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1992.08.08 - Stade Du Parc Olympique, Montreal, Canada

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1992.08.08 - Stade Du Parc Olympique, Montreal, Canada

Post by Soulmonster on Tue Feb 07, 2012 5:51 am

Date:
August 8, 1992.

Venue:
Stade Du Parc Olympique.

Location:
Montreal, Canada.

Setlist:
01. It's So Easy
02. Mr. Brownstone
03. Live and Let Die
04. Attitude
05. Nightrain
06. Perfect Crime
07. Bad Obsession
08. Double Talkin' Jive
09. Civil War
[Show cut short]

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

Quotes:
Metallica was halfway through that Montreal set when the flash pot blew up on him. We were still back at the hotel, and they called us and told us that the fans would have to wait four hours if we came on at the time scheduled. So we rushed around, threw everything together and raced over to the stadium, only to find out that the whole P.A. system was screwed up. [...] We all tried, and Axl - whose voice had been bothering him - really tried, but the sound couldn't salvaged. The fans were getting this half Metallica set, a Guns N' Roses set they couldn't hear - they weren't getting their money's worth. So we announced they'd get their money back and we'd play the date again. [Lakeland Ledger, August 1992]
That thing happened so fast. I mean, you're probably gonna get the same story from  absolutely everyone. We had gotten word -- you know, we were all just hanging out at the hotel -- and somebody said that there was a big accident. James had burned his arm, and their set got cut short. The audience is, you know, going a little crazy. It would be really great if we could go on early today. (Laughs) So we all got ready, and we got there, and we did. But the problem is, is because of all the frantic stuff that happened -- from, you know, Metallica's crew, our crew, all the things of, you know, everybody trying to do the right thing -- by the time we got onstage -- which was early -- it wasn't together. You know, the sound was just like -- it wasn't just bad, it was like almost unplayable. And I just remember Axl coming up to me and just going: You know, I can't hear myself -- I can't hear anything. What do we do? (Laughs) You know, and the next thing you know, he left. And that was the end of it [Spin, June 1999]
The tour resumed in Canada, which came to be the infamous coup de grâce of everything that was wrong with our band. It all went down in Montreal, on August 8, 1992. Metallica went on, and midway through their set, James Hetfield caught on fire when a pyrotechnic malfunctioned. He sustained serious injuries to his arm and shoulder, and the band was forced to end their set immediately. We were still at our hotel when it happened, and we were asked to go on early - it was a noissue; of course we agreed to do so. The band headed to the venue right away and discussed what we'd play to fill up the remainder of Metallica's slot and ours as well. We had plenty of time to go over our options but it couldn't happen because Axl did not show up. Not only did we not go on early enough to fill the void left by Metallica, we went on three hours later than our own scheduled stage time. In the end, there was something like four hours between the time Metallica were forced to stop the show and the moment we took the stage. And once we did, Axl ended it early, after we'd done just ninety minutes out of a scheduled two hours. I am sure he had his reasons, but neither I nor the crowd, as far as I know, knew quite what they were. I can't say I was surprised when the audience started rioting [Slash's autobiography, "Slash", 2007, p. 358]
Less than a month into the tour [with Metallica], on August 8, 1992, we stopped in Montreal. Metallica front man James Hetfield inadvertently stepped into the plume of one of his band's pyrotechnics pots at the show and had to be rushed to the hospital with extensive burns. The other members of Metallica came back onstage after James had been whisked away, explained what had happened, and apologized for suspending the show. We could have saved the day by going right on and playing a long set. It would have been a great gesture to the fans and to the guys in Metallica. It would have been the professional thing to do, the right thing to do. And we were capable of an epic set [...]. But no. The same shit happened in Montreal as elsewhere, us going on late - more than two hours after Hetfield was rushed to the hospital - playing to pissed-off fans. Our own fans, pissed off at us. I sat backstage monitoring the sounds drifting in from the arena, drink in hand, and could feel the crowd's mood change. The rumble of tens of thousands of people beginning to get angry is a deep, low sound that penetrates walls and vibrates the fundaments of buildings, where dressing rooms are located. It's a horrible sound, and the panic and embarrassment and frustration in my own head was compounded by that rumble. After letting the crowd reach its boiling point, we finally went out and started playing. Then, forty-five minutes into our set, a microphone stand hit Axl in the mouth. He threw down the mic and left. This time the riot didn't start near the stage. We didn't even see it. The crowd blew up back at the concession areas and merchandise stands, and then spread outside into the streets. In fact, our crew did their normal teardown of the set, oblivious to the riot already raging out of view. Only when our buses pulled out of the parking enclosure did we see the full extent of the situation - cop cars turned over, vehicles on fire, lots of broken windows. Once again there looked to be lots of injuries. Once again I felt anguished and heartbroken. This time I also felt deeply embarrassed, a feeling that managed inexorably to worm its way into my vodka-numbed psyche. It didn't have to be like this [Duff's autobiography, "It's So Easy", 2011, p. 206-207]

Lars Ulrich (Metallica): You know, Axl Rose is one of the most real people I've ever met. Okay, probably like one of the truest and more real people that I've ever met. When Axl is in the right mood and the right frame of mind, I mean, there's nobody that touches him as an artist and as a performer. But he's also the kind of person that it's sort of like if the monitors aren't 110%, then he can't deal with it. And then he just, instead of trying to find a way to deal with it, he chooses to walk off. And I'm sort of in a situation where I can sort of relate to both sides, because I think that there's a kind of purity in what he does.

It just so happens that that night, when James blew up onstage, and Guns N' Roses needed to come out and save the day, you know, Axl had one of his nights where he just wasn't really feeling it, and couldn't really pull it off. And that was the night where it really needed to happen -- do you know what I mean?


That was a bummer, obviously. [...] The way all went down, it wasn't really cool. I just remember that we were, you know, we wanted to come back in it and give them the full show and their money's worth because obviously Metallica couldn't finish their set [and that would have been the way to go?] [...] But some people didn't like that and eh, I am not sure exactly, I know that in a lot of cases, not all cases, but the press sort of blows up, blows out of proportion and likes to call it a riot. I know there was some bad things happening there...[Mitch telling he was at that show and that it was "quite an event, but I do remember that when Axl put the mic down and walked off stage my buddy and I were just like, 'We're going home, we're not sticking around for what's coming next'] Yeah, I do remember that we had full attention and just wanted to come back on for the full show. The biggest problem about that weren't able to play Montreal again for several years and when we finally did [Mitch adding, "14 years later"] it was an awesome moment, especially for Axl and for me, to be able to finally come back there and play, and the fans were very appreciative of that. It was kinda an emotional moment, actually. [...]

[Talking about coming back to Montreal in January 27, 2010] I think it was vindication in a lot of way because everybody blamed us for everything that happened [...] Basically we were just trying to do the right thing way back then and it was just completely misconceived and blown out of proportion. So to come back and get that feedback from the fans, that kinda set things right
[One on One with Mitch Lafon, July 2014]
Next concert: 1992.08.25.
Previous concert: 1992.07.29.


Last edited by Soulmonster on Thu Jul 28, 2016 7:10 pm; edited 6 times in total
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Re: 1992.08.08 - Stade Du Parc Olympique, Montreal, Canada

Post by Soulmonster on Wed Aug 08, 2012 7:12 pm

20 years later, from the archives: Guns 'N Roses at the Big O

After the last police cruiser had been rolled back upright, the last broken chair folded, and long after Axl Rose had staggered from the debris of Olympic Stadium, Montreal was left to look for an answer.

By Mark Lepage, Special to The Gazette August 8, 2012 11:48 AM

Editor's note: This review by then Gazette rock critic Mark Lepage was originally published Aug. 15, 1992.

MONTREAL - After the last police cruiser had been rolled back upright, the last broken chair folded, and long after Axl Rose had staggered from the debris of Olympic Stadium, Montreal was left to look for an answer.

And when the smoke cleared after the Guns N' Roses/Metallica double bill, what was clearer than ever was the schism that exists between the workaday adult world and the world of rock 'n' roll.

Riot? To anyone who believes rock 'n' roll is more than a tool for selling hamburgers, Saturday night's outburst of pent-up anger reaffirmed the music's enduring importance. It was the latest chapter in a history that stretches back past Altamont in the 1960s to rockabilly riots in the 1950s.

In a violent society, things get broken sometimes, but rock music has its own internal code and most of the time can police itself. Still, the concert has left accusations flying in its wake, most directed at the bands and their fans by people who haven't been to a rock concert in 20 years.

We had Mayor Jean Dore reading his version of the riot act and reassuring folks that the big bad band was banned from the Big O forever. Parents everywhere were shaking their heads at youth gone wrong.

So what really happened? Some (most of whom were not there) saw scary TV news footage of kids throwing rocks and jousting with police, heard tales of teens trashing concession stands and stealing Expos caps.

Others saw a reaffirmation, albeit a twisted one, of the very power that makes rock 'n' roll music our truest, realest art form.

You play with fire and you get burned sometimes. Strip away the layers of corporate gloss and FM radio calcification, the Muzak and the "classic rock" legitimization, and rock 'n' roll remains a primal thing at its heart. Rock music is still strong enough to rattle the rafters.

To some, that's a frightening notion.

Like every generation of parents, this one looks at kids and wonders why they can't listen to something nice. And like every generation of kids, this one wonders how parents can be so out of it.

Everybody agrees singer Axl Rose is to blame for what happened last Saturday, that his early exit triggered the outburst. But for the purposes of argument, we will separate these people into two camps: the ones for whom Axl is a bogeyman (read: parents) and those for whom Axl is either a troubled hero or just a jerk (the fans). Of the two, the latter has a better understanding of Axl Rose's place in rock tradition.

Anyone out there remember Bill Haley? Few who attended the Gunners show do, but back in 1955, Haley inspired riots wherever he went. Seen through the sepia mist of nostalgia, film footage of 1950s kids trashing concert halls is quaint, but it is evidence that rock 'n' roll had a violent birth.

In 1992 we have Axl, who, in a more brutal age and circumstances, has to be proportionately more obvious, angry and ugly in order to stir people up.

Still, people who grew up with Haley can't make the Axl connection. The anti-Axl editorializing, head-shaking and tut- tutting carries a not-so-subtle anti-rock bias. To parental detractors, Axl Rose and his gang are vicious, irresponsible, greedhead punks. Axl is the bogeyman; his lyrics are quoted out of context to prove it.

But to someone with any knowledge of rock, Axl is an angry, volatile, charismatic, spoiled, egocentric, selfish, talented singer. Or maybe just a jerk.

But the kids do not fear him.

They know Axl's horrid history of child abuse at the hands of his parents. They know he's unbalanced, that he's in deep psychotherapy, trying to bring his rage under control. They know the context. They've grown up in a world where sex is death (AIDS), where rain is poison, where the sun gives you cancer. If they fear anyone, it's the people who built that world.

Give kids credit for their comprehension. They know that, no matter how many times Axl writes "turn around bitch" or "squeeze your head tight in my vise," he is no more likely to rape anyone than, say, Arnold Schwarzenegger is to grab a bazooka and level a city.

They know those lyrics are intended to offend mom and pop, and to express inchoate rage.

Those in the anti-Axl cadre might defend themselves by suggesting the riot would never have happened if kids could like nicer music. Nothing would have happened at a Phil Collins concert. Right. Nothing would have happened at a Phil Collins concert.

No, you play with fire when you cram 57,000 young people into a concrete toilet bowl, fire them up with 126 decibels of unsanitized aggression, and leave them hanging - twice - on the edge of rockus interruptus.

In the wake of the Guns disaster, the miracles are that nobody was really hurt, and that this sort of thing doesn't happen more often. Why not? Because rock usually polices itself.

How about a band from Guns N' Roses's own genre? How about Metallica? Two hours before Axl bailed, Metallica's set was cut short when James Hetfield was burned in a pyrotechnics accident. The band explained to fans - three times - why they were cutting the show, that they would return soon to make up the date.

No riot.

There is a moral code to rock 'n' roll. The code is strict enough to insist bands live up to the promises they make to fans, but loose enough to tolerate Guns N' Roses's bursts of nihilism and anarchy.

Metallica lived up to it. GNR didn't. That's the real tragedy, but it could be set right.

How? Axl can do what Aerosmith did a few years back. When a few fans were busted for drug possession at an Aerosmith show, band members bailed them out. It's part of part of the rock 'n' roll lifestyle and part of the code.

Likewise, Axl should hold a news conference right now and tell the world how he supports his fans enough to open his very large wallet and pay Big O damages of $250,000 - tip money to an Axl Rose.

Like every fan, Rose knows the knocks against him and his band are part of a tradition of parents bashing their kids' tastes that goes back to Sinatra and Elvis.

Read more: http://www.montrealgazette.com/years+later+from+archives+Guns+Roses/7058354/story.html#ixzz231ibtSVR
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