ES175

I got there towards the end of DTJ (I'm pathetic, I know) so I missed WTTJ and DTJ, two of my all time favorites. Still, have to say, it was a pretty solid performance by Axl - relatively speaking, of course. The biggest and perhaps most pleasant surprise was the coda to Coma - he usually whimpers through it, but he held it together better than anything I've seen on this tour. They all seemed to be in a good mood, which is a bit confounding given the length, and let's face it, monotony of this particular tour. There was more interaction with the audience from the big 3 in particular. Yes, Axl lost tempo several times, and Frank... what can I say. Love him, but I just wish he'd try and simplify it a bit... less Neil Peart and more Steven Adler. But I guess it's a personality thing, and hey, if Slash and Duff are having as good a time playing with him that they seem to be having, who the fuck am i to complain. 

When I saw them last year at Fedex Field, they were playing a lot more conservative - Slash was sticking to the script, in particular. He's letting loose, now. Improvised solos can be a mixed bag, but man, he was flying. FLYING. Right there on the edge of the infamous noodling that Izzy would complain about. Axl gave a slightly longer introduction to Slash this time but I couldn't quite hear it - Slash did thank him, though. 

I'm starting to believe we haven't heard the last of this lineup once this tour is over. I'm a skeptic, don't get me wrong. But being at last night's show - it's hard to believe that any group of people who are playing this well together, and who are this happy playing together, wouldn't want to keep it going. 

Unless, of course, they don't. 

no, no, no...

Just now, Tyler Drama said:

Right?

it's fair to assume the monitors aren't working all that well.

am i the only one wincing at the thought of november rain in these circumstances?

i just wish frank would settle on a tempo.

michelle is actually going better than i expected.

slash played the shit out of that solo.

okay axl is in actual trouble. not sure if he'll finish this set. 

such an unconditionally supportive audience, though.

i do wonder what technology exactly is at work, keeping that hat on slash's head.

this is sounding rough.

so far so good on civil war.

the LALD screams from the DC show in 2016 gave me chills. On the records, I'd have to go with Right Next Door to Hell - the scream that leads into Slash's solo. 

I just wish Izzy would write a book, already. Or do Charlie Rose, at the very least. 

What I'd really love to see is Errol Morris doing a movie with him. 'Half the Real Truth - Izzy Stradlin'

Not a lyric change per se, but I just don't like what Axl has done with the intro to Paraside City where he starts singing during Slash's opening solo, and on top of that, completely flubs the cue for the whistle - I can't figure out for the life of me why anyone would think that is a good idea. That whistle was perfect. Yeah, I know, I'm an annoying fan. 

it probably is the best combination of GN'R songwriting, axl's singing, slash/izzy guitar interplay, and yes, that video is phenomenal. woke me up to GN'R back in the day. 

By the way, does anyone know what that thanks to Elton John and Bernie Taupin in the liner notes was all about?

Also, Did Izzy play the opening solo to Back Off Bitch? It's definitely his tone. definitely his most prominent solo, if not his best (i prefer the nightrain solo). 

I think Shannon Hoon is somewhere there in the mix as well. 

On 3/9/2017 at 7:26 PM, Archtop said:

One of my favourite songs is you ain't the first, I love the rawness, never gets enough love, so I guess I'm in a minority here. 

the confused looks i tend to get when i pick up a guitar at a party and say 'let me play you a GN'R song...'

There are many reasons to love You Ain't the First.

11 minutes ago, James Bond said:

Are you talking his main melody line right after the intro lyrics?

The second time around when Axl says "Still talkin' to myself and nobody's home... alone" and the riff starts, then Slash plays the pick-up note/bend an octave higher on the studio version. That's the only bit I can think of. He gets some crazy ass feedback going during the "Old at heart..." bits but I don't think he did any octave doubling or anything like that - just some "studio perfect" feedback that is hard to duplicate every time live.

yup, the main melody line is what i'm talking about. second note. i do believe it is studio perfect feedback - but i feel like not getting that note makes the hook sound very different live. a bit sing-songy, almost. that insane bend-down that he does after 'still talkin to myself' is also another thing he's never tried to replicate live. sometimes i wonder how it would sound if he just played the whole song live with a huge marshall stack staring him right in the face.

It is absolutely brilliant. I'd say it's one of my top 5 songs, period. So happy that it's a staple on this tour, and you can tell Axl still means it when he sings it. 

Hi everybody. Although a lifetime GN'R fan, I'm only just now joining this party here, so apologies in advance for any newbie behaviors I might exhibit. 

Is it just me, or does that legendary hook Slash plays on Estranged sound very different live, especially that second note, where he seems to be at least an octave higher in the studio version? It changes the vibe of that hook altogether, and has distracted me every time I've heard or seen the live version. I know it's most probably feedback that adds the extra harmonics, but makes you wonder why Slash doesn't try to replicate it live. Am I just hearing things?

Also, on a separate note, does anyone know of any forums for discussing/analyzing the actual music of GN'R, as in stuff like songwriting and recording and tone selections and such?