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Mike Clink & GN'R


Vincent Vega

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Hey Marc,

As you know Mike Clink produced every old Guns recording from '86 to '94. As such, would you say that Mike Clink was just as responsible for the "GN'R sound" as the band members were? Sort of the way George Martin is credited with helping define The Beatles' sound? Would you say his influence on how the old GN'R records ended up is underrated?

Also, do you know if Axl ever considered having Clink produce CD?

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Hey Marc,

As you know Mike Clink produced every old Guns recording from '86 to '94. As such, would you say that Mike Clink was just as responsible for the "GN'R sound" as the band members were? Sort of the way George Martin is credited with helping define The Beatles' sound? Would you say his influence on how the old GN'R records ended up is underrated?

Also, do you know if Axl ever considered having Clink produce CD?

No one else know how to capture their sound. He was a perfect match for what they were doing.

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Did they have a list of producers they wanted to work with? I think Slash said his work with UFO was the deciding factor.

He did work on the "Strangers Of the Night" record and that record sounds great. Thats what got him in the door but what kept him was the test song he did with the band for "Shadow Of Your Love"

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Really? I never knew that was Clink behind the board for Shadow. To me, it sounded a lot like what they did with Spencer Proffer so I assumed it was him.

When did Axl decide he didn't want Clink to produce the "new" band?

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When did Axl decide he didn't want Clink to produce the "new" band?

Piggybacking on this:

Marc - I didn't realize until now that Mike Clink produced the first Snakepit album. Did Axl hold that against him?

I don't know for sure but as you know Axl does not like to deal with anyone that works with Slash. For years my wife and I were one of the only ones that were still friends with both somehow it was just ok almost like we were grandfathered in because we were there from the start. I never questioned it because Axl was a very good friend the kind you have for ever. Mike is a nice guy and can do no harm so I would hope that Axl was just looking for something different. I don't remembering ever talking about it with him. Axl may have not known what he wanted at that time but he did know what he didn't want.

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He did work on the "Strangers Of the Night" record and that record sounds great. Thats what got him in the door but what kept him was the test song he did with the band for "Shadow Of Your Love"

Marc, i have a question about this right here as it is a little confusing with "Shadow of your love". it apears they've professional recorded it several times (Hollywood Rose/Sound City/Pasha/Mike Clink) and according to the band the best version is the one Mike Clink recorded (for example in your book Slash goes crazy about the Mike Clink version, also Axl liked it a lot). but why on earth is the Mike Clink-version not the one being released? we do have the Hollywood Rose-version ("Roots of GN'R"-CD), the Sound City-version (on "Live and let die" B-side) and the Pasha version (on the japanese "Live from the Jungle"-EP with fake crowd noise)....but the greatest version (according to the band) didnt make it out? is there a reason behind this? and do you know the Mike Clink-version, is it really that great??

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He did work on the "Strangers Of the Night" record and that record sounds great. Thats what got him in the door but what kept him was the test song he did with the band for "Shadow Of Your Love"

Marc, i have a question about this right here as it is a little confusing with "Shadow of your love". it apears they've professional recorded it several times (Hollywood Rose/Sound City/Pasha/Mike Clink) and according to the band the best version is the one Mike Clink recorded (for example in your book Slash goes crazy about the Mike Clink version, also Axl liked it a lot). but why on earth is the Mike Clink-version not the one being released? we do have the Hollywood Rose-version ("Roots of GN'R"-CD), the Sound City-version (on "Live and let die" B-side) and the Pasha version (on the japanese "Live from the Jungle"-EP with fake crowd noise)....but the greatest version (according to the band) didnt make it out? is there a reason behind this? and do you know the Mike Clink-version, is it really that great??

Good question,I never got to hear it. I think it didn't end up on the record because there was no room and they would have had to pay some song writing credit to Chris Weber and they thought it sounded too much like Reckless but you're right they should have used it for something. Next time I see Mike Clink I will see it he still has a copy of it because it's on my Bucket List to hear that. I always loved that song.

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