's supposedly about Vince Neil I reckon the title refers to Vince and his band riding shotgun to Guns (they are not in charge, not as important as Guns)...

And they have the blues because of that...

2 hours ago, MaskingApathy said:

Richard

I know a lot of you are guitarists (so am I, for the last 25 years, and mainly because of Slash/Izzy influence) and I know everybody is entitled to an opinion but to me there is no doubt that Izzy is playing rhythm in SOYL...if you compare all the existing versions of SOYL and listen to an isolated left channel of the AFD Boxset SOYL multitracks you clearly hear Izzy's tone, phrasing, style, call it whatever you want...I'm not saying that it's totally impossible to replicate that in the studio, but why bother when everything sounds just like Izzy (royalties come to mind, but, again, why bother when releasing material with Izzy all over it anyway).

My take on other SOYL "players": definitely old Axl (except already mentioned "ugh" before the solo), Frank because of doubled crash cymbals in the intro and pre-chorus sections), old Slash track with added completely new Slash licks and solo.

So anyway, that's my two cents, it's still sad that we have to guess and CSI everything Gn'R related!

2 hours ago, NachoLZ said:

So if Adler's drumming was rerecorded by Frank, what about Izzy's guitar by Fortus?

Nah...it's clearly Izzy's parts and tone played the Izzy way, exactly like in other (LLAS) version.

13 minutes ago, Tom-Ass said:

Same... Him and Slash had great chemistry. Listen to the versions of KOHD and Patience from the 93 tour.. They are phenomenal compared to the flat renditions they do today.  Gilby's background vocals aren't mentioned enough but they were a big part in those acoustic sets as well.  Him and Slash also showed their chemistry in the studio on TSI, The first Snakepit record and the songs they did on Pawnshop guitars.  Cure Me or Kill Me, Monkey Chow and Dead Flowers would have been perfect spots on the next Guns album that never happened. I bet Slash, Axl and Gilby could have made a heck of a writing team.. 

Couldn't have said it better!! In the perfect (obviously not Guns) world that would work like a clockwork...maybe even Matt could have his few moments + Duff (who was still Punk As Fuck then).

...and we're fucked

now it's been a few seconds ;(

Homefuck!!

As ludurigan said in "FTP could be Guns song" thread the songs simply need "the GN'R treatment" and "that all it takes for Slash (and Axl too) to fucking shine is giving them a good 3-chord progression played by actual rock n' rollers"!

Unfortunately, dontdamnmeuyi2015 is correct, nothing they come up with would sound like the old days...

But, damn it, they should know by now that the only way to produce some seriously cool and heartfelt shit is to be a BAND again, even if just for the preproduction and recording...they should "lock" themselves in a mansion or something (remember making of Blood, Sugar, Sex, Magik by RHCP) for a few weeks and write off of each other, like a fuckin' r'n'r band should be doing, not some copy-paste nonsense. And build the songs the way they used to, with those mentioned bridges and codas that we all love...I don't know if it is an Izzy thing or what, but with Izzy in the equation it would be pretty close to the "organic" classic GN'R sound...wishfull thinking I'm afraid. Just "lose" a month of your life, put aside your comfort zones and give us and yourselves one last bitchin' GN'R record!

Had Axl been more keen to keep Gilby (or if he had to go, to bring Izzy back) and had Slash not been stubborn with his "just shut up and sing" approach, we would have THAT GN'R album and, as far as I know, the only recorded indication of what that might have sounded like is the whistle melody over Slash's Back and Forth Again arpeggios...which is structured similar to FTP, just sayin'...