Sprite

On 5/15/2015 at 9:25 AM, wasted said:

Bad apples was like his disenchantment with the rock n roll lifestyle and business side of things. But as he says you got to make a living with what you bring yourself to sell.

I got myself some genuine imitation bad apples. That's the members of GNR, the bad boys of rock n roll.

To me I just thought he was trying express some frustration with that. But like he says there's nothing he can do about it and hey he's a frequent flyer - like that's a symbol of his success.

Axl dealing with the bullshit of life, trying to cover all the bases and all he's selling is some bad boy rock n roll. And he's not even enjoying it.

Axl is self aware for sure. He's self conscious obviously as an artist that helps. He just constructs a self per song.

Sort of like their version of That Smell. Whiskey bottles, brand new car. Oak tree you're in my way. 

Its almost like an artistic statement saying this lifestyle isn't what you think it is. Wont you pour his apathy.

Axl's a wordsmith. His writing is always the from the plight of the individual which is a trait a lot of great writers have.

On 2/28/2017 at 7:51 PM, ZoSoRose said:

My vote goes to Robert Plant. Love Axl, and think he's a great rock singer and one of the best frontmen, but Plant is top overall. Plant's voice ages almost perfectly, too

I was wondering the other day if Plant was any sort of influence on Axl's decision to sing cleaner in the more recent years? Plant's register was pretty vast.  I don't know what happened on No Quarter but I think his voice was part of the reason that song scared me  so much as a kid. Maybe there's nothing to what I'm saying.

On 1/27/2017 at 11:08 AM, Gracii Guns said:

Velvet Revolver weren't quite Stone Temple Pilots, and miles away from being GN'R. I found their songs generally sounded the same, however they did have some brilliant ones which will be remembered in rock history.  alongside STP and GNR. I don't think they had enough albums to really be given a fair chance as a band. 

I'm not saying one way is better than another, but I'd reverse that and say they weren't quite Guns yet miles away from stone temple pilots. STP was more alternative whereas VR was dirty blues rock in a Guns N' Roses way. At least to me. Set Me Free sounds like it was written for Guns.

Coincidentally, early demos from new GNR ironically sounded like Guns covering something off of STP's tiny music. Particularly the early IRS demo. I think Axls late 90s/early 00s vision of Guns was more alternative in an STP/ grungy way. Even Chinese has that Nirvana sound to it. Everyone thought tripping on a hole in a paper heart was cobain resurrected. This was pre internet, at the height of the Courtney Love killed him/he faked it to leave the limelight conspiracies. Alternative Grunge styling was in so that's how I saw new GNR heading at that time.

Guns seem to exist in parallels. Guns. Roses. Axl unpopular, slash popular. Mixing different styles throughout the catalogue. So it makes total sense VR got the STP singer just as new GNR was going for an STP sound. It's a topsy turvy world.

2 hours ago, soon said:

I'm envious of those who were on the forum during those years before the release of CD.  So much intrigue.  All these bits of info that are still being pieced together.  But that must sound masochistic to those who lived through it?

You know there are some sick freaks who will pay for that very pleasure. I see it more as teaching me to be thankful for what I have. To say it feels like a missed opputunity is an understatement. But sometimes the lesson you don't want is the best kind of teacher.

Id love to one day get a box set release of CD. I want to hear the 99 CD mix because of the "earthy" sound for lack of a better word. Like that IRS demo from 99 sounds like GNR covering something off Tiny Music from STP.

On 2/26/2017 at 9:05 AM, marlingrl03 said:

Dude this blast from the past doesn't stop. Axl talked about that smell the magic shirt Slash is wearing in one of those Kurt loder interviews from the early 90s. That fact stuck with me all these years for this moment I guess. 

1 hour ago, WhazUp said:

If only it was as simple as us fans pretending like we know the discussions that went on behind the scenes

True. And it's hard to say what equal means as everyone has their own definition. Equal to Izzy could mean split 5 ways. Equal to Axl could mean being supportive to people who've helped or been around the band for the past 10-20 years. Or he's found a comfortable touring routine that can easily adapt with Slash and Duff sliding in and stadium touring beginning and it works better a certain way based off personality.

I really don't know how it works but I imagine at that level of music the business end of it must be a nightmare.

Sometimes I like to think about things as if I were a kid.

What If you were in 1st grade and you and your friend got famous for your sand castle building skills? Everyone is school knows you guys and loves the work. But he quits the team in the 3rd grade. You carry on and even get a new builder to help, in spite of criticism.

In 4th grade they said your friend was the real sandbox builder. You just wanted to get trendy and build them next to the ocean or make Victorian style designs with that new weird kid that wears the bucket on his head. People missed the simplicity of the old sand castles that you used to build in that playground that's half cat shit at the back of the field. 

5th grade they begin appreciating your more "arty" structures, at least the vision. I mean you've made it a whole grade without him by that point. Street cred at least. But it just wasn't the same as those 1st grade designs for so many. Perhaps unfairly though as so much change happens throughout life. How can I, a compentant 6th grader today, reverse course to return to the juvenile designs of my youth?

its quite vexing.

 So now in 6th grade, Your friend is back and wants you to forget about what you worked on in 3rd, 4th and 5th. You guys have a chance at touring the elementary schools showcasing your talent. But then the old friend said let's just get back to the good old days of 1st-3rd grade, no bullshit.

Yet your most proud piece came in 4th/5th. 

What would you do?

Keyboards added a harmonious element to the songs on live era like scom, rocket queen, patience, don't cry and pretty tied up. And on the 99 big daddy scom. The organ adds a gritty yet innocent sound to the last rocket queen verse on live era. The organ is eery during the 'where do we go' bit on the big daddy scom.They also had that dirty lynyrd skynyrd solo on move to the city on live era that had remnants of call me the breeze. Every lynyrd skynyrd song is about moving away from a a woman so maybe that's the influence. Dizzy Reed is a legend.

Its alright is one of the better covers I think. 

On tsi they mixed it well particularly on since I dont have you, raw power, and human being. It was a nice touch to one in a million but it went as unnoticed as the last verse.

The ending of prostitute with the piano makes me sentimental in a 90s Coldplay sort of way. Like the ending notes to the last moment on earth before everything stands still. Or it could fit well if the ending of the scientist video had a funeral scene. Or were it the beginning.

The most vexing piano question in all of GNR is why the blues lost the heavier intro for the final piano intro on the album. I still hear Boston 02 in my head each time. I wish the synthesizer breakdown in catcher were a bit louder in the mix, similar to the demo. Maybe it should be low though. Like the musically restrained desire of a lunatic. Madagascar, mother Mary, church organs, French horns, MLK, its all one. The keys in the song Chinese oddly make it sound Chinese in a way. This I Love is as scratchy and delicate as November rain but in a American horror story way. Pianos work for me

19 hours ago, wasted said:

I think once Slash and Duff are back releasing CD II as is isn't going to happen. But reworked CD era material seems like something different. 

I think a hard rock record with every song having Rose, Slash, McKagan credits might be great. GNR return to hard rock glory.  

The thing to avoid is the record as a commercial for the tour.

I see it as a mix. It would be very much in the style of Guns N' Roses to release a new album with all sorts of material re worked or from the past or even brand new. Like a UYI type theme where it's just a dump of everything.

I don't think they need Izzy to write necessarily. Izzy almost seems to make better solo songs than a lot of the stuff he's the primary writer for in Guns. There are literally dozens of his solo songs that are better than you ain't the first or bad obsession or even move to the city from lies. Double talkin jive and pretty tied up are the only 2 UYI songs he's listed as the primary that I'd consider some of the better UYI stuff. Like 4 UYI songs in total are all him?

I don't mean to negate Izzys effect but I think it tends to be a little overblown especially as of late. 

So how much is he conducive to the guns sound really? Half their hits/fan favorites catalog seems to be the antithesis of his style. Songs like Coma, estranged, November rain, locomotive, breakdown, civil war,the garden, dead horse, yesterday's-he's absent from the credits. He's not On rocket queen either. Writing wise that is. It's so easy is duff. Jungle and SCOM were Slash/Axl? 

He might write better individually than a band setting. Or his songs come out better with just him before others get to it. His solo stuff seems more organic and that's not really Guns thing. There is no denying his credit on much of appetite, lies, don't cry, dtj, pretty tied up and you could be mine. But it's not like they never could write without him. At least on paper.

id love to see how it was all written or hear their accounts of it. As Axl said in the chats to say anyone brought in a complete song is crazy so this is all conjecture.

48 minutes ago, IncitingChaos said:

I don't even remember that performance...much better than the evil exposing pro shot. I guess Axl just doesn't come through in the clutch on these pro shot videos which worries me about any future performances....the pro shot VMA's ruined 2002 GNR.  (Probably ruined themselves but people said Axl couldn't sing to this day Bc of that performance) 

Father Time ruined the 2002 band. That band with that album and that look comes out in 97 and it's a hit. Music changes quickly and hindsight is always 20/20. 

Everyone has their own idea of heaven. It is Guns N' Roses so we can for sure expect a mixture of styles. 

It needs to be a big release. A double album. Trump is president, art is back and it's time to take chances. They can cash in on the nostalgia by creating a UYI thematic album and hype. Old 96 material reworked, cd2 leftovers, The seeker, let Slash record the atlas shrugged solo from a piano in the studio. Let tommy guest vocal on going down like their version of have a cigar. Electronica one track, world on fire next. Even let DJ have a blast. We already have samplings of this style album in UYI 2 so it's nothing new. Just the reworkings of mad scientists. We got everything here folks, come one come all. 

Call it Guns N' Roses: Frankenstein 

Release it in 2020.

6 hours ago, wasted said:

True, I could even see if you take CD songs and rework them with Slash like Chi dem, Better, TIL, Sorry, Catcher they turn out great. With Frank on drums and Fortus on rhythmn, maybe Slash could get the definitive version of Catcher. People like Slash's guitar work so that is always a plus. I'm torn between the haziness of Catcher on CD and a Slash version which might be more assured and streamlined. Strip of the layers, unify the sound and that's half the problem people have with CD. I still believe if Slash plays the riff and solos on Twat it would have been a GNR classic. Dynamically it's all there, the pacing, the escalation. So I agree if Chi dem or Better can work, maybe The General or Atlas Shrugged could too. 

So CD II meets Slash with new old school GNR songs added to the Chinese stew. 

That's the perfect description of TWAT. And to me this is the crux of the situation. Had Slash played on Twat is it even the same song? What could we be losing with new material? 

Thats what's most interesting to me with the concept of the new album. Who will the players be?

If Slash is open to playing as many CD songs and as Axl said seeking out wanting to learn them, maybe he's open to sharing time on a record. As Rovim pointed out this has evolved more into an Axl driven project/vision since he's the one who's been standing the whole time. So does Axl throw out 15-20 years of his life and what friends recorded just to get Slash on it? 

There are so many questions. 

Buckethead, Robin, Tobias, and Freese seem to be critical to the evolved sound or level on CD for lack of a better word. So if we are thinking a continuation to the next level as the new record concept it might not be a good idea to throw the baby out with the bath water. But alas this is all conjecture as we've no idea what the future looks like.

Is the way forward is to simply combine it all in a UYI style? Mix this with that and that with this. Like a 2020 mad scientist. Call it:

Guns N' Roses: Frankenstein

On 2/19/2017 at 2:20 PM, Natty said:

Enourmous impact? These 5 were Guns N Roses. They wrote Lies ,AFD and UYI. The rest was nothing but replacable musicians who never contributed to a single hit of GNR. 

A hit is subjective in many ways and often pertains little to quality. The quality of CD is present in all songs. 

Nothing but replaceable musicians who never contributed or a tough project recreating something old with something new and no roadmaps. The chicken or the egg. 

15 hours ago, wasted said:

In what way? We don't know for sure. People tend to just take what Slash says in a vacuum. Especially in the late 90s. Axl never really defended himself. Maybe it took him 10 years to come up with his excuses. I prefer what Duff said Axl was this and that, but I also had my problems. 

It's not that Slash was a shit talker or rumor monger towards Axl. It's just it was always so one sided against Axl from so many people. Yet Axl never said a word for so long and still hasn't. He had the bad guy reputation going before the breakup already. So when he went into his hiding phase, the focus turns to Slash. Slash went public. They made it too easy for reactive people to pick sides. 1 quiet guy everyone loves playing a victim card vs the asshole who hasn't been seen or heard from since 94. So the legend grew. Then you have people like Goldstein saying Axl threatened a no show if they didn't sign him naming rights minutes before a show. There is not a snowballs chance in hell that would be a feasible legal option. But Axl said that in the chats so I'm just biased I guess. Axl's rationale for doing that never really seems to be put in context either. It's not glamorous to talk about effects of excessive drinking/drugs anymore or just the pure and utter chaos that rockstar  lifestyle must be and somehow trying to keep a lid on it.

Then the re emergence in 2002 for both Axl and Slash. Oh my god, rio, 02 MTV awards, riots. "That didn't look like what you thought it would look like" was the reaction of a lot of people for new guns. Then comes VR and it's a mainstream hit. Battleship sunk. VR sounds and looks like what we think veteran rock musicians should sound and look like at this age in this era. Axl was about 6 years too late. 96/97 that 2002 band is a hit. Weird was in. It's like they were timecapsuled aesthetically and sound wise in 1997 and couldn't shake it till 03. Not that they needed to.

but Slash and Axl were playing different games. Axl's the perpetual bad guy trying to resurrect the old band. I feel it was more and more accepted as years went on. Particularly 06-12. Slash is the crossover artist everyone loves. He created a super band. He plays with the pop stars. He's on cartoons and late night shows. Old, young, white,black. We all love him.He got to play the part of good guy for sometime. 

but the thing about the truth is it always waits for eyes unclouded by longing or judgement. As the years go by Axl's "side" of the breakup if that's even a thing and keeping the naming rights and his desire to see it continue makes more and more sense. I'm not saying Axl is innocent or Slash is a bad person. I think it's just the way it happened. It probably comes down to poor communication which is the root behind any relationship failure. There are no bad guys. Just some mistakes in retrospect.

Looking ahead they seem to've put it past them. One can only hope they continue touring and maybe just maybe we'll get a new something someday.

Tommy leaving is bittersweet. I loved him in Guns and I love his solo/bash and pop stuff. I can't think of a better replacement for Duff in a band like Guns n Roses if you are going to try. I'm happy to see Duff back at the same time though because I'm a fan of all eras.

I hope Going down is released someday. Even if it turned into a tommy solo song or made it on the next Guns record with him on vocals. It had the aura of14 years/dust n bones. Felt like a band again for a moment even if by aura alone. But at the same time no one is happy until Slash and Duff are back and no new music yet. What kind of nostalgia are we looking for?

Call Gilby and see if he can write another cure me or kill me. Give DJ another chance. Let Slash and Duff re record some buckethead parts. I want a full page  of song writing credits for each new song. We must top Chinese democracy. It's the next evolution.

5 hours ago, wasted said:

I think maybe because RTB re-recorded Beavan's material, so it lost some of it's overtly 90s sound. Then Costanzo re-recorded/remixed it again. Overall sound is like Manson/NIN but more polished like Nevermind. 

But still there's a lot of 90s motifs. Riffs and breakdowns, downtuned guitars. I would say the solos are more classic rock though. 

 

Chi dem - Nirvana, Manson

Shackler's - Korn, Zombie

Better - NIN, Radiohead

If the World - Faith No More

Scraped - RATM, Prodigy

Madagascar - Massive Attack

Prostitute - Verve, Massive Attack

I don't hear Bjork other than Axl's falsetto. Never been into Bjork. 

The whole thing reminds me of a Dj Shadow or UNKLE album in terms of drums and instrumentation. Acoustic guitars over drum loops is so 90s. The riff on Twat is kind of Pearl Jam. 

 

The 99 demo of IRS sounds like GNR covering something from Tiny Music by STP which to me is the quintessential mid-late 90's rock album. The final version lost it a bit but I'd love to hear Beavan's mixes. He said he recorded 35 songs. I imagine this forum would hate it but I'm intrigued.

Like that IRS demo.. it's GNR meets STP. Oh my god new Guns was VR before VR

16 hours ago, wasted said:

You can just look at the cover of CD and expect a 90s alternative record. The black and white photo cover is so 90s. Of course it's GNR so there's a 70s strain still, pomp rock thing too. Most 90s albums werent sleazy rock n roll. Not much glam anyway, it was more Sabbath or Zepp. There's not really an Aerosmith or DC coming out in the 90s. Even GNR were moving away from that on UYI. And then with CD it was all gone. Seems like Axl wouldn't write about street life if he's living Malibu. GNR were living what they were singing about. So it does become more about relationships and socio-political. Axl seems to mix his metaphors in a way. So some songs could be personal or socio-political. But most songs seem to be about people and situations Axl was in or something he read about or saw on tv. Like Axl said it's meant to be spiritual without going religious. It all seems very righteous vibe wise. The pov is pretty unrelenting. Lyrically it's like Out ta Get me or Estranged. Unrequited paranoia. 

It's true the DC shows and just the  love fest of the Reunion tour makes me think they would just jump in the studio and do Destruction or Bust. 10 Slash tracks with Axl vocals about being awesome. But we know that never really happens. Axl has been rumored to be sitting on material since 2000. But who's he fighting with these days? 

 

Guns have always had their own sound. Most great bands do. It's safe to expect heavy, guitar driven rock and I guess that's what's left over from the sleazy days/sound. I like when artists evolve because life is always changing. I dig the newer Nazareth stuff like When the light's come down because I think it works like their old music, but I'm always left seeing it more as a modern time piece placement of a retro art. I like it in the same way I respect Rod Stewart retiring to Las Vegas or ACDC releasing the same album. Like it could be more but they're happy with what they did so we're ok. That's the aspect of Guns discovery I love. It's like it kept being pushed to the next level each time. Maybe I'm just being selfish and judgmental of other people's art.

All great writing can work on many levels. Great writers understand that. I think Axl is a great writer. There has always been the aspect of duality in Guns music. From the name Guns N Roses itself being at odds, to songs like Civil War interweaving, lyrics like Rocket Queen abusing then loving someone in 6 minutes. In the paradise city the grass is green and the girls are pretty but in the verses you've got to deal with anger of the system. Dead Horse has remnants of Seattle Grunge. At least to me. Maybe it just reminds me of Duff or the lyrics are Cobain-esqe. We got southern rock elements on UYI 2, but also You could be mine and a get in the ring rant. And My World, plus a piano piece that would satisfy Elton John himself in Estranged. TSI? Started as a punk cover album that slowly blossomed into a dedication to anything that made noise, including a kazoo. Some Soundgarden here, throw in the Beatles mix there. Of course we need some Fear. What would this be without a 50's doo-wop cover? "It's almost ready, slap a Manson cover on there and get it to the kids by November". Chinese had a 500 piece orchestra but also one of the meanest songs in Scraped. Scraped itself is an exemplification of  dual thought we all have lyrically, musically and vocally speaking.  The innocence of Catcher was met equally with the menacingly evil Shackler. The Blues is Street of Dreams is The Blues. That is Guns style. It's the balance of order. It's abraxas. It's spirituality without religion. I think taking chances in all sorts of ways with all sorts of material and making it their own beautifully ugly thing has always been the theme of the band.

I read yesterday that in Slash's book he says he was open to industrial or whatever Axl was wanting to if they could just communicate. Excuse my paraphrasing. But assuming that is true, what does that mean for the future? Maybe Slash is open to new things today. Maybe the next level was going to be the 96 album. Not  industrial but more as GNR's take on Sabbath in the 90's, hence the Zakk Wylde saga or Axl talking about Guns meanest, most Sabbath moment, being on a song not even released yet but played at a Christmas party. Tis the season to air grievances after all. Axl is a rocker at heart. You can take a man out of Lafayette but you can't take the Lafayette out of a man. Sure there could have been ideas for elements of industrial but can you blame him? There is some great music there and it ended up working eventually on Chinese and other, new styles worked tremendously in the past (UYI, Patience, SCOM).

 I remember interviews of Slash saying he didn't want to do things like November Rain. He just wanted to rock like Twisted Sister said. You see that itself goes back to the balance of the band. Slash is Dee Snider's simplicity to Axl's Howard Hughes complexity. Like magnets they repel each other, yet every now and again you get that perfect rhythm and they move as one even while repelled. They are north and south. Black and white. Up and down. PB&J. But in the middle or combined or whatever word you use is where we find that spark of creativity. That great album. That perfect guitar/vocal combo. Each one acted out their own polarity with their careers post the other. Set me Free is ironically the most Axl VR song to me but loosely translates to Slash setting himself free of Axl's shadow with that band/song/statement. Remember it was the first single for VR. Words were being said. Axl Set him free in a similar way in Madagascar in not wanting vengeance anymore or clearing any animosity. In a way, this was the first single of new gnr at the 02 VMA's too. The air might've been clear for some time, it's just more timing after all these years. All polarities eventually returns to the source and that is what's happening now. You find your way to heaven, I'll meet you when you're there. We are due for an album. Not in a complaining fan way, in a way that that is how the order works. The dau. It had to happen this way for it to happen this way.

 It's hard to deny the effect of some of Axl's visions in UYI material. Are they packing in 73K the other night in Australia without the grandiose UYI? So maybe Slash is open to trusting Axl's vision more in his older age. That vision is why a band with their original shelf life and small discovery is ranked so highly historically. He's got to dig it on some level to be playing 3-4 CD songs a night. Or he understands the band is a mix of styles built on taking chances no one else would. When the world moves to virtual reality, Guns grab a VHS and their cock. That is who they are. No trends. Let's keep it Jeans and a Tshirt. Like Lynyrd Skynyrd owned being white trash and gave no fuck because all they cared about is getting away from women. It's the essence of rock and roll.

They should do a cover of We're in this together by Nine Inch Nails with Slash on guitar. It would complete the saga in so many ways!

 Sanity is a small box. Insanity is everything... Think of the possibilities.

DJ was like that kid in terminator 2 rocking out to you could be mine only it wasn't a movie. 20 years later he was their lead guitar player... what did you do today?

I could see DJ being involved in some way with a new record much to the chagrin of the forum. Is it possible if From Axl's perspective, DJ helped him in a rough time and stayed there for 6 years. He stepped down peacefully with no drama of Slash coming back. The kid made it with Motley Crue, throw him a bone and let him record something with Guns too. DJ is like 40. He's just living out the fantasy we all have of playing with these older bands. God bless him.

His comments on if CD2 or whatever you call it will ever be released is interesting. Axl seems loyal. I wonder if he feels any sort of allegiance to having Tommy, Robin, Buckethead, Ron, etc. on the next record since they were such a part of it. And would that be ok or are we looking at another potential sympathy for the devil/ Paul huge type thing? 

I say bring the whole wagon. Everyone gets a blast. I won't be happy unless writing/recording credits take 1 full page each in the booklet.

so many questions, so little time.

16 minutes ago, Rovim said:

Maybe he is and has something more to say artistically. But even if he has no issues in that department, it still needs to work as a Guns album with Slash, not as a solo project.

For example, in the China Exchange interview you can clearly tell Axl still doesn't accept what Slash said about him in his book. Live you can clearly see he loves Slash and is willing to work with him.

Old Guns was a band consisting of young band members. Chinese made sense, the "I can do Guns without Slash" attempt.

But now what? Axl doesn't repeat himself like AC/DC, personally I recognize this as a tough challenge for Gn'R. To make another musical statement that will feel like Guns and will have a genuine theme to it is not going to be a walk in the park.

I guess it's like in the song "Jump" by Van Halen, you've got to roll with the punches to get to what's real.

 

 

Is it ok for themes to be repeated though? For example and keep in mind this is pure conjecture, but what if we got a double album that was a mix of all sorts of material. Old CD, new tweaks, Slash/Duff songs, old 96 material. Release it all in one swoop. That isn't radically different than the concept of use your illusions. 

I cant contemplate lyrics or song styles or anything like that other than thinking it would be kept in the GNR vain of music. I'm just talking release/ the way forward strategy. I don't think the wheel necessarily has to be reinvented. Is backwards the way forward?

10 hours ago, wasted said:

I don't think the reunion tour is based solely on money. It's about ending the feud, clearing the air and maybe putting GNR in better light. Everyone is going to see different degrees of positivity in it. The reunion tour is at the very least a big celebration of GNR, the fans deserve it through everything.  They can deliver this for the fans. 

But a record is more tricky. Axl the mercurial artist, Izzy the tunesmith gone awol. To me if they are going to make a record, Izzy has to be in the studio in some capacity. He has said Axl has 4 of his songs. Fortus starts talking about old Slash material recently. Axl wants to write and record like AFD again. I feel like it will be if Axl can write lyrics that work for a reunion record. Or self titled record. What's it going to be about? 

That's what is most perplexing. Will the next record have a theme? 

Afd had violence, sex, drugs, hopelessness, hopefulness and heartfelt love. All things you find in the street.

uyi was all that too, but also took chances with a little more polish. 

Guns have always had an existential quality to their music. The plight of the individual. The bitter sexuality of rocket queen gives way to the person realizing he can't treat someone this way. One in a million really drove more of this style of writing, particularly the last verse. We saw more of it with lyrics like dead horse, coma and estranged. Which leads us to CD. 

CD has always had an existential theme to me. Really all the songs seem to at some level point to an individuals inner battle with outside environment. 

Look at Axls life objectively. Not the famous rockstar guy, just a fellow human like you. His life is crazy as fuck. When you think of his upbringing to how he got to Hollywood and actually making it, then championing a new style of art which was totally orongial and gave way to grunge and sold as many records as they have. All of his personal things that happened in his childhood and during other parts of his life.. to being a mega wealthy person living in one of the richest places in the world. It's really incredible. If your neighbor had a story like that you'd tell everyone you know. I'm sure there is more to say. I think Axl is comfortable writing on an existenstial level so thematically I would think that would continue to be the way.

but I'm sure his time in AC/DC put the tongue back in his cheek so there's bound to be a few used to love hers or you ain't the first somewhere. It's anybody's guess.

8 minutes ago, Padme said:

I think the quote is from Slash book. I remember reading similar things on it. Also in his book Slash and also Duff say Axl was late for no reason. And while wating for Axl to arrive they were getting high and drunk

We all make mistakes. Ultimately only ourself is responsible for the decisions we make. I tend to think there are 2 sides to everything, then the truth somewhere in the middle. If Slash was only drinking himself to a literal physical death simply because he was waiting for Axl to show up?..That is deep love for someone. Like he couldn't do it without him. Like a dog waiting at the door for its owner. 

If they cared about the band, they shouldn't have been wasted all the time and should have confronted Axl. They could have acted like how they act.... now. Nobody is innocent here. We all need time and experience to learn the way that works for us.

You can go through life believing or denying everything, both save you from thinking.

15 hours ago, StrangerInThisTown said:

I also don't believe they were enemies, they just couldn't make music anymore together. It wasn't artistic differences, Slash has said "My departure had nothing to do with artistic differences as many people claim to know. [...] I would have hung in there wih Axl through an industrial record or whatever else he wanted to try if the vibe between us was positive. [...] Unfortunately we stopped being a team somewhere along the way."

He listed the constant disrespect for all involved by going on late for no good reason night after night, the legal manipulation Axl forced on him and the band and the loss of Izzy and Steven, "without them the band no longer had it's original chemistry." as reasons for leaving the band in the end.

The last sentence also leads me to believe Slash is not in this for the long haul unless something is worked out with Izzy and Steven and only signed this 1 year tour contract for the fans because it's better than nothing and no one knows if they will ever make it work with all 5.

Where is that Slash quote from?

It's the chicken or the egg. Did Axl arrive late because they were strung out or were they strung out because he arrived late. It's quite vexing.

1 hour ago, agno said:

They know what is good and what is not. That's why we want the yes sayers so we get to listen to Guns n' Roses vision.

Yes and what could that vision be?

Is this nostalgia only? Is this a test the waters and wait and see where it goes type thing? 

How I see it is Axl and Slash, and Duff, represent one of the truly great dying art forms which I call traditional rock music. Aside from a few names, most of which are dead, you can't really point to the next in line "rock star" after Guns N' Roses. They are sort of it. Like the last of the beatnicks in the 50s.

So with that they are becoming the Stones of a generation. That band the older chick in the office likes and you wonder what she'd be like drunk at their concert. That's GNR on a mass scale appeal. It won't be long until Bieber is what people's parents listened to growing up. Nick Jagger can't do it forever. So with that impending moniker, how do they carry themselves moving forward? 

Short term vision they can ride this wave and part ways. It was fun. Hatchets were buried. Adler got to check something off his bucket list.  Axl got a permanent invite to angus's house for thanksgiving. But time to go back to what we were doing the past 20 years.

Long term vision they can ride this nostalgia out until they die. Just like the stones. No one expects great music we just like to see you can still move. Let's get 2 best of albums, a live album, Super Bowl, rinse and repeat every 7 years until death. Any art they release can go solo.

But guns are a statement band. So I see it as a mix. They want one last impact. I'm not talking sales or anything like that as music is a toally different animal. I'm saying these guys want to go out with one last bang. Like the real fucking musicians they are.Then they can crash and burn. There is no other way with Guns. You are going to get the beauty and the ugliness. It's the balance they've always kept, even their name plays with this imagery. Guns N Roses. 

Im thinking one last double album of everything they've wanted to stick the GNR name on. Compromises and rerecordings are ok. It's likeTheir second attempt at the white album as Slash once referred to the uyi albums as. Or going over everything with an even finer toothed comb. Who has done it like that? No one and that is basically their legacy. The band that was out of time and place, the band that was ugly, drunk and fucked up. But damn whenever they made music people listen. I hope there is more to what I'm saying then this just being a way to kill some time at work

I highly recommend the recent Joe Rogan- James Hatfield podcast if you are a fan of Metallica or beekeeping