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SoulMonster

1991.06.17 - Nassau Coliseum, Uniondale, USA

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1991.06.17 - Nassau Coliseum, Uniondale, USA

Post by Soulmonster on Sat Dec 10, 2011 6:19 am

Date:
June 17, 1991.

Venue:
Nassau Coliseum.

Location:
Uniondale, USA.

Setlist:
01. Perfect Crime
02. Mr. Brownstone
03. Bad Obsession
04. Dust N' Bones
05. Double Talkin' Jive
06. Civil War
07. Nightrain
08. Patience
09. Live and Let Die
10. 14 Years
11. November Rain
12. Welcome to the Jungle
13. Rocket Queen
14. Knockin' On Heaven's Door
15. Sweet Child O'Mine
16. Estranged
17. Paradise City

Line-up:
Axl Rose (vocals), Izzy Stradlin (rhythm guitarist), Slash (lead guitarist), Duff McKagan (bass), Dizzy Reed (keyboards) and Matt Sorum (drums).

Quotes:
The show that set the pace for what was to ultimately unhinge the tour took place in Uniondale, New York, at the Nassau Coliseum, where we went on late. That night, however, Axl apologized to the fans for being late, which, once it became a regular occurrence, he never bothered to do again [Slash's autobiography, p 339]
Next concert: 1991.06.19.
Previous concert: 1991.06.13.
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Soulmonster
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Re: 1991.06.17 - Nassau Coliseum, Uniondale, USA

Post by Soulmonster on Wed May 07, 2014 6:34 am

Review in Los Angeles Times, June 19, 1991:

Review/Rock; Guns 'n' Roses and Personal Thorns
By PETER WATROUS
Published: June 19, 1991

The best parts of the Guns 'n' Roses show at the Nassau Coliseum in Uniondale, L.I., on Monday night weren't musical. Rock shows are about drama, and Axl Rose, the band's charismatic lead singer, knows a thing or two about drama. Where bands on this sort of elevated pop level can coast through the concert ritual, Mr. Rose loves to get angry and rant. Unpredictable and contradictory, his rants have enough aggression to fuel a few more wars; the band was several hours late to its performance, and Mr. Rose was finding scapegoats in just about everybody except himself. Authority everywhere was corrupt and meddling, not letting the people get what they want; this was the politics of resentment, pop music-style.

His record company, Geffen Records, rated several outbursts; Mr. Rose said that the band's new album, due out July 23, and its first full-length recording since "Appetite for Destruction" in 1987, was about to be delayed. He urged people not to buy Rolling Stone magazine, even though Guns 'n' Roses was going to be on the cover. Somebody threw something onstage, and Mr. Rose, who had just delivered a soliloquy about how much he loved performing, suggested that the audience beat up anybody who threw things, and threatened to walk off stage if it happened again. Naturally, he took on critics, who -- curses! -- had started giving the band good reviews. It was a masterful performance, provincial demagoguery at its best, fascinating in entertainment, terrifying in politics.

Irrationality aside, the group had its musical moments. At its best, Guns 'n' Roses writes gorgeous songs that -- oddly, given its reputation as a heavy-metal band -- tap an American strain pursued by country rock groups in the early and mid-70's. To close the show, for instance, the band did a version of Bob Dylan's "Knockin' on Heaven's Door." And its harder tunes had a genuine intensity; this was hurtling heavy metal that added stories to songs, had distinct melodies and the right amountof volume to keep the genre pure.

Moving from fast metal pieces to ballads, the band kept its huge arena sense of scale, and only occasionally did the guitars lose their distortion and their architectural bulk. Mr. Rose has a decent voice in the lower registers; when he moved up toward the falsetto range, he sounded like a small rabbit about to lose a fight with a big dog, and he used that voice to keep an edge of hysteria, passing as emotional commitment, in his pieces.

At the end of each song, Mr. Rose would dramatically freeze, as if he'd just gone through something important. That sense of dedication helps makes the band popular: the group exudes a belief in the rock-and-roll experience that, as corny as it is, seems honest. Mr. Rose and the band are still constructing their myth, and the process is as fascinating to watch as anything in rock.
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Re: 1991.06.17 - Nassau Coliseum, Uniondale, USA

Post by Soulmonster on Tue May 13, 2014 6:32 am

Review in New York Times, June 19, 1991.

Review/Rock; Guns 'n' Roses and Personal Thorns
By PETER WATROUS
Published: June 19, 1991

The best parts of the Guns 'n' Roses show at the Nassau Coliseum in Uniondale, L.I., on Monday night weren't musical. Rock shows are about drama, and Axl Rose, the band's charismatic lead singer, knows a thing or two about drama. Where bands on this sort of elevated pop level can coast through the concert ritual, Mr. Rose loves to get angry and rant. Unpredictable and contradictory, his rants have enough aggression to fuel a few more wars; the band was several hours late to its performance, and Mr. Rose was finding scapegoats in just about everybody except himself. Authority everywhere was corrupt and meddling, not letting the people get what they want; this was the politics of resentment, pop music-style.

His record company, Geffen Records, rated several outbursts; Mr. Rose said that the band's new album, due out July 23, and its first full-length recording since "Appetite for Destruction" in 1987, was about to be delayed. He urged people not to buy Rolling Stone magazine, even though Guns 'n' Roses was going to be on the cover. Somebody threw something onstage, and Mr. Rose, who had just delivered a soliloquy about how much he loved performing, suggested that the audience beat up anybody who threw things, and threatened to walk off stage if it happened again. Naturally, he took on critics, who -- curses! -- had started giving the band good reviews. It was a masterful performance, provincial demagoguery at its best, fascinating in entertainment, terrifying in politics.

Irrationality aside, the group had its musical moments. At its best, Guns 'n' Roses writes gorgeous songs that -- oddly, given its reputation as a heavy-metal band -- tap an American strain pursued by country rock groups in the early and mid-70's. To close the show, for instance, the band did a version of Bob Dylan's "Knockin' on Heaven's Door." And its harder tunes had a genuine intensity; this was hurtling heavy metal that added stories to songs, had distinct melodies and the right amountof volume to keep the genre pure.

Moving from fast metal pieces to ballads, the band kept its huge arena sense of scale, and only occasionally did the guitars lose their distortion and their architectural bulk. Mr. Rose has a decent voice in the lower registers; when he moved up toward the falsetto range, he sounded like a small rabbit about to lose a fight with a big dog, and he used that voice to keep an edge of hysteria, passing as emotional commitment, in his pieces.

At the end of each song, Mr. Rose would dramatically freeze, as if he'd just gone through something important. That sense of dedication helps makes the band popular: the group exudes a belief in the rock-and-roll experience that, as corny as it is, seems honest. Mr. Rose and the band are still constructing their myth, and the process is as fascinating to watch as anything in rock.
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Re: 1991.06.17 - Nassau Coliseum, Uniondale, USA

Post by Soulmonster on Tue May 13, 2014 6:33 am

Uhm, same review in those two newspapers I see. Oh well.
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