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1992.07.18 - Giants Stadium, East Rutherford, USA

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1992.07.18 - Giants Stadium, East Rutherford, USA

Post by Soulmonster on Thu Sep 06, 2012 12:50 am

July 18, 1992.

Giants Stadium.

East Rutherford, NJ, USA.

01. Perfect Crime
02. Nightrain
03. Mr. Brownstone
04. Live and Let Die
05. Attitude
06. It's So Easy
07. Double Talkin' Jive
08. Civil War
09. Patience
10. You Could Be Mine
11. November Rain
12. Sweet Child O'Mine
13. Bad Obsession
14. Welcome to the Jungle
15. Knockin' On Heaven's Door
16. Estranged
17. Don't Cry
18. Paradise City

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

Next concert: 1992.07.21.
Previous concert: 1992.07.17.
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Re: 1992.07.18 - Giants Stadium, East Rutherford, USA

Post by Soulmonster on Tue May 13, 2014 8:07 am

Review in Los Angeles Times:

Review/Pop; A Battle of 2 Headliner Bands
Published: July 20, 1992

EAST RUTHERFORD, N.J., July 19— Crank up adolescent frustration to the breaking point, and it can come back three ways: as cynicism, as morbid fantasy and as spite laced with insecurity. Those attitudes, and music to match them, filled Giants Stadium on Saturday when Faith No More, Metallica and Guns 'n' Roses performed at a sold-out concert, the second stop for one of this summer's major tours.

With both Metallica and Guns 'n' Roses playing headliner-length, 140-minute sets, it was a triumphant show that kept much of the audience on its feet until after 2 A.M., when Guns 'n' Roses set off their final flash pots. Inevitably, it was also a battle of the bands, and it may have been the presence of the dependably galvanizing Metallica that goaded Guns 'n' Roses to tear into its songs and top the competition.

Guns 'n' Roses didn't bother with three of its frequent indulgences. Instead of making fans wait, the band ran on stage as soon as its equipment was ready; "I've never been on time anywhere before," said W. Axl Rose, Guns 'n' Roses' singer and leader, as if surprised himself. Instrumental solos, which can drag on, were down to five minutes or less (although the band is still wasting time with a no longer unexpected version of the "Godfather" theme). And where Mr. Rose has often dissipated a show's momentum with tirades about real and imagined enemies, on Saturday he let the songs speak for him with brutal, spiteful eloquence.

"Perfect Crime" opened the set and laid out its strategy, muttering, "Keep the demons down and drag the skeletons out" and snarling, "Just let me be." Guns 'n' Roses' lyrics are by turns tender and threatening, wounded and bullying, while the music dips into every bad-boy style of the last 30 years -- the Rolling Stones, punk, heavy-metal -- along with an occasional ballad. Mr. Rose wailed his rage in a rending screech, hinted at seamy scenes in an ominously controlled baritone or proffered occasional solace in a rasping vibrato croon.

The band has always been reliable, and at Giants Stadium it socked out the songs. It now tours with an added keyboardist, backup singers and a horn section that unobtrusively bolster the music. Slash, one of the best lead guitarists in rock, did sometimes copy his recorded solos instead of improvising. Much further along those lines, and the songs could become routine. But that didn't happen on Saturday, when Guns 'n' Roses was professional but never stale.

Mr. Rose, the rare performer who can be more hyperactive onstage than in his video clips, was in constant motion. He bounded from one end of the stage to another, twirled his microphone stand in an embrace or over his head, hopped on one foot, shimmied his hips. He was the image of a man trying to jump out of his own skin. He restlessly changed costumes, in a succession of T-shirts, jackets and hats -- three jackets in "Civil War" alone. By the time the set ended at 2:10 A.M. -- long past many of the teen-age fans' bedtimes -- Mr. Rose was the most energetic person in the stadium.

Where Guns 'n' Roses offers Mr. Rose's kaleidoscopic torments and imprecations, Metallica is deliberately monochrome: black clothes and single-minded heavy metal. The four band members (including Lars Ulrich on drums, whose platform was mobile) roamed continually over their set, but the music had a fixed tone, almost invariably in minor keys and implacably working its way up from slow stomps to battering speed-metal. As a pioneer of speed-metal, Metallica started out among the fastest bands in rock, but it has lately down-shifted to midtempo songs that seethe like sealed volcanoes.

James Hetfield's lyrics envision dire possibilities, from nightmares to vicious authority figures to apocalypse. The band's first video clip and final encore, "One," is about a soldier who loses his limbs, sight and hearing but does not die. A pit in the middle of Metallica's stage set held fans, an image of the band's emphasis on audience participation. Mr. Hetfield regularly addressed the crowd as "friends," and added, "We ask a lot of our friends." As Mr. Hetfield and the audience sang together, the gloomy words were turned into a shared exorcism.

At Giants Stadium, Metallica's job was to rouse an audience that, unlike its arena crowds, wasn't composed entirely of fans. It succeeded, first with recent songs familiar from MTV exposure and then through the jackhammer momentum of older, unstoppable songs like "Master of Puppets." For some of the band's oldest material, Jason Newsted, on bass, took over lead vocals from Mr. Hetfield. He wasn't in the group when "Whiplash" was recorded; now he sings it as well as any fan: "We are Metallica!"

Faith No More, which opened the show with a 45-minute set that didn't use the headliners' giant video screens, scampered around the stage in T-shirts and shorts like summer campers raiding a rival. Resigned to the inattention that greets most opening acts, the band spent most of its set playing brand-new material from its album "Angel Dust" (Slash/Reprise), pounding and squalling but largely unintelligible. Still, some concertgoers responded to the music's drive by slam-dancing.

Speed-metal occupies the center of Faith No More's music, but the band's style is shifty, using the stop-start meter changes of hard-core, chanted near-rap verses and the foreboding keyboards of progressive rock. Mike Patton, its lead singer, toys with tone -- now ghoulish, now quasi-operatic, now nasal -- to undercut any pretensions, and his stage postures are antiheroic. He hunches along or rolls on his back; at one point he emoted to the empty bleachers behind the stage, then flopped down to the floor and slithered along.

Partway through the set, Mr. Patton announced that the songs were from the band's new record. "How many people want to buy it now?" he asked, to cheers, and then he asked how many were liars. He's a rock star whose cynicism even extends to rock stars.

The triple bill returns to Giants Stadium on June 29.
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