Welcome to Appetite for Discussion -- a Guns N' Roses fan forum!

Please feel free to look around the forum as a guest, I hope you will find something of interest. If you want to join the discussions or contribute in other ways then you need to become a member. Registering is free and easy.



Page 7 of 8 Previous  1, 2, 3, 4, 5, 6, 7, 8  Next

Go down


Post by Soulmonster on Mon Jun 24, 2019 1:21 am


The band had been accused of sexism since the release of 'Appetite' with its original rape-scene artwork and lyrics, especially to 'It's So Easy'.

Comments from band members in the media did also not help:

[…] there are things that make me sick, like many of the girls who come to see us during the tours. Some of them have obviously listened to the album, but others haven’t; because if they had listened to it, they would’ve known that we don’t conform to anything. We can behave like the sweetest and most pleasant people in the world, but as soon as we fuck them, we show them the way out and to the nearest bus stop. I'm surprised that some of these girls really think you’re stupid. As Lemmy puts it, "Don’t judge a book by its cover;" that is, when a chick comes to you thinking that she’s gonna have her way with you, you have to put her in her place and make it clear who is who, and if she doesn’t accept it, then... out of the door. That’s why it's impossible to get enough of sex – it may happen when you’re older, but not now[Popular 1, April 1988 (translated from Spanish)].
With the release of 'Lies', the lyrics to 'Used To Love Her' added fuel to the accusations.

It's just a song. It was done very tongue-in-cheek, we never meant for anyone to take it seriously. It is just a fucking song[Circus Magazine, May 1989].
Band members would vehemently defend themselves, but not always very efficiently:

Well if the average person had to deal with the same kind of members of the fuckin' opposite sex that we have to deal with all the time, they'd probably think the same. Well, 75 per cent of the girls that hang out at the gigs, you can't tell me that most of them aren't sluts. […] They are very, very cheap. We're around it 24 hours a day. What the fuck do they want? […] Its very true. We never said anything bad against women in general and I mean everybody in the band has had girlfriends and shit that they cared about. Its nothing against women its just those occasional fuckin' tramps that hang out at every gig. They're the people were exposed to and so we write songs about that. And if the other people don't understand that then tell them not to buy the fuckin' record[Juke, December 1988].
There was a picture of a young woman lying on the ground obviously about to get raped by a robot. And just above, there's a hand which is about to crunch the robot up. That doesn't mean anything special. We liked the picture, that's all. But everyone came down on us and accused us of glorifying rape. […] We're an easy target for people who like to see the good guys on one side and the bad guys on the other. We look so much like the image they like to have of bad guys. We're not sexist, but that's no reason for the groupies who hang around backstage to start wanting respect. We treat them like shit because that's what they are. [Being accused of that statement being sexist] No, it's not. We're talking about groupies. not women in general. Anyway, one day one of those tramps is gonna catch AIDS from screwing some faggot and end up giving it to every group in town. That'll be the end of the rock scene in LA[New Musical Express, April 1989].
And later Slash would indicate that the 'Use Your Illusion' albums are a bit anti-feministic:

Y'know, I detect a little bit of anti-feminism shit going on too, because the songs that are about women that are negative are like really f***ing hard. I can see girls going, 'What assholes!' But then, y'know, our angle is just like, ‘This is true you f***ing c***'. This is the way it was and we put it down on paper. But you know, these feminist groups will be like... d'you know what I'm saying?[Melody Maker, August 1991].
Another things that drew criticism for the band was the practice of filming girls before shows and encouraging them to show their tits. The band would stop this after complaints from fans:

Bridenthal: "The key thing to them (stopping the practice) was that it wasn't parents complaining, but their own fans" [Los Angeles Times, August 1991].

Yet, during the US leg of the tour in December 1991 and January 1992, the crew would again film girls in the audience [numerous show reviews].

Am I sexist? The answer is no[Star Tribune, January 21, 1992].
After the release of 'Use Your Illusion', Axl was asked if he was a mysogenist:

[…]'Back Off Bitch' is a ten-year-old song. I've been doing a lot of work and found out I've had a lot of hatred for women. Basically, I've been rejected by my mother since I was a baby. She's picked my stepfather over me ever since he was around and watched me get beaten by him. She stood back most of the time. Unless it got too bad, and then she'd come and hold you afterward. She wasn't there for me. My grandmother had a problem with men. I've gone back and done the work and found out I overheard my grandma going off on men when I was four. And I've had problems with my own masculinity because of that. I was pissed off at my grandmother for her problem with men and how it made me feel about being a man. So I wrote about my feelings in the songs. […] I've been hell on the women in my life, and the women in my life have been hell on me. And it really breaks me down to tears a lot of times when I think about how terribly we've treated each other. Erin (Everly, Rose's former wife) and I treated each other like shit. Sometimes we treated each other great, because the children in us were best friends. But then there were other times when we just fucked each other's lives completely up. And so you write about that in your frustration. The anger and the emotions and stuff scare people, and it's good that people recognize these things as dangerous. I don't think our music promotes that you should feel this way, and if people are getting that, that's not right. We're saying you're allowed to feel certain ways. Now, if you want to hold on to something that you know is bad, that's your problem. I don't want to. I've already left most of the lyrics behind. I'd already grown past a lot of the things by the time I started working on my therapy in February. […] But ... I love women. I remember the last time in ROLLING STONE, saying that I liked seeing two women together, and there were letters from lesbian organizations saying, "How disgusting." I can be as disgusting as the next person, but it wasn't meant to be disgusting. I think women are beautiful. I don't like to see people used. If I'm looking at a men's magazine and I just look at the surface, I might be able to enjoy it. But if I know that this person is really messed up and that person's messed up and they're being used by the person who set up the photo session, then it'll turn my stomach[Rolling Stone, April 2, 1992].
Axl would also argue that his attitude towards women was shaped by experiences he had in his childhood when his father had been abusive towards his mother:

I got a lot of violent, abusive thoughts toward women out of watching my mom with this man. I was two years old, very impressionable, and saw this. I figured that's how you treat a woman. And I basically put thoughts together about how sex is power and sex leaves you powerless, and picked up a lot of distorted views that I've had to live my life with. No matter what I was trying to be, there was this other thing telling me how it was, because of what I'd seen[Rolling Stone, April 2, 1992].
In May 1992, Slash would agree to have been a womaniser but that it was all in the past [Melody Maker, May 30, 1992]. He would also look back at the 'Illusions':

Y'know I detect a little bit of anti-feminism shit going on too, because the songs are about women who are negative and really fucking hard. I can see girls going 'What assholes!' But then, y'know our angle is just, 'This is true you fucking cunt'. This is the way it was and we put it down on paper. But you know, these feminist groups will be like... d'you know what I'm saying? People assume we're advocating what the songs say, and they go for the throat. We're not trying to get some truth tho. We're not trying to send out any fucking messages. This is just our experiences [Metal Masters, 1992].
In early 1993 Gilby would be asked if the band was sexist:

I don’t think so, but I’m not a female. To me women are sexist in their own ways, too [The Age, February 1, 1993].

And Slash would again argue that their lyrics were just describing bad relationships and that they are descriptive of what their world is (or has been), and not normative:

And then, as for us being anti-feminism. It's like, you write songs about relationships, everybody knows that somewhere along the way, they all have their moments when they're fucked. Being guys and having relationships with women and being pissed off at them for whatever reason [Swedish TV, June 13, 1993].

Last edited by Soulmonster on Thu Jul 04, 2019 2:48 am; edited 3 times in total
Tour plane captain

Admin & Founder
Posts : 9271
Plectra : 57186
Reputation : 785
Join date : 2010-07-05

Back to top Go down


Post by Soulmonster on Mon Jun 24, 2019 1:22 am


For the 1992 European leg of the tour they added Faith No More as an opener:

They're the only band I'm jealous of[Car Audio Electronics, August 1990].
Faith No More was some band that we got turned on to a while back when they put their first record – not their first record, their third record came out and we loved it. So that was one. Soundgarden we got turned on to at some point. I don’t remember when, but we just thought they were great. So when it came to support bands, we like to play with people that we like and...[Czechoslovakia TV, May 20, 1992].
We always pick the support bands. You know, bands that we think are cool. Soundgarden and Faith No More, you know, two bands that we always listen to, so... It’s our tour, basically (laughs)[MTV Headbanger's Ball, May 1992].
While touring, Slash would give his thoughts on playing large stadiums:

You have to approach the production a bit differently, because, as far as sound goes, it's really important to us to sound right onstage, in order for us to do the show the way we wanna do. We have to hear things correctly, so we have to anticipate the difference between a stadium and an arena, you have to prepare for that. Otherwise you, attitude-wise and show-wise is the same. It's more stage to fill. So it's great for us, 'cause we're into it. […] I'm very aware of everybody and where they are and where I'm gonna go. Like if I'm gonna jump off this, if he's gonna move then I'm gonna land on him, you know, it's pretty complicated. […] It's very unpredictable what we're gonna do, but at the same time there's a chemistry, where, since we've been on the road for so long, like Axl knows I'm gonna be in a certain place 'cause I know the guitar sounds good there. It's a sweet-spot, we call it. It's just certain places in certain songs when you know you need to be somewhere and you fall into sort of a regiment. Knowing that I have to switch guitars or I'm gonna have to get feedback or something. The rest of the time is just aimless wandering [laughs]. […] The only things that you really concentrate on are musical integrity, like it's not a joke when you're playing. That's the first and foremost priority. Then, the other thing is making sure you don't hurt somebody else in the band [laughs]. The rest of the time we can do whatever. But, you do have to concentrate and it's weird because you have to concentrate within the confines of, like having a great time. So, it's like a constant tug-of-war. You lose it all together, but then you sort of keeps your feet on the ground, just by knowing you have to pay attention to these things. Because if you fuck that up, you're gonna fuck the show up[Fully Illustrated Book & Interview Disc, June 6, 1992].
This leg of the tour would take the band to new countries in the eastern parts of Europe:

Aside from the crowd, everything is entirely different. I mean, it’s - I don’t even think it’s worth explaining. I mean, the United States and Europe, the culture is so - it’s so diverse in Europe, for one. And we’ve only been to London and Germany. So a European tour, for one, is all these places we haven’t even been to. So it is different. As far as the States, I mean we played Texas 15 million times. I mean, I’m just... (laughs). […]I mean, we’ve been to England. We played England, like, five, six, seven or eight times in the span of - in the time the band has been together. We’ve gone back and forth to London, and we’ve played Germany twice. So that was cool, we’re used to that. But, I mean, that doesn’t necessarily constitute any kind of idea what the rest of Europe is all about. It’s not like going from, like, Las Vegas to Kansas, where the transition isn’t really all that harsh. In Europe, it’s like, you go from one country to the next and it’s some major cultural difference, yeah[Countdown, May 1992].
The first show was at Slane Castle in Slane, Ireland on May 16, 1992, a place Slash would refer to as "gorgeous" [MTV Headbanger's Ball, May 1992].

It was the first show of the European leg, and we’ve been off for a month. I’d been out jamming around, like doing the Motorhead thing and all this other stuff. But we hadn’t, as a band, played together for a month. So, as a matter of getting that chemistry in order – I think the first couple of songs probably sounded like mud (laughs) and it tightened up towards the end. Then they gave us three days off, and so we have to do it all over again today in Prague, you know?[MTV Headbanger's Ball, May 1992].
According to a later review, the band took the stage two hours after the appointed time after Axl was helicoptered in from Dublin [Irish Times, May 27, 2017], having allegedly refused to leave his hotel [The Irish Independent, May 18, 1992].

Slash would comment on Axl's lateness and claim he was only 20 minutes late:

Just about 20 minutes. It isn’t that big a deal. I mean, come on, they had us on 6:45. It’s just stretching the imagination, as far as I’m concerned[MTV Headbanger's Ball, May 1992].
After the show at Slane Castle the band travelled to Prague, Czechoslovakia, on May 20:

Prague, it was – the crowd was great. And the people were very interested in the American culture and talking to us. They spoke English very well[/i] [MTV, June 1992].
Although Duff would later struggle to remember having even been in Czechoslovakia due to his heavy partying in this period:

I don't even remember playing Czechoslovakia; we played a stadium show in one of the most beautiful cities in East Europe not long after the fall of the Berlin wall, and the only way I knew I'd even been in the country was because of the stamp I found in my passport [Duff's autobiography, "It' So Easy", 2011, p 201].
Then they played shows in Budapest in Hungary on May 22, in Vienna in Austria on May 23, in Berlin in Germany on May 26, in Stuttgart in Germany on May 28, in Cologne in Germany on May 30, and in Hannover in Germany on June 3. They would then travel to Paris for their first pay-per-view show.
Tour plane captain

Admin & Founder
Posts : 9271
Plectra : 57186
Reputation : 785
Join date : 2010-07-05

Back to top Go down


Post by Soulmonster on Mon Jun 24, 2019 1:22 am


As part of their European leg in 1992, the band would do their first pay-per-view show. Axl and Izzy had been part of a pay-per-view back in December 1989 when they joined the Rolling Stones for a song a song during the Stone's own cable special [MTV, June 1992].

The concert took place at the Hippodrome de Vincennes in Paris, France, on June 6, 1992, before an audience of 40,000 and an estimated 200,000 watching on the TV [MTV, June 1992].

Following the tremendous success of the releases Use Your Illusion I & II as well as completing a sold out tour, GUNS N’ ROSES felt this worldwide television event would enable them to reach millions of their fans who would otherwise not be able to see them in a live show [Press Release, April 29, 1992].
The only reason we’re doing this is because it’s a vehicle for us to get our show out to a bunch of people that don’t have the opportunity to see it. So that’s that [MTV, June 1992].
And also, I might want to add, it’s not, like, a profit motivated thing for us to make money. It’s just for kids. Cuz we’re only playing certain towns and certain places, and kids that don’t get to see us, and can’t afford it, and just can’t make it, it gives them the opportunity to see us. So I hope it all works out great[MTV, June 1992].
I think it’s a great thing for people in countries and, like, states that they don’t have the opportunity to see us. Like, let’s say, a kid lives in Montana or Idaho, which we’ll never play; I mean, maybe someday, but not this week. Or somebody in Russia, because they have MTV in Russia, right? And there’s pay-per-view all over the world. So people can see us that don’t get an opportunity to come to the concert[MTV, June 1992].
We’re not really paying attention or letting it get to us that there’s millions of people watching us (chuckles). Well, you know, we’re just gonna play a regular gig. We’re a rock ‘n’ roll band, you know[MTV, June 1992].
I have to admit that the amount of pressure going into this pay-per-view thing is a little bit more than the average show. But all you can do is just, like, walk out there and, you know, start playing (laughs)[MTV, June 1992].
For the show the band had invited some of their friends to participate, Jeff Beck to play on 'Locomotive', Lenny Kravitz to play his song 'Always on the Run' which features Slash, and Steven Tyler and Joe Perry from Aerosmith for the songs 'Train Kept A-Rollin' and 'Mama Kin'.

Slash was looking forward to playing with Beck, a guitar player he had previously stated he liked [Guitar for the Practising Musician, April 1992] and wanted to jam with [WNEW 102.7, September 1991]. Beck would explain how it came about:

"Well, I just got a phone call from my manager saying, “Guns N’ Roses called. Would you care to step on stage and do a number of them?” And I said, “Where?” “In Paris.” I said, “Yep, let’s go.” They told me Locomotive was the song. And it’s pretty – there’s a lot of changes in it. I guess they thought that I’d be alright for that, for a guest spot " [MTV, June 1992].

The phone rings, I pick it up and I’m like, “What!” And he goes, “Is that Slash? This is Jeff.” And I’m like, “Oh, Jeff... Jeff who?” (laughs). And he was Jeff Beck and I was floored. I was like, okay, this is my all-time favorite guitar player calling me up to ask me about the song and what the schedule was gonna be. And I was like, “Well, you can play whatever you want. I don’t even care if you don’t even learn it. Just come out, that would be great”(laughs)[MTV, June 1992].
It was really cool because, you know, Jeff Beck was here last night, in the bar downstairs in the hotel, and we said, “Hey, do you wanna come upstairs and learn the song?” You know, he’d never really listened to it. And he came upstairs, and Duff, after a couple of cocktails, was teaching him how to play it on the guitar. And he was, like, teaching Jeff Beck how to play a Guns N’ Roses song. That was something new and different[MTV, June 1992].
I just thought to myself: 15 years ago, 10 years ago, a year ago, if I would have seen myself showing Jeff Beck a song on the guitar, you know, people would have thought I was nuts[MTV, June 1992].
Jeff Beck, Duff and I are in the room and Duff’s soloing (laughs). Perfect. “Duff! Let him do it,” you know?
[MTV, June 1992].
Gilby takes everything - you know, he’s so mellow about everything. And he’s such a good player, and he’s very confident. So Gilby... What does Gilby think about this whole thing? He’s, like, “Cool, can I have a sandwich?”  (laughs) You know?  “Hi Jeff. See ya”[MTV, June 1992].
Unfortunately on the day of the show Beck had to cancel due to tinnitus.

He was rehearsing with us all day yesterday and he had - he has tinnitus in his ear and he was having a real problem sleeping last night with this huge ringing in his ear. So he called and he said that, you know, he talked to his doctor, and they thought that it’d be a better idea if he didn’t play, cuz it could cause, you know, damage. So we thought it’d be best for him, and he thought it’d be better if sat out of this one. But it was great to meet him and play with him in the rehearsal anyway, you know[MTV, June 7, 1992].
I finally got to jam with Jeff Beck and we blew his ears out - literally! He was going to do that show with us in Paris, but for some reason his rig wasn't working, so he plugged into my system, Later that night we woke up with this insane screaming in his ears; he had to go to a hospital and everything. He called me up, and I was thinking, "Wow, Jeff Beck is calling me on the phone." But he was calling to say he was pissed, and that he might not be able to play live anymore because my amp gave him tinnitus [an ailment that creates a ringing or buzzing sound in the ear]. He was freaked. I guess doctors are working to make him a custom hearing aid that cancels out the frequencies that are bothering him. I mean, that's mind-blowing. If someone was to tell me that tomorrow, I'd be destroyed. Man, I hope he's okay. […] I know he can do studio work, because he played on Duff's new record. But I'm not sure about live performance. I don't think it was really my fault, but my rig was the straw that broke the camel's back. His tinnitus was probably brought on by years of abuse. But I still feel bad, because Jeff is truly one of the greats. I was in a jam session with him, Joe Perry, Lenny Kravitz and Gilby, and Jeff was playing all this amazing shit while simultaneously talking to me. I wanted to pack it up that day, send the amps home and find a nice, little job selling life insurance or something. I was thinking, "Hmmm, real estate - there could be a future in that [laughs] [Guitar Player, November 1992].
The best memory from the Paris show was definitely Jeff Beck flying out and at least participating in soundcheck. But he blew his ears out at that rehearsal, and so he didn’t do the actual show the next day, which was a drag. But it was amazing watching him play. I was completely stunned, you know? I wanted to just pack it up at that point. Let’s see... And then, just it was the first time that we played in Paris, so that was cool. As far as the show is concerned, I can’t remember any particular highlights, other than the crowd and Jeff Beck being at soundcheck [MTV, May 1993].
Kravitz, who had collaborated with Slash in 1991 [see previous section] had been waiting for the opportunity to play with GN'R:

"I’ve been waiting a long time to get to actually play live with them. And so they called me a week or so ago and said, “Come to Paris and play”" [MTV, June 1992].
"It’s always fun to play with other people, you know, and do something different from what you normally do. Especially when you’re on tour and you’re doing the same thing every night" [MTV, June 1992].

It was a riff [on Always on the Run] that I wrote. Initially, I mean, I write everything for Guns, you know. And, sometimes, especially when Steve was in the band, some stuff was definitely too funky. And so we just didn’t use it. So now, having Guns play it, I was like, you guys don’t even realize how funny this is (laughs)[MTV, June 1992].
Well, yeah. I mean, it’s gonna be Lenny singing, of course, but it’s gonna... Yeah, it’s a good way to put it. It’s gonna have the Guns N’ Roses attack on it[MTV, June 1992].
Lenny came out and we did Always on the Run or – yeah, Always on the Run, which was great. We did a good version of it, which was cool[MTV, May 1993].
Lenny Kravitz: "Well, it’s more that we’re just a big jam now, everybody’s playing. We’ve got two keyboard players, three of us on guitar, you know, bass, drums, horns, background singers... It’s kind of a big jam on the tune " [MTV, June 1992].

As for Aerosmith, the guys knew each other well after having toured together in 1988.

We toured with Aerosmith, so we’re already like family with them. You know, they’re pals, and so it’s like Old Home Week or something[MTV, June 1992].
Talking about Mama Kin: […]we were in Paris a while back for the pay-per-view thing and we did a nice little number with the boys from Aerosmith and it turned out great. They’re great guys, good friends of ours. The song was a song we’ve been covering for years, so we knew it. We knew it better than they did, cuz they hadn’t played it for a long time. But I think it turned out really cool [MTV, May 1993].
Joe Perry: "Well, I think that when we first went out with them, that was, like, their first big tour or something, you know? So it’s pretty cool to see them doing what they’re doing. At the end of the tour we gave them all Halliburton luggage, you know, the metal stuff, and we said, “Man, you’re in for a ride. Dig it.” So it was cool. It’s great to see them doing what they’re doing. We haven’t really played together that much, but, you know, we can play a song like Mama Kin and it seems to mesh pretty well. And we did Train-Kept-A-Rolling too yesterday. It was pretty good. It was fun" [MTV, June 7, 1992].

So they just showed up to watch Jeff play, you know, and then we just got and went out there. And we had never really rehearsed it or anything, but it sounded cool[MTV, June 7, 1992].
It’s kind of a great position to be in, to be able to ask, you know, people like that, and they go, “Yeah!” And they’re into it, you know. They did it because they want to jam, you know[MTV, June 7, 1992].
During the show Axl would rant against Warren Beatty who had been dating Stephanie Seymour previously [People Magazine, June 22, 1992].

Izzy paid $25 to see this show on TV, the first GN'R show he had seen since quitting the band in November 1991.

It was really bizarre, like an out-of-body experience. I didn't really recognize them all together. They had horn players and harmonicas and girl singers. Of course, I was Gilby for the night (a reference to his replacement, guitarist Gilby Clarke). It was weird, you know? […] I was happy to see that they carried on without me. That's all I would hope [Rolling Stone, October 29, 1992].

Last edited by Soulmonster on Tue Jul 02, 2019 1:45 am; edited 3 times in total
Tour plane captain

Admin & Founder
Posts : 9271
Plectra : 57186
Reputation : 785
Join date : 2010-07-05

Back to top Go down


Post by Soulmonster on Mon Jun 24, 2019 1:23 am


After the televised show in Paris on June 6, the band was supposed to play in Manchester, UK, on June 9 but this show was rescheduled to June 14 due to Axl being exhausted, according to band spokesman Bernard Doherty [The Springfield News Leader, June 10, 1992]. The band pulled out of the show just hours before the band was due on stage [The Liverpool Echo, June 9, 1992].

For this leg of the tour the band would again use Soundgarden and Faith No More. When asked about why these bands were picked, Slash and Duff answered:

They’re just cool bands, you know [Much Music, August 9, 1992].
Yeah, it’s like, if you can’t do something for somebody else, and people have done things for us, you know – if you can’t do things for other people - it’s like, if you’re gonna get, like, Warrant or somebody to open for you, you know, give it up (laughs) [Much Music, August 9, 1992].
I think they were the only two bands that would actually tour with us, or something? [Much Music, August 9, 1992].
I think they were forced to [laughter] [Much Music, August 9, 1992].
The first show took place at Wembley, England, on June 13. The band would be joined on stage by Brian May from Queen for covers of 'Tie Your Mother Down' and 'We Will Rock You' [The Guardian, June 15, 1992].

After Wembley the band travelled to Manchester, England, for a show on June 14. This was the show that originally was planned for June 9 but had been postponed. The show started two hours late [The Liverpool Echo, June 15, 1992], but the band blamed it on technical difficulties and avoided a fine of "tens of thousands of pounds" [The Evening Chronicle, June 16, 1992].

The next shows were at Gateshead in England on June 16 and then in Würzburg, Germany, on June 20. In Würzburg they experienced a colossal thunderstorm, and it is likely it is this show Gilby talks about here although the anecdote about Dizzy pouring a beer over his head is also connected to their previous show in Budapest on May 22:

In Germany one time we had to play in a thunderstorm, like the worst thunderstorm we had in 20 years in Germany. And we are all sitting there watching all the fans (?), they’re soaked and everything and we’re dry cuz we have a roof. So Axl takes one look at them, steps out, gets soaked, made all of us step out and get soaked. Matt came out from his drum stage, got soaked, Dizzy poured a beer over his head, of course, got soaked... Yeah, every day is an adventure, something new [MTV, July 17, 1992]
On June 19 the band flew to Basel, Switzerland, for a show on June 21. But while going through security, Axl is detained by customs agents resulting in him threatening to never play in Europe again [The Akron Beacon Journal, August 23, 1992].

One June 21, 1992, Guns N' Roses had to pay to keep the public-transport system open late in Basel, Switzerland. The only way back into town from the soccer stadium was a tram line that normally closed long before we finished - maybe before we even started [Duff's autobiography, "It's So Easy", 2011, p. 204]
The next show was in Rotterdam, the Netherlands, on June 23.

On Tuesday, June 23, in Rotterdam, I stewed backstage after the Dutch police told us power would be cut at 11:30 p.m. - fans had already waited two hours since opener Faith No More finished playing, and our set would not be finished by 11.30 p.m. I feared another riot. Onstage, Axl told the crowd about the police threat, and basically invited teh audience to tear the place down if the show was stopped. The power stayed on [Duff's autobiography, "It's So Easy", 2011, p. 205]
They then travelled to Turin, Italy for June 27, Seville, Spain, for June 30, and to the last show of this leg in Lisbon, Portugal, on July 2. Originally they were supposed to end this tour in Madrid, Spain, but according to Much Music, the facilities in Madrid were "poor" preventing the show from happening [Much Music, August 9, 1992]. An contemporary article in a Spanish newspaper would shed more light on the situation and say that the stadium was "closed for critical security reasons, as there is danger of collapse due to aluminosis" [ABC, July 2, 1992].

For the last show in Lisbon "things just got a little stupid, with a little help from the crew" [Much Music, August 9, 1992], and it is likely this alludes to some prank performed by Guns N' Roses on Soundgarden, like they had done before [insert reference to earlier show where they pranked Soundgarden].

During the show Axl was worried about unruly elements in the crowd:

But I don’t like seeing people in the crowd get hurt. And that’s when I’m a little concerned about that, we’re gonna try to monitor it the best we can. And if I see anything going on onstage, I stop the show to try to stop it. I don’t care if it’s all the way in the back. When we played Portugal, in Lisbon, they were throwing (?) and throwing candles at each other. We kept stopping the show to try to stop it. By the end of the show we had it about 90% under control. But, I mean, we do the best we can; I’m worried about that though [Press Conference in Argentina, December 4, 1992].
Tour plane captain

Admin & Founder
Posts : 9271
Plectra : 57186
Reputation : 785
Join date : 2010-07-05

Back to top Go down


Post by Soulmonster on Mon Jun 24, 2019 1:24 am


Axl's perfectionism may also be related to his stage nerves and anxieties regarding their live shows:

I'm very stressed about the shows, which are the most important thing to me. Nothing ever really works right for this band [RIP, April 1989].
In September 1991, Spin reported that Axl was suffering from stage fright and that this caused the two hour late start at the Deer Creek Music Center show in Noblesville, Indiana [Spin, September 1991]. According to "sources back stage" Axl was "extremely nervous" to play for friends and family from his hometown of Lafayette, Indiana [Spin, September 1991].

When interviewed by Kim Neely for Rolling Stone in early 1992, Neely would mentioned that Axl had previously told him he "hate performing". When confronted with this statement Axl would say:

I just think it's a really weird job. I'm not saying it's a bad job, I'm not saying it's a great job. But you know, it's just the work that goes into being that athletic. I mean, do you want to go out every night and jump off, like, your car? And have to do that? It's like it becomes your job. That doesn't take away the sincerity or the honesty of it, but it is a job. And sometimes I'd rather be doing something else [Rolling Stone, April 2, 1992].
Axl's alleged stage fright could only be understood by the experiences he went through when performing and trying to work with the audiences. During the touring of 'Illusions' he would repeatedly talk about struggling to control the shows and the crowds:

Yeah, that's like a gladiator thing. That's a morbid part of human nature and it can be tough to deal with. Especially if you feel it from a crowd. It's very disguised. It's not like, "Aw, you suck!" They're screaming and they're happy but they want to see blood. To figure out how to rise above that and still satiate the crowd is a tough job. I've done shows where to the naked eye it looked really positive, but onstage, being sensitive to it, it was a draining thing. These people were out for every last drop they could get. If they're giving something back, you can give more [Musician, June, 1992].
When asked how he deals with negative energy from the crowd:

It's been different at different stages of my career. It used to be more of a punk rock thing where a band would take that negative attitude and turn it on themselves. "You want to see blood? I'll give you more than you planned on, I'll even take my own life." I've tried that avenue until finally… it was too hard. You just go down the tubes too fast giving in to that kind of anger. […] But it's really hard to stay positive when there's that kind of taking and that kind of anger in the crowd. There's places where we have played where we have turned it around. I think that's part of the job. Sometimes it's hard to stay focused when you're getting beat up by the energy. You can physically feel that you're getting beat up rather than getting inspired. It feels like a nightmare and to try to get above that is very difficult [Musician, June, 1992].
I do go off on the crowd, but there is a big difference between General Admission where the people who really care are right in front of you, and the situation where you've got people in the front row who are sitting there with their arms crossed and a "show me something" look on their faces. It's annoying. Especially when you know the people sitting way up in the sky could be having a lot more fun down front. I don't need people to sit there and "test" me. I'm up there, I know what I'm doing. I know how much effort we're putting into it. I don't need someone sitting there saying "impress me." I feel like saying, "no, you impress me." […] We did a show with Skid Row in Utah, and there were people sitting there like they were bored off of their asses. Finally, we left. Why should we play the encore? But what we didn't know was that people had been killed at an AC/DC concert there, and the press and local officials had gone off on the kids so much that by the time they got to the show they were just fed up. Security just kept them from getting into the show at all-and we didn't know that. We didn't know what was up. We just wanted to get out of there. My attitude was "Man, I only have a few bands that really get me off at a show. What do you want? What do you have to do tonight that's better than this?" There were 17 year-old kids there who seemed bored, and I just didn't understand why. Maybe they wanted to go home and listen to something else [Hit Parader, June 1993].
And when asked if the band members respond similarly to negative energy:

I think it's pretty much on my shoulders and I don't mind that at all. The band works the stage and gets off on the crowd, but I'm kind of a shield. If I'm gone they don't really know how to get on top of it. If I'm out there and not handling it, no one can really rescue me. It's just very hard sometimes. We've done shows where I could feel that it was a very taking thing and I turn around and Slash is doing handstands because he's still getting off on the chaos of it. And I'm having the shit beat out of me. This happened in Vegas. My jaw was hurting, my back was hurting, my leg was hurting. I call it shadow boxing because it comes down to between me and the audience. And for Guns N' Roses to be successful, I have to win. And if I win, everyone wins. If the crowd wins then a lot of people lose, including the crowd. They didn't get to be satiated, they get to go home pissed off because we crumbled under it. […] I'm such a Victory or Death type of person. I realized at one point that going onstage and just smashing everything around and singing "Jungle" wasn't getting me anywhere in my own life. It wasn't enough for me. And taking it farther and hurting myself or taking my life onstage wasn't going to do me any good. And if people are benefiting from the music it wasn't going to do them any good if I was gone. So I had to start working on other ways of dealing with it and other ways of working with the crowd. We still haven't risen above a lot of things but we've risen above some. And we're continually thriving [Musician, June, 1992].
In August 1991, Slash was asked why the band was so volatile and would talk about Axl and what he was going through:

Axl – Axl's got all this pent-up stuff. Like he's really into doing everything perfect, so he's been working so fucking hard. I spend a lot of time with Axl and I can't even get into all the things that he's doing, but he's going through a lot of shit right now with his past personal life and stuff, and even though we're on tour and supposedly hugely successful, these 'rock stars', we're all deafeningly human, to the point where it's like, Jesus! You've got to try and maintain some semblance of security in your personal situation while at the same time you're being completely thrown to the sharks […] [Music Life, November 17, 1991].
I'm less sensitive to [people throwing things] than Axl. He takes it very personally; I just duck [Guitar Player, December 1991].
The only thing I can say about it is I understand it. I understand how rough it is. And I spend so much time with Axl – to realise what he goes through to do that and to be able to sing every night. He's given me analogies – like, say, 'If you only had one guitar and you broke all the strings, how are you going to finish the show? Or when the monitors go out I'm fucked!' he's telling me. You know, we're playing Instruments, I've got replacement guitars, more strings. It's not as harsh for me to go through my personal situations onstage as it is for him. I've got something to hide behind. Him – if the entire system falls or he loses his contact lens or gets dizzy whatever – and being out there you're bigger than life. They don't want to see any fucking faults at all! And Axl's a very sensitive guy, and a lot of shit does go down onstage. There's always a bottle flying here, a bomb going off there. The other night I hear this crash, I'm like, 'What the fuck was that!' And somebody threw an M80 into the crowd! [Music Life, November 17, 1991].
Slash would also discuss how the band in general responded to "dead crowds" like during the Metallica tour when fans were often exhausted by the time GN'R started their set:

We interact with the crowd a hell of a lot. That’s one major thing, if the crowd happens to be particularly hostile (laughs) for some strange reason, you know, or, sort of like, dead in the front row. But then we react on that; you know, it’s just natural. […] we fuck with them a little bit and see if we can get them going or, you know – you usually blame yourself, like you’re not playing hard enough. And that’s where some of us are, like, jumping off ramps and all that stuff. I think it initially came from so much adrenaline and then the crowd would just go nuts, and so that would make us just get, you know, more into it, and the next thing you know, it’s like, we’re one and the same. It’s like, a stadium full of people, and basically the six of us on stage plus, you know, the extra people, but all getting off on material that we wrote and there’s a great vibe going on, you know? So it’s worth really getting into it every single night, because that’s the only reason you’re there [MTV, July 20, 1992].
In September 1992 Slash would say that Axl had become better at dealing with technical difficulties during shows:

[Axl]’s just been a lot more positive and a lot more willing to deal with the sort of the possible technical pitfalls, instead of, like, shying away from it and just getting pissed off and making it worse. He actually is into making everything better [MTV, September 1992].
Later he would also talk about how attuned Axl was to the audiences mood:

[Axl]'s probably 10 times more aware of [his capacity for provoking audience response] than I am. I can hide behind the guitar because that's my thing. But I'll be sitting around with Axl after the show, and he'll alert me to particular things that happened during any given concert that I was oblivious to. He'll talk about how he used a particular hand movement to express an idea. I'll just be going, "Huh?" He's very aware of what he's doing, and of the whole sensational aspect of his persona. The only thing I think about is, "Okay, the wah-wah pedal is here, my amp is there..." I'm aware of the energy and the interaction with the crowd, but I don't really see anyone because my head is usually down. The people I look out for are the people on stage running around like madmen. I just try not to hit anyone [Guitar Player, November 1992].
Axl himself would describe how he tried to connect to the emotions of the songs he was singing:

[…] I do put myself wholly into the song, into whatever line I'm singing. Whatever the line makes me think of, I go there. If it's a tear-jerker thing, maybe that situation was written, and I'm thinking about being in a park or something. Or I think about the emotions I had as a child that those lines relate to and I go there while I'm singing it. That way I can get the best out of me because it's getting in touch with the base emotion, the base feeling and the base environment inside my head [Metallix, 1992].

Last edited by Soulmonster on Tue Jul 16, 2019 12:18 am; edited 1 time in total
Tour plane captain

Admin & Founder
Posts : 9271
Plectra : 57186
Reputation : 785
Join date : 2010-07-05

Back to top Go down


Post by Soulmonster on Mon Jun 24, 2019 1:25 am


The band members enjoyed the easy access to free sex that came with being rocks stars.

[…] there are things that make me sick, like many of the girls who come to see us during the tours. Some of them have obviously listened to the album, but others haven’t; because if they had listened to it, they would’ve known that we don’t conform to anything. We can behave like the sweetest and most pleasant people in the world, but as soon as we fuck them, we show them the way out and to the nearest bus stop. I'm surprised that some of these girls really think you’re stupid. As Lemmy puts it, "Don’t judge a book by its cover;" that is, when a chick comes to you thinking that she’s gonna have her way with you, you have to put her in her place and make it clear who is who, and if she doesn’t accept it, then... out of the door. That’s why it's impossible to get enough of sex – it may happen when you’re older, but not now[Popular 1, April 1988 (translated from Spanish)].

In August 1991, Melody Maker who was interviewing the band backstage, would describe 21 girls, "hand-picked by the Guns crew from the Tacoma crowd" "panting, preening and eager to fuck a Gunner" [Melody Maker, August 10, 1991].

Matt: Every night's a fuckin' party, man. Chicks, beer, you name it. Take any chick you want, man. It's just like being in a candy store [VOX, October 1991].

In an interview published in September, Slash would express boredom with the groupie scene:

[…] the novelty of just getting laid all the time wears off really quick. […] The only time that ever happens [=to go out with rock chicks] is when you go out just to have a good time and you have a few drinks somewhere and a good looking chick comes up. Basically, if they're gonna do that then you take advantage of it and it's more like a selfish kind of thing to get involved with, it's like 'okay, fine, if you're going to put yourself in that position I'm going to ...' what's the expression, you know […] [Rip It Up, September 1991].
Despite this, in 1992 Slash would argue that they had cooled them due to the threat of AIDS:

Slash: "The world tried to lay it on homos and needle users but it turned out that was just not the case. Now we've all changed our attitudes to sex. Although Aids hasn't cramped my lifestyle, it has taken that option away. […] We had to realise it's silly. I have to admit we have all had to see our doctors — we have physicals" [The Newcastle Journal, June 12, 1992].

Slash: "[…] I got burned out on the whole drug thing and the groupie scene. […] I had spent so much time chasing around and after a while it was like going to strip clubs. You start looking at women like pieces of furniture, something you admire for their lines. And you realize you either keep going on like that forever or you commit to someone you love--and that's what happened to me. I realized the other stuff is a sort of waste of time anyway" [Los Angeles Times, August 9, 1992].

Last edited by Soulmonster on Fri Jun 28, 2019 12:03 am; edited 1 time in total
Tour plane captain

Admin & Founder
Posts : 9271
Plectra : 57186
Reputation : 785
Join date : 2010-07-05

Back to top Go down


Post by Soulmonster on Mon Jun 24, 2019 1:26 am


As discussed previously, Slash had been trying out different guitar before joining GN'R and in his first period in the band, with a B.C. Rich Mockingbird being a favorite show guitar. This changed some time before the release of Appetite, when he got a Les Paul copy from Alan Niven, a "handmade yellow flame-top with zebra [Seymour Duncan] Alnico II pickups" [Guitar Player, December 1991]:

Slash: "I got a handmade '59 Les Paul copy, built by a guy who makes awesome guitars, better than anything the company produces now—nothing against Gibson. I think that's when I turned into a Gibson freak—Gibson and Marshall. That's been my standard until this album" [Guitar Player, December 1991].

This guitar would be Slash's primary instrument for recording 'Appetite':

Slash: "For the first record, I must have gone through 10 guitars trying to find one I liked. And I couldn't afford to buy some ridiculously expensive Les Paul. When our former manager showed up with this one, it became my main studio guitar. […] [I used it] for almost everything on Appetite and then for most of the heavier songs on Use Your Illusion" [Guitar Player, December 1991].

On the 'Illusions' Slash would also use other guitars:

Slash: "Some fucking great guitars—a '58 V and a '58 Explorer. There's a certain nasal sound that you can hear on "Heaven's Door," "Locomotive," and a couple of other songs—it's almost [Michael] Schenker-sounding. That's just the tone control on the V, no wah pedal. There were a couple of other guitars that people aren't used to hearing me play: I used one of those small-scale Music Mans like Keith Richards has. There's a Travis Bean that I use for slide on "Bad Obsession" [Illusion I]. When I first got into slide, I went to a Joe Perry Project show; he had a Travis Bean, and it sounded killer. So when I saw one in the paper, I bought It. It has a gorgeous mahogany body with this real subtle rainbow in the finish—it's almost airbrushed. I played maybe 20 different guitars on Use Your Illusion: a Strat, a Dobro, a 6-string bass, a banjo, some acoustics. But the sound that I'm recognized for is my Les Paul through a Marshall half-stack. […] I have several Guilds—a nice 12-string and a couple of great big dreadnoughts. I used a Gibson I-100 too" [Guitar Player, December 1991].

On the question of whether there would ever be a Slash signature Les Paul:

Slash: "At one point they had an idea for a Slash Les Paul. I gave them my best live guitar; they had it for six months, trying to get the weight and density and everything right. God bless the guys who worked on it, 'cause they're really cool, but they sent me four instruments and none of them sounded anywhere close to it. I'm sort of pissed off at Gibson, because in the six-odd years that I've been with them, I've only gotten three gold-tops that I can use live. And I've spent hundreds of thousands of dollars on old Gibsons. We just cannot seem to get a sound that I'm happy with from the new ones" [Guitar Player, December 1991].

In 1991 Slash got a new B.C. Rich:

Slash: "But a while ago I bought another [B.C. Rich] from this guy I met at the Cathouse [an L.A. club] one night. I used it in the video for "You Could Be Mine." B.C. Rich saw the video and were ecstatic" [Guitar World, February, 1992].

Slash: "I didn't play a Rich for a long time after that. But one night I was down at the Cathouse and a friend of mine told me he had a Mockingbird for sale for $150. I bought it from him and started using it. B.C. Rich heard that I was using one of their instruments, and was stoked, so they made me four different models. I ended up keeping only one, because I'm a real stickler for tone and general guitar sounds. If there's one thing wrong with one I won't use it. But I really like the one that I kept. I'm using it a lot now. I haven't done an endorsement deal with them, but they seem happy enough that I'm using one of their instruments" [Guitar Player, November 1992].

Duff: "The basses that I use, the Fender Jazz Specials, are slightly different. My basses are made an RCH longer, to allow for the strings flapping. My particular model was only made for a year or two. It's got sort of a Jazz neck and Precision body. It has a Precision pickup and a Jazz pickup in the back. The first bass I bought, the white Fender Jazz special, that I bought at the Guitar Center, had inadvertently been screwed up when they made it. As opposed to the neck being perfectly conical, mine is half eggshaped. Somebody in the shop filed it too much. I was so used to that bass, that when I went to try other basses, something wasn't right. It's like, wait a minute, something's different with these other Jazz Specials. I went down to the custom shop, and sure enough, they spun it through this graphic computer and found what was wrong-or, for me, right-with the bass. So now I have all my necks custom-made exactly like that one" [Guitar for the Practising Musician, April 1992].

Duff: "I just retired my original white bass. It's at home. But, like I said, I had to get the other basses made exactly like it. Me and John Paige at Fender worked together. It took a long time. I didn't know it was gonna be this difficult" [Guitar for the Practising Musician, April 1992].

Gilby: "I use all nine Vox AC-30's reissues. They're all new, because vintage amps are too unreliable to take out on the road. When I got this gig, I made a promise to myself that I was going to take advantage of the opportunity, equipment-wise, and get everything I ever wanted. The first thing I bought was a new Marshall stack. But my tone was so close to Slash's that we ended up something like one big wall of mush.

So I took the opportunity to start carving my own identity. I've always liked Voxes, though in a club they were always too loud. But they turned out to be perfect on stage. The Voxes have a really great, natural tone, so I basically turn them up to 10 and play completely dry.

My two main guitars are a Zemaitis that I just had custom-built and a clear, lucite Dan Armstrong. The Armstrong is really loud and it sustains forever. I was using a Les Paul during the early parts of the tour, but for some reason, it just didn't sound good running through the Vox amps. I think it's because Voxes are mid-rangy by nature and so are Les Pauls, so the sound is muddy when they're used in tandem" [Guitar Player, November 1992].
Tour plane captain

Admin & Founder
Posts : 9271
Plectra : 57186
Reputation : 785
Join date : 2010-07-05

Back to top Go down


Post by Soulmonster on Mon Jun 24, 2019 1:27 am


The band had attempted to tour with Metallica earlier. They were supposed to do some shows with Metallica in Europe in March 1988 [Popular 1, April 1988]. This might have been the Monster of Rock tour with Metallica, which they hoped to join, but ultimately were rejected [Spin, May 1988].

They later had a European tour in the autumn of 1988 planned, but this was shelved when they needed a break after the Aerosmith tour [Sounds Magazine, August 1988; Kerrang! July 1988].

According to Blast Magazine, the interest in doing something together was mutual: "Metallica's new album is tentatively called And Justice For All. The band is planning a world tour and hopes to take Guns N' Roses with them for at least some European dates" [Blast! May 1988].

There's an element in Metallica that's the same with us. We couldn't really go out and do gigs with Slayer, but with Metallica it's not so much the style of music we play, it's more an attitude of going out and generating a lotta energy. Although, we're a helluva lot sloppier than Metallica! [Sounds Magazine, August 1988].
As far as guitar, well, James Hetfield is awesome [Countdown, May 1992].
We've thinking about tours, like, our favorite new bands out, like Metallica. We're friends with those guys and stuff and we're trying to work out something with those guys. But it's like, you know, they're going like we are, [?] we think that might be a monster show [KJJO 104, August 1988].
Just before Christmas 1991 Guns N' Roses made a call to Metallica's management, asking if the band would co-bill a US stadium tour in 1992 [Detroit Free Press, July 19, 1992]. Metallica's management relayed the request to Metallica who, according to Lars Ulrich, responded with a resounding, "Hell yeah!" [Detroit Free Press, July 19, 1992]. Soon rumors were spreading again that Metallica and Guns N' Roses would tour together [Dayton Daily News, January 10, 1992], and at the Grammys in February 1992 Metallica mentioned it backstage [Star Tribune, August 4, 1992]. The tour was confirmed in May and dates would be set with the first show on July 19, 1992 [Star Tribune, August 4, 1992].

An important meeting between the bands took place in February at Le Dome restaurant in West Hollywood [Los Angeles Times, August 9, 1992]. Attending this meeting were Axl, Slash and Doug Goldstein on one side with Lars Ulrich, James Hetfield and the management team of Cliff Burnstein and Peter Mensch on the other side [Los Angeles Times, August 9, 1992].

Burnstein: "We were so in sync on everything down to the point that I was wearing a Naughty by Nature T-shirt and Axl was wearing a Naughty by Nature cap " [Los Angeles Times, August 9, 1992].

Ulrich: "So, it was great after the (Le Dome) meeting . . . me and Axl were standing outside the restaurant, talking about how surprised people were going to be once the tour was announced . . . and how everyone would be saying, 'I can't believe it . . . it'll never happen'" [Los Angeles Times, August 9, 1992].

Slash and Lars did an interview on Rockline together and during this interview Lars would say the friendship between Guns N' Roses and Metallica went back to before the release of 'Appetite' and that they were set up by their common lawyer, Peter Paterno, who suggested that Metallica should hang out with GN'R because of a "shared attitude" [Rockline, July 13, 1992].

Slash and Lars would again discuss how it came about:

We'd sit there and say, 'We should play together'[/i] [Detroit Free Press, July 19, 1992].
Lars: "It continued over numerous late-night gatherings all over the country. I had these conversations with Axl and Slash, and it was always 'One day we've got to go out and do gigs together.' So now -- here we are" [Detroit Free Press, July 19, 1992].

Jason Newstead, the bassist of Metallica, had a slightly less romantic argument for why they wanted to do the tour:

Newsted: "When it comes right down to it. If we worked for the same amount of time on our own, we wouldn't play to as many people and we wouldn’t earn as much money. We would have made plenty of money on our own and everybody gets taken care of real well in our organization. But if we’re looking at the big picture and we have a chance to make a few more million dollars over a six-week period, then we’re going to do it" [The Indianapolis Star, July 21, 1992].

But there was a great deal of skepticism to the tour stemming from obvious differences between the bands and their organizations and how they operated, as described in Detroit Free Press:

"It's a tour that's been regarded with great skepticism since rumors began circulating about it late last year. The organizations were too different, naysayers chimed: Metallica is known for its precise, businesslike manner, while Slash acknowledges that Guns N' Roses prides itself in "going against the system entirely." Metallica will adhere to a relatively tight schedule; Guns N' Roses could go onstage in the wee hours and play 'til dawn, depending on the whims of its members" [Detroit Free Press, July 19, 1992].

And planning such a massive tour was complicated. Lars would say that when the managers and lawyers got into problems negotiating the details they would call up Slash and him and they would sort things out [MTV, July 14, 1992]. Slash would confirm their good relationship was important in getting the tour organized:

It was really complicated, but we dealt with each other as friends [MTV, July 14, 1992].
It was really all the bands’ that did it. I mean, when it came down to it, it was the bands that made all the decisions, you know? And it just got kind of legislated through the management and all that. So it’s a band tour. It’s like, you know, it’s not a corporate tour or nothing like that. It’s set up by the bands [MTV, July 17, 1992].
Lars: "Both of our bands have different ways of approaching things in terms of how we run our band on a day-to- day basis. It was 'Look, let's sit down and check our egos at the door.' We all had to make sacrifices to make this happen. […] But we have a lot of mutual respect for each other, so it wasn't a problem. The real reason this is happening is a genuine desire between the main guys of both bands to make this happen. That makes it stronger than what the lawyers or booking agents or managers would throw our way" [Detroit Free Press, July 19, 1992].

When asked why it took so long from the Metallica first said the tour was going to happen before tour dates were announced, Hetfield would say: "We were still working out logistics and seeing if this thing could even be pulled off. There were a lot of meetings trying to figure out what cities we were going to play, how many shows in a row, whose voice could hold out, who was going on last, who was playing the longest, guest lists — a bunch of political crap. The actual stage set had to be compatible" [Star Tribune, August 4, 1992].

Slash would say that the band came together as often as possible to discuss and plan, including a dinner meeting on April 19, 1992, the day before the Freddie Mercury tribute concert in London where both bands participated [Detroit Free Press, July 19, 1992]:

You really have to feel each other out on it -- what's their trip, and what's ours? It's really simple when you actually sit down and talk about it amongst friends. When you let management deal with it, all of a sudden it becomes corporate [Detroit Free Press, July 19, 1992].
Some compromises had to be made. According to Detroit Free Press, both bands agreed to play 2-3 shows per week which meant that GN'R had to play more frequently than they were used to and Metallica had to play fewer shows than what they were used to [Detroit Free Press, July 19, 1992]. It was also decided that GN'R would close every show:

[…] because [Metallica] don't want to take the risk of having us go on late and making them perform at some crazy past-midnight time [chuckle] [Detroit Free Press, July 19, 1992].
We’ve been on tour for so long. We're in tour mode big-time, so for us to open for somebody wouldn't make any sense at this point. It was kind of a given that we'd go like this. It's not like we’re headlining; we're coheadlining. The kids realize that. There’s no big deal there [Star Tribune, August 4, 1992].
Hetfield: "We knew we didn't want to follow that and we'd be on at 5 in the morning. This is a prime spot for us. There's daylight and there's nighttime. We get the best of both. During the day, you get to see faces in the crowd a lot better, which really matters to us as far as getting going. Then we get to play with the lights and get the whole other vibe. By 10:30, we're done and we get to go hang out. We beat ’em [the audience] up, and then they [Guns] have to deal with it" [Star Tribune, August 4, 1992].

Booking stadiums became a problem, too, as described by Detroit Free Press:

"'Venue management and city politics have actually been the biggest obstacle to getting into the stadiums,' Kochan [Alex, GN'R's booking agent] says, describing curfew restrictions and other barriers to booking the tour in many cities. The 24 sites on the itinerary, he says, represent "just about every place that would have us," and a Sept. 5 show in Dallas is still up in the air" [Detroit Free Press, July 19, 1992].

In June 1992 tour dates were being set up and it was reported that a planned show in Minneapolis on August 5, 1992, was cancelled. The media would speculate that Axl's psychic had told him to avoid playing gigs in places that started with the letter "M", which, according to Star Tribune, would explain why the band did no shows in Milwaukee, Memphis, Miami or Minneapolis [Star Tribune, June 26, 1992]. This rumor would be mentioned on a Rockline interview with Slash and Lars Ulrich in July 1992, just prior to the start of the tour, and Lars would emphasize they would be playing other cities starting with "M" and that if they didn't get to play in a specific large city that was because the cities weren't interested:

Lars: "I think it was some kind of... I think that somebody somewhere got hold of some very long-winded story that was floating around...[…] There was a story going around about cities that began with “M” that we were omitting, but obviously we’re playing Minneapolis, we’re playing Montreal and, you know, if... I think the misunderstanding that if places like – I think the biggest problem of this tour, and this is actually the truth, is that most of the bigger cities that we aren’t playing on this tour, we’re not playing them because we didn’t want to go there, we’re not playing them because they didn’t want to have us. Places like Philadelphia, and Cleveland, and Kansas City, and Milwaukee, Chicago, Atlanta, places like that. You know, we tried when we sat down in April and put all the final details on this tour. We wanted it to go to the 30 biggest cities in the country and take the show everywhere we could, so all the fans across the country could get a chance to see this once-in-the-lifetime thing. But, you know, places, like I said, Philly, and all these other cities, the stadiums there, they just weren’t interested. They “Oh, Guns N’ Roses and Metallica will come and mess up the stadium” and blah blah blah. You know, just a lot of bad vibes from a lot of people. And it’s just like, we tried, believe me, we sat there and tormented our managers, and our booking agents and everything. “Find us a race track, find us a field,” you know, “Find us a yard... We’ll play in a sewer…” […] ”We’ll be there.” There’s like, I mean, Philadelphia is the fourth biggest market in the country and it’s like a joke that this tour isn’t going there. So believe me that we tried, so this whole thing about, well, Milwaukee, you know, that we didn’t wanna go to Milwaukee because it begins with “M,” that’s just a crock of ... beep. […] I mean, believe me, believe me, we sat down, we tried to take the city, so every big – this tour, every big city in the country that we could. And, like, I don’t wanna grovel here or apologize, but, you know, to all the kids in the cities that we’re not going to, believe me that we tried" [Rockline, July 13, 1992].

In a later interview Hetfield would also be asked about this rumor and would go far in saying it could have been true: "They have a lot of people out with them, and who knows who tells who what to do? That's basically their business. But when it comes down to ‘We can't play this city because...' now you're stepping into our territory, and we'd like to know why. We had backup plans, no doubt, in case [things] like this came up. I couldn't confirm it, but I think it did have something to do with his psychic, or his psychic’s assistant" [Star Tribune, August 4, 1992].

Duff, on the other hand, would vehemently deny the rumor:

That [rumor] is a complete joke. Someone told me that yesterday; that’s the first time I'd heard it. I don't know where that rumor came from. That's a blatant lie [Star Tribune, August 4, 1992].
Lars would talk more about picking cities:

Lars: "We sat down and , like, basically picked the 30 biggest cities in the country. And we it came down to, like, Cleveland, Philly, Atlanta, Kansas City, places like that, they just said, “Stay away.” And, like, we tried...[…] Well, [St. Louis] was one of the cities that was picked. Believe me. But, like, the stadiums there, we tried, you know, race tracks. I mean, “If you have a field, we will show up and play in a field,” you know, “find us a sewer system and we’re there.” But I just want to tell all the kids in those cities that it’s not because we didn’t – you know, not for lack of trying, all you guys in Atlanta, and Cleveland... So you guys are gonna have to do a little driving, but, hey, we tried" [MTV, July 14, 1992].

Some shows into the tour the newspaper Star Tribune did interviews with Duff and James Hetfield where they separately were asked the same questions. One of the questions was why the tour didn't have a proper name and it is obvious the bands couldn't come to an agreement:

Who's to say what the name of this would be? Monsters of Rock is such a ridiculous name for a tour. It’s so sophomoric. Obviously, they were peddling to the 12-year-old kids who read comic books. I’m not into that commercialism type of thing. Lollapalooza, on the other hand, is cool. That's not just a tour; it's kind of an event type of thing. Clash of the Titans is catering to the comic book readers. We're rock 'n' roll bands. It's Guns Ν' Roses, Metallica and Faith No More. Need you really say more? [Star Tribune, August 4, 1992]
Hetfield: ""That was another little thing that we were trying to work out. They wanted something, we wanted something. They wanted this circus kind of vibe — Rock 'n' Roll Circus something. The words 'rock 'n' roll’ make me cringe for some reason, 'circus' as well. I don't think a name really matters. We have a T-shirt out there with both of our names on it" [Star Tribune, August 4, 1992].

In early 1992 it was rumored that Skid Row would be the opener of the tour, Slash would deny this and suggest it might be Nirvana:

Well, I don’t think the Skids are gonna be on it. We’re talking about doing it with Nirvana but we need to see where those guys are at. Metallica, Nirvana and us sounds pretty good to me [Raw Magazine, March 4, 1992].
In the end it would be Faith No More that would get to open the show with a 45 minute set [Rockline, July 13, 1992; MTV, July 14, 1992].

In the first half of 1992, Slash and Duff would talk more about the upcoming tour with Metallica:

Oh, it’s gonna be great! It’s one of the things that we were talking about that was really important, that was trying to bring back that great stadium tour from the 70s, where they had all these great bands. Because, after a while, it was just, like, the headlining band and the opening band, it didn’t really matter. Now it’s, like, co-headlining. It’s two really heavy bands and Faith No More is opening, so it’s gonna be a big event. It’s gonna be an all-day thing, so bring, I don’t know, a sac lunch; and a blanket[…] I think, musically, there isn’t any kind of similarities [between GN'R and Metallica]. But, attitude-wise, there is a lot. It’s one of the reasons we wanted to do it together, because we’ve gotten really far away from conforming to the industry, and doing things our own way we’ve been successful at it. And I think we opened a lot of doors – both bands will open a lot of doors for other bands, and open up the attitude of some of these, you know, very stiff white-collar executive types over the record companies and let them know that this commercial attitude that they’ve got isn’t necessarily the way to go; there is other things happening and it definitely works. So we have that similarity and, plus, we’re just good friends. […] It’s Faith No More, Metallica and us. Metallica plays for, like, three hours. We play for, like, three hours. Faith probably play for an hour – maybe 1-1/2 hour, I’m not really sure. So, it’s definitely something to get there early for [MTV Headbanger's Ball, May 1992].
We’re good friends with those guys and stuff, and we’ve got it worked out, so it’s gonna be a cool thing for everybody. It’s not gonna be, like, Guns N’ Roses is headlining and Metallica is opening. It’s gonna be, you know, Metallica and Guns N’ Roses. And, you know, they’re gonna do their full set, we’re going to do our full set. And then, you know, what will happen after the end of that, it will be probably something cool [MTV, June 1992].
Well, I mean, as you know, both bands are good friends. We hang out in Hollywood and stuff together when they are there and we were there. And we just, like – I mean, literally, at bars and stuff we talked about why we should tour together. And it finally came together after a lot of, you know, bolt [MTV, July 17, 1992].
Why they wanted to do this tour: Just because we’ve been buddies for a long time. […] It was real - we’d go out, we’d get drunk and we’d go, “We should do a tour” [MTV, July 14, 1992].
When asked if the bands would be co-headlining, Slash would confirm it [MTV Headbanger's Ball, May 1992]:

Yeah, that’s one thing, it’s a co-tour, right? So it’s Metallica and Guns, Guns and Metallica. That’s that. […] So, it’s not like anybody is trying to pull some sort of star trip. It’s really just a summer concert that's gonna be cool [MTV, July 14, 1992].
As for the layout of the stage:

We’ve come to an agreement as far as the stage goes, which is a little bit of a secret at this point. We’re trying to keep some things secret, yeah? (chuckles) [MTV Headbanger's Ball, May 1992].
This is a good one, actually. Cuz we went through, like, logistics on our own, like, “Okay, what are we gonna do?” And so we figured it out, basically. You know, we have Metallica’s stage, and then, when Metallica is done – and they play forever, you know (Laughter) […] And then we go on and we do our own stage. It’s really one of those things where it’s sort of refreshing, cuz we just go out and we do our own trip and there’s no sort of, I don’t know, commercial kind of – you know, you go out and you have to this kind of production kind of thing. We go out and we do our own thing. And so everybody who’s gonna be at the show, just goes, “Oh." You know, "there it is." (chuckles) [Rockline, July 13 1992].
Lars: "We both incorporate a lot of the different things. You know, these guys have been out playing stadiums for a while in Europe and stuff, and they got their whole trip, like Slash is saying. And we’ve got our whole thing. We’ve got some ideas with the snake pit that we’ve had indoors, we’re kind of taking that along, and we’ve got some different things. So both our bands are basically gonna have to complete, you know, basically the normal surroundings that we’re used to playing in. And, you know, we’ll each play for forever, basically, so pack your lunch and don’t make any plans for the rest of the week" [Rockline, July 13 1992].

And when discussing whether the tour would also continue into Europe:

I don’t know, because we’re doing our European thing now and Metallica, if they haven’t done it already - you know, it’s gotten to that point where we’re just gonna probably do it in the States and leave it at that; cuz we still got other stuff to do after the States [MTV Headbanger's Ball, May 1992].
For the tour the band would invite charities and activists to set up booths at the stadiums, allowing them to hand out information material, accept donations, recruit volunteers, etc. Initially, the idea started with Axl wanting to help child abuse centers but it grew into encompassing other organizations, too. Represented were child abuse prevention and counseling organizations, local chiropractic education groups, The Children’s Survival Project, Inc., Rock The Vote, Rock Out Censorship, Surfrider Foundation, Amnesty International, Green Corps, The National Coalition for the Homeless, The National Organization for the Reform of Marijuana Laws, People for the Ethical Treatment of Animals, The Animal Alliance of Canada, Rainforest Action Network, and the American Civil Liberties Union. [Press Release, June 1992].

Just before the tour Axl, Stephanie and Dylan had a vacation in Paris, France. As they returned to USA in July, just a few days before the first show on July 17, Axl was arrested when they landed in New York and then travelled to St. Louis to stand before the court. A court date was set for October and Axl was free to do the tour with Metallica. See previous chapter for more information on the St. Louis riot and its aftermath. When asked if this lead-up to the tour with Metallica would be a problem, Axl responded:

Once the music is there, it’s kind of like getting in a car and driving it when the car is completely tuned and it’s running well. And you know how to drive – drive the car. It’s like, when the band’s got the song down, I know the song [MTV, July 12, 1992].
During the Rockline interview Slash would be asked if Axl's legal problems would cause a problem for the tour:

[The tour] will start as scheduled. And Axl was really cool with the whole thing. He just went in and went, “You know, look. You can’t expedite [extradite] me” – because, you know, they can, obviously. And this situation is, he’s in the public eye to this point where he had a little sense of humor about it, and it was just like, “Alright, cool.” He’s gonna be fine. So, everything is great. […]  I can’t give you a better answer than that, just cuz he’ll be fine, and the tour is fine [Rockline, July 13, 1992].
Peter Mensch from Metallica's management team would also comment on Axl's issues: "Promoters were calling us all the time asking about the Axl and St. Louis matter. And we kept saying, 'Don't worry. We'll sort it out before the tour starts.' Doug had been assuring us that things would be OK and he delivered " [Los Angeles Times, August 9, 1992].

Both Slash and Lars Ulrich would admit that the legal problems meant that many fans were hesitant to believe the tour would actually happen. Slash would use Detroit as an example:

For example, Detroit is flipping out, cuz they don’t know if we’re gonna play or not. Cuz we canceled there three times. And it’s not like we don’t wanna play Detroit. It’s just because we’ve had all these - you know, circumstances we’ll call them, which have prevented us from being able to get there. So we are playing, you know? (laughs) So if you got anybody in Detroit, that’s where, you know – we are coming [MTV, July 14, 1992].
Despite the many issues some promoters were optimistic about the tour and its effect on the industry, like Gregg Perloff from Bill Graham Presents, a San Francisco-based concert production firm:

Perloff: "I think this tour will have a huge effect. You have two major headliners playing together in a historic package. Other acts who normally tour alone are going to look at what is happening here and think it makes sense for them, too. […] This tour is a return to the spirit of the '60s and '70s, when you had lots of bands playing together . . . a time when you could see the Who and the Grateful Dead together. […] I'm also excited about the 'Lollapalooza' concept, which mixes music with other elements, from performance art to crafts, and allows greater socialization . . . something you can do every year, like going to the state fair" [Los Angeles Times, August 9, 1992].

During the tour, Duff and Slash would talk about how it came to be:

Well, I think, how it got started is, 1) We’re both good friends, you know. It’s like, when you hang out in L.A., and hang out, like, in the music scene, the only friends you really can keep is guys in other bands; because other people try to, you know, use you or whatever. So, it’s like, the only people you can trust are people in other bands. So, many drunken nights we talked of going out and doing a tour, and it finally came together, basically. That’s about it [Much Music, August 9, 1992].
One of the cool things about it, is that Metallica and Guns N’ Roses, as much as I hate to put a label on it, we’re probably the most against-the-grain bands that have become successful and gotten this big. And, for us, to get together and, sort of, just show the fact that we managed to pull it off, it opens doors for other bands. It makes it so that the rules aren’t as restricting as they seem to be to people trying to make it, or trying to get the foot in the door. It’s like, “just go for it,” which is a good feeling, cuz we really went against all odds and managed to get here, which is cool [Much Music, August 9, 1992].

Last edited by Soulmonster on Fri Jun 28, 2019 12:19 am; edited 1 time in total
Tour plane captain

Admin & Founder
Posts : 9271
Plectra : 57186
Reputation : 785
Join date : 2010-07-05

Back to top Go down


Post by Soulmonster on Mon Jun 24, 2019 1:32 am


In March 1992 the charges against Axl were still pending and Axl was "still at large" [St. Louis Post-Dispatch, March 1992]. To avoid being arrested the band would cancel a show in Chicago on April 3, 1992 and two shows in Auburn Hills, MI, on April 6 and 7, 1992.

Robert McCulloch, the St. Louis County prosecuting attorney would respond that Axl "is easy to find. Wherever he goes, we’ll be waiting for him. If he wants to cancel his whole schedule, fine. If he leaves the country, we’ll notify Customs to get him when he comes back."

Bryn Bridenthal, spokeswoman for Geffen Records, said Chicago police had told Rose "they were coming to arrest him, so the band acted accordingly. Axl has always been where he had to, and this seemed extreme. Why arrest and extradite someone on a misdemeanor charge?" [St. Louis Post-Dispatch, April 1992]. According to Bridenthal, canceling the concerts was "humongous-ly costly" and that Axl “felt he should retreat to a neutral corner” [St. Louis Post-Dispatch, April 1992].

Slash would comment on it all:

I don’t know [what s going to happen], to tell you the truth. I mean, this guy, we made an ass out of St. Louis and he’s pissed off, this prosecutor is pissed off. So he’s trying his hardest to make things difficult for us. But I don’t think he’s gonna win in the long run, you know. He’s sort of pathetic, actually (chuckles) [Countdown, May 1992].
Finally, on July 12, 1992, Axl was arrested on John F. Kennedy airport on the request of prosecutors as he flew in from Paris together with Stephanie Seymour, her child and a nanny [St. Louis Post-Dispatch, July 1992; Associated Press, July 13, 1992]. That Axl was about to surrender had been reported in the media [St. Louis-Post Dispatch, July 10, 1992].

Axl spent 11 hours in arrest before being released on a $100,000 bail [Associated Press, July 13, 1992]. The time in arrest was spent leisurely:

[…] I basically spent my time writing autographs for cops and talking with them about rock ‘n’ roll. I met all these cool cops that were telling me all about when they went to Woodstock and everything. It was great. New York cops are the best [MTV, July 1992].
Axl then travelled to St. Louis with his lawyer, to avoid being extradited, and on July 14 he appeared before Associate Circuit Judge Ellis Gregory in St. Louis and denied his guilt. The trial was set for October 13, 1992 [St. Louis Post-Dispatch, July 15 1992].

Slash would comment on Axl and the case:

Axl’s fine. I talked to him yesterday. He’s dealing with the logistics of this guy in St. Louis and... I don’t want to say anything that’s gonna put the band in a weird position, but I think the guy is an asshole (laughs). […] So he’s dealing with him and he’s got a good attitude about it [MTV, July 14, 1992].
After having appeared before the court in St. Louis, Axl was in a fighting mood:

Now, I’ve been advised not to say anything - or anything derogatory- about St. Louis... Well, St. Louis can suck my dick. You saw the news; I was arrested... “by some unexpected guest”. It wasn’t unexpected! I knew that the motherfucker [=prosecutor] lied and was gonna have me arrested. And the only way we would be here tonight to do this tour was to let that asshole have his fucking way and shove it back down his motherfucking throat (?)!

Now the son of the bitch, after they dropped the deal and we’ll do the tour and I plead not guilty, he doesn’t “want to go to court now with Mr. Rose, I want to work it out with his lawyers.” Too late, little fuck! Because... I’m not fighting just for my own shit. I’m fighting for what I believe in or what I feel it’s the truth. And I’m fighting for (?) 60 fuckin’ people whose lives were threatened in that fucking riot, because that place doesn’t know how to have a rock concert. ... I mean, what... we played some place the last show they had was Jimmy fuckin’ Buffet. Give me a break!

So now, it will come down in October to one of two things: either his career or my career. And fuck him! (?) You don’t wanna another St. Louis (?)? Stop doing shit.

So (?) there’s a certain attitude required; I think it’s called “Live and Let Die”!
[Onstage at RFK Stadium, Washington D.C., July 17, 1992].

Last edited by Soulmonster on Wed Jul 03, 2019 1:52 am; edited 1 time in total
Tour plane captain

Admin & Founder
Posts : 9271
Plectra : 57186
Reputation : 785
Join date : 2010-07-05

Back to top Go down


Post by Soulmonster on Mon Jun 24, 2019 1:36 am


Finally in July 1992 the long-awaited tour with Metallica and Faith No More started. The new element to the live shows was the inclusion of pyro:

If anything, [the stage show] just got bigger. The stage is just a little bit different and it’s a little bit more dynamic, you know. There’s some pyro stuff, some explosions that go off, and we’ve been having a good time with it. And we can just throw in any song whenever we feel like it[MTV, July 20, 1992].
Matt would say the band had gotten better because of the extensive touring they had done:

After touring Europe twice and going around the United States a couple of times, we’re much more of a unit than we were. We’re definitely a serious band now. Then. I think we were feeling out what songs were working. When you come out this time, you’ll see the difference[The Indianapolis Star, July 21, 1992].
The first show of the summer tour co-billed with Metallica took place at RKF Stadium in Washington DC on July 17, 1992. Before this show the band rehearsed for one day:

We stayed on the road, we had two weeks off and we had one day of rehearsal in Washington before the show in Washington. That was basically it. And we don’t even get soundchecks anymore, you know? So we all have our own ways of warming up before every gig. We’ve been playing the songs long enough, to the point where I don’t think we necessarily have to rehearse on, you know – except for the old stuff that we haven’t played [MTV, July 20, 1992].
When being asked if Axl participated in rehearsals, Slash responded:

Well, ever since the band started we’ve never really rehearsed with vocals, cuz we were too loud. […] Well, I mean, obviously there would be a preference if we could all play together. I mean, we all feel that way, Axl included. But because we won’t sacrifice the band’s actual sound - we have to play that loud - there’s no rehearsal PA that can handle it. So we rehearse sometimes, like, you know, at Axl’s place or my place or Duff’s place if we want to get parts together, and then we just go and wing it at the shows. […] [Axl] couldn’t hear himself [if he rehearsed with them using the rehearsal PA], which is worse than anything because it’s bad on his vocals, his vocal cords [MTV, July 20, 1992].
Slash was awed by the huge production:

I mean, all things considered, walking into a production of that size after being off the road for two weeks, not really knowing how it was gonna feel like or look like, walking into the building and just having that, sort of like, slow perspective of how big it got as you’re walking down the halls all opening up and you finally get outside to where the actual stage is, seeing 100 and, God knows, how many people putting up this fortress so that you can go out and play, it was a little overwhelming. And considering we didn’t plan ahead for any kind of show - you know, same way we’ve always done it. […] We just went in and we rehearsed some tunes that we haven’t played in a while in case they came up. And that was basically it, and then we just started the first show in Washington, and just said, okay, click, click, click and you’re on. And we just – you know, what we’re gonna play first...[MTV, July 20, 1992].
Going into this thing, none of us really knew what it was going to be like. We just sort of went in blind. But there’s a certain kind of feeling when you’re walking down the hallway from outside the venue and then the whole stadium opens up to you as you get farther down the hall. The actual doorway opens to this huge stadium and there’s this stage that’s set up — I mean the scaffolding alone is amazing — and it’s a little overwhelming because a hundred some-odd people are putting this together and all of a sudden you feel really humbled by the size of the event. As an individual, as a band member, you feel really puny. It’s hard to see that you’re that significant and this amount of work should be going on in your honor[Boston Globe, July 30, 1992].
At some point after their first show, Kirk Hammett, lead guitarist of Metallica, was asked to talk about Guns N' Roses:

Hammett: "We get along. I mean, there’s no rivalry. Any sort of competition would be friendly. It’s been a long time since we’ve toured with another band, so, you know, this just sort of gives us a big kick to have another act out there on the same stage. And we have to squeeze 150 percent out just to make sure that we leave the right impression on people. We’re going to be playing in front of their fans and they’re going to be playing in front of our fans" [The Boston Globe, July 30, 1992].

The second show was at Giants stadium in East Rutherford on July 18. Apparently this was a particularly good show:

Being asked if this was a great show because the audience went nuts: They weren’t nuts. There was just more energy coming off of them. And I think a lot of it had to do with Bas [Sebastian Bach] and Mike Monroe were standing on the side of the stage and that made me really happy. It was just like, you know, go off. I was really happy that they were there. […]  And that just made me, like, work harder. I really liked that[MTV, September 1992].
Slash would claim they tried to reduce the late starts but that the stage change after the Metallica set made it hard:

We’re trying to be a little bit more considerate about [the late starts], especially because of the heat. You know, the day is long enough for the people who are going. It starts, like – the doors open at 2:00. […] You know, Faith No More goes on for 45 minutes to an hour, Metallica’s on for 2 h and, sometimes, 2 h 15 minutes. And then, you know, the set change between us and Metallica is 1 hour 15 min, because they’re both big productions and so, turning the stage around like most bands do, we have to take down Metallica’s stuff and put our stuff up, and it takes a long time. So by the time we get on, unfortunately most of the kids are burnt out (laughs). But then, you know, we play for 2.5 hours, 2 h 45, something like that. So we try and get on as soon as possible. For the first time at Giants Stadium we were actually ready to go and the stage wasn’t up yet. [...] All of us were standing around. You know, it was an unprecedented event[MTVs, July 20, 1992].
After this they travelled to Pontiac for a show at the Pontiac Silverdome on July 21. This was close to Detroit and Axl apologized to the audience for having cancelled two previous shows in Detroit [The Detroit Free Press, July 22, 1992]. Backstage the band had a beach party with a "champagne fountain, pinball machines and a pool table" [The Detroit Free Press, July 22, 1992].

The next show was at the Hoosier Dome in Indianapolis on July 22. After the show, music critic Marc D. Allan, writing for the Indianapolis Star, criticized Axl for wasting the time on stage with rants that displayed an "arrogance and petulance that may be cute on the gossip pages but have no place in a concert setting" [The Indianapolis Star, July 22, 1992]. In response, Axl penned a letter to Allan which Allan would later make public:


You don't get it... Wait that's too easy... Maybe you don't want to get it - or you'd have to face yourself and oh my God that's just too scary. Maybe It's impossible and it's too late for you - you know, have someone stick a fork in your ass and turn you over you're done. Indiana needs to wake up and hey if that takes a little taunting and 2 and half hours of music + a fireworks show + cartoon for a total of 2 hours and 50 minutes to wake up maybe 5% of a 48,000 plus crowd then so be it. I can also suffer your redneck, blind, narrow minded refuse about ranting - you nor anyone will ever dictate my actions, attitudes, comments, oratation, and musical performances on stage. Don't kid yourself and act above, better than, or even comparable to me or G N' R. If that were true there'd be no reason to censor my language in your basic Indiana attempt at journalism.

I came here to enrage... Thank you, you have helped me know I succeeded. I've made my inquires. I am your Rock N' Roll nightmare. And you... You're just gonna sit on your wanna be ass and watch me. born a Hoosier, grow larger than you could ever imagine or ever be able to stop. That's not to say I didn't appreciate your anger, hostility and general ignorance. It shows me my so called "RANTS" are a much needed, missing piece in our puzzle of society.

stay away from microwaves-

Love Axl

P.S, Oh, and it was never a battle O' the bands. I imagined this thing, and everyone wins, as long as I show up to my own dream, that is!!!
[Letter to Marc D. Allan, July 24, 1992].
Some shows into the tour the newspaper Star Tribune did interviews with Duff and James Hetfield where they separately were asked the same questions. One of the questions was how the tour was going:

Excellent. Everybody is getting along great. Everything is running really smoothly. All the bands are going on [stage] on time, believe it or not. I'm waiting for something to happen. I'm used to it not running smoothly [Star Tribune, August 4, 1992]
Hetfield's answer was slightly more reserved:

Hetfield: "Not bad. It started a little rough, but it's getting better as far as working out the stage (starting) times and all the piddly crap that certain bands like to blow out of proportion — little things like ego ramps [used by GNR] and stuff we don’t care about. We're there to play music" [Star Tribune, August 4, 1992].

Another of the questions was for Hetfield and duff to say something nice about the other band:

I like their integrity and how they relate with the crowd. When they did Monsters of Rock two years ago, they blew away every other band just because they relate to the kids so well. Of course, I love their music and the guys. It's really cool because it's like a big family on the road [Star Tribune, August 4, 1992]
Hetfield: "I'm still trying to figure out how many people are in the band. At different points of the set, there's different people up there. I like the fact they're really loose and they just play any song at any time. […] They get loose onstage guitarwise and just kind of jam, which I really like. I like Slash's guitar playing. Matt is a great drummer. I'm into that [Lynyrd] Skynyrd vibe, and it kind of reminds me of that a little bit. The fact that they do have other instruments up there — piano, harmonica, horn section — is really cool. They've got no limits on what they're doing musically, which I like. Oh, I like Axl's shorts; they're really cute" [Star Tribune, August 4, 1992].

After Indianapolis the next show was at Rich Stadium in Orchard Park on July 25. Life Magazine would describe the band preparing to go on stage:

"Before their show, while Faith No More and Metallica play in the hot sun, the G NR guys spend their day at the hotel, getting mentally prepared for their performance. Slash drinks Jack Daniel's and watches cartoons. Bass player Duff McKagan talks to his wife on the telephone; his heart has been aching a lot lately. Some of the other guys sleep; they often don't get to bed until seven a.m. Axl works out on his amazing state-of-the-art exercise machine, chats with his brother and sister, who are accompanying him on the tour, then has his back cracked and his ankles taped, gets a massage and stretches his throat muscles with operatic warm-ups. When they finally get to the stadium, all the guys except Axl convene in one large dressing room where they hold their breath, squinch up their faces and work their skinny legs into impossibly skinny leather jeans. They laugh, tease one another about their latest softball-playing antics, drink, flip through Penthouse, Raw Sex, Hot Split, Big Boobs and other magazines that have been fanned out for them just so, like literature in a doctor's office. There is a genuine camaraderie here, although Axl sets himself apart from the rest and is generally regarded as a thoroughbred racehorse, a Buddha, the Wizard of Oz or some other being upon whom otherworldly powers have been bestowed" [Life Magazine, December 1992].

Then followed Three Rivers Stadium in Pittsburgh on July 26, before returning to Giants Stadium in East Rutherford on July 29.

Before the concert Slash would be asked whether there was a "battle of the bands" competition and if he felt the pressure of touring with Metallica:

No, and I mean that. I just want the fans to think that it was a great day--like going to the circus or the zoo, where you remember loving the day and not just one thing about it. It's not like we are out there to kick Metallica's ass or vice versa. […] There is pressure, but the way I deal with it is just having our band be as good as we can be every single night. I don't even go to the gig until right before we go on. I haven't seen Metallica since we started touring because I don't want to be intimidated or influenced even subconsciously [Los Angeles, August 9, 1992]
Close to the ending of the set at Giants Stadium, with about 2 songs or 10 minutes left to play, during 'Knockin' On Heaven's Door', Axl "stormed off" the stage [Los Angeles Times, August 1, 1992]. The band continued playing for another five minutes before Duff announced that Axl had left after being hit in the groin by a lighter and that the show was over [Los Angeles Times, August 1, 1992; Hartford Courant, July 31, 1992].

Life Magazine would recount the episode:

"At a concert in New Jersey's Giants Stadium last July [Axl] was swaying back and forth in his white spandex shorts, white funged jacket, white cowboy hat, doing a moving rendition of "Knockin' on Heaven's Door," when all of a sudden - zzzing!-some kid in the audience threw a lighter and hit him in the crotch. Axl stopped singing. He turned his back to the crowd, threw his microphone into the air, tore off his hat. And he left. Soon the crowd started chanting, "Axl, Axl, Axl," until the house lights came on and the fans stood there looking incredulous and dejected and empty" [Life Magazine, December 1992].

A band spokesperson would claim the in addition to being hit, Axl suffered from a sore throat and because of this the next three shows would be cancelled [Los Angeles Times, August 1, 1992]. Axl's bad throat would be confirmed by Slash in his autobiography:

At the Giants Stadium show at the end of July, Axl barely made it through the set due to the state of his voice. He was adviced by his doctor to rest it for a week, so we cancelled the next three dates [Slash's autobiography, "Slash", 2007, p. 358]
Axl would be frank about what happened:

And the second night in Giant Stadium was, you know, I got hit with a couple of things a couple of different times, once when I was, like, thanking the crowd and then I got hit later, and we just kind of like – you know, I’m not gonna allow this[MTV, September 1992].
The three cancelled shows, to be rescheduled, were in Minneapolis, Foxboro near Boston and Columbia, S.C. [St. Cloud Times, July 31, 1992].

The night before the show at Giants Stadium, Guns N' Roses and Faith No More, with their crews, totaling 160 people had dinner at Old Homestead in New York, Axl's favorite NY restaurant [New York Daily News, July 30, 1992]. One of their waiters revealed to Axl he would miss class next day due to the long party, to which Axl wrote a note to his teacher:

"Dear Mr. Sacco, I’m so sorry Randy was absent from school as he was working hard to feed starving heathens. Please excuse him, as with any luck it will happen again. Sincerely. W. Axl Rose" [New York Daily News, July 30, 1992].

Last edited by Soulmonster on Thu Jun 27, 2019 8:31 pm; edited 1 time in total
Tour plane captain

Admin & Founder
Posts : 9271
Plectra : 57186
Reputation : 785
Join date : 2010-07-05

Back to top Go down


Post by Soulmonster on Mon Jun 24, 2019 1:38 am


Band members quickly realized that they had musical ambitions that went beyond the confinements of "Guns N' Roses".

In 1988, Axl would say a solo record was unlikely, but that if he wasn't satisfied after the release he might explore, like movies:

I hope I'll be really satisfied after [releasing the follow-up to Appetite]. I don't want to go solo, but there are areas I'd like to explore - maybe movies - where I might not be able to stay in the band to do it[Musician, December 1988].
But in 1989 the tune had changed:

I want to do five records in two years[RAW Magazine, May 1989].
And those five records were, as written by Raw Magazine, "the next studio one (possibly a double), the live one, his own solo LP plus two EPs, firstly a Punk covers record and, secondly, another acoustic set, this time with X-rated versions. And then there's the films..."[RAW Magazine, May 1989].

He would further elaborate on a solo record in 1990:

I can imagine finding people that play really good that I want to do songs with and see about possibly putting a solo project together at some point, but not getting the same effect. But I can't really see trying to duplicate what Guns N’ Roses is, because Guns N’ Roses is so much more than we ever thought it really would be[MTV Famous Last Words, August 1990].
In mid-1992 sources from the camp of Guns N' Roses allegedly said that Axl wanted to star in a movie and that they were "looking at a script a week" [The Akron Beacon Journal, August 23, 1992]. Allegedly, Axl had gotten a taste of acting after the November rain and Don't Cry music videos.

In addition it was reported that Axl had "been saving songs since at least the Use Your Illusion recording session" and wanted to release a solo record after the Illusion touring [The Akron Beacon Journal, August 23, 1992].

Axl would shed more light on what direction a solo record would go in:

I want to do some stuff on my own, but not as a means of trying to prove my own sense of identity. You know the song My World on UYI II? I want to do a whole project like that by myself and with whoever else might want to be on it. But right now it's just me and a computer engineer. It's just raw expression-just putting ideas together. We just go in, say "what do we want do do" and get to work. We completed My World in three hours. It's something that I need to get out of my system, but it's not something I want to base my career and future on[Hit Parader, June 1993; interview from December 1992].
To help him out with this solo project he would like outside collaboration:

Trent Reznor from NIN is one, and Dave Navarro from Jane's Addiction is another guy I want to work with. I've talked to Trent about working with me on an industrial synth project, at least on one song, and I definitely want to work with Dave on something. I've always been curious what he would sound like working with Slash on something[Hit Parader, June 1993; interview from December 1992].

And talking more about Navarro:

But the idea of working with [Navarro] excites me to no end because I still put on Jane's Addiction and it always seems brand new, no matter how many times I hear it. I'd like to try to achieve a fusion of what they were trying and what GNR is doing. I think that blend, if taken seriously and patiently, could be amazing. It could be a fuller thing than anyone's done before. Dave and Slash together could be incredible-two guys very "out there" on their own, working together[Hit Parader, June 1993; interview from December 1992].

Slash would also entertain the possibility of doing a solo record:

I plan on doing one one day. I'm sure [Axl] does as well[Circus Magazine, May 1989].
By August 1991, Slash would state that he intended to do a record with another band if Guns N' Roses experienced a long downtime:

But if we take a long hiatus again, I'd like to put out, not really a solo record, but something with another band—a temporary thing that I'd control. It would be geared towards an almost heavy metal funk-rock concept—music with killer rock and roll vocals and the most awesome riffs. Almost like "Jungle," only a little bit tighter and heavier. A long time ago, Aerosmith got close; Beck has a couple of magic moments too. But I don't want it to be a guitar record where I'm off on some solo trip, 'cause I think that's really boring[Guitar Player, December 1991].
In early 1992 he was asked about a solo record again:

Ha! As far as me doing my own thing, I haven’t given it much thought because I’ve been too busy concentrating on Guns. It’s kept me pretty occupied and I can’t really look at anything other than day by day, that way I don’t get any nasty surprises when things fuck up![Raw Magazine, March 4, 1992].
When asked again in July 1992 Slash would say that other than Duff's solo record there were no other in planning [Rockling, July 13, 1992].

The first one out was Duff. In 1991, he had started working on his solo record. As reported by The Seattle Times: "While here next week, McKagan will spend a day recording a song dedicated to Wood at a local studio, working with local musicians. It's for a solo album he hopes to release later this year. Lenny Kravitz and Sebastian Bach have already recorded tunes with him, and he's asked Prince to join him in L.A. in two weeks to complete the project" [The Seattle Times, July 1991]. In October 1991, it was reported that Duff had "already signed the deal with Geffen, has got Lenny Kravitz involved and says Prince might sing on several tracks" [VOX, October 1991].

I have Slash playing, Lenny Kravitz is singing on one song, Sebastian is gonna sing. I sing on the rest. It’s something I’ve always wanted to do. Nothing selfish or anything. It’s just, you know, I’ve had all these songs and I wanted to get it out, and that was the best way to do it. I was supposed to get another drummer come in, but I could play drums, and who would be better to play it than myself. They’re my songs, right?[Finnish TV, August 1991].
I got Lenny Kravitz, he’s singing one song. And Sebastian from Skid Row, he’s going to sing on another song. Slash is putting some leads on here and there. And Prince, hopefully he wants to do it. He’s like an inspiration to me as far as songwriting goes, big time. It’s turning out pretty cool. I’ve got eight tracks done, all my tunes[Circus Magazine, November 1991].
In February 1992, Duff would say the record was coming out in the summer and that it was on Geffen [Video Interview, February 1992]. The same month, Slash was asked about Duff' solo record:

[…] it’s not so much a solo record as a record [Duff] did working with all kinds of different people. It’s one of those records which came from the fact that he had a load of songs hanging around. He started recording it when me and Axl were doing guitar and vocals on the last album and he had dead time. He was just keeping busy. It’s gonna come out after the tour’s over. It sounds pretty good some of it although I haven’t heard the whole thing. There’s a song on there that I have to play on. It’s got to get finished[Raw Magazine, March 4, 1992].
It's basically something I wanted to do since I started playing guitar. We had some down time last spring, before we hit the road, so me and [producer/engineer] Jim Mitchell started cutting tracks. I play drums, bass and rhythm guitars. Slash plays some lead, I play some lead and Snake [Dave Sabo, from Skid Row] plays some lead. Sebastian [Bach] sings one song. It's working out very cool. We're recording it here and there, no big rush. The working title of the record is Believe in Me. It's different from a Guns N' Roses record, because it's stuff that I've written all on my own, a lot of times when I was alone. There's a lot of heavy Duff-isms. […] This is something I've always wanted to do. And it's not to differentiate myself from Guns N' Roses. I've wanted to do this since before Guns, but now I have the opportunity and the resources. Hey, I'm not trying to depart from GN'R - everyone knows that - it's just my own little trip. You know, I've been touring since I was 15, and I'm 27 now. The time is right[RIP Magazine, March 1992].
For the April issue of Guitar for the Practising Musician, Duff would discuss his solo record and say he intended to release it in the summer or fall because he wanted to tour it together with Slash:

I got a solo deal with Geffen. The record's called Believe in Me. I recorded the majority of it while we were on the road, which kept it pretty fresh. I've been recording all over the place, from London to Seattle. I did some drum and piano tracks in Dallas for a song called "Lonely Tonight," where I went in after we played three hours. It was four in the morning and I recorded till one or two in the afternoon. […] At first I was going, 'Okay, we'll try doing it this way.' Jim, who engineered the Guns N' Roses record, is co-producing it with me. I didn't know if it would work or not, or if you'd be able to tell by the tracks that I was tired. But you get a second, third or fourth wind, and it puts you in this state of mind. I don't know how to explain it, but it's great. Matt played drums on one song. Rob Affuso from Skid Row did drums on one song. I did drums on the rest of them. Bas sang on one song when we were in London, and Rob played drums in Denver and Snake played guitar on one song. I pulled some real bluesy stuff out of him that he didn't realize he had. I turned off all the lights and lit some candles. It's piano, bass, and just a kick and a snare. It's real bluesy, low, subtle. We just got him in the mood. It took a wile but he just let go. I said to him, just pretend you're on a porch somewhere. […] I'm almost done recording, but I'm not going to release it till late summer or early fall, because I'm going to tour on it. I'll play rhythm guitar and sing, Slash is going to play lead, Mac will play drums, and this guy London McDaniel is going to play bass. Teddy, who plays with us now, is gonna play keyboards, sax and harmonica[Guitar for the Practising Musician, April 1992].
This has been a dream of mine, since I was 15, to do something myself. I was always a big Prince fan, especially of the early stuff, like Dirty Mind, that he did by himself. Now I'm afforded the chance to do it. Some of the songs are bits and pieces of stuff I've written years ago. I have an 8-track up at my house, and I've got 40 or 45 complete songs[Guitar for the Practising Musician, April 1992].
In April Duff would comment on what instruments he plays on the record:

I play drums on most of the tracks. Matt played on one track. And I played bass, obviously, and I play guitar, and I sing, sort of[From April 20, 1992 but shown in MTV Special, July 17, 1992].
He’s got a rock tune with a rap in the middle. And it’s - you gotta hear it. It’s different, man. It’s definitely Duff[From April 20, 1992 but shown in MTV Special, July 17, 1992].
In an interview in September 1992, Duff would say he intended to release the record in February 1993 [The Gazette/Orange County Register, September 26, 1992].

This is something I’ve wanted to do ever since I was 15 years old[The Gazette/Orange County Register, September 26, 1992].
It was rumored that Matt and Gilby would play on the tour intended after the release [Heavy Mental, 1992], and Duff would confirm this in April 1993:

Oh, man, it’s cool! I’m not going to release it until we’re just about one touring. I’ve got a fucking awesome band together: our drummer Matt’s playing drums, Gilby’s playing lead guitar, I’m playing rhythm guitar…. We’re going to play five nights a week, very scaled down, only two tour buses, playing theaters - kinda like it should be, ya know? Just getting up there and playing. […] People ask me what the album’s like, and I say, ‘Well, it’s songs that I’d written or ideas that I’ve had rolling around in my head since I was 15’. It’s got a Hardcore Punk song on it, but it’s really mainly power songs, heavy, Rock-Pop. I don’t know. I hate categories. You just have to hear it[Kerrang! April 1993].
In March 1993 it would be reported that Axl, Slash, Matt, Jeff Beck and Sebastian Bach would be featured on Duff's solo record and that it would be released in August [The Boston Globe, March 12, 1993]. But in an interview in the same month Duff would not mention Axl:

Lenny Kravitz played on a song, Jeff Beck asked me if he could play on it. It took me, like, a tenth of a millisecond to say yes. Now let me think about that for a second. Slash played on a song, Matt Sorum is gonna be playing drums on a song, Teddy played keyboards, and then Dizzy, Sebastian and Rob from Skid Row played on a song. It’s great. I mean, I got, you know, a little help from my friends. It’s great[MTV, March 1993].

Last edited by Soulmonster on Tue Jul 16, 2019 1:21 am; edited 8 times in total
Tour plane captain

Admin & Founder
Posts : 9271
Plectra : 57186
Reputation : 785
Join date : 2010-07-05

Back to top Go down


Post by Soulmonster on Mon Jun 24, 2019 1:39 am


F[…] we have two "making of" videos coming out-and in typical GNR fashion we'll be putting out Number Two first. It's called making F**King Videos-Part II November Rain. Then we're putting out another documentary about the making of Don't Cry. We still have yet to write what will be the third part of that story, which will be Estranged, which will show what happened, and why [Hit Parader, June 1993].

Axl was interested in movies and films and with the videos for 'Don't Cry', 'November Rain' and 'Estranged' he attempted to realize his lofty aspirations for filmatic music videos. It was later be said that Axl "wants to experiment with music, film and video, and produce clips that will no doubt redefine the genre for the MTV generation" [RIP Magazine, March 1992].

The music videos were loosely based on Del James' 'Without You' novel, which again was loosely based on Axl's life, and they would be directed by Andy Morahan.

It was a fictional story that my friend Del wrote based off – you know, I inspired him to write this story, because we were a rock band and we were working on our first album - it wasn’t even out yet - and I was pretty much out of control and we were all into the rock ‘n’ roll lifestyle. And he wrote this story about this guy who just becomes bigger than life, and the troubles he has in his relationship and keeping that together; basically about this couple in this relationship, and trying to deal with this lifestyle, and what happens to them. And so, little by little, we think about it, figure out how the next part of the story and stuff – we talk about it and he’ll write a little bit more. And all of a sudden it was kind of like, we sold 8 million records, and all of a sudden I was becoming what he had written about. He called me really upset one day, going “I wrote my friend’s death.” It was like, we’re in that one video where I find my gravestone and stuff like that, and that really freaked him out and he’ll write two other stories. So it’s kind of like a fictional story which had autobiographical and based off things that happened in real life. And now it’s like, with Stephanie it’s a real trip because some things are based off my previous relationship, and some things are fictional, but I’m in relationship with her [MTV, September 9, 1992].
Andy [Morahan] puts up with more shit and handles this organization of Guns N’ Roses, all the time changes and schedules and stuff so easily. He’s just so into the project. That’s just been great. I mean, we write together really well and really fast, and got the ideas out and go, “Boom, that’s it.” And if we have to change it last minute, we just do it. […] Don’t Cry was Josh Richman and I working on it and then working with Andy. November Rain was more Andy and I working, and Andy just running with the ball putting everything together; and everything’s worked really, really well [November Rain: Makin' F@*!ing Videos Part II, June 22, 1993].
Del James: "The 'Without You' story came about on a night where Axl called me, when he was still living with his girlfriend - who later on became his wife – Erin Everly, at about 4:00 in the morning and said, “Dude, you have to come over here.” […]  Essentially, the short story is about a rock star, who was inspired by Axl, who writes a song called “Without You” about the woman who he loves but he can’t really have. […] It was frightening to be around them. There was so much insanity, you know, that was brought upon by their love and their insecurities that had inspired me to write this short story called “Without You.” This is before Appetite for Destruction was released. […] I wrote the story after the night that I spent with Axl and kind of showed it to him, kind of uncomfortably – you know, “What do you think of this?” […] After I showed the short story to Axl, it kind of helped him finish the song Estranged, especially the verses that say the words “without you.” […] Although this character, whose name is Mane in the short story, has the rock ‘n’ roll world by the balls, the woman who he loves he can’t have. So his crown jewel, his song that everybody loves and respects, is also his damnation. The world might perceive a superstar having everything, all the luxuries; but it’s simple things like love and relationships that at times are the hardest to keep. […] Throughout his self-destruction, he finally builds up the courage to try to sing the song to his beloved who is in heaven, knowing that she can hear it if he can get through it. But, as any good story, it has a twist. Now he has to make a choice and, hopefully, the videos will resolve that answer. […] Anytime you face some celluloid on writing, it’s going to lose something. But also, on the flip side of this, there’s things I might necessarily not have written that people give me credit for. And it kind of makes me feel uncomfortable, you know? If someone sees the video, then reads my story and feels let down, I apologize. […]  The short story is included in my collection of short stories. It’s called “The Language of Fear Vol. 1” and it’s just a matter of time before that book comes out. And it’s horror. […] Before the Illusions came out, there was talk of actually developing Without You into full length feature movie. Due to logistics, that hasn’t been able to be a reality. So what has happened is that there’s, like, kind of a condensed version of the story in the visuals. Don’t Cry segues into November Rain, which hopefully, if there’s time, will be Estranged – you know, the third part of it, and it’ll all kind of make sense and we’ll tell this pretty heavy tale [November Rain: Makin' F@*!ing Videos Part II, June 22, 1993].

He started writing this story kind of based off my relationship and used that kind of for inspiration. […] A relationship of a singer and a woman, and a huge rock band. […] One of the things about the story is that it was about this band that gets huge. And all of a sudden it dawned on me, and I just said, how could we ever really imitate that of afford to do it; you know, why don’t we just use our band [November Rain: Makin' F@*!ing Videos Part II, June 22, 1993].
Reportedly Axl had planned the schematics of the associated music video to 'Don't Cry' already back in May 1991 [RIP, September 1991].

If it works, you know, if it transfers to film right – I mean, each individual scene will, but it’s how the scenes flip together. It’s gonna be important. It took the motherfucker long enough time to write it (laughs) [Don't Cry: Makin' F@*!ing Videos Part I, June 22, 1993].
If it works, it’s, like, the first step towards bigger type of projects, not necessarily meaning just for videos, but if we really want to film, you know, something feature-length, this is our first try at it. Because, I mean, there’s no, like, real rehearsals. It’s just, like, rehearsed one day, “Go!” (laughs) [Don't Cry: Makin' F@*!ing Videos Part I, June 22, 1993].
For me it’s a (?), because I’ve never been in a full movie set or anything like that. This is really easy. I mean, they have a good concept of what we’re doing. Working with this kind of budget, we want to make sure we get it right. Andy [Morahan] is great. This shredded plastic, this is really fun to breath. We’re back to work. [Don't Cry: Makin' F@*!ing Videos Part I, June 22, 1993].
[…] the video that we just did for 'Don’t Cry' fits even better with the new lyrics than the old one [Rockline, November 27, 1991].
In the videos Stephanie Seymour would play the role of Erin Everly in scenes depicting events in the relationship between Axl and Everly [MTV, September 9, 1992]:

It’s really strange, you know. It’s a bit difficult for her, but she gets into a part and understands what we’re doing. But sometimes it’s very surreal, like when we got married it was – I mean, Slash looked at me and said, 'Dude, I just watched you get married 9 times' [MTV, September 9, 1992].
With our video for "Don't Cry," and the fight that Stephanie and I had over the gun, you don't necessarily know what's going on. But in real life that happened with Erin and myself. I was going to shoot myself. We fought over the gun and I finally let her win. I was kind of mentally crippled after that. Before shooting our documentary, I said, "This seems really hard, 'cause it really happened." And the night we wrote the scene, my friend Josh said, "Okay, how are you going to play that?" He wanted to rehearse and I was like, "Look, leave me alone." But he kept pushing until, finally, I stood up. I had this cigarette lighter that looked like a real gun and I said, "Look, I'm gonna do it like this." And I just went over and slammed around in the hallway a bit and threw the gun and said, "Is that good enough for you?" And he said, "Yes!" 'Cause I knew what I was going to do and from that point on he knew that I would be able to play the parts that we were writing. But it was a very painful process doing that and it's even weird now to be involved in a relationship where the person I'm involved with is actually playing parts that are written about the two of us, about fictional characters, about things in my past relationships. It's a very touchy thing to do [Metallix, 1992].
Talking about the drowning scene:

One of the hardest things I've ever done was to film the drowning scene in "Don't Cry." We had four guys in scuba-gear and we were in a swimming pool, camera and crew everywhere, bubble machines, and the camera comes swinging overhead and they would say, "Go!" And they'd pull out the floater and all of a sudden I'd have to go into drowning, and I'm drowning. Then I'd flash the peace sign and they'd come in and rescue me and pull me to the side of the pool, and after three takes I was done. I couldn't do it again because I was so exhausted. But, it was a real mind trip because that's how my life had felt for I don't know how many years, especially in my last relationship. I've always felt like I was drowning and being pulled down. Trying to save us both, being pulled down and everything. When I went back to my trailer all of a sudden, I broke down for a bit because I was experiencing that "Okay, now that's over, and you've expressed it, got it out of yourself." But the closeness to the reality, that was just a metaphoric scene of how I really felt. It was so close to how I really felt, it was really disturbing and hard to do, but by doing it, it helped and something for me and helped me heal and get over certain things [Metallix, 1992].
Well, I mean, hopefully on film she’s supposed to look very peaceful. And it’s like, right after the fight seems, like, mellowed out, and I feel like I’m being drowned by this relationship, because this person has calmed down, the gunfight thing is over, and they’re completely calmed down, and I’m freaking out thinking, you know, this person’s at ease and I’m still drowning in this mess [Don't Cry: Makin' F@*!ing Videos Part I, June 22, 1993].
Talking about the scene with the demon:

You know, there’s a lot of things on the record and the past records that people call my “demon voice” or, like, that I’m going into certain moods and that’s the demon, so I kind of wanted to put that into an actual character and show it. And I feel like there’s a part of me. […] You know, everybody has their demons that they have to deal with, and most people don’t, and you have to face these things. […] There’s a song we have, Perfect Crime, which says “Keep the demons down.” And it’s like, most people do that, in one form or another they try to keep everything down and not understand why there are certain ways or why they feel certain ways. […] This was, like, a part of me and going to have to come back again. And it’s recognizing the light and, you know, at first it’s scared of it, and then, the second time, it just sighs away, “I like this, this feels good, this is warmth and I haven’t seen warmth in a long time. […] I kind of like this. I kind of like this a lot. I think this is the new me. “Don’t fuck with me,” “Don’t fuck with me.” That’s what I’d like to tell everyone in St. Louis: “I’m fuckin’ green, so don’t fuck with me.” Me and others like me will probably climb up through your intestines and keep the lining out of your stomachs [Don't Cry: Makin' F@*!ing Videos Part I, June 22, 1993].
Talking about the grave scene:

The reason it says 1990 [on the tomb stone] is because 1990 was, you know, a very suicidal year. Some things were really good, and then with the marriage not working and stuff like that. It just made me realize all kinds of things haven’t ever really worked, and I got to get through it and figure out why so many things continually go wrong [Don't Cry: Makin' F@*!ing Videos Part I, June 22, 1993].
Talking about the fight scene:

It’s gonna be a real bitch to do this, because the other scenes were a lot easier; with the makeup and everything it was a lot easier to get into the character. The fact that this situation, the scene is very close – you know, it’s somewhat of a dramatized reenactment of something that really happened. […] So it’s really hard emotionally to do it, and to put myself in that place and think about it, because I was really upset that day. The room here and stuff is nothing like where I lived, but it’s what we could get to do this. It looks cool, it’s fine; we’re making the best of it. We might as well not establish it with any of my stuff, because, it’s like, nothing in here is anything of my stuff, so it doesn’t really fucking matter. So when I first got here tonight, I saw it and I was just like, “This blows. I want the fuck out of here” (laughs). Every scene is getting completely different than what we sat down and talked about, so I’m loving it [Don't Cry: Makin' F@*!ing Videos Part I, June 22, 1993].
Talking about the hospital scene:

The scene we did the other night was originally written with Izzy in it, and he didn’t want to be here. So we had to improvise and we changed the way the room looked – anyway, that was something that came up. […] The characters that I was playing were much different, because it was originally written, like, just sitting in a hotel room kicking it, and then it would change to, like, being in a hospital – you know, kind of to represent a mental ward downstate and trying to work on things. And then, like, to me it’s there he walks, like that’s on stage and stuff, and he walks in. And that was supposed to be Izzy, and it wasn’t Izzy, so we had to come up with that, like, on the spot, and figure out what to do and how to make it all fit together [Don't Cry: Makin' F@*!ing Videos Part I, June 22, 1993].
Having to replace Izzy with a second Axl made the video into "the Axl video", which wasn't Axl's intention:

I didn’t really plan on this being completely “the Axl video,” and now, in ways it’s kind of turning out to be. So that was really hard, because I want the band to be happy, and everything for us to gel, and get along there [Don't Cry: Makin' F@*!ing Videos Part I, June 22, 1993].
One scene in the video shows a baby with differently colored eyes:

Well, the eyes, it was different babies, and it was meant to be that it was two different people, you know, and it was like birth and rebirth. And it was meant to show that, you know. And we just used green eyes cuz I have green eyes. And “there’s a lot going on” means that there’s a lot more going on in the world than most people think or care to realize [Rockline, November 27, 1991].
Since Izzy didn't show up for the filming of the 'Don't Cry' video, Dizzy had a sign with "Where's Izzy" written on it on his back in a scene in the video:

If you see the sign that says “Where’s Izzy,” that’s me, that’s my back. Other than that it’s a really great video [MTV, May 1993].
At the end of the music video for 'Don't Cry' the text "P.S. thanx Joseph!" is shown. In his 1991 Rockline interview, Axl would explain this was to honor Joseph Brooks who had played a role in the band's early success:

And Joseph was the guy who... You know, Don’t Cry was his favorite song. He’s a DJ out here in Hollywood that keeps a lot of bands alive, and keeps people listening to them - you know, a bit alternative and a bit hard rock - and he works in all the hard rock clubs. And he’d got our song, Don’t Cry, to the record company in the beginning, and I didn’t feel that anybody that he had helped had really thanked him enough. And I knew if I put it on there, it would be permanent, and if I didn’t put his last name – his name is Joseph Brooks – people would be like, “Oh, who is Joseph?” [Rockline, November 27, 1991].
In the March 1992 issue of RIP Magazine it was said that the band planned a documentary detailing the making of the music video for 'Don't Cry' that "will answer all the questions about the clip and what it all means" [RIP Magazine, March 1992].

I’m really proud of Don’t Cry and November Rain. I really like the writing of the story and putting all the scenes together. And “Why did she die?” “How did she die?” “What happened?” And it’s like, we’ll tell you later (chuckles) [MTV, September 9, 1992].
The second music video in the trilogy was for the single 'November Rain'.

November Rain is a part of this story and shows different elements of this story. And I don’t really want to say where in line it falls, but it does show me going to bed and waking up on the nightmare at different points in the video. [November Rain: Makin' F@*!ing Videos Part II, June 22, 1993].
You know what? They did something that was really interesting and I’d never thought about. It was playing live. We actually played live while we were doing the video. That was very cool, because you get into it a little bit more - cuz I’ve done lots of videos and I always, you know, pretended and posed. And that was cool. That gave you a little extra energy every time [November Rain: Makin' F@*!ing Videos Part II, June 22, 1993].
So the video, it just all went very smoothly. Meanwhile I was telling Gilby that “we have a great shot of your arm.” And then the night we were recording the performance shot, there’s places where he would, like, come over to the piano and jam with me, “Here we are, we are together for the video.” And about five times that we did takes, I’m looking over at Gilby and I’m like, “Gilby, none of it is gonna be in this video, because this is where the solo is, where Slash is gonna be out in the middle of the desert or something. So it’s just not gonna work” (laughs). And he was like, “Yeah, yeah, alright" [November Rain: Makin' F@*!ing Videos Part II, June 22, 1993].
One of the reasons for having an orchestra in the video [was that] it was one of the only ways to actually get to be around an orchestra and see what that was like; to see what was like to hear an orchestra actually play something I had written on keyboards, and see how well it worked and talk with the orchestra a bit about that. It’s not something I wanted to hide from the public and act like I used real strings. I wanted to say, “No, we did this on synthesizers." […] For me, putting the orchestra in the video, I don’t think it was faking anything, because they were really playing when they were there. The sound you’re hearing when you see the video is what I play, but when we did the video they were actually playing; and it was a way for me to be around an orchestra and see that, because it’s not like I have time or cash to just go and set up an orchestra somewhere. It has to be for something productive and this definitely was [November Rain: Makin' F@*!ing Videos Part II, June 22, 1993].
It was a costly production:

This is, like, the first video of the miniseries that we are trying to create. So who knows, because, I mean, we paid for November Rain ourselves, because Geffen didn’t really know what to think of that kind of budget. So... […] [The budget] was like, 1.6. Two. It was two, okay. Two (chuckles). But it’s something we believe in and I think it ends up speaking for itself in this quality. And there’s – hopefully there will be four more that will explain the story with other songs on the album [MTV, July 12, 1992].
The video took "two months" to produce and was, in the words of Duff, "kind of expensive" but "it's only money, right?" [MTV, May 1993].

While on the set Gilby would be asked what role he would have in the video:

I have no fuckin’ idea (laughs). I don’t know what time we’re starting, I don’t know what time we’re leaving, I don’t know what time we get here tomorrow. I don’t know. I like it that way, though: “I don’t know! I have no idea!” [November Rain: Makin' F@*!ing Videos Part II, June 22, 1993].
Talking about the wedding scene:

My role? I think I’m just, like, probably one of the ushers. Yeah, to the wedding. I don’t know, man. You have to ask Ax. This whole video is in his mind [November Rain: Makin' F@*!ing Videos Part II, June 22, 1993].
Yeah, [the priest]'s a friend of mine, Jean Antonio. Yeah, he’s great. He’s great and I just knew when I met him, the day I met him, that he should play this part if he wanted to. That was a really heavy story in itself. That was when we ended up shooting – the church we ended up shooting that, I had no idea that was one of the last places he ever – you know, eight years ago – done services. […] He just added such a sense of warmth and the right sense of spirit that we wanted to have present there. So it was very special for me and him [November Rain: Makin' F@*!ing Videos Part II, June 22, 1993].
Talking about the church:

Slash wanted to do a solo, and it was originally, like, in a field somewhere. But that time of year there were no cool fields in America to shoot in. We looked all over for churches and we couldn’t find a little church with a good view or a field. If we found the church, everything was dead around it because it was winter/early spring. We eventually found a church on wheels that they used in the movie Silverado, and we saw pictures and said, “Okay, that’s just good there;” and we went, and it ended up being perfect and really fitting well. It wasn’t planned, it just started that way. Andy [Morahan] saw it in a desert, we saw it in a field with long grass or flowers, and we ended up filming it in Mexico [November Rain: Makin' F@*!ing Videos Part II, June 22, 1993].
Talking about acting with Stephanie Seymoure:

It freaks me out to be acting these parts out with Stephanie, when some of the situations are based off things that happened in another relationship [November Rain: Makin' F@*!ing Videos Part II, June 22, 1993].
Seymoure: "I wish I could speak, you know. I like the idea of that thing. I’m really into the – I’ve been studying acting for a while. It feels good to be able to do something. It’s not quick enough for me. There’s too much waiting" [November Rain: Makin' F@*!ing Videos Part II, June 22, 1993].

The third video in the trilogy was for the single 'Estranged':

Eventually, I wrote the theme song to the story [by Del James]. […] I wrote it about my own life. […] It’s actually the song Estranged. […] It’s based around a song that this guy writes when it’s over in his relationship and what happens. And I wrote that song, you know? And I wasn’t even planning it - after I wrote it, I call Del and I go, “Del, I wrote the song for it.” And I had never planned on that. I never even thought of that. It just ended up fitting together, and I was on a different track, but the two came together. […] ["Without you"] is the last words of the last verse in Estranged. It just came about, it just fit. You know, it was not planned; it just fit. And all of a sudden I was like, “No way!” [November Rain: Makin' F@*!ing Videos Part II, June 22, 1993].
With the music videos the band was accused of being indulgent:

Yeah, indulgent, right. It’s funny ‘cos I always thought music was indulgent in the first place. Putting out two double albums might be indulgent, but if you ask me we’re musicians doing exactly what the fuck we want to do and having the space to do it. We’ve never adhered to industry standards and I felt that going out there and playing those songs that no-one had heard in front of 20,000-60,000 people per night was pretty ballsy. I can’t see Bon Blow-me doing that, can you? Otherwise they’d be out there now. I don’t think we bored too many people and, in fact, as a live band I think we showed exactly where our confidence lies. No one told us to play bund of hits and I think we managed to crossover from being a band that people went to see to get fucked up to, to a band that people actually listen to, that’s cool, whatever anyone says [Raw Magazine, March 4, 1992].
From the filming of the 'Don't Cry' music video: It’s very self-indulgent. Extremely self-indulgent. So self-indulgent, that I’m gonna film three versions of myself tonight (laughs) [Don't Cry: Makin' F@*!ing Videos Part I, June 22, 1993].
Axl's band mates didn't always fully understand the videos and stories:

I have no idea what it means at all. I mean, just the obvious of what anybody that watches it gets, but, you know, when you’re doing it – […] I was on the inside and I’m still confused. I’m waiting for the movie to come out [MTV, September 9, 1992].
Both those videos, even if you don’t understand them or you can’t make any sense of them, they’re very compelling to watch, because you wanna try and figure it out, you know? I mean, I catch myself, like, flipping through channels and I hit the (?) and I see one of our songs, I’ll stop for a minute, you know, and look at it, and it means something new to me every time I see it [MTV, September 9, 1992].
I don’t really get into the video aspect of it that much. I come up with my idea for my guitar solo, and then Axl – you know, the big cinema graphic sequences that Axl gets into writing and all that. I’m just, you know, driving a car off the cliff, okay? [The O-Zone BBC, May 31, 1993].

Last edited by Soulmonster on Tue Jul 16, 2019 1:06 am; edited 4 times in total
Tour plane captain

Admin & Founder
Posts : 9271
Plectra : 57186
Reputation : 785
Join date : 2010-07-05

Back to top Go down


Post by Soulmonster on Mon Jun 24, 2019 1:40 am


In March 1992 it was reported that Slash had signed a deal with Black Death Vodka to be their pitch man [New York Daily News, March 13, 1992]. Black Death spokesman Robert Plotkin said that Slash was "perfect for the market” and that he "was really the only one Black Death wanted" [New York Daily News, March 13, 1992].

Slash would admit it came about as a result of his comments to Rolling Stone in 1991:

Well, it stemmed from the interview, because - I don’t remember exactly when the first time I encountered it was, but they read the thing that I said in Rolling Stone about the only company that I would endorse. So I think they called the office or something they made, sort of like, an offer. And we got together and talked about it. And I was like, “Cool,” you know, “free cases of vodka? Yeah.” (laughs) So contrary to what anybody else is saying about me trying to influence teenage America with it, you know, it was just - the whole point was that the vodka is great and...[…] You know, I knew it was gonna come up and I haven’t given it much thought, because, from where I come from, it’s, sort of like, you make your own decisions. You know, that’s how I was brought up. So I didn’t really feel like I was constricted by how I was gonna influence the youth of America or international or whatever. So I just did it, you know, and whatever happens after that, basically I’m not gonna take it that personally. It’s something I did, it’s not for anybody else to judge me on it, you know?[MTV Rockline, March 1992].
Well, I ran into this vodka in Europe called Black Death, and on the bottle was a top hat and a skull, which is sort of my moniker anyway. It tasted great, so I drank it for a couple of days and that was it. I did an interview where I said, "We don't do endorsements for cigarettes or beer or what have you. The only thing I would endorse would be Black Death vodka." A couple of weeks later I get a call saying, "Black Death was interested in you doing that," and I said, "Okay! Cool!"[Musician, June 1992].
The vodka was prohibited in the US markets due to the name [Associated Press, April 6, 1992; Entertainment Weekly, April 17, 1992], and as a result it was changed to Black Hat [The Baltimore Sun, May 13, 1992].

It was just in Europe at the time [when Slash publicly said he's like to endorse it]. Now that it's stateside, I'm getting all kinds of flak from people saying I'm influencing the youth of America. Fuck 'em, the vodka's great. Everybody's supposed to be smart enough to make their own decisions, you know? […] I can understand where people can be pissed off because I'm endorsing something that is not necessarily healthy, and maybe I have some influence on younger kids, but at the same time, the way I grew up, and where I come from, I've done it for myself. As far as influencing kids goes, I didn't know that was my fuckin' job, ya know?[Musician, June 1992].
When asked about why he did ads for Black Death, Slash would say "just to get the vodka. […] It’s good vodka" and AP would say that Slash was compensated in form of "a little money, T-shirts and several cases of the product" [Associated Press, June 3, 1992].

[The Black Death Vodka conflict]’s not a thorn in my side, because that just gets me to the point – you know, when I got hassled for Black Death vodka, it just made me go, “Oh, cool, it must’ve screwed them around,” you know? So it’s like, people are gonna look at me as a public figure that’s influencing the youth of America; and I was like, no, that’s not it at all. It was just cool vodka and a great label, and I said I would endorse it. And I got hassled by the Surgeon General and all that kind of stuff, and I was in, like, the Wall Street Journal. And it’s like, how does some rock guitar player becomes so significant? You know, had it been Joe Blow on the street it wouldn’t matter, and people just, I think, go after us because of the fact that we’re as public as we are, or as visible as we are. So I was just like, yeah, well, the attitude that I’m gonna take is “screw you.” […] But they were in Europe then, before. And Europe’s a lot less uptight about things like that than the States are. You know, everybody’s trying to make some, sort of like, moral rule as a standard, and try and have everybody abide by it. […] I’m not a role model at all. The other thing is, you know, Black Death, they’re trying to change the name or trying to make them change the name. And they’re still fighting it, and I’m like, “Cool.” So, you know, I’ll hang in there with them [MTV, July 20, 1992].
Tour plane captain

Admin & Founder
Posts : 9271
Plectra : 57186
Reputation : 785
Join date : 2010-07-05

Back to top Go down


Post by Soulmonster on Mon Jun 24, 2019 1:41 am


I know that it'll follow me for a long time. Guns N' Roses are just that big. Wherever I go I bump into the band. If I put the TV on there's Axl on screen, if I go into a supermarket you can bet on the way there I'll see posters for their tours. If I put the radio on some Guns N' Roses track will be playing. We had a lot of fun together. I like remembering all the times we had together. Of course there were times when it wasn't all fun, but the good times far outweighed the bad times. Guns N' Roses was an experience that I just had to be part of [Rock Star, November 1992].

After leaving Guns N' Roses, Izzy went on a road trip, trying to figure out what to do next:

The morning after I’d decided to leave, I felt like a huge burden had just disappeared from my life. That’s the best way to describe it. I loaded up a van and went on a two-week road trip to the Grand Canyon, New Orleans, the Florida Keys and a bunch of other places. It was great to get back to everyday life, where you pump your own gas and change your own tires. It was a long overdue vacation, and I loved it [The Daily Spectrum, April 11, 1993].
I went on a trip across the States. I went to Grand Canyon, and New Orleans, and Florida, and I surfed and... Just, you know, I went around going, 'What will I do now?' [MTV, September 1992].
While travelling he found out he was rumoured to replace Jett Cease, the guitarist of the Black Crowes:

When I left LA after I split from GN'R, I went on a road trip to New Orleans. From there I called my brother and he told me I'd got a fax from Rich [Robinson] in The Black Crowes. I had no idea their guitar player had split. [...] I stopped by Rich's home and he said, 'Maybe we should get together and write some songs'. I said, 'Let me take my stuff back to Indiana and get my house in order'. I love The Black Crowes, but because it was immediately after GN'R, I don't think I was ready to make any quick moves. I thought I'd just go and ride trials for a while [Kerrang! September 1992].
We were gonna hook up and do some jammin', but it never happened, because...some other things I had to take care of, you know? [Rockline, January 25, 1993].
The thing is that once you've been in Guns N' Roses, probably the world's biggest band, you can't just join another band, even the Black Crowes. And if you've played with a singer like Axl Rose then it's really difficult to get used to another vocalist. I just couldn't do it [Rock Star, November 1992].
Basically, Izzy was tired of playing guitar:

I just wasn't interested in playing guitar at that time. I don't think I touched a guitar for about a month. I was getting off on riding, but, it got cold, winter came, and I was sitting in a room with a guitar in the corner and it's like, 'C'mon, play me'! Once I started playing again I thought, this is the one thing that seems to make sense [Kerrang! September 1992].
Around December 1991 Izzy would start writing music again [Kerrang! September 5, 1992].

From January [1992], the only thing I've really been doing is playing guitar. I put the bikes away because I found myself getting into music probably more than I ever have [Kerrang! September 5, 1992].
I started putting a band and the material together in January. I was sitting in Indiana thinking, man, how do I find musicians? I couldn't just run an ad in a local trade paper. You wanna find somebody you can relate to, and the guys I got are all seasoned, proven. […] I hooked up with Jimmy [Ashurst] in LA. I'd known him for years, when he was in The Broken Homes. Once we'd got a drummer, Charlie Quintana, we'd recorded these basic tracks, so I asked Jimmy what Rick Richards from the Georgia Satellites was doing. Jimmy told me the Satellites broke up. This is how outta touch I am! [Kerrang! September 12, 1992].
And in the summer of 1992 it was rumored that Izzy had a new band and was working on a record to be released and a following clubs and smaller concert halls tour [Kerrang! June 6, 1992: Journal and Courier, July 21, 1992]. In August it was reported he was putting the "finishing touches" on his "first solo album" [The Akron Beacon Journal, August 23, 1992], and this he did in Copenhagen, Denmark [Kerrang! September 5, 1992].

The solo record was to be called 'Ju Ju Hounds' and was scheduled for release in October 1992, preceded by an EP that would be our in September [Kerrang! September 5, 1992].

Describing the record:

Basically, I just wanted to get back to what really gets me off, just a basic rock 'n' roll band, a coupla guitars, drums and bass. Simple. […] The album's better, I would think, it's more mixed. The EP's just got three slammers on it, and a reggae song. The album's got a couple of acoustic songs, a coupla slammers, some basic rock tunes and one reggae song too [Kerrang! September 12, 1992].
He also took a dig at GN'R:

Listen, to sum it up, at a moment, I felt like scraping it all down to the bone. Do some rock n' roll. Stop complicating the thing with a six-piece brass band, three back up singers, the harpist and the pianist... Dizzy plays great, that's not the problem, but that's not rock n' roll... What Guns did well, and that I will always defend, is our eruption on the scene [Rock & Folk, September 1992].
[The recording process] was disciplined, but relaxed. We set ourselves times when we'd start and when we'd finish. It worked really well. No stress, no chaos and nice and quiet. When I think about how we worked when I was with Guns N' Roses it was the complete opposite. It was impossible to get organised, there was always stress. It was pure chaos. The simplest conversations or situations would get turned into massive problems. It's only now that I've learnt what a little self-discipline can do. That's how we worked in the studio, we concentrated, we worked quietly and thought everything through first. Everyone knew what they wanted and what they ought to do. It was incredibly creative, friendly and kinda exciting. Nothing could be more different to the way it was in Guns N' Roses. When I look at Guns N' Roses now nothing's changed, they still stumble along on that treadmill. So what? I wish them all the best, I really mean it, but it's just not my kind of thing anymore [Rock Star, November 1992].
Izzy would explain the name of the record: "The title of the LP came by accident in the studio. I was singing a backing track to something, and when I played it back it sounded like I said, `Ju ju hound'. It doesn't mean much really" [Kerrang! September 12, 1992].

After the release he planned a European club tour with most of the musicians from the album and EP: guitarist Rick Richards (ex-Georgia Satellites), bassist Jimmy Ashurst (ex-Broken Homes) and drummer Charlie Quintana [Kerrang! September 5, 1992].

Alan Niven, who was no managing Izzy, took a dig at GN'R who had claimed Izzy had been tired of the touring:

Statements to the effect that he's 'not into touring and videos' are completely false. Everyone knows Izzy lives to play music and travel [Kerrang! June 6, 1992].
Slash would be asked about Izzy's music in July:

I haven’t heard any of his new material. I know he does have a band and he’s got a record that’s gonna come out in November [MTV, July 20, 1992].
Izzy was also keeping sober:

Yeah , basically, the only thing that seemed to give me major problems in my life were drugs and alcohol. But now I've been clean for two-and-a-half years [Metal Hammer, September 1992].
Izzy would also talk about his plans for life:

To put out a good record and go out and do road work and keep writing and keep travelling around and that kind of thing. Oh yeah, and actually find a place to live in between all the touring. Maybe in the States or in Europe. I like both [Metal Hammer, September 1992].
Talking about his relationship with Axl:

I wouldn’t say that we were big friends these days, but I’ve known [Axl] for too long to carry any grudges or resentment. […] I feel good about having been in that band and done some of that music and some of those tours, and I don’t have any permanent scars. I’m still able to keep my balance on a skateboard! [Melody Maker, October 10, 1992].
In October 29, 1992, Rolling Stone Magazine would publish an in-depth interview with Izzy where he would indicate any bad feelings between him and his former band mates were over:

I don't have any communication with them. I don't know what they do anymore. About the most I know about them is when I watch CNN once in a while: 'Oh, shit, Axl got arrested again.' […] Still, I like to think that those guys are all my friends. It's not like I never want to see them again. The channels are very much open [Rolling Stone, October 29, 1992].
Being asked why the songs he wrote in GN'R sounds different to the songs on 'Juju Hounds':

Yeah, it was more of an evolution. And... ah, it's a lot to do with the... players, you know? It's a little bit different approach, I think... different sounds... you know. It's more basic I suppose [Rockline, January 25, 1993].
And when asked if he did anything different guitar-wise:

Mixed 'em louder! [Rockline, January 25, 1993].
When he started touring they considered playing some Guns N' Roses songs, and even rehearsed some, but decided that it didn't sound right:

It didn’t feel right at all, so we ended up leaving it behind. […] I know some people want to hear it. Guns N’ Roses is touring America this year so if they really want to see it, they should see it with Axl singing it [Star Tribune, February 26, 1993].

Last edited by Soulmonster on Mon Jul 01, 2019 2:18 am; edited 2 times in total
Tour plane captain

Admin & Founder
Posts : 9271
Plectra : 57186
Reputation : 785
Join date : 2010-07-05

Back to top Go down


Post by Soulmonster on Mon Jun 24, 2019 1:43 am


The separation of band members and fractionation of the band itself continued as the band started the UYI touring in 1991. As discussed previously, Izzy was keeping to himself and would eventually departure [see previous chapters] and Axl was also reported to arrive to shows separately and seldom saw the rest of the band members [Melody Maker, August 10, 1991].

Slash would explain Axl's solitude on the press, saying, "it’s like everyone hates him and wants to dig the dirt on the poor guy" [The Liverpool Echo, June 8, 1992].

In July 1991 Duff and Slash would be asked about the relationship between the band members and would confirm that Izzy and Axl was distant from the rest of the guys:

Slash and I, we hang. We always have. Izzy hangs out by himself, with his girlfriend and his dog and his brother... Axl hangs out with whomever, whenever. Matt and I hang out all the time. Matt rents my old house from me, so when there’s a party, we have it there! [Kerrang! July 27, 1991].
Yet Slash would be quick to emphasize that it was like before, just that they aren't together as much:

Just so there’s not a lack of understanding here, the band’s basically the same as it ever was. The only thing is that before, we were all in the same room. […] We’re still real tight [Kerrang! July 27, 1991].
In August 1991, before Izzy had left, Slash would describe the overall situation but again emphasize that the bond between the band members was still strong:

F***, we don't live in the same building anymore or anything like that, but I only have so many friends and five of them are Guns. It's like family but, y'know, we have separate things — someone sleeps, someone's up, someone's drinking, someone's not... it's that kind of thing [Melody Maker, August 10, 1991].
This quotes hides the underlying structural problems in the band at the time. Izzy was just about to leave (rumours of his departure would start swirling in September) and it would later be claimed that both Duff and Matt were unhappy with how things were done, and imply they could be the next to leave the band [Kerrang! September 21, 1991]. In Matt's case, his departure had at a point been expected to be "imminent" [RAW, December 1991]. The rumours about Matt's possible departure started being spread in August. Allegedly, if Axl "continued to be difficult to work with", Matt would quit the band [Music Life, November 17, 1991]. Matt's showdown with Axl in Mannheim on August 24 [see separate section] likely fueled his frustration.

In November, when Axl hosted the rock show Rockline, he was confronted with the rumors that Matt would leave the band because of "arguments and that he can’t deal with the hysteria on the tour":

It got emotionally high and the tensions got high with everybody at different points. But, you know, Matt is working his ass off and he’s great. […] As Matt puts it, it’s like, you know, now and then you get the road blues. […] Matt is amazing, you know. And it’s a real pleasure to introduce him to the world in the way he de [Rockline, November 27, 1991].
In 1992, the horn player Lisa Maxwell was asked about the band:

Maxwell: "Nobody really has contact with [Axl] other than his close friends, his assistant, his chiropractor. He’s always been totally great with us, never dissed us in any way, gives us a lot of respect and jokes around when we pass him in the hall" [The Boston Globe, July 31, 1992].

Yet in 1992 Duff would again claim the band members still hung out together:

On our nights off, we still hang around together. We’ll call and say, ‘You wanna go to a strip club’ or a bar or whatever. It’s a lot more fun to tour with guys you get along with [New York Daily News, July 29, 1992].
Talking about how Izzy's departure affected the band:

It made us all closer. I had always been close to Duff, but the changes made me and Axl a lot closer than we had been. We had always been friends, but there is really a bond there now [Los Angeles Times, August 9, 1992].
I think it makes it a little bit rougher around the edges to keep it all together and to keep focused. But because there’s been so much hype and so much hysteria around the band, it’s made us a lot closer as a group, which means the materials have a lot more integrity. And we’re, sort of like, really striving to be what we originally started out to be, just because there’s so much stuff going on in the outside; and so much – I don’t know the best way to put it – so much conflict with us and the media, and so on. So it makes us bond together as a family, and I think that’s really important for us. So, I think, it’s been - for the band it’s been sort of a plus as far as really going where we’re coming from [Press Conference in Argentina, December 4, 1992].
From the stage in Montreal on August 8, 1992, a show that Axl would end early, Axl said, "In case anybody here is interested, this will be our last show for a long time" [The Montreal Gazette, August 8, 1992], implying things not being well. Later that same month it was reported about conflicts within the band. Axl was said to consider doing other things after the touring, including starring in movies and doing a solo record, after being "unhappy with his band mates" and being "disillusioned" [The Akron Beacon Journal, August 23, 1992].

Despite the band members being stoic about it to the media, according to Goldstein in 2016, the late starts had been causing significant friction in the band which was manifesting itself in early 1993:

I kept them, kind of, separate. Probably the best thing I ever did for that band was not let Axl know how the other band (members) couldn't stand him because the positions that he'd put them in. He'd leave the stage and they'd have to stand on stage and continue to play [9 News, September 7, 2016].
This animosity between Axl and the rest of the band members, according to Goldstein, meant that they not only spent much time together outside of concerts, but that Axl traveled on a "separate helicopter to the rest, stayed in a different hotel and entered the stage from the opposite side" when the band played at Calder Park, Melbourne, on February 1, 1993.

Last edited by Soulmonster on Thu Jun 27, 2019 8:32 pm; edited 1 time in total
Tour plane captain

Admin & Founder
Posts : 9271
Plectra : 57186
Reputation : 785
Join date : 2010-07-05

Back to top Go down


Post by Soulmonster on Mon Jun 24, 2019 1:44 am


As discussed previously, the band had started thinking about a documentary already back in the band's the early days. As the touring for 'Use Your Illusion' commenced the band would film every show [Fully Illustrated Book & Interview Disc, June 6, 1992; Journal and Courier, July 31, 1992; RAW, June 23, 1993]. When asked why, Slash would respond:

Slash: "Because we’re gonna do a documentary and so it’s just footage of what goes on. It’s gonna be like Christmas at the end of this whole thing, going through and try to edit all this stuff together, and remembering some of the stuff that has gone on, cuz it’s been pretty wild. […] I think a lot of stuff is gonna stay in the vault (laughs)" [MTV Headbanger's Ball, May 1992].

Duff: "We’re making a movie. I can’t really tell you too much about it because we’re kind of sworn to secrecy a little bit, but it’s a documentary, also videos will be intertwined. Okay... If you’ve noticed, some of our videos don’t really make sense. They will. For me to really tell you everything would really kind of spoil the fun of the anticipation" [MTV, June 1992].

Gilby: "Yeah, I just see the cameras all over and stuff, and, you know, after a while you just forget about them. I don’t know if it’s gonna be like the Madonna thing or anything (laughs). I hope not" [MTV, June 1992].

Slash: "I pray for the guys that have to edit it, because there’s a lot of stuff to take out, you know? (laughs). […] You know, stuff that we don’t want to have. Nothing bad, you know. Nothing as far as you know. Basically right now we’re just trying to do the shows. And then when it’s all said and done, we’ll get together and start going through the video stuff, and putting out the punk record and, you know, getting all that out of the way, and then concentrating on the next album" [MTV, June 1992].

Duff: "Like, our videos might not make sense right away, because they’re all part of one long story and only part has unfolded so far. That’s just how we wanted to do it" [New York Daily News, July 29, 1992].

In mid-1992, Geffen records would claim the label isn’t involved with any video project and that they aren't allowed to talk about a possible band-produced video [Journal and Courier, July 31, 1992] and that it would become a feature-film release [The Akron Beacon Journal, August 23, 1992].

Axl would briefly mention that it was unfortunate that the incident when he pushed a piano out his window and staying in the recording studio in December 1991, never was caught on film:

Axl: "Those were two major things that didn't get on film that should've. John Lennon wasn't nearly as selfconscious as I am. He could keep a camera rolling at all times" [RIP, September 1992].

It is hard to say whether the band wanted to both release a video with live recordings and a documentary with footage from their lives, or whether it was one project. It is also not clear how the elaborate music videos fitted into the plans. Axl himself was not sure what would be the result:

Axl: "Then, we've had a documentary crew out with us the whole time we've been out on the road, and they've been filming everything. We're just having our director go through all the footage and we're putting a movie together that will be a combination of reality and fiction tied in with the three videos, November Rain, Don't Cry and Estranged. That story will tie in with the reality of Guns N' Roses, yet there'll be a fictional story going on as well going on between me and my girlfriend Stephanie. We're working on it, but we can't guarantee exactly what it'll be until we get it done" [Hit Parader, June 1993; interview from December 1992].

In June 1993 it would be reported that director Annie Moorhan was "sorting through the footage for a film of the tour, which will incorporate live and video footage, plus candid off-stage material" [RAW, June 23, 1993].

Last edited by Soulmonster on Tue Jul 16, 2019 1:08 am; edited 2 times in total
Tour plane captain

Admin & Founder
Posts : 9271
Plectra : 57186
Reputation : 785
Join date : 2010-07-05

Back to top Go down


Post by Soulmonster on Mon Jun 24, 2019 1:45 am


Axl: "Before we had to figure out where to live, now we have to figure out how to deal with whatever legal things are going on" [Metallix, December 5, 1992].


Slash: "You know, as far the business side of things go we have to be able to get up in the morning and do shit, otherwise it just flies over your head and it’s too late. I’m constantly on top of it and Axl is too on a daily basis. It never stops. It’s cool because I’m in my element and I enjoy it. […] normally we wouldn’t talk about it, but since we’re getting picked apart so much we might as well tell people what goes on. It’s a huge contrast to when we’re on stage. It has nothing to do with music. I’ve always done business for the band ever since we started. It’s just the way I am. I dig the challenge of doing the business as much as I like to Rock out. I’ll take the latter over the former any day, but someone has to do. If you want something to be done you have to do it yourself. Our manager (Doug Goldstein) is great but you have to communicate what you want because his final decision may not be the right decision for what we do as a group. Financially it may be, but not as far as what you believe in as a Rock band" [Raw Magazine, March 4, 1992].

Slash: "The last tour we did cost us two million dollars and we didn’t make a penny off the tour except for maybe the ‘T’-shirts that we sold. The truth is that I’m still watching my money. We put so much back into the group that we won’t really see anything until a long time down the line when we’ve sold records consistently. We haven’t even re-negotiated our contract so that might never happen. To me that means I still feel the same as I always have. I’m happy though, but it’s like that old Jimi Hendrix quote which goes ‘The more money have, the more Blues you can sing’. People like to see the glamour that surrounds bands. They like to think that that’s what it’s all about and it isn’t" [Raw Magazine, March 4, 1992].

Slash: "One of the few indulgences is getting drunk. Otherwise we’re always working. I get up in the morning, and I know this is gonna sound terrible, but I get on the fuckin’ phone to take care of business and get more dates, dealing with promoters and shit. Being on stage is great, the travelling is fine, but doing what we do is far from glamourous and I think people probably wouldn’t last five minutes doing what we do. I don’t mean that to sound bitter because it isn’t, but there’s times when we’re slaving away and we can’t even get jet-lag anymore because we just don’t sleep. At the same time people have paid to come and see us and they don’t give a shit and you’ve got to be able and deliver every night, whether you’re sick or not.  There’s no work compensation in this business. I’m not knocking people who lead regular lives because that’s their choice and they probably complain in the same way as anyone else, but we ain’t just out here living an easy life" [Raw Magazine, March 4, 1992].

Slash: "I was real fortunate that I grew up in this business, so I watched a lot of people fuck up before I even started, you know (laughs)" [Videomusic, June 27, 1992].

Gilby would comment that the band would have integrity:

"What surprised me was the integrity of the band. Just watching how they do their business and the way they run the band. It’s never like: ‘We can make a lot of money on this; let’s do it.’ It’s like, I watched Slash sit down and go over the designs of the T-shirts and stuff, and it’s like, ‘I wouldn’t wear that, why would I let someone who likes the band wear that?’ It really impressed me, because from where I come from, it’s so hard to be successful in the music business, so you would do a lot of things you normally wouldn’t think is right. And for some reason, the band did everything they wanted to do. And it worked" [Hartford Courant, March 4, 1993].

Last edited by Soulmonster on Sat Jun 29, 2019 10:34 pm; edited 1 time in total
Tour plane captain

Admin & Founder
Posts : 9271
Plectra : 57186
Reputation : 785
Join date : 2010-07-05

Back to top Go down


Post by Soulmonster on Mon Jun 24, 2019 1:47 am


At the August 8 show in Montreal, disaster struck again.

In Montreal it was just really creepy. Nothing against the people in Montreal, we had a great time hanging out there. I think it was the building itself [MTV, September 1992].
It started during Metallica's set when James Hetfield accidentally walked in front of pyrotechnics and suffered severe burns.

Metallica was halfway through that Montreal set when the flash pot blew up on him [Lakeland Ledger, August 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 [Slash's autobiography, "Slash", 2007, p. 358]
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. [Duff's autobiography, "It's So Easy", 2011, p. 206-207]
With Metallica having to cut their set short, Guns N' Roses was asked to step in early.

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 [Lakeland Ledger, August 1992].[/i]
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) [Spin, June 1999]
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 [Slash's autobiography, "Slash", 2007, p. 358].
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 [Duff's autobiography, "It's So Easy", 2011, p. 206-207].
Unfortunately, they did not step up to the occasion:

We had just stopped the tour because I had a throat problem. I came back and I realized: “I’m gonna hurt myself.” I told Slash, “Two more songs; if we can’t get it fixed, I gotta go,” you know? And then we did more than two more songs, and finally I was just kind of like, I don’t know what to do, and I looked over, and Gilby was like, “Dude, I can’t hear.” […] And Duff was like, “I can’t hear either.” We had a little huddle, kind of, and it was like, “we’re out of here” [MTV, September 1992].
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 [Lakeland Ledger, August 1992].
So, basically, I was happening to, like, sing over 50 kilowatts of sound or something. I didn’t do major damage to my vocal cords, but I did enough that if I sang anymore under those conditions, I wouldn’t be singing. In order to hear myself, to see if I’m on key and tell how loud or how hard I need to push to sing a song properly, I have to try to sing all over the PA, which was impossible [MTV, September 9, 1992]
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) [Spin, June 1999].
We got out, the PA fed back the entire time, the monitors fed back the entire time, the crowd was, like, non-existent[MTV, September 1992].
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 [Slash's autobiography, "Slash", 2007, p. 358]
Slash is wrong in claiming it took four hours, contemporary reviews said it took about 2 hours [The Montreal Gazette, August 9, 1992: The Vancouver Sun, August 10, 1992], Duff and Matt also disagrees with Slash in the quotes below.

When I left the hotel and they said James was burnt, I just felt it, it just felt wrong. So we hustled on as soon as we could – it was a couple of hours people were waiting. So already they were like, “uhh”, you know. And when we got up there it was just really dead. The people were sitting down... [MTV, September 1992].
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 [Duff's autobiography, "It's So Easy", 2011, p. 206-207].
Axl had obviously been agitated during the show and at one time said, "In case anybody here is interested this will be our last show for a long time" [The Montreal Gazette, August 9, 1992]. And not only that, Axl ended the show early 9 songs:

So we announced they'd get their money back and we'd play the date again. [Lakeland Ledger, August 1992]
You know, and the next thing you know, he left. And that was the end of it [Spin, June 1999]
And once we did [take the stage], 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]
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]
Contemporary accounts said Axl left after 55 minutes [The Montreal Gazette, August 9, 1992: The Vancouver Sun, August 10, 1992].

Lars Ulrich would be gracious in describing what went down: "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?" [Unknown source].

And Dizzy would trivialize the event and be protective of Axl:

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 [...] 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... […] I do remember that we had full attention and just wanted to come back on for the full show [One on One with Mitch Lafon, July 2014].
The riot resulted in minor injuries to eight police officers and twelve arrests [Associated Press, August 1992].

In interviews not many days after the incident Duff and Gilby would bemoan that there were blamed:

The poor guy [=James Hetfield] got fried, but the audience didn’t know that. They speak French. They couldn’t understand what we were saying. They were all drunk, and they got French in them to begin with. It just escalated. […] But we get blamed for it [El Paso Beacon Journal, August 28, 1992, August 1992]
It's ironic, since we were trying to save the day. Oh, well [Lakeland Ledger, August 28, 1992]]
Tour plane captain

Admin & Founder
Posts : 9271
Plectra : 57186
Reputation : 785
Join date : 2010-07-05

Back to top Go down


Post by Soulmonster on Mon Jun 24, 2019 1:48 am


In late August 1992, El Paso Times did an assement of the Metallica/Guns N' Roses/Faith No More tour so far and concluded that since mid-July only 9 out of 19 scheduled shows had taken place due to band member injuries [El Paso Times, August 27, 1992].

Things happen. All three bands are really disappointed, but it’s really nobody’s fault [El Paso Times, August 27, 1992].
Axl would try to stay fit:

If I notice that I’m getting run down, if I notice I have a show where I’m really tired, then I get back into a workout program. And I have, like, this special machine called the ROM, that you can do a half-hour workout in four minutes, you know. It’s like this thing some scientists built in UCLA. And I have that on the road and I use that, and we work with a chiropractor who, little by little, helps keep all the muscles in tune and everything. I’m on a vitamin program and stuff like that, basically general health, but something I’ve never concentrated on, and this show, the way we perform demands it [MTV, September 1992].
After the riot in Montreal on August 8, the tour started again with a show in Phoenix, AZ, USA, on August 25. This show was held on Phoenix International Raceway since it was to happen during a school night and there was curfew in the city [Arizona Republic, May 24, 1992; July 7, 1992]. Unfortunately, due to extensive flooding a fan was swept away while attempting to wade a swollen river and lost his life after the show [Arizona Daily Star, August 27, 1992; August 29, 1992].

Before their next show on August 27 in La Cruces, reverend Jim Franklin would warn against the concert: "There is definitely a link with violence, sexism and an overwhelming link to Satanism, the occult" [The Santa Fe New Mexican, August 27, 1992].

Then followed shows in New Orleans on August 29. Axl was not happy with the exhausted crowd:

O.K.? How much did you pay for this show? I'll tell you what I'll do I'll pay you back because this just isn't going to work. It's hard to be up here giving like this with all you people sitting there taking a f---ing nap. Yeah,yeah, I know, there he goes begging for attention again. My therapist always says, 'You crave attention.' And I go, 'No shit' [Live onstage as recounted in Life Magazine, December 1992].
Their next show was in Orlando in September 2 where the band would be criticised for having camera crew who zoomed in on women in the audience and encouraged them to strip, feeding the live stream displayed on the giant screens [The Orlando Sentinel, September 4, 1992]. A fan would say: "There were guys ripping off girls' shirts and rubbing their hands all over their breasts for the camera" [The Orlando Sentinel, September 4, 1992].

The band then travelled to Houston for a show in September 4, to Irving, September 5 and to Columbia, September 7 where the band would again be criticized for showing bare breasts on the screens [The Greenville News, July 31, 1992].

The band then took a short break in touring to attend MTV Video Music Awards in Los Angeles on September 9. While in LA Axl would talk to MTV and discuss the tour:

One of the big things I learned was that everybody had wanted this tour so bad and worked so hard to make it – to be able to do this tour. You know, Metallica through their touring and through our touring, to be able to do a stadium tour together, that we thought that when we got here it would just be “perfect!”, that it would be so cool. Well, it kind of turned out to be that, 'Wait a minute, this is so cool, that why shouldn’t it be the hardest thing we’ve ever done?' [MTV, September 9, 1992].
Then the band continued the tour in Foxboro on September 11. At this show the concert area contained informational booths "including one for the Massachusetts Prevention of Cruelty to Children" [The Boston Globe, July 27, 1992] which was an important issue to Axl. The Foxboro show was apparently good, and Axl would state, "I wish every night could be this good" [The Boston Globe, September 12, 1992].

The next show was in Toronto, Canada on September 13 before coming to Minneapolis on September 15. The show in Minneapolis had been rescheduled after first been cancelled due to unknown reasons, although rumours claimed it was his physic who had warned Axl against playing in cities that started with the letter M [Star Tribune, June 26, 1992; July 8, 1992]. Then it was postponed when Axl had to rest his voice [St. Cloud Times, July 31, 1992].

The next show took place in Kansas City on September 17 before the band headed for Denver.
Tour plane captain

Admin & Founder
Posts : 9271
Plectra : 57186
Reputation : 785
Join date : 2010-07-05

Back to top Go down


Post by Soulmonster on Mon Jun 24, 2019 1:48 am


At the same time as the two 'Use Your Illusion' albums were released and the band started to tour in support of them, an underground musical movement was happening that in many ways, at least superficially, was contrary to Guns N' Roses who had by now become established and mainstream. Fronting this movement was the band Nirvana.

Guns N' Roses were big fans of Nirvana.

In November 1991 (the interview was published in 1992), when asked who he would like to see cover a GN'R song, Axl replied:

I haven't even thought of that. But off the top of my head... I don't know. That's a hard one. I'd like to hear Nirvana do "Welcome To The Jungle." That's what I'd like to hear. I'd like to hear Nirvana do "Jungle" their way, however that is [Metallix, 1992].
and wanted to tour with them. Slash talking about the rumored tour with Metallica and the possibility of Skid Row being part of it:

Well, I don’t think the Skids are gonna be on it. We’re talking about doing it with Nirvana but we need to see where those guys are at. Metallica, Nirvana and us sounds pretty good to me. I went and saw Nirvana last night and they’re pretty good friends of mine so hopefully that’ll help even though we’re very different bands [Raw Magazine, March 4, 1992].
In March 1992 (published in June 1992], Axl was asked about Nirvana joining for the Metallica tour:

It's back and forth. I just think that they're having a lot of problems with who they are and who they want to be and trying to hold onto it at the same time. At least Kurt is. I'd like to be as supportive as I can, but I don't know how much he will allow support. To write a song like "Smells Like Teen Spirit" making fun of your songwriting and then have it used as an anthem has got to be a complete mindfuck. The man definitely has a mountain to rise above. I think there is a part of him that has the strength and desire to do it. I just don't know if he's able to get in touch with it. I had an advance copy of that record and it became my favorite. I would put it on repeatedly. Nirvana has helped me do my job. I think that the world has gotten really bored, really fed up and really pent up with frustration, and that comes through in Nirvana. I think a lot of people were aware of that feeling and he happened to find the song that touched it and was able to let that feeling out in people. And I'd like to do anything I can to support it. That's why we want them to play with us [Musician, June 1992].
Interestingly, in a Kerrang! interview published in May 1992 (but done the month before), Slash claims to not know who Kurt Cobain is [Kerrang! May 16, 1992] despite having talked about attending a Nirvana concert previously [Raw Magazine, March 4, 1992].

Slash would be asked about Nirvana again a little while later:

[…] I don't think Nirvana's attitude about, "Now that we've got here, it's fucked, and we're not gonna do anything" makes sense. That's copping out to some sort of - I'm sorry to say it - but pathetic, "It was easy to do what we started out with; now we have to deal with something [Musician, June 1992].
And whether he was saying this just because Nirvana wouldn't tour with Guns N' Roses because of some of their lyrics:

No, it has nothing to do with that, they just don't want to work. Axl and I are supposed to go over to the singer's house and talk with him. I don't know him personally. They don't want to go out, and the vibe, from my point of view, is just because they don't wanna fuckin' deal with "mainstream," which… there's no such thing as mainstream if you don't want it to be that way. I love their record, but I can't stand the fuckin' attitude. Because we spent our entire career as a band doing what we wanted to do in the way that we wanted to do it, going totally against the mainstream and getting to where we are now, which is great. If you have something important to say, you don't give up and flake out. [laughs] Because once you get there, it paves the way for other bands. We're in the mainstream only because the mainstream has become part of us. They've adapted to what we do [Musician, June 1992].
Axl would continue to talk about Nirvana from the stage:

You know, we’ve had our share of problems with so-called alternative bands. What is this word? I mean, I didn’t find myself using it. “Alternative.” Like someone who lives an alternative lifestyle. All I know is that when Guns N’ Roses started, ain’t no fucking radio stations wanted to play our shit either. And no radio stations wanted to play Metallica. So I think we have the world’s biggest alternative crowd here tonight.

I think that the problem starts when you start thinking that you’re different from everybody else on the fucking planet. You may be a little different in what you’re doing and how you’re going about doing it, but I’ve got a good feeling that you’re probably a human. Right? You’re probably a human being?

And so, right now, “alternative”, the only thing that means to me is someone like Kurt Cobain in Nirvana, who basically is a fuckin’ junkie with a junkie wife. And if the baby is born deformed, I think they both ought to go to prison, that’s my feeling. And he’s too good and too cool to bring his rock ‘n’ roll to you, because the majority of you he doesn’t like or want to play to – or even have you like his music.

It seems to be a general feeling among a lot of alternative bands, that they don’t want the majority of people even liking them. They like it on the outside
[Onstage, Citrus Bowl, Orlando, September 2, 1992].
The feud took an ugly turn at the MTV Video Music Awards on September 9, 1992: "Tensions at the awards peaked when Love mockingly invited Rose to become godfather to her month-old baby, Frances. Rose snapped to Cobain, ”If you don’t shut your woman up, I’m going to take you down to the pavement.” Then Rose’s pal, model Stephanie Seymour, asked Love, ”Are you a model?” ”Yeah, are you a brain surgeon?” Love shot back" [Entertainment Weekly, September 25, 1992].

Craig Duswalt, Axl's personal assistant at the time, would describe what happened: "Stephanie Seymour and Axl wanted to take a walk around the backstage area to just relax, and maybe visit some industry friends. As always, Earl and I tagged along. The four of us arrived at the hospitality tent, and as we walked by we saw Kurt Cobain and Courtney Love, sitting at a table, eating, with their new baby, Frances Bean. This is where the story starts to vary. And this is where the media and/or secondhand accounts have blown this “meeting of the minds” way out of proportion. No matter what was said, it never really escalated into anything. As we walked by, Courtney sarcastically asked Axl, “Do you want to be godfather to our daughter?” Stephanie said something about being a model. Courtney said something about being a brain surgeon. Silly fun. Axl then told Courtney to shut up … blah, blah, blah … And that was it. It was quick; it was said in passing; it was really nothing. Yet, there are so many different accounts on what was said, and how it was said, that it makes us all laugh, because it was nothing. It was so nothing that Earl and I did nothing, except smile. And the four of us went on our merry way " [Craig Duswalt, Welcome To My Jungle, BenBella Books, May 2014].

Doug Goldstein would also tell what happened:

Look, Axl loved Kurt and wasn’t necessarily a big fan of Courtney. So me, Axl, and Stephanie Seymour are walking across the area where everybody is sitting and eating, and [what] you hear is, ‘Oh look it’s Asshole Rose and his supermodel girlfriend!’ It was Courtney. Axl just went over and told Kurt, ‘Look, shut up your girlfriend or I’ll knock you out.’ None of the band members of Nirvana said anything until they walked out onstage, and Krist Novoselic is trying to make himself look like a tough guy. Really Kurt, where were you? You never came to our dressing room? If you have that much of a problem dude, bring it up [GN'R Central podcast, Dec. 23, 2018, transcribed by Alternative Nation].
But the encounter between Axl and Cobain and Hole wasn't the end to it. Duswalt continues: "We finally got back to the GNR trailer, and we could immediately see that something was brewing. A potential fistfight between Guns N’ Roses and Nirvana. Earl and I looked at each other and I said, “Damn, news travels fast.” I assumed that this potential fight was because of the “discussion” Axl and Kurt had minutes prior in the hospitality tent. But it wasn’t. This was a whole new fight. Since I wasn’t there I won’t pretend I know exactly what happened, but when we got back Duff was pissed and he kept trying to get all of us to go over to Nirvana’s trailer to kick some ass. He even tried to get the Nirvana guys to come out of their trailer by yelling obscenities at the closed trailer. Luckily Doug stepped in, and the rest of our entourage calmed the band members down, so nothing happened" [Craig Duswalt, Welcome To My Jungle, BenBella Books, May 2014].

Years later, in his biography, Duff would explain what happened and be embarrassed by his behavior:

[...] [A few years prior, I’d gotten into a scrap with Krist backstage at the MTV awards, where Guns and Nirvana both performed. I lost my shit when I thought I heard a slight of my band from the Nirvana camp. In my drunken haze I went after Krist. My means of dealing with any sort of conflict had been reduced to barroom brawling by then. Kim Warnick from the Fastbacks—the first real band I played with as a kid in Seattle—had called me the day after the awards show and scolded me. I had felt so low  [It's So Easy (and other lies): The Autobiography, Orion, 2011]
After the MTV Video Music Awards Axl would continue to slam Nirvana and especially Cobain from stage:

I’d like to take this time to acknowledge all the great rock ‘n’ roll that comes out of Seattle. To thank Soundgarden who went out to tour with us and ended being the coolest fuckin’ people we’ve ever worked with. And just to make it public that your homeboys Nirvana were just too fuckin’ good to play with us or Metallica. That’s okay. I guess if you wanna sit home, and fuck an ugly bitch and do heroin instead of playing rock ‘n’ roll, that’s okay.[...] [onstage in Seattle, WA, USA, October 6, 1992]
In February 1993, Matt would talk about Cobain:

That little punk. We did nothing but treat those guys fucking good. We asked them to tour with us, we talked good stuff about them in the press. Axl even fucking wore their hat. […] But they basically slag us everywhere they go, including the MTV awards. We had a little row backstage haw haw! And Duff almost kicked the bass player’s (Chris Novoselic) ass! And I was ready to help him. […] I mean, they have some good songs – though they’re not a great band – but it’s as if they don’t want the fame. I don’t understand, man...  RAW, June 23, 1993].
But not all was bad at the 1992 MTV Video Music Awards. Guns N' Roses also performed 'November Rain' together with Elton John. This likely came as a result of Elton and Axl having connected at the Freddie Mercury Tribute Concert in April [see previous chapter].

Elton John has always been one of my biggest influences, and if it wasn’t for Elton John wouldn’t necessarily probably exist for Guns N’ Roses. And then John Connelly of MTV came up with the idea of having him play it with us in the MTV Awards. So that was a great honor, to have him play the song. I didn’t think that he really got his place in the song live, but just looking over and seeing him playing this song was just – I’ve never been that nervous but I felt that much under pressure and I was also blown away. You know, that’s Elton John sitting across playing the song, and he’s just into it, just doing it, whatever. And he kept teasing me and laughing, and I was, like, trying to keep concentrating cuz that was the longest version of November Rain, just mentally, to play ever. I was like, “When this song is gonna end so I can relax?” (laughs) That was pretty extreme, but that was kind of like taking the song to its highest peak for me [November Rain: Makin' F@*!ing Videos Part II, June 22, 1993].

Last edited by Soulmonster on Thu Jul 11, 2019 9:39 pm; edited 30 times in total
Tour plane captain

Admin & Founder
Posts : 9271
Plectra : 57186
Reputation : 785
Join date : 2010-07-05

Back to top Go down


Post by Soulmonster on Mon Jun 24, 2019 1:49 am


Guns N' Roses would invite Faith No More to be one of the openers for the European leg of the tour that started in May 1992. FNM would again be asked to be the opener for the joint Guns N' Roses/Metallica tour that started in July 1992.

FNM was a very different band than Guns N' Roses and belonged to the alternative scene of the early 90s. The band would be vocally opposed to many aspects of big bands and how they operated, including the headlining act, something that would become increasingly clear as the touring went on.

Already before the tour started the band members would express some consternation and wonder about what they would take part in:

Roddy Bottum, keyboardist: "I don't really know what to expect. Big shows and a lot of people, sorrow and agony, soap opera acting. I've never heard them to tell you the truth" [Raw Magazine, May 27, 1992].

Billy Gould, bassist: "We haven't really experienced anything like that yet. This is our first time going out on the road with a band like that. We did do the Billy Idol tour and we were a little bit uncomfortable with that. It'll be interesting to see exactly how many Bodyguards Axl Rose has, I want the inside story. More than anything it's just something to poke fun at. Not to say that's what we're going to do, but..." [Raw Magazine, May 27, 1992].

Mike Patton, singer: "We're the reporters and were going to get our scoop. We don't do any of those glamour things like flying first class and riding in limos I guess we're just dumb" [Raw Magazine, May 27, 1992].

When the touring started they would struggle to reconcile their worldviews with being part of the tour. Patton would admit to being a "whore" [NME, June 20, 1992] and that they did it for the money and exposure:

"We said: we may not like GNR, we may not like playing in open air stadiums in broad daylight, where we sound like shit and look like shit on a much too large stage that wasn't built for us, and we may not like the fact that people are paying too much money for a ticket...that's all true. But the fact is: it's a very good opportunity to reach a large audience that otherwise wouldn't have come to see us. And that's good" [OOR Magazine, August 8, 1992].

While Gould would amusingly describe the circus that was GN'R:

"GNR and their management are like a small government. Axl's the president, and his manager's a personal advisor. A couple of the other more visible band members are vice-presidents. Then there's the little guys who come underneath, to make sure only the right information is leaked out. They're dependent on the band for their living, so they will police themselves. Support bands are like other countries with whom they maintain a diplomatic front. Like, keep your mouth shut, enjoy the ride and everything will be cool. Open your mouth, and jeopardize your own position. It's an interesting thing to experience first hand" [NME, June 20, 1992].

"We're not the kind of band that's made for this kind of stadium show. It's just not what Faith No More is about. It may be good from a business point of view because our record has just come out, and what better way to promote it than to get on a big tour like this? But if we had our way we wouldn't be doing this; I'd rather do ten nights at the Newcastle Mayfair than one at Gateshead Stadium. […] I mean, it's cool to be out there in front of a lot of people, but man, the sound is shit, the place is too big, the crowd is a fuckin' mile away... It just lends itself to more of a cabaret act, the kind of band who want to indulge in all that theatrical bullshit, with costume changes every other song. I mean, we do change our clothes too, but usually only once a month" [Select Magazine, August 1992].

Early on, Patton would start to badmouth GN'R and especially Axl to the media:

"We never have any contact at all [with GN'R]. They seem to live in a whole different world so I can't relate to them. I can tell you funny stories and that's all. […] A juicy tit bit I heard the other day was that Warren Beatty was fucking Axel's girlfriend. I think he knows because we had a show cancelled the other day and maybe - just maybe - that had something to do with it" [Rip It Up, July 1992].

"They were playing one night and Duff walks up to Axl and pats him on the head like a loving comrade-type thing and Axl Rose immediately brings the show to a halt, this is in front of 80,000 people, and be screams, 'Don't you ever touch my head again, motherfucker!' Duff just walked away, wounded. We found out later that it was cos he's going bald and he's worried that, if you touch his hair, it will fall out. Every follicle counts" [Melody Maker, August 8, 1992].

"[Axl] came up to me the other night and said, 'Hey, man, your song really helped me through some really heavy shit in my life'. I said, 'Really? What song is that?' He said, 'Midlife Crisis'. 'What kind of shit?' l asked, He looked at the ground for about an hour then shook his head and said, 'Mmm, just a lot of shit, man'. I tell you, I was biting my lip so hard trying not to loose it. 'We've given up trying to be quiet about their stupid games. It's gotta come out somewhere. For a while we were a little cautious of saying anything, but we were uncomfortable with that" [Melody Maker, August 8, 1992].

"It's more like you see so many thing that are fucked up that you wanna say something - and we're already pushing it. The amazing thing is that everybody knows something is going to happen. By the time we get to the States, I'm sure something will have happened!" [Hot Metal, August 1992].

When asked what makes him laugh: "I saw two people in a bar recently, really drunk and flirting with each other. My first instinct was "Oh my God!" 'cause I knew one of them. They were sitting on high bar stools and they were learning forwards, just about to kiss, when they fell off and crashed to the ground. Justice! [They were] Axl Rose and Warren Beatty. [When the interviewer ask whether they could print that but that Axl likely wouldn't read it] Oh yes he will. He has Axl policemen checking things like that for him" [The Face, August 1992].

Patton would also shed light on why he was being so vocally critical and abusive towards their headliner:

"I always feel a need to provoke, especially if we're supporting some band like Guns N' Roses and people aren't really listening. By insulting them, you make them at least look: it's the lowest common denominator" [The Face, August 1992].

"Three weeks into the tour and we're already pushing it. We're going to spend the summer with these guys. To me there's nothing... no real reason why we're doing this tour. I mean, it makes real business sense, but on a personal level we have to provoke. To me, that's our duty" [Details Magazine, September 1992].

Gould would explain:

"We’ve got big mouths. We had big mouths when we were in school and we have big mouths now. It’s just that now when you have a big mouth, everybody reads what you have to say like it’s a valid opinion or something" [St. Louis Post-Dispatch, September 11, 1992].

Other band members would also be critical:

Gould: "When is this interview going to be printed? [nervous laugh] You see, I have to watch what I say...but hey, fuck that, just print this: I hate the whole circus thing, we all hate it. But at the moment we don't have the power to do what we want to do, so we still have to eat a little bit of shit. […] We almost have the power to control what we do, but not quite, so we're just gritting our teeth and getting through it best we can. […] Every band in the world might think they want to open for Guns N' Roses, but lemme tell you, it's been a real ugly personal experience, having to deal with all the shit that surrounds this fuckin circus. I've always hated that aspect of rock music and I've never wanted to be part of it, so to find myself being associated with a tour this big kinda sucks " [Select Magazine, August 1992].

Bottum: "Besides, I'm getting more and more confused about who's who in Guns N' Roses, and it's blowing my mind. There's Dizzy and Iggy and Lizzy and Tizzy and Gilby and Giddy... Shit man, onstage now there's a horn section, two chick back-up singers, two keyboard players, an airline pilot, a basketball coach, a coupla car mechanics..." [Select Magazine, August 1992].

Not everybody in FNM was as critical. Mike Bordin, the drummer, would be enthusiastic and defend GN'R:

"All these guys are implying that they hate Guns N' Roses, but they actually admire Slash as a guitar player " [Melody Maker, August 8, 1992].

"It’s an incredible opportunity that they’ve given us - just like this tour was fantastic. They’ve been super good to us. I mean, people say what they want, you know, about any band. There’s always controversy, especially with Guns N’ Roses, turbulence and turmoil that people don’t know. You know, they don’t talk to the press a lot, so people make up their own goddamn bullshit stories - and I’m not gonna do that. But the point is, it’s fantastic we’re getting in front of a lot of people. We’re getting respect from those bands, which means a lot, I think, to the people that like those bands. They realize, I think, that we’re getting respect from those bands that they like; and I think that’s really important" [Much Music, August 9, 1992].

And Gould would also occasionally express gratitudel:

"It's fucking amazing that we even got on the tour, one of the biggest tours in the world. I don't know... I mean, aesthetically we're different! […] I think it's good though. I've gotta give Guns 'N" Roses credit, and give Metallica credit, too. Right now it's really responsible of them to pick bands that are different because they didn't have to do that. They could pretty much tour with anybody " [Hot Metal, August 1992].

After the touring, the band would be more frank:

Gould: "[The tour] was really good for the band. But it wasn't really good for our heads. Things happen when our minds are given the space to degenerate. […] The good thing was playing in front of 80,000 people a night, when on our own we'd bring maybe 3,000 people to a show. So we'd have to play 200 shows to make up for one Guns N' Roses' show's worth of people. […] Unfortunately, we're used to much more relaxed situations, just being able to hang out after the show and not having to worry about our fans shooting us or anything. Getting thrown into that atmosphere was really uncomfortable. Plus, with the security so intense, what can you do backstage? Get drunk and look at strippers? Oh yeah, that's real exciting. […] Being able to talk shit in the press and have a lot of people read it! That was really fun. That was how we got our amusement. We like to create dissension. It was this gigantic body of people that travel just like some big circus, where no one ever really communicates with each other. We thought that if we could stir it up just enough to where we wouldn't get in trouble, it might make it more interesting! After all, it's kind of uncool when a band invites you on tour and you diss 'em a little bit just to have some fun" [Kerrang! November 28, 1992].

At some point in the tour Axl decided to confront the band with their constant bad-mouthing.

Gould: "[Axl] read all the bad press we said about him and asked us about it!" We actually talked to him for a while, and y'know what? He was pretty cool! One day we came to the concert, and Axl was there waiting for us. Like, 'What's the deal?'. And we just said we tried to stir up as much trouble as we could. We told him we felt like that was our job, and he just laughed. He just sat and explained his position to us a little bit. He's an easy guy to take pot-shots at, and we definitely went for the easy thing. He was cool about it. He likes to see the system shook up as much as anyone, but he's in an awkward position. We left the tour friendly. It was like making friends with the Devil. I thought all hell was gonna come down, and he let us off with, 'Aw, right, you f"kin' idiots'. That was a cool response. Most people in his position would have been real uptight dicks. I can think of 100 other bands we've done a lot less to that have freaked out 10 times as bad!" [Kerrang! November 28, 1992].

Gould: "We said a lot of shit, and didn't realize how bad it was until we got caught. Axl was real straight with us, but it was an ugly scene. He said: 'It's like I went away and came back home to find you guys fucked my wife.' We were thrown off the tour for five hours, but we apologized. It was like being in the principal's office. He said, 'I only like you guys, Nirvana, Jane's Addiction, and two other bands, and all of you hate me. Why do you hate me?' [Sky Magazine, December 1992].

According to Slash's biography, he was also present at this meeting:

We had a much more antagonistic situation on our hands with our other support band, Faith No More, once their front man, Mike Patton, started talking shit about us onstage. We let it go once, twice, but after that, that was it. We had to have a talk with him. Axl came in with me, as did their guitarist Jim Martin, because Jim was as fed up with Mike as we were. “Listen, man,” I said. “If you don’t like it here, just fucking leave. It can’t be like this. Either let’s do this thing and make it great, or forget it, go home.” They ended up finishing the tour and that was the last outburst we heard from Mike during their set [Slash's autobiography, 2007].

Patton: "We're still hoping he hasn't read some of it. We were just being honest, and that felt great, but it can also get you killed. As far as the press was concerned, we were like caged animals. They'd throw us a little bit of meat and we'd attack. And we realized that we were the ones who were getting screwed. The interviews that we did belonged in the National Enquirer. We were like a gossip column rather than a band" [Sky Magazine, December 1992].
Tour plane captain

Admin & Founder
Posts : 9271
Plectra : 57186
Reputation : 785
Join date : 2010-07-05

Back to top Go down


Post by Soulmonster on Mon Jun 24, 2019 1:50 am


At the show in Denver on September 19, 1992, the band started with 'Welcome to the Jungle' but Axl then left the stage leaving Duff to sing on 'So Fine' and 'Attitude'. This was then followed by a "slow blues instrumental" before Slash started on a guitar solo only to be interrupted by Axl coming onstage again and saying "shut the fuck up" to the booing crowds who were fed up with the performance so far [Rocky Mountain News, September 1992; 101.9 King, December 5, 2016].

Apparently, Axl had been on his way back to the hotel after 'Jungle' but concert promoter Barry Fey, claims to have ordered to limo to return to the concert out of fear of a riot [101.9 King, December 5, 2016].

In an article in Westworld, Fey would describe how it went down:

"I'm walking backstage, and this guy comes running out and says, "Barry, Axl just left." I said, "'The fuck are you talking about, 'Axl left'?" So I ran backstage, and I found out that he had come down off the stage, got into the limousine and left the site. So I said to... I went up to - his name was Big John; he was the guy who ran the limo company - and I said, 'You don't work for him; you work for me.' I said, 'You ever want to see another fucking dime of this company's money, you get that car back here.' And he said, "What?" I said, "Yeah. The only way he gets out of that car is if he jumps out. And if he jumps out, you leave him in the street. But you get that car back here." So he gets on his little telephone. People are getting a little pissed by this time. Guns is up there just jamming, right? They played "Welcome to the Jungle," and then they didn't do anything; they were just jamming, and people were getting a little pissed off. In fact, I found out that they were taking their Guns N' Roses T-shirts back to the concession stand and throwing them at them and saying, "Give me a Metallica shirt." So I went into the Guns and Metallica dressing room. So Guns sends down an emissary -- and this I know for sure because I was standing there within three feet - and he tells Lars, "Would you guys consider coming back up and jamming with us, because the crowd's going to get out of line?" So Lars tells him, word for word, "You bozos don't have enough money in your collective bank accounts for me to get back on that stage." So at that point, I left the dressing room, went back out to the parking lot and got my .357 out of my glove box and put it in my back pocket. So I go out there, and I don't know what I'm going to do, because, you know, he had caused a riot in Montreal, I believe, by leaving and not coming back. Well, a few minutes later, the car comes back, and Axl gets out and talks to his manager - his name was Doug Goldstein; he was a glorified security guy; he use to do their security, and he took over their management. But how do you manage, manic depressive heroin addicts? That's a pretty good trick. I don't know how you do that. So he [Axl] comes and talks to his manager and goes right up on the stage and gets back into it. So I put three of my, what do you want to call 'em, security, goons, thugs -- the toughest ones I have - at the top of the stairs and three Denver cops at the bottom. My instructions are: "The only way he gets out, if he leaves again, is that way," and I point to the crowd. Doug Goldstein says, "Barry, you can't do that. Axl will get so pissed." I said, "I don't give a fuck about him, and I don't give the same about you. I care about them," and I pointed to the people. So that, basically, is what happened. But Lars tends to tell a different story, and Lars has far more credibility out in the industry than I have. He swears I put the gun up to Axl's temple and said, "Get on that fucking stage or you're going to die." It [his .357] never left my pocket. But every time he sees me today, he says, "Barry, are you packing today?" So that was that story. […] Of course, that also was Slash's bachelor party that night. It was downtown at the Embassy Suites, which is no longer there. They were handing out little tickets - a blue ticket, like if you wanted a blow job, a yellow ticket if you wanted to get laid, a red ticket if you wanted to do both. It was a crazy night. And it turns out, I found out later, the reason Axl left was because he had a fight with Slash on the stage. But you know, I didn't really care. I just... I wasn't going to let him get away with that. And Lars says to me, "Don't tell me you wouldn't have shot him." I said, 'Oh if he's not going to go on, he's going to get shot." But it didn't have to happen. So that's a great story, but it's true. That's the way it is. If you hang up with me and call Lars, he'll tell you the story, "Yeah, Barry put this fucking gun to his head." Didn't happen" [Westworld, November 18, 2011].
Tour plane captain

Admin & Founder
Posts : 9271
Plectra : 57186
Reputation : 785
Join date : 2010-07-05

Back to top Go down


Post by Soulmonster on Mon Jun 24, 2019 1:50 am


While the tour was on hiatus due to James Hetfield injuries, Slash was interviewed by Guitar Player and talked about the tour:

I feel bad for James Hetfield. I know he's bummed out because Metallica never cancels gigs. It figures that as soon as they get on tour with us, all hell breaks loose! All these cancelled shows aren't his fault, but he feels responsible. He's trying desperately to heal, and everyone is still committed to finishing the tour[Guitar Player, November 1992].
And on the decision to let GN'R end the shows:

There's a certain kind of unpredictability about GN'R, as opposed to the rigidity of Metallica's whole trip. We could've never been the middle band, because it would've thrown Metallica way out of whack. […] We are aware the audience is pretty tired by the end of the night, but we've fought through that. But even though the crowd is tired, we've felt that the response has been warm and appreciative. Any other way would've been a disaster. We're trying to be a little more responsible with how we do things, because we know other people are involved; but still, with us, it's a firecracker situation[Guitar Player, November 1992].
Slash would also talk about his solo spots:

It's pretty off-the-cuff. In the first several shows of the Illusion tour, I would play solos to fill in the gaps while Axl figured out which song to play next. As the tour continued and the set began to solidify more, we ended up just keeping a few spots open. For example, I never expected my rendition of "The Godfather Theme" to become a permanent part of the set - it just happened, and people came to expect it. Everything just evolved naturally. […] I don't like to play unaccompanied all that much, so over the last few shows Dizzy and I have started working out a blues duet that I think works really well. It's a 12-bar thing in a minor key, and I love doing it. But so many things factor into whether I'm going to play an extended, unaccompanied solo. A lot depends on how well I can hear myself in the room. I can't stand directly in front of my cabinets, because they're too dry, so I depend on the house mix. Because we don't do soundchecks, the first thing I do after I hit the stage is find different sweet spots on the stage. If I can't find a good spot, then I'm sunk for the rest of the show. If I do find a good-sounding area on stage, I can wail my ass off, and I'll play more or longer[Guitar Player, November 1992].
The next shows in the Guns N' Roses/Metallica tour took place in Oakland on September 24, 1992 and at the Los Angeles Coliseum in Los Angeles on September 27. The rapper Ice-T's band Body Count had been opening at recent shows since Faith No More had other commitments, but at the Coliseum and for the upcoming October 3 show at Rose Bowl, show promoter Brian Murphy decided to cut Ice-T due to their controversial song 'Cop Killer' and the recent massive riots in Los Angeles [Los Angeles Times, September 24, 1992]. Body Count manager Jorge Hinojosa didn't criticize Murphy for his actions. "We're glad to be doing the dates we are on the tour," he said [Los Angeles Times, September 24, 1992]. Axl, on the other hand, was critical:

Both Ice and myself are tired of all the racial crap. This was our chance to play together and show people that we're about artistic expression, not violence or prejudice. It comes down to this--freedom of speech is OK, as long as it doesn't piss off some public official [Los Angeles Times, September 24, 1992].
Apparently, the LA gig was not very good due to a lackluster crowd who had caused both Lemmy from opening band Motorhead and James Hetfield to complain about them [Los Angeles Times, September 29, 1992]. During the show Axl would address the crowd, going "a large number of you seem to be the most boring . . . crowd that we've played for so far on the face of the . . . Earth" […] Now, we can work together here, and we can continue to stay up here and try to kick some ass. But, if you're t-i-r-e-d and it's been a long night and tomorrow is going to be a hard day and you're not really into it . . . well, we don't have to be either. . . . 'cause I'm gonna give what I receive" [Los Angeles Times, September 29, 1992].

Axl would also talk about the show from stage in Rose Bowl a few days later:

We didn't have such a great experience when we just played the Coliseum. This (expletive) makes up for the whole thing [From stage at Rose Bowl, October 3, 1992].
The next shows were in San Diego on September 30 and Rose Bowl in Los Angeles on October 3. Matt had been looking forward to playing the Rose Bowl, especially since there had been local opposition towards the concert [Los Angeles Times, April 26, 1992; April 29, 1992; April 30, 1992]

Talking about playing at the Rose Bowl before the tour started: It’s pretty wild. I don’t think anyone... Not that many people play there, you know, because the people in Pasadena are pretty old and they like to keep the volume down, I think. […] So I think we had a hard time getting it, you know, the facility to play. But I’m glad that we did, because we can get, like, I don’t know how many, 220,000 or something [MTV, July 17, 1992].
And the show was a success:

We didn't have such a great experience when we just played the Coliseum. This (expletive) makes up for the whole thing. [...] They might even allow us back again. You've been a (expletive) excellent crowd. They've got nothing to complain about [From stage, October 3, 1992].
That was probably the best show too. I mean, they were all great, but that was the funniest [In Your Face, October 1992].
When we did the Rose Bowl (in Pasadena), that was the dream concert of the whole summer tour, but it didn't feel like that peak moment we thought it would because there was a whole lot more to do [Raw Magazine, 1993].
Craig Duswalt, personal assistant to Axl at the time, would mention this show in his biography:

"Saturday, October 3, 1992. Guns N’ Roses performed at the Rose Bowl in Pasadena, California. I remember that show very well, and I remember Axl saying after the show, “Now, I feel like I’ve made it.” His goal was always to play at the Rose Bowl. Maybe because of his name, or probably because it is one of the biggest venues we ever played. I vividly remember thinking that day that Axl Rose, for the first time I noticed, seemed extremely proud of his accomplishments. It was the only time I ever saw that in him. We ended up leaving the venue at about 7 a.m. Long night. Great night " [Craig Duswalt, Welcome To My Jungle, BenBella Books, May 2014].

The final show of the tour took place on October 6 in Seattle.

Looking back at the touring with Metallica:

We stuck in there and made our points. That was a great achievement as far as I’m concerned. It was definitely the hardest tour at least - for Guns N’ Roses, that we’ve ever done[MTV, October 1992].
We had a blast, man. It was one giant party, very fun. It was great doing shows with Metallica[In Your Face, October 1992].
be honest, the American tour was really hard because with Metallica playing a full set, and the crowd being really tired by the time they got to us, and so many spectators who really weren't into the music-people who were there just because they wanted to see what everything was about-it was difficult for us. […] With that many people on the American tour just standing around and not giving us energy back, it was really hard for us to keep up our energy level
[Hit Parader, June 1993].

Last edited by Soulmonster on Tue Jul 16, 2019 12:12 am; edited 2 times in total
Tour plane captain

Admin & Founder
Posts : 9271
Plectra : 57186
Reputation : 785
Join date : 2010-07-05

Back to top Go down


Post by Soulmonster on Mon Jun 24, 2019 1:54 am


After court date had been postponed from October to November, Axl and his attorney would negotiate a plea agreement with the prosecutor. Included in the deal was a donation of $50,000 to charities. Axl had suggested a preference for programs for abused children. His attorneys then suggested each of these charities would get $10,000 each: The Child Abuse Detection and Prevention Program, an agency that teaches professionals how to detect child abuse; Court-Appointed Special Advocates, they provide legal counsel to juveniles; Backstoppers, a group that provides services to families of police officers and firefighters killed in the line of duty; Youth Emergency Services, an agency that provides a suicide prevention hot line and counseling for teenagers; and Marian Hall, a Catholic Charities shelter for young women [St. Louis Post-Dispatch, November 1992].

In addition to the $50,000 in charities, Axl would be on probation for two years. There were two special conditions: Axl can travel outside of USA and he can associate with two band members who are felons [St. Louis Post-Dispatch, November 1992].

But additional civil suits, including the one from Bill Stephenson ("Stump") still had to wait until October 1993 to be solved.

Last edited by Soulmonster on Wed Jul 03, 2019 3:35 am; edited 2 times in total
Tour plane captain

Admin & Founder
Posts : 9271
Plectra : 57186
Reputation : 785
Join date : 2010-07-05

Back to top Go down


Post by Soulmonster on Mon Jun 24, 2019 1:56 am


Axl grew up in a very religious home and later in life he would reflect on his relationship with God and religion:

That experience with religion lasted for 10 years and I went to church 3, 2, 7 times a week, you know. And I had to study the Bible regularly for that 10 years. But, you know, the church was pretty hypocritical and they ended up helping to destroy each other’s lives. And it really distorted my view on God, and peace, and all kinds of things for a very long time. And it took a long time to get over, you know. And now I’m just, like, things are cool with God, I guess. "Jesus is just alright with me" (laughs) [Reference to a 60s gospel song that became known from its versions by the Byrds and the Doobie Brothers][Rockline, November 27, 1991].
I was brainwashed in a Pentecostal church. I'm not against churches or religion, but I do believe, like I said in "Garden of Eden," that most organized religions make a mockery of humanity. My particular church was filled with self-righteous hypocrites who were child abusers and child molesters. These were people who'd been damaged in their own childhoods and in their lives. These were people who were finding God but still living with their damage and inflicting it upon their children. I had to go to church anywhere from three to eight times a week. I even taught Bible school while I was being beaten and my sister was being molested[RIP, November 1992].
The Bible was shoved down my throat, and it really distorted my point of view. Dad's bringing home the fatted calf, but I was just hoping for two hamburgers from McDonald's. We were taught "You must fear God." I don't think that's healthy at all. I'll tell you, I don't know what God is or isn't, but I don't fear him or it[RIP, November 1992].
In May 1992 it was reported that Axl was into homeopathy [Czechoslovakia TV, May 20, 1992] and in June 1992 it was rumored that the band would not play Minneapolis on the upcoming tour with Metallica because Axl had been advised by his psychic, who allegedly toured with the band, to avoid playing in cities that started with the letter M [Star Tribune, June 26, 1992]. Lars Ulrich, Chris Jones [from the band's management team], and Duff would deny these rumors [Star Tribune, June 26, 1992; Star Tribune August 4, 1992]. James Hetfield, on the other hand, would say he thought "it did have something to do with [Axl's] psychic, or his psychic’s assistant and he would mention that there were rumors about what "his psychic said" [Star Tribune, August 4, 1992].

Mike Patton, the singer in Faith No More, who opened for Guns N' Roses in 1992, would confirm that Axl travelled with a "psychic":

"Then, for the last show of the European tour [July 2, 1992, Lisbon, Portugal], Axl's psychic (who has her own bodyguard) went out and blessed his microphone and blessed the stage" [Melody Maker, August 8, 1992].

Axl was also into alternative medicine:

I want to learn more and start helping people. Freddie Mercury's death is a marker in my life that says there's no turning back, and I'm going to do whatever I can to inform the public about certain things. We can't sit idly and hope someone will change things and hope things will be alright. There are alternative forms of medicine that are having high success rates in treating AIDS victims. There's things like vibrational medicine, oxygen-ozone therapy, there's homeopathic medicines, there are Chinese medicines and different forms of vitamins. The government is denying the public this information. That's because the government, the FDA and the pharmaceutical companies are making billions of dollars off of people dying. The FDA invests money in companies they've supposed to be regulating - that makes no sense. Over the last 50 years there have been different cures for different illnesses that have been kept from us. Freddie Mercury's death made me want to fight for people to have the right to know about these alternative treatments. Everyone has got a God-given right to health, and it's being denied by power-hungry, greedy people who want control.[RIP, September 1992].
During the touring in 1992 he would talk more about what he was doing:

It's, like, I was always accused of being a hypochondriac, and I'm not. It's, like, I have a pit crew. And it's, like, I'm a car. We do muscle testing and kinesiology. We do chiropractic work and acupuncture. We do cranial adjusting. Oh, yeah. On a daily basis. I'm putting my life back together, and I'm using everything I can[Life Magazine, December 1992].
It would also be claimed he took up to 60 vitamins per day [Life Magazine, December 1992].
Tour plane captain

Admin & Founder
Posts : 9271
Plectra : 57186
Reputation : 785
Join date : 2010-07-05

Back to top Go down


Post by Soulmonster on Mon Jun 24, 2019 1:56 am


In July 1992, Axl and Matt would discuss ambitious plans for continued touring:

Hopefully we’ll go off and on till about next May. Because, you know, hopefully in December and stuff we will be doing South America and things like that, and then we’d like to try to do some really strange places like, we’re working on China, so who knows. […] I’d like to play China, I’d like to play Israel, I’d like to play Moscow... [MTV, July 12, 1992].
The future is very hard to say. We’ve got this tour going on right now and we’re gonna, you know, probably go out again in January and do Japan and South America and Australia. You know, you never know what’s gonna happen with this band. I pretty much – I wake up in the morning, turn on MTV and, you know, I find out (chuckles) [MTV, July 13, 1992].
In October 1992 it was clear the band would be touring South America:

The hysteria that’s going on in South America about us coming over there is sort of apparently unequal; like, we sold an amazing amount of tickets at an amazingly fast amount of time compared to the acts that usually go over there. So, we’re just going to South America. I don’t know if we’re gonna call back and say, you know, “This is where we’re at.” I mean, because that’s a whole different country altogether and you just want to just go and focus on playing there. So, we’ll see how things develop. I don’t know if anybody in the States is gonna hear from us for a while. I mean, I think everybody’s probably sick of us at this point anyway, so, yeah, they'll be glad to let us go away for a while (laughs) [MTV, October 1992].
The tour that never ends. Next stop is South America, and from what I understand we’re playing, like, Bogota, and Lima, Buenos Aires...[…] It’s gonna be interesting. Hopefully they’ll check the plane before we take off every time (laughs). For bombs [In Your Face, October 1992].
For at least some of the South American dates Brian May would be the opener [MTV Brazil, December 12, 1992].

The first show of the tour took place in Caracas, Venezuela on November 25, 1992. While in Venezuela, Duff would be asked about which country of the tour would be the most difficult one:

Well, I would think some place like Colombia, but this is just me and what I’ve heard from people that have been there, like our crew that’s been there like a week or so. Colombia is probably the least used to having a big show like this. But, I mean, we’re looking forward to every country. I don’t look at any one country as being the most difficult, you know. We’re gonna do the best we can anywhere that we go in the world, you know, as far as that goes. […]  and we’ve been to South America before. I mean, we hadn’t stopped in Venezuela. But we were there for two and a half weeks, we kind of got somewhat of a little bit of culture, as much as we could, at least. But yeah, I mean, the promoters down here sent us the whole booklet of, like, each country – what to kind of expect. But you have to live it to really, like – you can’t read what actually a country is gonna be like; so, for us to study it, as you say, it doesn’t have any worth like to actually being here, the real thing [Televen, November 26, 1992].
Talking about the show:

But the kids, like, really appreciated us and it was great [Telefe, December 4, 1992].
Two days after this show there was an attempted coup in Venezuela [USA Today, December 1, 1992].

[We] found ourselves in the middle of sudden political unrest when we did a show in Caracas, Venezuela. [...] We were scheduled to play the biggest concert in the history of the country, and since there wasn’t a venue large enough to hold the forty-five thousand ticket holders, the promoter created one in a huge parking lot. It was an amazing show, and all went off well …until the next night, when the country experienced a sudden military coup just after we left for Colombia. We made it out, but a few of our crew, and over half our gear, did not—they got held up in the chaos at the airport [Slash: The Autobiography, Harper Collins, 2007]
There were some scary moments [at the tour]. We escaped a coup in Caracas by two hours. The airport was bombed two hours after we left it [The Boston Globe, March 12, 1993].

Last edited by Soulmonster on Sun Jun 30, 2019 3:14 am; edited 1 time in total
Tour plane captain

Admin & Founder
Posts : 9271
Plectra : 57186
Reputation : 785
Join date : 2010-07-05

Back to top Go down


Post by Soulmonster on Mon Jun 24, 2019 1:57 am


Next the band travelled to Bogota, Colombia, for a show on November 29. The fan hysteria in Bogota was extreme:

And the kids, they’re starving for it. You know, they’re just like, “Give one good day in the week to go out and watch a rock ‘n’ roll band" [Telefe, December 4, 1992].
In Bogota, Columbia, it was really hectic. You needed about two vans of security people just to move around. It was a
[Hit Parader, June 1993].
According to Craig Duswalt, Axl's personal assistent at the time, Axl refused to do the show:

Duswalt: "Axl came into my room, still dressed in his shorts, and told me that he’s not doing the show tonight. And after dropping that bombshell, he headed back to his room. […] Doug proceeded to tell me that there were about 80,000 people squeezed into a stadium that might fit 50,000. I might be exaggerating these numbers, and maybe Doug might have been as well, but you get the idea. If we cancelled at this last minute there would be a lot of pissed-off people.

Doug also reminded me that he’d just spoken with the police, and if Axl didn’t arrive in the next fifteen minutes, they would make an announcement to the audience that the show was cancelled, and that they would not restrain the fans from destroying the stage.

My stress level reached new heights.

I’m a regular guy from a small town in Long Island and suddenly I was responsible for getting Axl Rose to a concert, otherwise equipment would be destroyed, and there was a good chance that people would die.

I had never told Axl that he had to do a show. But I knew I had to do it that night. It was not going to be a great conversation. I could tell when Axl walked into my room that he was not in a good mood. Something must have happened. […]

I grabbed the key to Axl’s room, knocked on his door, and without waiting for an answer, opened his door with the key.

Axl was sitting on his couch in his dimly lit room.

“Axl, you have to do the show. If we’re not there in fifteen minutes, they’re going to release the audience, and Natasha [Craig's wife] is backstage, and so is your sister, Amy. Let’s go.” And much to my surprise, he only said, “Fine.” He headed to his bedroom to get dressed
" [Craig Duswalt, Welcome To My Jungle, BenBella Books, May 2014].

And while Duswalt was struggling with Axl the crew had been fighting the weather to prepare the stage, and the bad weather continued during the show:

The crew arrived and began to feverishly set up for a delayed Bogotá show. Then, after a huge rainfall, pooled water on the roof collapsed the stage. The crew started over with what was left. The day of the rescheduled show arrived. It rained and rained. It continued to rain during the show. Then, as Axl played the opening chords of “November Rain,” the sun broke through the clouds. Everyone in the audience crossed themselves. After the song, the rain began again. [It's So Easy (and other lies): The Autobiography, Orion, 2011]
When we were in Bogota, Columbia, it started raining during 'November Rain', and the crowd lost their minds. That city deserved to have that happen more than any place else in the world, because 'November Rain' was Number One for 60 weeks. Singing in the rain. It was a very special moment. We all got very happy about it, because we were having a miserable time in Bogota. There's big hotels and armed security everywhere [Raw Magazine, 1993].

For unknown reasons, the show was cut short:

We had to quit the show in Bogota early the other night-and that's only the third show we've had to cut short for technical reasons or riots, or whatever-and that bothered us a great deal [Hit Parader, June 1993].

The band was originally intended to play a second show in Bogota, but that didn't happen:

We were to play two nights (Friday and Saturday) in Bogota. After playing a Thursday show in Caracas Venezuela, we flew into Bogota only to find out there had been a coupe attempt in Caracas, which closed the airport, meaning our gear was being held back.

The promoters tried to talk me into giving back half the money and just playing the Saturday show. I blatantly told them “No way”, that we would play on the Saturday and Sunday!! The promoters opted for one show on Saturday. We played the show and there were at least 30,000 fans trying to gain access into the building. Cops on horseback were deployed and they were hitting fans over the head!

The band started playing “November Rain”, and the rain started pouring down in the roofless stadium. The fans who couldn’t get in ravaged the streets looting the shops in town!

At about 7am, I heard a knock on my door. I got up and there was a soldier who stuck a machine gun in my chest. I read the note (which was written in Spanish), and it said I have a mandatory meeting with the mayor at 3pm. I told him I would let Mr. Goldstein know as soon as he got back!

I called my U.S. Embassy security guy and asked him to come to my room. I asked him what the letter meant, and he told me what I had assumed. There was no meeting — they were going to kidnap me and hold me until we returned half the money. We woke up the security guys and had them get the entourage together and hauled ass to the airport!
We were supposed to play two nights in Bogotá, Colombia, after [Caracas], but without that huge cargo crate of equipment, it wasn’t really an option. The promoter decided to roll both nights into one show, to take place the next night, so we had a day off to relax in our hotel. [...] During our stay, word got out to the authorities that we had drugs, so, in another move typical of South America, the authorities got “warrants” to search our rooms, in hopes of finding something that might require us to buy them off, I imagine. The day of the show, the cops barged in on all of us. I had nothing; they came in, guns drawn, and found me, freshly showered, in a towel playing pinball. “Oh, hey,” I said. “Hi!” They showed me the warrant and started searching my room. I was pretty jovial as they tore through my stuff. “Señor, is it okay if I keep playing?” I asked.

The show that night—November 29, 1992—was pretty magical; it was one of those moments that you can’t believe is happening even as you watch it all unfold, even as you’re a part of it. There was a torrential rainstorm the entire day before as our crew set up; the weight of the water buckled the stage roof (which wasn’t ours), sending a lighting rig crashing to the ground. Luckily, no one was hurt. The whole stage had to be redesigned. Then the day of the show, a sudden storm damaged some of our equipment. Despite more rain, people filled the arena and were lined up outside, where fights broke out, a few cars were burned, and the police had to use tear gas to calm everyone down.

When we took the stage sometime around eleven p.m., the place went crazy. We were playing really well, and the rain had held off throughout the first hour of our set until we played “November Rain.” As we started that song, literally on cue, the sky opened and it poured once again. It was one of those massive tropical downpours where one drop can fill a coffee cup. It was coming down in a black mist that mixed with the steam rising off of the audience. I could barely see through the clouds that formed in the arena; the people were a sea of silhouettes. It was very dramatic and very beautiful; it felt as if they and the band were one. The audience was as moved as we were—they were into it, truly passionate. It rained so hard that we finished the song then we had to break until the storm passed, and once it did, we came back on and gave it everything we had
[Slash: The Autobiography, Harper Collins, 2007].
That night, more news: a coup had been launched in Venezuela. An air-force pilot named Luis Reyes Reyes and his co-conspirators were able to wrest control of most of the country’s air bases by the morning of November 27. Our cargo planes were grounded. McBob and the rest of the crew were stuck.

The next morning a bomb went off near our Bogotá hotel. Then Colombian drug lord Pablo Escobar told the press that we were his friends and that he was supplying us with a bunch of cocaine. He was already in hiding then as a result of American pressure (we never met him), and I guess he was just sticking it to the U.S. government, using us to have some fun. [...]  At some point that next day, I went to leave my hotel room. Outside my room stood a machine-gun-toting soldier. He motioned me back inside. I was—we were—under house arrest. Oh, shit. I didn’t know what to do. I spent the day stewing. What are we going to do now? At least there was booze. That evening there was a knock at my door. I opened it. The hallway was dark. The soldier was gone. Instead there was a guy in a suit—also carrying a machine gun. “Yayo?” he said. I had learned this was slang for coke in South America. “Yayo?” I slammed the door and locked it. Shit. I’m being set up. I just know it. I picked up the hotel phone. Who did I know who could help? Who could call somebody? I didn’t want to scare my mom. Then it hit me: my dad. He’d been a fireman. He must know people at city hall in Seattle. I dialed my dad. It went through. “Dad, I don’t know who else to call,” I said. “It’s all gone terribly wrong. I’m in a hotel room in Bogotá with an armed guard out front. I don’t know if they’re going to let us out. I don’t know if they’re going to let us play the show—if our planes even get here. And I don’t know what will happen if we don’t play the show. I’m really worried. Is there anyone you can call?” I have no idea what my dad did, but the U.S. consul soon showed up on the scene. The atmosphere lightened. The armed guards disappeared
[It's So Easy (and other lies): The Autobiography, Orion, 2011]
We were in Bogota, Colombia, and somebody bombed the hotel we were at [The Boston Globe, March 12, 1993].
As the result of the rioting following the cancelled second show in Bogota, which results in 20 people injured and damages worth an estimated $165,000, authorities banned rock concerts "indefinitely" [The Age, December 4, 1992].

The local concert promoter, Julio Correal, would later recall the story:

Julio Correal wrote:
So I was the manager of this Guns N’ Roses show Back in '92, in Bogotá. The whole country, actually, was very violent, a real mess, it was - you know? It was Colombia. It was an adventure. Pablo Escobar was around, marihuana and cocaine, you know... But "El Meneíto" ["Meneaíto" - dancehall song] was being played everywhere in Bogotá. "El Meneíto, el Meneíto". That was very hot in Bogotá back then. And with that in mind, I was persuading El General, who was the best performer of ""El Meneíto". 88.9 radio station manager, Fernando Pava [and me], we both knew a businessman who, back in the day, was the most famous show planner of Colombia: Armín Torres. And also another businessman called Felipe Santos, brother of Juan Manuel Santos [former president of Colombia]. I vividly remember that I went to Armín Torres' place. He was staying in Torre Bavaria. “Hey! My big guy! I managed to get El General, dude! We're gonna make it big!” Then he confidently looks at me and says, "Really, huh?" He was trying to bring something up, you know. So I thought, "He's up for something." "Just look at this, man. Guns N' Roses!" And I'm like, "What! No freaking way, dude! Oh god! Show me the fax messages, please!" And effectively, the fax message included "Bogotá, Colombia", the date, everything! And I'm like, "Oh Lord!" Then I remember that I told him, "Dude, schedule two shows."

We signed the contract and started to sell the tickets. Everything was awesome. I already spotted a couple of Ferraris for me, some stage kits and other things. The second payment was due and we needed to pay the money. And one of the Armin Torres' businessmen said, "I don't have that money! You’re on your own, guys." The other guys got mad: "What! You bastard!" and they were trying to beat him up. Everyone else was like, "Hey! Calm down!" Anyway, we did the payment on time. We kept on pushing, but now it was like – let’s say that we weren’t really cool after that.

One day, a friend of mine called me at 6 a.m. and he says, "Dude, you really are in a bad streak." He says, "There is a coup (d' etat) going on in Venezuela right now." Guns N' Roses, their plane and all their show equipment were stuck there. And I'm like, "No way." They got a show in Caracas and Hugo Chávez orchestrated a coup around the same date. The airports were closed. After we were told about it, the most important thing that we needed and didn't have in Colombia was the stage roof. We sent a person to Miami to rent a stage roof. He brought it, and we started to set it up on Wednesday. The things around Venezuela got calm and the plane could now take off to Colombia. And so the Gunners arrived in their private jet.

When the band arrived, I went to the airport and witnessed an incredible mess. There were around 5,000 fans waiting for Guns N' Roses. We saw the vans cut through to get to the band. Then, when they tried to leave, the people around were jumping over them. They didn't plan this out. People were actually jumping over the Guns N' Roses vans. The security guard took action by taking out his revolver, rolled down a window and shot his gun twice in the air, bam-bam. And I was like, "Oh my God. What the fuck is happening right now!" So I thought, "Shit, if this is happening at the airport, I can’t imagine what the hell is happening at their hotel." So we went there and we found almost 500 fans out there by the hotel's entrance. The band arrived and Axl Rose got out with his girlfriend; and the poor girl was pulled from her hair, Axl as well, and they grabbed her ass. Plus, the band was already drunk, so they decided to go into the bar Chispas.

When they arrived that night, the same day at around 12:00 the roof of the concert had fallen down. I remember very well arriving with Felipe Santos, and entering the stadium through the back, and seeing the whole roof sitting on top of the stage, and I just said, "Dude..." and we started crying. Then the stage falls over the roof, so now, not only did we lose the roof, the lights also went to shit. So we were there having an open concert without any roof. Without a roof over the stage, the second day of the concert had to be canceled. And I remember very well coming into the bar Chispas, and fetching the manager to sit down with him, and we said: "Hey dude, it appears we will only do only one of the two dates. We paid 1 million dollars, how are we going to solve this?” So the guy said, "I’ll give you back $45,000 for the second day". We lost $500,000, and those $350,000 from our associate weren’t coming back. We were in a huge hole, dude. A big fucking hole. We were screwed, dude. So the only thing left to do was to rock ‘n’ roll, because we were only moments away from the show.

So we were in a meeting with the American Embassy, their lawyers, our lawyers, the agent... And out at the concert, they were about to start. Hordes of people were screaming and throwing rocks so that we opened the doors and let everybody in for free. What's their deal? So, at one point, I heard the show had started and I said, “You know what? I don't give two shits about whatever we are doing here. We brought Guns N' Roses. They are playing on that fucking stage, and I'm going to go see the show and have a great time, motherfuckers. You can all stay here, if you want.” So, the show started all great, until mayhem burst out in the streets. There was huge lack of control and little help from the police or anybody. After a while, they called me on the radio: "Hey, the colonel had to be taken to hospital". "What happened!?" So he tells me, "The colonel got into the armored truck, and decided to go take a look around the stadium to see what was going on. The level of craziness and mayhem around was such, that the guy had a heart attack right there and then. Inside an armored truck, the chief commander of security had a heart attack.

Anyway, the show was going well and "November Rain" started playing, and things started to get hectic. Those were no special effects. They were no - I mean, dude, it started pouring rain. "November Rain," Axl Rose's piano, the music video where it's raining playing behind them. And then it really starts raining. The maximum climax you can imagine in terms of special effects. I was next to another colonel, rolling myself a joint, and Camilo drinking some Jägermeister. It was already a mess, already a fucking mess, man. So then Axl tells something to Slash and then uses the microphone. He says: "Hey, Opie, [stage manager], we’re about to be electrocuted." Because, you have to understand, the stage was a damn pool, wires floating everywhere and such. And Axl went on to say: “Guys, stay calm. We are not leaving; we'll come back."

So I started running, man, all the way backstage, and I saw they already had their vans parked outside with the doors opened. And I was like, "These sons of bitches are leaving, dude. Oh God, these sons of bitches are definitively leaving, dude. No fucking way." And I saw Opie walking and I confronted him. I told him, "Hey, Opie, motherfucker, where are you going?", I told the guy, «Where do you think you’re going motherfucker?" He said, "We are leaving." And behind me me I had a bunch of my workers that had helped with the lights and that stuff - Colombian workers. And, of course, they saw I was mad, because I was really mad. “Where the fuck do you think you’re going?” So the guy says: "We are leaving!" "Yes? You’re not going anywhere, you piece of shit!" There are people who have been waiting, I don't know how long. So the workers started saying: "Go and get him Don Julio, go and get him Don Julio, go for him Don Julio!" And the guy says I don't know what, and then another thing and I just, bam, I headbutted this guy.  Come on. It had already stopped raining. And they hadn't even played Sweet Child O' Mine or "Knockin On Heaven's Door, the motherfuckers. So, at that point, the guy screamed, "Security!" or something like that. Security comes in, and my guys got my back: "Whaddup bitches, what are you going to do, huh?” Finally these guys got in their vans and decided to leave, and all our associates left for the hotel. But one of the associates was an airplane pilot at the time. So he calls the Control Tower at the airport and tells them: “Those motherfuckers, Guns N' Roses  - they are buttloaded with a bunch of drugs. Let them board on the plane, get all their stuff inside, and then when they are done, make them get off the plane with everything they have and search these assholes for any drugs.” Dude, it was 3 in the morning, they were about to take off. And they were absolutely pissed off. Fingers up their asses. I mean, I can only imagine five officers arriving to search them with their rubber gloves on. Yeah, man, “It's an anti-narcotic check, would you please form a line please, one by one."

[Vice Espagnol, March 19, 2019]

In early 1993, Duff would look back at the South American leg, and especially the show in Colombia:

South America, you know, they’re very religious down there. This is heavy. They’re very, very Catholic. And November Rain has been, like, number one down there for a year or something - or more than a year - and it’s, kind of like, their anthem. I forget, I think it was Colombia or something, and they’re very religious, right? It just started raining when November Rain started, and these people just freaked. They were all doing, like, this (makes the catholic cross sign gesture) and they’re like, “Oh, wow!” and praying. It was really heavy [Japanese TV, January 1993].
Fuck that shit! Never again! We did Rock in Rio before, but that was okay because media and bands from around the world were there. This time, it was just us. And fuck man…In Columbia, they were threatening to kidnap Doug, our manager, shit like that, we were getting bombarded with shit. It was like, ‘Fuck this, we’re outta here’. […] The kids were great. The places we played were huge, and all sold out. I think the smallest place we played, was like, 85,000 people. So it wasn’t the kids. It was the government. Which is scary. None of the embassies, none of the American embassies, are very strong down there, so if you really wanted to get out it would be iffy at best [Kerrang! April 1993].

Last edited by Soulmonster on Fri Jul 12, 2019 6:58 pm; edited 5 times in total
Tour plane captain

Admin & Founder
Posts : 9271
Plectra : 57186
Reputation : 785
Join date : 2010-07-05

Back to top Go down


Post by Soulmonster on Mon Jun 24, 2019 1:58 am


Having narrowly escaped Colombia the band continued to Santiago in Chile for a show on December 2. The show was two hours delayed [Calgary Herald, Dec. 6, 1992] resulting in fighting breaking out in the audience [The Record, December 4, 1992]. Myriam Henríquez Reyes, a 15-year old girl, was critically injured from trampling and died later at the hospital [The Record, December 4, 1992; ABC, December 9, 1992].

Duswalt: "Guns N’ Roses went on two hours late that night, and during the show, specifically during the song “Civil War,” bottles were randomly thrown on the stage. No one got hit, and normally Axl would have just left the stage, for fear of getting hit. He had been hit before with objects, as had most of the members of the band. But this night Axl did not leave the stage, probably because he knew something bad would happen. More than 85,000 people were there—the biggest concert ever in that stadium in Santiago.

However, unrelated to the show, something bad did happen. Fifty people were arrested outside the stadium, and through no fault of the band, a teenage fan sustained numerous injuries at the concert and died two days later. Rumor had it that she had snuck out of her house to see the concert, because her parents wouldn’t allow her to go
" [Craig Duswalt, Welcome To My Jungle, BenBella Books, May 2014].

During a later press conference in Argentina Axl would be asked if the reason they were two hours late was that he was drinking and using drugs, to which he would say:

The show was scheduled at 10:00, which means we usually go on at 10:30, so we went on at 11:00. And I don’t have time to be drunk or drugged before a show, or I couldn’t do my shit. The truth was that I had strep throat, so, it’s like, I had to do a lot of throat exercises and things like that, and work with my doctors, so that I could do the show altogether, or there wouldn’t have been a show. People will write anything (laughs) [Press Conference in Argentina, December 4, 1992].
Axl would also comment upon the crowd throwing stuff:

The crowd was throwing bottles and spitting a lot, because they thought that’d be a thing to show they liked the band. They hit our rhythm guitar player with a bottle, so there were many times we almost stopped the show [Press Conference in Argentina, December 4, 1992].
In general, the South American fans were excited:

In Chile, there were, like, 500 kids at the hotel at any given time [Raw Magazine, 1993]
Traces of cocaine was found in a tube in one of the band members clothes while it was being cleaned at their hotel in Santiago, resulting in being refused to leave Chile until after the police had searched their private plane for drugs [The Orlando Sentinel, December 4, 1992; Tallahassee Democrat, December 5, 1992]. After the search of the plane the band was allowed to leave [The San Francisco Examiner, December 4, 1992].

When looking back at the show in March 1993, Duff would tell a story about someone trying to plant drugs on them:

In Chile, they tried to plant drugs on us. My wife was in the hotel room when we were playing the gig. She was naked on a bed and all these men in suits came in the room and she screamed and they left, but who knows what they were trying to do. It just goes on and on[The Boston Globe, March 12, 1993]

Last edited by Soulmonster on Sun Jun 30, 2019 3:23 am; edited 1 time in total
Tour plane captain

Admin & Founder
Posts : 9271
Plectra : 57186
Reputation : 785
Join date : 2010-07-05

Back to top Go down


Post by Soulmonster on Mon Jun 24, 2019 1:59 am


Next up was Buenos Aires, Argentina for a show on December 5 and 6. In prelude to their coming to Argentina, the Archbishop of Buenos Aires, Cardinal Antonio Quarracino, said the band members needed "very serious and deep psychological therapy" [The Guardian, December 14, 1992]. Before the first show, the band would display erroneous and hysterical local media reports on the big screen, including a report that Axl had burnt an Argentine flag and that the band would burn their shoes before leaving the country, with the word "LIES" behind [ABC Sevilla, December 9, 1992]. Wendy Laister, Guns N' Roses international tour publicist, would say, "Those stories are extraordinary. They’re completely untrue. There’s not even one grain of truth in the stories. The band has been excited to come to Argentina. Which is why it was one of the countries on the South American tour, and it’s the first time they’ve ever been here and they’re very excited to come (?)" [Telefe, December 4, 1992].

In Argentina, there was a rumor we had burned an Argentinian flag and that we wouldn't buy Argentinian boots because we didn't want them to touch American soil. So we had all these right-wing skinheads, like Nazis, after us. They were all out in front of the hotel - hundreds of them - yelling and chanting. And we even had a guy who went in front of us to every city, because he knew who to pay off. I'm serious. We had to have a grease money float. It was scary [The Boston Globe, March 12, 1993].

To address the rumors Axl, Slash and Duff, and management and other members of the crew, would do a rare press conference while in Argentina:

Also, we’re giving out this press conference, which we don’t do in every city. We don’t do press conferences. As Doug, our manager, said, the reason we’re doing this is to clarify a few things up, because all these rumors are flying. And where do they come from? Not from us. They come from the press, you know. So, that’s why we are here, to clarify a lot of these really ugly, kind of silly and stupid rumors that are happening, and it makes us sick, you know? We’re here to play, we’re here to make people happy, and it’s really gotten out of hand. That’s why we’re coming down to do this. We’re just a rock ‘n’ roll band, you know? [Press Conference in Argentina, December 4, 1992].
Also, I’d like to say, we have been touring for seven years together. And this is the first time that we’ve ever seen – I mean it’s great, but we’ve never, ever seen the type of reaction that we’ve seen with the press and with the fans. It’s more hysteria than we’re certainly used to. And, to be honest with you, a lot of people get afraid when you have press people pushing this way, the fans pushing this way, you have nowhere to go. It gets a little scary [Press Conference in Argentina, December 4, 1992].
I might add that in some distorted way we do appreciate all the attention. We just don’t know what to do with it (laughs) [Press Conference in Argentina, December 4, 1992].
Well, also because of the things that went on in the papers down here. I don’t even know what paper or what writer or who said what about me. All I know is that I’m seeing fights outside right now, people burning Guns N’ Roses t-shirts, other people beating the crap out of them. Now there is a mess outside. People throwing bottles every now and then, hitting little girls in the head... So that’s why I came down [Press Conference in Argentina, December 4, 1992].
Axl would explain that such rumors could influence the actions of crazy people:

I’m a bit concerned with an element of people at the show or outside the venue that were affected by the story of me flag burning and not taking my boots back to America or something. I think that might be an element outside the arena and that might be an element inside, and I don’t want anybody in the crowd to get hurt. It’s like, we’re pretty much a target up there, and now we deal with it at every show, cuz you never know where you’re gonna have a crazy that could shoot you or whatever when you’re up on the stage [Press Conference in Argentina, December 4, 1992].
For the press conference and show Axl would be donning an Argentinian football shirt, when asked why he would say:

Because it was given to me (chuckles) […] Well, in light of the false stories in whatever papers, I think it’s a good gesture for me to wear it [Press Conference in Argentina, December 4, 1992].
Axl would also talk about the rumors to an Argentinian TV channel:

I don’t even know the name of the man who said these things. I’d rather burn him. (chuckles) But I don’t know enough about Argentina to ever say anything to disgrace it, or to be disgraced about being in Argentina.  I don’t want to take anything away from the country or capitalize on anything. I haven’t come to spit on the territory or offend anyone, because I like the feeling from the people at the shows here in Latin America and how much they’re into us, and there are many people who like us a lot more. I’m watching out my window, and I see that there are people who are in favor of Guns N’ Roses and there are those who are attacking our fans because of all the things they’ve read. But I understand that they’re offended, because if someone said that in America I would see the youth get behind that feeling and something similar happen.  But I don’t know if these people know the truth of what happened, that there’s this man who was really irresponsible and obviously doesn’t care about the Argentine people. He doesn’t care for what kind of violence can happen because of false stories like that. I believe that this violence is reflected in what is happening outside the hotel right now, people are attacking girls because of a person who was very irresponsible for putting out statements that we never made; a person who was greedy, selfish and angry that they weren’t the ones working with us on this tour; a guy who is involving innocent people who can get hurt in a series of situations, and I don’t want anyone to get hurt [Telefe, December 4, 1992].
Unfortunately, the notoriety of the band resulted in a young fan, Cynthia Tallarico, who wasn't allowed to attend the show by her parents, committing suicide [The Times, December 1992]. Duff would recall this tragedy in his biography, but think it happened in Colombia:

When we arrived in Bogotá, Guns N’ Roses was the lead story in all the local newspapers. When we asked what all the headlines were, someone translated for us. A fourteen-year-old Colombian girl had committed suicide after her father refused to let her attend our upcoming show. Jesus. Another person whose life we touched . . . gone [It's So Easy (and other lies): The Autobiography, Orion, 2011]
Axl would also sum up the South American tour:

I think everything’s been going pretty well. The shows are really big, because a lot of other rock bands don’t necessarily always make it down to South America. There’s been some different confusions and different problems arise, like in Chile, because the people putting out the shows aren’t used to organizing this kind of big show.  But I think everything has gone pretty well. The media – and CNN has kind of jumped on - has presented the details a bit more exaggerated, over-exciting in a negative way. […] Slash and I have really had a great time in the South American tour, and we have toured the world - I mean, we just did the stadium tour in the U.S. with Metallica and that was very good for us, but the last show we did in Chile was much more exciting. And we hadn’t realized that Guns N 'Roses was so big here in Argentina [Telefe, December 4, 1992].
And talk about the upcoming two Argentinian shows:

We’ll give everything that we’ve got to the shows and to the people. At the same time, I hope that we can clear up a little bit of the confusion that has been created from what was in the papers; and, hopefully, we’ll show people that rock and roll is not that bad of a thing. We’ll perform all the songs that the people want to hear and we’re doing this so that we have a great show. I wanted to do this interview because I don’t want people to hurt each other at the show because of a group of people who are angry about statements that don’t exist. We, as Guns N’ Roses, haven’t said anything like that, it’s somebody else. […] I want to say that, if people come to the show because of what they’ve read, they shouldn’t believe everything they read. There’s a lot of people that for some reason want to stop rock ‘n’ roll, they’d like to stop Guns ‘ Roses or they’re against rock ‘n’ roll and they don’t want people out there to have a good time - why that is, I don’t know. And to take a moment to think, and to be a bit more responsible and not throw bottles or anything, because we want everything to be nice, we want everyone to have a good time at our show, and that is all 100% [Telefe, December 4, 1992].

Last edited by Soulmonster on Sun Jun 30, 2019 3:25 am; edited 2 times in total
Tour plane captain

Admin & Founder
Posts : 9271
Plectra : 57186
Reputation : 785
Join date : 2010-07-05

Back to top Go down


Post by Soulmonster on Mon Jun 24, 2019 1:59 am


Despite all the troubles the band experienced while in South America, the fans were ecstatic which motivated the band:

The South American tour, for instance, has really gotten Slash, Gilby and me very excited, especially about
the people and their responses to the show. It's brought new life into it
[Hit Parader, June 1993].

Then the band travelled to São Paulo, Brazil for shows on December 10 and 12.

Duswalt: "Axl stopped the first show in São Paulo about four times. First, because there was a fight in the crowd. Second, because there were stones being thrown onstage. Third, I think because he got hit with a tennis shoe or something like that. And lastly, during “Paradise City,” their final song of the evening, when a stone hit drummer Matt Sorum.

That was the last straw. Axl and the band walked offstage halfway through the song.

I think his parting words that night, were, 'Good night, and f*** you, assholes'
" [Craig Duswalt, Welcome To My Jungle, BenBella Books, May 2014].

While in São Paulo Axl hurled a chair from a hotel mezzanine at a "small group of journalists, fans and hotel guests" 33 feet below [Associated Press via The Greenville News, December 10, 1992; Associated Press via the Pantagraph, December 11, 1992]. According to GN'R publicity officer Wendy Laister, the chair "missed everyone by miles" [The Times, December 1992].

They made me sign a document saying that I didn't wanna throw that chair. I wanted to throw it, and, if they stop me again, I'll  throw and throw however many chairs needed. This is a song called 'Double Talkin' Jive Motherfucker!' [Onstage in Sao Paulo, Brazil, December 10, 1992]
Duswalt: "The second show in São Paulo was postponed, due to heavy rains. However, Guns N’ Roses played the next night with the 120,000 fans in attendance standing in the mud. It was a mess " [Craig Duswalt, Welcome To My Jungle, BenBella Books, May 2014].

While in Brazil Duff and Matt would again talk about the South American press:

The tabloid journalists down here – you know, they gotta make their buck. And the way they do it down here than what we’re used to. […] it’s very sensationalist and they get the wrong information. We’re just down here – I mean, we haven’t even left the hotels, and the stories they tell about us, like, doing this and that, and this and that, it’s like, “What? I did what?” And the stories get all mixed up and it kind of comes bad on us – not even “kind of”, it really comes bad on us. We’re just down here to play rock ‘n’ roll shows, man. That’s what it’s all about, ya know? [MTV Brazil, December 11, 1992].
[…] it’s a lot heavier here [=South America], you know, as far as, like, political situations and things like that - with the Argentinian situation with the flag and all that. I mean, we haven’t really experienced that before. We had almost a riotous situation in front of the hotel and people threatening us and - you know, that kind of thing, which makes you, like, scared to go up and play a show. […] There was guys out in front of the hotel that were basically threatening us and, you know, burnt American flags to retaliate for what they thought we did, that we didn’t do. […] we made it out of Venezuela, three hours before the coup, so we thought we were, like, home free, you know? It just kind of kept happening, you know? Every country we went to, we were having problems [MTV Brazil, December 11, 1992].
I almost kissed the ground when I landed here [in Brazil] (laughs) [MTV Brazil, December 11, 1992].
The Times would also describe the tour:

"By the time they flew into Argentina, Guns N’ Roses’ hysteria was at its height, with Catholic parents fearing for their daughters’ virtue. The band was accused of committing a vile crime by burning the Argentinian flag, regarded as virtually sacred. Axl was quoted as boasting that he was planning to burn his boots after they had been tainted by touching Argentine soil. The singer staged a rare press conference to deny the reports, saying they had been put about by a jealous producer. But the damage had already been done.

Television called for a boycott of the concerts, saying such a violent group would set a terrible example to the nation’s youth. The controversy even percolated through prison walls, as Colonel Mohamed Seineldin, serving a life sentence for masterminding three unsuccessful coup attempts, called for a “patriotic” reaction. Young right wingers hurled firecrackers at the girls holding vigil outside the band’s hotel each night, despite the risk of periodic saturation
" [The Times, December 1992].

The next and final show of this tour leg took place in Rio de Janeiro, Brazil on December 13.

Last edited by Soulmonster on Tue Jul 16, 2019 12:10 am; edited 1 time in total
Tour plane captain

Admin & Founder
Posts : 9271
Plectra : 57186
Reputation : 785
Join date : 2010-07-05

Back to top Go down


Post by Sponsored content

Sponsored content

Back to top Go down

Page 7 of 8 Previous  1, 2, 3, 4, 5, 6, 7, 8  Next

Back to top

Permissions in this forum:
You cannot reply to topics in this forum