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Post by Soulmonster on Mon Jun 24, 2019 3:01 pm


The tour kept rolling on.

Well, we have to finish touring [before recording more music], because we’re doing South America and then we’re going to, I think, Japan and Australia. And then we’re gonna do the States some more, yeah (chuckles) [In Your Face, October 1992].

The next shows would be on January 12, 14 and 15 at the Tokyo Dome in Tokyo, Japan.

The band then turned towards Australia, and before coming there the stage would be described as "72 feet wide and 64 feet deep - and the set (designed by Phil Ealy and the band) is a monstrous 75 feet high. The stage weighs 50 tons and the total weight of equipment transported to each show is 150 tons, which includes the steel scaffolding and the band's equipment, which weighs 7 tons alone" and the "show uses an incredible 250,000 watts of power, with 900 lights on stage and three massive video walls - one either side of the stage and one at the back. There are 60 microphones in use during the show. It takes three tractor trailers to transport the speaker cabinets. And let's not forget the giant inflatable monsters that are operated by four men in 'Welcome to The Jungle'"  [Guns N' Roses Australian Tour Special, January 1993].

While in Australia, the band would g on a tour of the Great Barrier Reef [The Age, January 29, 1993] and before the first show Dizzy and Gilby would meet with five seriously ill children [The Sydney Morning Herald, February 8, 1993].

The first show in Australia was at The Eastern Creek Raceway in Sydney on January 30. As the name implies, this was a racetrack and it was expected that 70,000 to 80,000 would attend the show [The Sydney Morning Herald, January 29 and 30, 1993] and according to GN'R tour publicist Wendy Leister, it would be the largest concert in Australia [Australian Channel 5, January 30, 1993] .

We played Sydney a month or so ago. We played the biggest gig ever played in the Southern Hemisphere. We were told that before the gig and you can’t think. You've got to put that out of your head. That’s pretty major, you know? And here we are, just a couple of lunkheads [Edmonton Journal, March 26, 1993].
Yeah, it was so big that gig, in fact it was in a specific 8 month period where I don't remember a lot, but I do remember that gig and just kind of how overwhelming it was to have that many people at the gig [Triple M, January 2013].
The next show took place in Calder Park Raceway, Melbourne on February 1, with possibly an even larger crowd [Australian TV; February 1, 1993]. Due to heavy rain and urine the gig area became a "smelly swamp" and because of the conditions the show would later be referred to as the "worst concert ever staged in Australia" [9 News, September 7, 2016], which would later lead to an official inquiry [The Age, February 4, 1993].

I remember just seeing a fucking sea of people. It was a big huge gig, Rose Tattoo was on it, and that was a band that really meant a lot. I’d discovered them when Guns first came together [Faster Louder, September 2012]
You know, I guess I missed all of [the problems during the gig caused by heat, lack of water and poor amenities]. I never really heard any of that stuff. I remember it being really hot and that there was a lot of people needing water. [...] I was having all these crazy dreams about tornadoes and stuff and then we had to take a chopper out there, a helicopter, and there were some stormy skies. When we landed I remember some of the crew telling us there had been tornadoes, which was kind of weird. If I’d known they even had tornadoes down there I probably wouldn’t have got on the helicopter [Faster Louder, February 2013]
After Melbourne the band continued to New Zealand for a February 6 show at Mount Smart Stadium in Auckland. This was on Axl's birthday and the "crew arrived on stage with a cake and everyone in the audience sang to him" [Stuff, August 26, 2016]. Apparently, this show was not very good, with Steve Braunias from RAW writing:

"More impressively, [Slash] does his best in front of 45,000 fans the following night to save Guns N’ Roses from absolute disaster. As he stalks the stage in leather, Slash is everything you want in a Rock god.

There’s a great melodic solo on ‘November Rain’, a quick hurst of Hendrix' ‘Voodoo Chile’, the deadly opening bars of 'Bad Obsession’ and a surreal, cosmic duet with Gilby Clarke on ‘Wild Horses’.

Meanwhile, Axl jogs and sings lyrics that most of the crowd can’t hear, Drift looks sick as a dog, and Matt Sorum sends hundreds of fans home early with a drum solo as dull as a month of wet Sundays...
" [Raw, June 23, 1993].

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Post by Soulmonster on Mon Jun 24, 2019 3:02 pm


"It's been said that you can't consider yourself fully acquainted with Axl Rose until you have at least once wanted to tell him to fuck off. Those who know him well, though, rarely do. Because it's apparent to anyone who spends any time with him that for all of Rose's seething rage and vicious wordplays, for all the time he spends lashing out at the rest of the world, he usually isn't fighting anyone but himself" [Rolling Stone, September 1991].


[…] the band has always been tense, because this isn’t, like, a day job where most bands in the business nowadays just go up and they play the same; they do the show in their sleep, you know. We go up there, every night is different and we care about every single show. If something happens during one particular show, yeah, it’s tense, because the way we treat it is, you go out there and do the best possible job you can, and we do it in a way that it’s not premeditated. We just go up and just go for it right then and there [Countdown, May 1992].
A lot of that tension came from Axl's unpredictable behavior which meant that his band mates never knew what was going to happen and whether a show would go smoothly or turn into a riot:

There were certain times when Axl would leave the stage, but he was going through a phase where he was just so lost and confused that he couldn't help it. I'm not him, but it seems to me that he's gotten past all that now. I'm not going to say Ax was a dick for doing that, but it scared the shit out of me. I mean, I didn't know if he was coming back. What if some kid got hurt as a result of what we did? [RIP Magazine, November 1993].
The one that struggled the most with Axl's behavior seemed to have been Axl himself. It was obvious he was uncomfortable with the touring:

I pretty much could do without touring in a lot of ways. I'm not a big fan of it [Musician, June 1992].
One way for the band to deal with the messy situation was to downplay its severity, at least to the press. Like when Slash dismissed a question about why the band so frequently stopped shows [Countdown, May 1992].

For quite a while, the band's approach to Axl had been to leave him alone rather than confront him. As one band member was quoted as saying to VOX journalist Nick Kent: "Nowadays we just let Axl do pretty much what he feels, 'cos he'll only do it anyway" [VOX, October 1991]. Kent would also write that Axl had insisted on the 'Use Your Illusion' albums being so long, had insisted that Skid Row should open on their tour (despite band members despising them), calling for the resignation of Alan Niven, and what music would be played over the PA before the shows [VOX, October 1991]. Many articles would also imply that the label was afraid of him and his temper and behavior and would rather accommodate him than put the foot down. Simply put, "Axl runs the group" [VOX, October 1991].

In July 1991, Matt, who was nicknamed "the Mediator" in the media [The Indianapolis Star, July 21, 1992], would praise Axl's stubborness:

Axl's so fuckin' great. Anything he does or says, it's just because that's the way he really is. He's beyond real, ya know. I've never seen anyone dare to talk shit to him, ever. I love that [VOX, October 1991].
Yet, only a month or so later, Matt would be the one that attempted to confront Axl when he refused to return to stage in Mannheim in August:

Matt Sorum tried a novel approach when Axl left; maybe to a "new" guy it was the obvious thing to do. He went to find Axl and confront him. He was turned away by Axl's security detail [Duff's autobiography, "It's So Easy", 2011, p. 194].
So Matt went down to Axl's van to rally him, but as he got down there, he ran into Axl, who had emerged to head back to the stage. Matt was so fired up, though, that he got in Axl's face regardless, to the degree that it almost got physical.

"What the fuck are you doing?" Matt yelled. "Get back onstage!"

I ran up and got between them, because it wasn't a good situation. Axl can get completely psycho when he decides to fight and Matt weighs twice as much as I do - and he plays the drums - so it wasn't exactly a good place for me to be. Axl went back to his van, and it didn't look like he was coming out again
[Slash's autobiography, p 343-344].
And in late August, as the band visited England for their August 31 show at Wembley, it was rumored that unless Axl "continued to be difficult to work with", Matt would quit the band [Music Life, November 17, 1991]. In November, when Axl hosted the rock show Rockline, he was confronted wit 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].
Izzy would claim that while he was in the band he was balancing factor between Axl and the rest of the band:

I was always pretty quiet, and that band was pretty much....I don't know, I guess in some ways I was sort of a balancing factor between Axl and the rest of the guys at one point. I don't know how it evolved to where it is now. I don't know what goes on with them now [Spin, April 1993].
In early 1992, it was Slash who would describe himself getting labelled a mediator in the band due to his closeness with Axl:

Well, I know Axl real well and a hell of a lot better than anyone’s gonna know him from reading the press. I know where he’s coming from and I may be a little more level-headed so I guess I get labelled as the mediator at this point. With Axl though, a lot of it comes from just unbridled sincerity. Everything about him as a performer and a singer comes from his personality, so the shit that makes him crazy or the shit that he finds hard to deal with is, at the same time, what makes his talent, you know? […]Sure, shit goes down and I keep it together, but with me it’s pretty simple. It’s ‘Get the fuck up there and plug in that guitar and go!’. With him it isn’t that simple. There’s a lot going on part from the three hours that we spend up there and it’s that shit that affects him [Raw Magazine, March 4, 1992].
In mid-1992 Duff and Gilby would be asked to describe Axl:

[Axl]’s a...he’s a good guy. Everybody’s got their own personality, but he’s basically . . . he’s down to earth [Hit Parader, June 1992].
Axl and I are both from the Midwest, and we probably have more in common musically than the other members of the band. We both grew up listening to all those same silly '70s songs. And be never rides me —maybe because he thinks if he's mean to me I'll leave [Lakeland Ledger, August 28, 1992].
Matt on Axl in early 1993:

I think I can speak for Axl on how he’s feeling about everything. I think he’s a totally changed person. […] Now he’s into playing, and everything’s pretty cool. […] [But Axl still has bad days] because a lot of stuff goes on with him... just basically being Axl Rose. […] I don’t know if I’d want to be him, to be honest with you. You’d have to think about that yourself: ‘Would I want to be Axl Rose?’ Yeah, millions of people would, but then you’d have to be in his shoes for a little while to see what it’s actually like. [...] I think he really enjoys being in a big band and all that, being a big rock star or whatever, but there’s times when he doesn’t, and that’s the times when he just doesn’t want to... do anything. […] It’s real interesting. After being in the band for almost three years now, I can understand the guy. For a while there I just couldn’t, and neither could millions of people [Dayton Daily News, February 26, 1993].
Gilby would also explicitly say that it was Axl's band and that there was nothing he could do about Axl being late for concert starts or changing his behavior:

When he comes in late, sometimes I’ll ask, ‘What up?' He’ll say, something like ‘somebody didn’t wake me up’ or ‘the limo was late.’ When he tells me this, there’s not much I can say. It’s his band[The Cincinnati Inquirer, February 26, 1993].
Axl is the way he is and nobody’s going to change him. But there’s a certain amount of respect among the guys in the band. If Axl’s in a bad mood, he’s not going to take it out on me. And if he starts throwing one of those tantrums onstage, I just walk off[Muncie Evening Press, February 26, 1993].
As for what the band do when waiting for Axl:

We start drinking. The longer the wait, the tipsier we get[The Cincinnati Inquirer, February 26, 1993].
In March and April 1993 Matt would talk about Axl:

I think he’s lonely. It’s so hard being the centre of attention. You try to have a normal life, and juggle that with being a rock star, although I hate that term; it’s just difficult. It’s real demanding, people just feed off you. It’s very draining. I mean, we sometimes go out for dinner and people come up to him screaming[The Star Phoenix, March 26, 1993].
I know that he’s a good person. For whatever reason, he takes the grunt for anything. They love to say Axl, Axl, Axl, Axl, Axl, but the fact of the matter is, the band’s called Guns N’ Roses. But he takes all the responsibility. […] He felt really bad about a lot of (stuff) that's happened. He's not up there wanting to cause some riot. When that kind of stuff happens it blows everyone’s mind. All we are is a rock and roll band, just playing music[Lincoln Journal Star, April 4, 1993].
In June 1993 Slash would be confronted with an interviewer who remarked that the live shows are better when Axl are in a good mood, to which Slash would say their strategy was just to not try to piss him off even more:

Well, that's probably just the way it is. If Axl's in a good mood, us others in the band don't have to think about what he's doing and why. But if he's in a worse mood, we have to spend a big part of the show at not making him more pissed off or irritated and therefore screw the show even more[Metal Zone, December 1993; although interview done in June].
When asked if paying customers doesn't deserve that one at least tries to pretend to be happy:

Not Axl. It's just not possible. He will absolutely not do anything he doesn't feel like and I respect that. Of course it happens that a show doesn't fully work due to his mood-swings. But he can't pretend. But the times we are good, then it feels really good. Then there is nothing better[Metal Zone, December 1993; although interview done in June].

In late 1993 Duff would claim the press exaggerated Axl:

Well, you know, [Axl is] my bro, and his personality doesn’t swing as much as it’s often publicized. He’s just a regular guy. He has good days and bad days, like everybody else. When he has bad days, he has really bad days, and I feel sorry that he has some of those problems. But it’s not like everybody thinks it is, he’s just more intense about it. If I thought about everything as hard as he does – you know, he lets everything kind of get to him[Metal Express, December 1993; translated from French].

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Post by Soulmonster on Mon Jun 24, 2019 3:02 pm


Slash: "Currently what I've been doing is taking the guitar into the hospitality room. Me and whoever else is hanging out sit there, and I play and talk at the same time. I have a drink, watch TV, and just try and keep my fingers moving. I do fast picking, but not any particular pattern. I play the way I play, and maybe stretch my fingers a bit across the neck. […] I can't even hear the guitar. I don't plug it into an amp, which is really important" [Guitar for the Practising Musician, November 1992].

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Post by Soulmonster on Mon Jun 24, 2019 3:02 pm


We really have only just begun. We’ve only have what we have - what, four records out. We’re still babies, you know. We’ve got a lot to achieve [From unknown date in 1992, shown in MTV Special, July 17, 1992].

After the release of 'The Spaghetti Incident!?' in 1993, Guns N' Roses would not release a new album until 'Chinese Democracy' in 2008. But the band hoped to work on new, original music already in 1991:

We’re already starting to work on new material now with an 8-track on the road, and hopefully we can fire something out by the end of this, rather than wait forever [MTV, May 1991].
Yeah, we were talking about getting right in the studio [after the release of the Illusions] and doing another one. Just eight or nine, ten songs, you know? [RAW, October 1991].
In addition, the band would claim they had many songs and song ideas not used after releasing the 'Use Your Illusion' albums:

But also, we had so much material built up when we went into the studios, we decided.... “Well we got all this material; let’s record until we’re burnt out”. If we can only do one record, we’ll only do one record. But we never burnt out. We just kept goin’ and it turned out that we recorded over forty tunes. I mean there is another record in the can [Hit Parader, June 1992].
If Duff is accurate with his "over forty tunes" comment, it means that there were 10 songs recorded but not featured on the two Illusion albums. Six were punk covers intended for the upcoming punk EP (which would evolve into a full covers album). In addition comes 'Ain't Goin' Down' which was intended for the punk record but never was released. This still leaves a few songs. Axl, though, says it was only "parts and stuff" and implies that Slash had more songs ready but that these might be used outside of Guns N' Roses:

No, we started with 56 songs… […] ... you know, and we cut it down to 30. And we decided which ones were important out of that, and kind of put different things on the side, on the shelf, that we weren’t really into, and recorded the most important ones now. And we kinda wanted to get things - we wanted to clean the closet, you know. Because when we set out to make Appetite, we had some of these songs already then, and we wanted to get rid of all those songs so that we could have - be fresh to start, and whatever we do next time is brand new for us. […] I have no idea [what we are going to do with them]. There’s just parts and stuff. And we kinda like took the best things from those. Slash is, though, one who really has a backlog of some material, and I don’t know what he plans to do with that [Rockline, November 27, 1991].
Axl talking about how he has changed through therapy:

I really think that the next official Guns n' Roses record, or the next thing I do, at least, will take some dramatic turns that people didn't expect and show the growth. I don't want to be the twenty-three-year-old misfit that I was. I don't want to be that person [Rolling Stone, April 2, 1992].
Working on the new record while touring:

I'm trying to write the songs at the moment [Kerrang! May 16, 1992].
Well, we do that when there’s a chance in soundcheck. We usually try to, like, just jam, you know, come up with riffs. So we’ve got some good stuff going in. We tell the sound man to hit the tape player. And then, later on, we’ll compile some of it and maybe we’ll have another Guns N’ Roses album in... five years (laughs) [MTV, June 1992].
We haven’t gotten together as a band per se and, like, started to put songs together, although we’ve been jamming a lot. You know, cuz we always jam. And so I sit around and, you know, come up with ideas and I just keep it in my head. And when, you know, everything is over with, we’ll probably get together and start trying to complete some of the ideas [MTV, June 1992].
By July 1992, Duff would indicate that the work on a new record had progressed and even hinted that the new material sounded more like 'Appetite', somewhat in contrast to Slash above:

We have enough material now. It’s more like ‘Appetite for Destruction’ than ‘Illusion’ — songs that are right in your face [New York Daily News, July 29, 1992].
While Slash would say a new record was not on his mind when asked when he thought the next album would be out:

I don't know. We still feel there is a lot we want to do with the "Illusion" material. […] I'm not even thinking about the next record until we finish all that. When the time does come to begin work on it, we'll take however long is necessary. We've never been the kind of band that rushes in and forces things--like one of those album-a-year type bands [Los Angeles Times, August 9, 1992].
In October 1992 Dizzy would say that they would start recording when all the touring is finished:

Well, we have to finish touring [before we can record], because we’re doing South America and then we’re going to, I think, Japan and Australia. And then we’re gonna do the States some more, yeah (chuckles). […] [The tour]’s going on forever. It’s perpetually touring. Never stops. No, we’re gonna – after we do the States again, then we’re gonna start working on the next record, which is gonna be very fun, because, you know, we have Gilby in the band now, and Matt is gonna be involved in, like, the writing and stuff now too, so that’s gonna be very cool. […] it’ll be good. It’ll be better [than just Axl and Slash in the group]. […] You know, whenever you change the chemistry of anything, it becomes a little different. It becomes either better – in this case, I think it will [In Your Face, October 1992].
In an interview published in September 1992, Mike Patton from Faith No More would claim that Axl was into his other band, Mr. Bungle, and wanted to do something "heavier" and "industrial" [Details Magazine, September 1992]. Whether this was for a solo project or GN'R's next release is uncertain.

In the October 1992 issue of RIP Magazine, Axl would talk about what he wanted to do on the next album:

What's next is, I would like to have a cleaner, more focused expression. We've pretty much stayed within the parameters of rock 'n' roll music as we know it. I'd like to see if we could add anything to GN'R, possibly bring in a new element that hasn't been there before. Guns N' Roses is not just me. There are other members in this band, and everyone's growing. There was a certain focus we all wanted to keep for Illusion I and II, but when I did "My World," everyone dug it and wanted it on the record. By the next record I think we can branch out a lot further. I would like to move in a direction where I'm more in touch with life and love but still remain as strong in terms of exposing ourselves as GN'R has always been. I don't feel now like I did when I wrote "Estranged." I'm not as bummed out as I was then. I've grown past that [RIP, October 1992].
In December 1992 Slash would also talk about Axl, Gilby and him talking about the next record:

As far as what’s next, last night Axl, Gilby and I were all talking about, you know, the next record and what – […] Yeah, Gilby, Axl and I. Anyway. We were talking about what the next record is gonna be like and how we’re gonna go about it. And everybody’s just really excited. I still don’t know exactly what’s gonna happen, but I’m writing songs upstairs - you know, in my room, just playing -  Gilby’s writing songs, Axl’s got ideas [Telefe, December 4, 1992].
Axl would share more light on this in December 1992, and emphasize that Slash had been working on riffs while he had been trying to get in the right state of mind to make the next record more emotionally extreme:

Slash has been working on a lot of things, working on a lot of riffs with the band. I've just been working on where my head's at on things so I can approach the next record in a way that lets me go to farther extremes. If I'm going to express anger, I want to take that farther, and if I'm expressing happiness and joy I want to take that farther too. We really haven't really sat down to collaborate on songs yet. I wrote and recorded a new love song that I want on the next record called This I Love, that's the heaviest thing that I've ever done. Other than that, we're not even sure how we're gonna approach writing for this next album. Last time Slash would write his songs, I would write mine and Izzy would write his, and then we'd put em all together. Well, this time there's no Izzy, and Slash isn't writing just his songs-it's gonna be more of a collaboration thing. We don't know if we're gonna be writing with Gilby or somebody else. We know we want to play with Gilby, but we're not sure about the writing. […] It's definitely an evolving thing because everyone has a different direction that they want to go in, and I wanted to get the band big enough that they'd have those opportunities. We have a lot of new people in the band, but what works at the end is what gets me and Slash off. We're not sure where we want to come from with the other band members as far as the writing goes, and, who knows, if someone isn't into a song, maybe they don't want to be there. We're really into letting Matt go more off on his own in terms of drumming for GNR. On UYI, he was pretty much playing just what we wanted to hear on a particular song which we already had together before he joined the band. […] When he goes off on his own creative sense it's pretty amazing. I want to facilitate that getting out. I want Matt to just explode on the next record [Hit Parader, June 1993; but interview done in December 1992].
And on the direction of new music:

My girlfriend recently asked me if I could still write a song as nasty and gritty as the things on Appetite, and I told her that it would probably depend on the song and if I was moved to write that way. But I'm not gonna write that way just to sell records. I'm not gonna write anymore bar room sex songs just to sell a few more albums. If something inspires me to do it, I will. I won't regress. I'll do it if I can take it to a new place, a new level [Hit Parader, June 1993; but interview done in December 1992].
Duff would talk about new music before they went to Australia and New Zealand in January/February 1993, saying the stuf they had been playing at sound checks "a lot broader" in style than the Illusions, and:

The stuff we've been writing at sound check — it's way, way outside. When you're on tour for this long, you kind of lose it a bit so some of the stuff is just, I don't know, very heavy, sort of like dark. But not in a bad way [Rip It Up, January 1993].
In Februar and March 1993 it would be reported that Slash and Gilby was starting to come up with songs for the next record [Hartford Courant, March 4, 1993; RAW, June 23, 1993].

Y’ know, I was just thinking about [being the musical arranger], ‘cos I’m in the middle of writing a lot of new material right now. But I wouldn’t call me a song arranger, because I have no attention span!. […] So I talk with Duff a lot, and talk with Axl a lot, and we still have original ideas, and we’re still turned on by one another as far as creating is concerned. That’s a huge accomplishment after all this time, and anyone who wants to criticise can fuck off [RAW, June 23, 1993 but interview from early February 1993].

In May or June Axl's head was finally in the right place to start working on new music:

It’s like, I haven’t really written songs for a new album, until I started, like, this weekend, because I’ve been trying to get my head in a certain space that I was actually growing, rather than staying in the same place. And now that this tour is winding down, the Use Your Illusion songs have all, in one form or another, come back to life emotionally for me on the albums; and so we’re experiencing them in new situations, and then trying to figure out how to grow and go farther, rather than stay in that same place. I’ve been kind of doing it with every aspect of my life; and it’s very strange for me, because on a tour I feel like I’m trapped in a time warp that I created (laughs) ["Guns N' Roses: The Photographic History", Documentary, June 19, 1994; but interview from May or June 1993].

It would also be said that Axl, Slash and Duff would continue to work on new material together but that it wasn't clear whether Gilby would be involved [RAW, June 23, 1993].

In July 1993, Duff would say that he would adjust his upcoming solo tour to accommodate work on he band's next record:

[Scorpions have] offered us the Canada dates, but I haven't given them a definite answer. […] [Mostly because, come next Spring] we're all planning to get back together to work on GN'R stuff, and of course that's the priority. […] We've got a lot of stuff written already [Kerrang! July 17, 1993].
Later in the year Duff would indicate that a new record with original material would not happen quickly:

GN'R always jams new stuff at soundcheck - when we do soundchecks [laughter] - so we have some cool riffs already. […] People are going to have to realize that it's going to be a while before our next official record comes out. We released two albums with 30 songs on them in September of '91 and were touring before the records even came out [RIP Magazine, November 1993].

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Post by Soulmonster on Mon Jun 24, 2019 3:02 pm


In Mid-1992 Slash would talk about doing another tour in 1993 where they would play all their harder stuff:

Slash: "We still feel there is a lot we want to do with the "Illusion" material. We have been touring for a year and a half to this point, but we have all these Metallica shows left, then a Brazilian tour and maybe a little club thing in the U.S. next year where we go out and play all our thrash stuff" [Los Angeles Times, August 9, 1992].

Axl would talk more about this tour in December 1992 and reveal its name, 'the Skin N' Bones tour':

Axl: "We're calling this one the Skin And Bones tour, and it gives us a chance to play other songs-the ones that aren't necessarily the hits. It will be all stripped down to just the six members of the band and a small stage. We'll use the video screens and maybe some cool lights, but it'll be only an hour and forty-five minute set, and we're really excited to have the Brian May band as our opening act. I always loved Queen, so that's very exciting for me. And we're gonna be playing arenas in cities that we haven't played yet" [Hit Parader, June 1993].

In early 1993 Duff would talk about wanting to strip down their shows now and go back to basics:

Duff: "But, you know, we started off with the girls and the girl horn players, who are - they’re all great. They’re great to look at, and we all have fun and they have fun getting dressed up, you know. But it’s not, like, a sexist – it’s not like that at all. I hope people won’t get that, because the girls really have fun getting dressed up, and we have fun goofing around with them, and the most important thing is they’re great musicians, you know? But that’s something we started – I guess, now, - what about 14 months ago. And after we do this Japanese and Australian/New Zealand thing, then we’re done with that. We’re stripping back down to do again Europe and again the States, and then we’re done. But we’re doing it just as a five-piece band again. It’s gonna be called the “Skin N’ Bones” tour" [Japanese TV, January 1993].

Slash: "And after that we’re gonna do a tour in the States which is just stripped down and just jamming" [MTV Brazil, December 12, 1992].

Explaing why:

Duff: "Well, it’s very simple. We’ve been touring the whole stadium thing, the whole real kind of big, big events on this tour in the past - you know, we’ve been touring for two years, with like, the real big – what do you say – focus, sort of. And I guess it’s been, like, “Oh, Guns N’ Roses got all these people in the band now. What, are they’re trying to cover up cuz they can’t play?” or “They’re not a rock ‘n’ roll band anymore,” or whatever else people will wanna take a crack at it about. So we’re gonna come back, and it’s kind of like, “Okay, alright, here you go. There’s us again,” ya know? So it’s just basically to prove that on any turf, any place, anywhere, we are the same band" [Japanese TV, January 1993].

As mentioned above, the tour would be named "The Skin N' Bones Tour", although Matt would refer to it as the "the tour that wouldn't die" [Dayton Daily New, February 26, 1993].

Matt: "[The elaborate production on the previous tours] worked out for the big shows, ’cause it just made it a little bigger, more like what the Stones would have done. […]. [The auxiliary musicians] filled up a lot of the music, and if you’re playing in that big of a situation, you want it to sound a little plusher. […] I don’t want to use the word ‘plush,’ because that doesn’t go very good with Guns N’ Roses [laughing]. A little bit more like the record is what we were trying to go for, and I think that happened. I think the band sounded better. […] We just felt that it was time to come back to just being a rock ’n’ roll band [Dayton Daily New, February 26, 1993].

For this tour Matt would bring with him a personal trainer [Dayton Daily New, February 26, 1993].

Matt: He wanted touring to be "more like real life, like if you were at home. For almost two years on the road, I didn’t do anything but go out at night, and then... stay in my hotel room all day" [Dayton Daily New, February 26, 1993].

In March 1993 Duff would talk more about why they left the big production behind:

"We got that out of our systems. That's gone. I'm glad we did it, but it's over. Never again. There was just too much to keep up with. There would always be something that somebody would forget to do. Or one of us would fall through part of the stage. Or the monitor system wouldn't work. […] Every night you'd worry about something - whether the big inflatable monsters on the side of the stage would go up without popping, whether the three Diamond Vision video screens were working, whether the 250,000 watts of PA were OK, and whether the 125 members of the crew had all made it there. It was too much. And me and Slash and Axl were the eye of the hurricane, because we paid for all this stuff. So you had all that on your mind and you still had to play the gig. […] We lost so much money on the big production tour. We had to cart that whole circus all the way through Europe, and then on through Tokyo and Australia and New Zealand [The Boston Globe, March 12, 1993].

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Post by Soulmonster on Mon Jun 24, 2019 3:02 pm


In addition to having scaled back to a six-piece band again (dropping Ted Andreadis, the horn players and the backup singers), Axl would also drop the many costume changes that he had been doing for the shows the previous year.

The concerts would feature an acoustic set where the band played selected songs off a couch brought onto the stage. They would also be served beer by topless dancers and a pizza from a guy dressed in a Domino Pizza's uniform [Star Phoenix, March 29, 1993].

For the first dates of the Skin N' Bones tour the band had invited Brian May as the opener.

May: "Guns N’ Roses did not need us to sell tickets. So you always feel slightly on trial" [Des Moines Register, March 14, 1993].

On February 23, 1993, at the Frank Erwin Center in Austin, Texas, USA the band started its Skin N' Bones tour. Axl would mention from stage that they hadn't planned the shows in detail:

There are those out there that, to them, it doesn’t matter what we do. They’ll always have a problem with us. And it seems that they like a lot of the bands in Seattle. And I like a lot of bands in Seattle, and I remember when a lot of these people, like Spin Magazine and shit, when they hated everybody else but they thought that we were cool. But when we didn’t want to suck their dick like they thought we would, then we weren’t cool anymore. Which means that right now in somebody’s eyes, “Axl Rose is throwing a tantrum.” [Makes a funny sound] Well, that’s what this little show is all about. Especially this tour. What you’re gonna see tonight is, some of the songs we’ve been doing in the summer and a lot of shit we’ve never played live anywhere. We’ll be doing – in the middle of the show we have a small [?] break where we’re gonna put together an acoustic set. We haven’t done something like that since on MTV [?]  There’s a lot of bands that are going, “We don’t want to be like U2 or Guns N’ Roses, [?] .” Well, we just wanted to see if we could fuckin’ pull out the big show; that was all. And sorry, but we’re big like that because of you. So now we’re gonna have some fun trying a bit of a show that’s kind of hard work, since we just threw it together about two days ago. Even though it was planned and we sold tickets a long time ago, we still had no idea what we were doing until last night. So [?], we’ll try to have a good time tonight. And anybody who says we’re trying to rip you off or kiss ass or that it’s contrived, they can suck my dick and they’re nothing but a bunch of Double Talkin’ Jive motherfucker [Onstage at Frank Erwin Center, Austin, TX, USA, February 23, 1993]
The next show was on February 25 at the Birmingham-Jefferson Civic Center in Birmingham, Alabama. Here Axl would end the show early. According to the Jefferson Civic Centre's assistant security director, Maureen Reagan: "Axl was on stage for 20 minutes and he got mad at their sound man, fired him and left the stage for 40 minutes while the band continued playing" [Star Phoenix, March 25, 1993]. Apparently, the monitor issues caused Axl to blow out his voice and as a result they would cancel the next shows [The Boston Globe, March 12, 1993].

I don't blame Axl for that. I can blame him for other things, but not that [The Boston Globe, March 12, 1993].
The next three shows, in Cincinnati, Chapel Hill, N.C., and Providence, were cancelled [Hartford Courant, March 2, 1993], likely due to Axl having blown out his voice in Birmingham [The Boston Globe, March 12, 1993] or due to Axl's emotional state after splitting with his long-time girlfriend Stephanie Seymore [The Atlanta Constitution, March 2, 1993].

During the unexpected break, Gilby would be asked about the reasons for postponing the shows:

I think we had some equipment problems or something. This is a brand new show we’re doing, and I don’t think they got it all together. […] It’s, like, wherever you were walking, you were not hearing anything. And Axl was just losing it. He just wasn’t hearing his vocals [Hartford Courant, March 4, 1993]
Gilby would also talk about why they had stripped down the shows:

After doing [the large productions] for a year and half, the band was going, ‘Let’s be a rock band again.’ We stripped everything down. We got rid of the whole background section. […] The set is like a club stage; there’s just one level and a back line. And it’s cool. It’s just down to us. And we’re playing songs that we’ve never, ever played before — a lot of songs off the ‘Lies’ record and stuff off the ‘Illusion’ albums that we’ve never played. It’s kind of like a harder, faster tour [Hartford Courant, March 4, 1993]
Then followed shows on March 6 at New Haven Coliseum, in New Haven, b]March 8 at Cumberland Civic Center in Portland[/b], March 9 at Hartford Civic Center in Hartford, March 12 at Copps Coliseum in Hamilton and March 16 at Augusta Civic Center in Augusta.

The next show was on March 17 at Boston Garden in Boston. Before the show Duff would be interviewed by Boston Globe and talk about the massive touring they had done:

We started the tour the day the Iraq War broke out. That's when we played the Rock in Rio concert. And we won't end until July 15. We're going back to Europe soon for the fifth time on the tour - and we're going to play Moscow and Tel Aviv. […] But I've given up on itineraries and stuff. I just get on the plane and go. All I know is that we're going to be in Boston on St. Pattie's Day [The Boston Globe, March 12, 1993].
Duff would also talk about the Skin N' Bones tour:

It's just the basic band again, playing on a small stage. It's great, man. Right on, we're a punk- rock band again. We're doing a lot of the early hard core stuff, like 'Nice Boys' and 'Reckless Life.' It's really sparked energy in the band. We'd be pretty dragged down by now if we were still doing the big production thing, because that really started to get strenuous [The Boston Globe, March 12, 1993].
And on their acoustic set:

It's kind of like what Led Zeppelin used to do. Not comparing us to Zeppelin or anything, but Slash will sit out front with a 12-string guitar; and we got a grand piano that's rolled out for Axl. We do songs like 'Crazy,' 'Used to Love Her,' 'You Ain't the First,' 'Patience' and 'November Rain.' We're having fun with it [The Boston Globe, March 12, 1993].
Before the Boston show Slash would also talk about the differences to the sets on the Skin N Bones tour:

That's… that's cool, I mean, I would do more, you know, it's like: I would more and more often. Um, because pulling out new stuff, just makes it really fresh. I love turning the corners on everybody. And going, you know, and showing the fact that aah… We're just that kind of band, you know, that can do that. I mean, it's like, it's one thing to play "Jungle," you know. I mean, we can do "Jungle," you know, whatever… However "Jungle" is supposed to sound like, we can do that. But when you turn around and play something like "The Garden," and having it totally be as heavy as that song is, and pull it off live, and just fucking blow everybody's minds with it. 'Cause they're not expecting it. That's pretty much the joy of, of continuing touring. To keep pulling the stops, you know [The Civil War EP, March 15, 1993].
And about which songs that intimidate him:

"Live And Let Die." Especially with that new double-neck that I've been playing. [laughs] You know, 'cause I have to make sure I switch the buttons right. Sometimes it used to be the intros to "Paradise City," before I go into the actual song. Or definitely having to do the fucking guitar-solo, because I never have that mapped out, you know. Let's see… the end of "Double Talkin' Jive" always intimidates me. I'm intimidated by a lot of stuff that we're playing, you know, I tell you. You know, it depends on the guitar sound, and how the rest of the guys in the band are feeling, or how they're playing, you know, you know. Where Axl's at, I mean. Like I was saying earlier, it's like, it depends on a given night for that given song, you know [The Civil War EP, March 15, 1993].
And whether he was tired after two years of touring:

I think that the only times that I'm not tired is when I'm walking up the stairs. And about to get on the stage. And you hear the crowd and you're about to break in to the first tune. And then there's some sort of like revitalizing energy that get, you know, that comes out of nowhere and it carries you around for two hours. [laughs] You know, the rest of it is just… it's just fucking hell, I mean, you know. And especially for doing it for, as long as two years, with and, and having, and having all those other dates looking at you, you know. I usually go: "Ok, that's gig, that's gig 450 and we have 60 more coming," you know. [laughs] I mean, it's a little, it's a little nerve-racking. But playing actually… I can't say I'm tired from playing [The Civil War EP, March 15, 1993].
The Boston show was stopped and the band left the stage after someone threw a beer bottle onto the stage [Boston Globe, March 18, 1993]. This prompted the audience to chant "bullshit" [Boston Globe, March 18, 1993]. When the band returned after 10 minutes they started with "Attitude" with Slash uttering, "Not that this city needs any" [Boston Globe, March 18, 1993].

This was followed by shows on March 20 show at the Carver-Hawkeye Arena in Iowa City, March 21 at the Fargo Dome in Fargo, and March 24 at Winnipeg Arena in Winnipeg.

After the show in Winnipeg, Duff would comment on going from a large production to a small:

When we started (the Use Your Illusion tour) it was just the band, and then we decided we wanted to get the horns and the backup singers, and do something big. And we did it. We did all the stadiums. Every night it was between 80,000 and 145,000 people. […] I don’t think we would have survived much longer doing all those big shows. It was too big, man. Check it out OK? Here’s the deal. We had 140 people working for us. Nineteen semis. Nineteen buses. Two 747s to take the (equipment), OK? And another plane for the band. It was too big It was every day. […] And when it comes down to it it’s myself, Axl and Slash who have to take care of all the financial (details) because we started the band and all that. So here we are being businessmen, and trying to get out and rock every night, and you know, you’ve still got faxes falling out of your pockets when you’re up on stage. […] It’s like, this ain't happening, man. It was cool for a while, but it just got too much. And you’ve got the backup singers and the horn players screaming that they want bigger rooms — it just goes on and on. So we’re back to square one, and it’s great. […] It was a cool thing to do, but we got it out of our system and we re back to what we are, which is a rock band. Now we’ve got an acoustic set in the middle, and a small stage, and we’re playing smaller places, arenas, and it's really cool. It’s just good to have that band feeling back and not like this obscene huge circus going around the world. We’re coming back to prove what we are — Guns N’ Roses, a few guys on stage trying to play what they like to play [Edmonton Journal, March 26, 1993].
Duff would also comment on a review of the Winnipeg show:

Axl and I are on the cover, and it’s a really horrible picture of me. I’ve got like 15 double chins. Really nice. But it was a good review and was a good show last night, really good, although we went on a bit late. Which is par for the course, I guess [Edmonton Journal, March 26, 1993]
The next show happened on March 26 at Saskatchewan Place in Saskatoon, Canada. After the show Slash, Matt and Dizzy would hang out at the local var Ryly's where Slash and Matt would jam with the local band Robin's Trip [The Star Phoenix, March 29, 1993].

Then followed shows on March 28 at Northlands Coliseum in Edmonton, Canada, March 30 at British Columbia Place in Vancouver, Canada and April 1 at Portland Coliseum in Portland, USA.

Before the show in Vancouver, Gilby would be asked his thoughts on the Skin N' Bones tour:

I’m really happy with this because this is what I thought I was joining but that was just when they were going to do the shows with the big band. I had no idea, so when they told me we were going to do this, I said great [Vancouver Sun, March 30, 1993]

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Post by Soulmonster on Mon Jun 24, 2019 4:01 pm


On March 1, 1993, Geffen Records released a statement saying that Stephanie Seymore and Axl was splitting [The Atlanta Constitution, March 2, 1993]. In the statement Axl would be quoted as saying, "It was fun; I wish Stephanie the best" [The Atlanta Constitution, March 2, 1993].

It would also be reported that Axl was seeing another woman, but that they had not been romantically involved before the break-up with Seymore [The Daily Journal, March 5, 1993], and that this woman was from "a small Southern town and is (surprise) not a model" [Salt Lake Tribune, April 2, 1993].

In August it would be reported that Axl and Stephanie were not on friendly terms. According to the Star-Gazette, Axl was considering suing Stephanie to receive gifts he had given her, and for "assault and mental and emotional abuse" [Star-Gazette, August 27, 1993]. Allegedly, the threat to sue Stephanie came after she sent a "missives that she’ll publish a picture of herself with a black eye if he doesn’t stop asking" to have the gits returned [Star-Gazette, August 27, 1993]. According to Axl, Stephanie had attacked him at a Christmas party, leading him to defend himself, and there were supposedly many witnesses [Star-Gazette, August 27, 1993].

The quarrel was not resolved and in September Axl sued Seymour for $100,000 in gifts [The Pantagraph, September 2, 1993; People Magazine, September 13, 1993]. Listed in the suit were "wedding and engagement rings, a gold and diamond turquoise necklace and a diamond and sapphire antique watch" [The Pantagraph, September 2, 1993].

Amy Bailey: "He wants them returned. Rather than keep them as a sad and sorry reminder, he wants to give them to a child-abuse charity. […] The whole relationship was wonderful. Until last Christmas" [People Magazine, September 13, 1993].

The suit followed a letter Axl had sent to Seymour on August 13, requesting that she return the gifts [The Pantagraph, September 2, 1993]. In the suit Axl would claim that Seymour had "attacked him without warning or provocation" at a party she threw at his home last Christmas, punching and kicking him [The Pantagraph, September 2, 1993].

Amy Bailey: "I never saw Axl strike, punch or slap her. […] [Stephanie] wants to push things to the edge" [People Magazine, September 13, 1993].

Seymour, who was now romantically linked to Peter Brandt, would respond to Axl's allegations and claim she would donate the jewelry to charity [People Magazine, September 13, 1993]:

Seymour: "I strongly disagree with Mr. Rose’s version of these matters. I was never engaged to Mr. Rose. I have gone on with my life, and I hope that he can do so as well" [People Magazine, September 13, 1993].

An interesting note here is that Stephanie, while filming the 'Don't Cry' music video had claimed she and Axl had never fought, not even argued:

Stephanie: […] I’ve never had to do a scene before. But it was weird, because we’ve never fought. […] Never. I mean especially not physically, but never even verbally or – we’ve never had a disagreement [Don't Cry: Makin' F@*!ing Videos Part I, June 22, 1993]. Possibly the footage was recorded before the Christmas party at the end of 1992, or Stephanie decided to not tell the truth.

In November the conflict between Axl and Stephanie escalated when Stephanie filed a counter-suit to Axl's lawsuit, claiming assault and battery by Axl [AP/Logansport Pharos Tribune, November 11, 1993]. More specifically, Axl allegedly beat her after the Christmas party and refused to return her and her 2-year old son's clothes until February [AP/Logansport Pharos Tribune, November 11, 1993]. By now Axl had dropped parts of his lawsuit demanding that Stephanie return jewelry, but kept the part about her attacking him at the Christmas party [AP/Logansport Pharos Tribune, November 11, 1993].

A court date would be set for May 9, 1994 [AP/The Galveston Daily News, December 23, 1993].

In early 1994, when talking to a fan that would say she "always loved him", Axl would quip: "Don't love me. People that do usually cost me lawsuits [laughs]" [Rockline, January 3, 1994].

And in March 1994 Slash would be asked if Axl was a happy man these days:

Slash: "Well, aside from the lawsuit with his ex-girlfriend, yeah, he's great" [Q Magazine, March 1994]

Axl himself would comment on the ongoing conflict with Stephanie while making the video for 'Estranged'. Stephanie had been featured in the videos for 'Don't Cry' and 'November Rain' but now they had to manage without her:

Axl: "It’s really wild to be doing this video, and things going on in my home with my family that... It would have been nice if it would have happened with Stephanie and I, but the woman continually worked very subtly at destroying that and trying to keep me from being here, for whatever fucking reason, I don’t know. And it’s amazing when certain things are happening and it’s nice to, like, realize, “Wow, this wouldn’t be as cool if she was here as the person she was when she was with me.” That’s very strange. It’s also very strange to know that deep inside, underneath all the varying emotions, I do love this person and care about what happens to them – but not at the point of being a martyr or hurting anyone that’s in my life" [The Making of Estranged: Part IV of the Trilogy, April 26, 1994].

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Post by Soulmonster on Sat Jun 29, 2019 3:07 pm


As discussed in the chapters about GN'R and Metallica touring together in 1992, the band didn't see eye to eye on everything. Right before the tour, Jason Newstead had said the following:

"We go out, take care of business and we’re done. We get on the stage when we say we’re gonna get on the stage, we play what we say we’re gonna play"  [The Indianapolis Star, July 21, 1992].

And when describing why there are no drama surrounding Metallica:

Newsted: "The people that we have working for us are the same people who have worked for us for many, many years — from stage carpenters to our guys that work on our guitars to our management. Metallica is a very fine-tuned machine. When we say we’re going to go do something, we go do it . . . We stick to our contracts and we fulfill them. […] And the music is much different. I’d say Metallica fans are a bit more loyal and a bit more rabid than Guns N’ Roses fans. I’m sure there are Guns N’ Roses fans that go crazy, but I don’t think they have the unity and the touch we have with our people. […] Our plan is to go out and play for a couple of hours and Just pummel. There’s not going to be too much talking or long solos. We plan on going out, song-to-song-to-song, and just crush. That’ll be that. Take care of business and get off stage and then they can do what they want to do" [The Indianapolis Star, July 21, 1992].[/b]

Especially James Hetfield ripped on Axl on a few occasions. One of these were Metallica's "A Year and A Half in the Life of Metallica" home video in which Hetfield made fun of Axl's tour rider:

Hetfeld: "Axl Pose dressing-room requirements - absolutely no substitutions. One cup of cubed ham. Not [beep], you know, it’s gotta be cubed [beep] right, so it can get down his little neck. (Laughter) One rib-eye steak dinner, [?] to look like a [beep] ‘vegemetarian.’  One gourmet cheese tray. Pepperoni pizza – fresh.” I think that’s for throwing around. Cans of assorted Pringles chips. You know, the greasy shit that he uses to [?] his hair back. Bee honey, that makes you (does screechy voice) sing like that" [MTV, April 1993].

Another was in an interview with Rolling Stone published on April 13, 1993:

Hetfield: "[Guns N' Roses]’re a different type of band – and I use the word band loosely. It’s a guy and some other guys. We were out to show people that there was something a little more progressive and hardcore than Guns n’ Roses. And to go about it our way. But it was hard going on, dealing with Axl and his attitude. It’s not something we’d want to do again" [Rolling Stone, April 13, 1993].

In it, Hetfield would also comment on the tour rider:

Hetfield: "Metallica humor. It didn’t really matter what the hell was on [the rider]. Just the fact that Axl had his own rider was funny. It’s hard to grasp. When we saw he had his own dressing room, I just didn’t understand that" [Rolling Stone, April 13, 1993].

And would criticize Axl for what happened in Montreal:

Hetfield: "He was pissed off at the monitors or whatever. For some reason, he didn’t get enough volume, strained his voice, and it wasn’t working for him. He threw a fit, and that was that. I was so disappointed in him. Because he could have won so many people over by continuing the show. And he went the exact opposite way and made things ten times worse and jeopardized people’s lives. There was a lot of unnecessary violence because of his attitude. He could have turned it into a great evening" [Rolling Stone, April 13, 1993].

At the April 3, 1993 show at ARCO Arena in Sacramento, CA, USA Axl would viciously lash back at Metallica:

So we’re kinda like around the Bay Area, right? Good. So it’s kinda like we’re here on somebody else’s turf in a way. Some people we used to like to think that we were homeboys or something. I wanna talk about – maybe your good friends, I don’t know – Metallica for a minute. Let me tell you a couple of things about Metallica. First off, they do a lot of bitching for a band that got paid about 20 to 30% more than fucking what they deserved at a show, because they didn’t bring that much.

“Ooh, Axl’s talking now, well, listen to that, who does he think he is?” I’ll tell you who I think I am. I thought I was friends with these people. I don’t know how long they were on the road, but there was nobody in their crew that ever got a bonus or paid anything extra for working their fucking ass off and slaving for that band. I pretty much watched a lot of people being treated like shit, and it wasn’t very enjoyable.

I watched the man named James prove that - you know, since I’m supposed to be the “rock racist,” cuz I used a word once? I watched the man show me that he was a motherfucking racist. He got a real big problem with Ice-T and any black man, actually. “Oh, rap is really terrible. Black men [?]” I watched him be really shitty at black people who worked with us. That wasn’t very enjoyable.  

I watched him diss on other people, like Sebastian and shit, people that, like, love this fucking band. They love Metallica. They would, like, fucking do anything for that band.  But Metallica don’t give a shit. Lars don’t give a shit. The motherfucker calls me at 4:00 in the morning trying to kiss my ass and stuff. And it’s like, but I can’t trust the little fucker. They’re gonna take it and figure how they’ll go make some more money. Like the time that we sat around writing a video for Don’t Cry, and we talked about being under water and showing all these things, and then Lars would [?] a video. And the cool thing about it is, he cocked to it, yeah, “I was ripping you guys off.”

I’m gonna dedicate this to these people who like to run a fucking little video for people saying, “Fuck you, this ain’t the Guns N’ Roses tour. This is Metallica.” Who say things like, “Oh, it was just a joke because we are friends.” You ain’t no fucking friend of mine, you fucking stupid little [?] cocksucker. This is for you, Lars, and you, James. This is called Double Talkin’ Jive motherfucker!
[Onstage at Arco Arena, CA, USA,April 3, 1993]

Slash would later shed some light about the relationship between the two bands:

The Metallica tour was the hardest thing we ever did. It turned into such a conflict of interests between the two bands that we're no longer friends any more. I'm not gonna put blame on anybody, or any of that shit, it just turned into something that maybe wasn't such a great idea [Kerrang! January 8, 1994].

Later in the show, at about 90 minutes, Duff was hit by a water-filled plastic bottle and knocked unconscious [Sacramento Bee, April 5, 1993]. The band had to end the show while Duff received treatment [Sacramento Bee, April 5, 1993]. As the band left the stage, Axl would utter, ""If you find the a-----, kill him" [Sacramento Bee, April 5, 1993].

RIP Magazine would later recount the incident:

"The concert in Sacramento was going exceptionally well. Guns N' Roses, in their only California appearance on the Skin N' Bones leg of their world tour, had just finished "November Rain," which usually comes two-thirds of theway through the show. As the band was preparing to go into the next song, a full bottle of Evian was thrown from the upper mezzanine and struck bassist Duff McKagan square in the face. McKagan dropped to the floor, writhing in agony. He was rushed off the stage, and the rest of the band followed. Sash came out a bit later to explain to the confused audience that, unfortunately, the show couldn't continue without Duff. What's the moral of this story?

It only takes one asshole in a crowd of 12,000 to ruin everyone's night.

Duff was taken to the hospital, x-rayed and treated. Although sore, he made the band's next scheduled appearance, wearing a T-shirt printed with a large target and the words 'Don't Even Think About It'
" [RIP Magazine, November 1993].

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Post by Soulmonster on Sun Jun 30, 2019 4:10 pm


Despite the huge commercial success of the extensive touring in 1991-1993, the band did not make much of a profit.

Slash: "It’s not because of the money [we play the long sets]. We go over time so much and have in the past, to the point where we didn’t make a dime, you know. And it doesn’t really matter to us" [MTV, July 20, 1992].

Explaining why:

Slash: "Well, union stuff, and promoters, and, you know, different things (laughs)" [MTV, July 20, 1992].

Touring with Metallica might also not have made much sense financially. The double-bill certainly increased the market, but finding large enough stadiums that were willing to take them on became a problem [see discussion in previous chapter]. As discussed in Los Angeles Times:

"The rule of thumb in rock is that a headliner receives about 60% of the gate at a stadium show. If you figure a gross of $1.2 million for a stadium date, Guns N' Roses or Metallica would walk away with about $720,000 if they headlined their own shows. […] But production costs escalate on a twin-headline event, so the headliners on a Guns/Metallica-type bill will walk away with $500,000--or about $250,000 each, according to one insider's estimate. That's a handsome $6 million when multiplied by 24, but far less than the potential $17.2 million from a solo stadium tour. […] On that basis, Guns N' Roses and Metallica are doing the stadium shows for about the same money each receives for a successful show in a much smaller arena" [Los Angeles Times, August 9, 1992].

Doug Goldstein would also admit they didn't try to cut costs: "We could have cut a lot of corners--and saved a lot of money--if each band did shorter sets and used the same (staging), but the whole idea was to make this tour unique. The only reason it's happening at all is that the bands wanted to put on the kind of show that they loved when they were teen-agers themselves " [Los Angeles Times, August 9, 1992].

During the touring in 1991-1993 the band would also spend lots of money on lavish parties:

James Hetfield: "They blow big money on parties after the show. I think they could use that money somewhere else" [Star Tribune, August 4, 1992].

Teddy Andreadis: "We have these great parties that Axl’s been kind of putting on, theme parties and stuff. […] We had voodoo night. And we had a Roman, like, orgy type night, a (?) party and they had all these big muscle guys bringing in a pig, roasted pig. At 4:00 in the morning, of course - you know, who wants to eat a roasted pig?" [MTV, September 1992].

In September 1992, Greenville News would claim the band had different theme parties "every night", including a Roman party:

Gilby: "People were handed those little wreath things for their heads. The people that will work back there — usually really attractive girls — (were) in the toga uniforms" [The Greenville News, September 29, 1992].

They would also have an Indy 500 theme with girls dressed up in race uniforms:

Duff: "We brought, like, a big checkered grub and had a bunch of girls that looked like – You know, when someone wins a race, then the girl kisses the guy" [MTV, September 1992].

They also did a 60's party with black lights and girls dancing, in the words of Gilby, on a "twister thing" [The Greenville News, September 29, 1992].

Although it is clear to what extent such parties affected the overall profitability much.

Duff: "We lost so much money on the big production tour. We had to cart that whole circus all the way through Europe, and then on through Tokyo and Australia and New Zealand[/i] [The Boston Globe, March 12, 1993].
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Post by Soulmonster on Sun Jun 30, 2019 6:32 pm

1993-1994 - AXL AND SLASH

As 1993 came along it seems like the relationship between Axl and Slash was worsening:

Slash: "My relationship with Axl is really, really personal. So, I don't know if I would like to talk about it that much. Because it's been so blown under proportion, in a negative way, that I'm scared to say anything anywhere about it. You know, a little gun-shy. Um, it's real sensitive, kind of… I don't know , like a partnership kind of thing. And I don't like it being tanned, you know, and thrown out of whack, because of the press or the media or whatever. So I'm a little shy, you know, to say anything" [The Civil War EP, March 15, 1993].

In May Slash would respond to being asked if the Axl-Slash relationship was anything like the Lennon-McCartney phenomenon:

Slash: "You know, I never even think about stuff like that, and I would never try and compare myself to a combo as overwhelmingly great as that; just I wouldn’t even bother. I mean, I have a lot of admiration for what it is that Axl and I, if you want to call us a team - it’s really a band, but for what we do as composers or writers and what we come out with. But, I mean, the people that I grew up with that I really admired - you know, the influences that helped shape how I turned out – I would never even try to compare us to them" [The O-Zone BBC, May 31, 1993].

In January 1994 they would do an interview on Rockline together, something they hadn't done in "a couple of years" [Rockline, January 3, 1994]. During the interview Slash and Axl would talk about writing songs over the phone together, and not working on the songs while being physically together until they started rehearsing them in the studio [Rockline, January 3, 1994].

The same month Slash would be asked "do you still say: "Hi Axl. Do you wanna go rent a video?" Are you friends, or is gotten to be business associates? Do you see so much of each other on the road, you don't wanna see each other?" and replied:

Slash: "That's what I was trying to get out. That's the only thing that keeps us from being completely whacked out, is that we're all still really close friends" [97.7 HTZ-FM, January 1994].

Slash is here talking about the entire band and not him and Axl, which is even more clear from what he says next:

Slash: "We just jam a lot, you know. We just get together and play and all our musical roots and all that kinda shit are still intact. You know what I mean. So, like... We've been working on songs for the next record and all we do is like, jam up at my house" [97.7 HTZ-FM, January 1994].

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Post by Soulmonster on Mon Jul 01, 2019 2:50 pm

1993-1994 - PERSONAL LIVES

Duff had married Linda around August 1992, after having been lonely for a while [Kerrang! July 17, 1993].

Linda was doing a nude photoshoot for the magazine Platinum as the band's were interviewed by MTV talking about how Linda has helped Duff get more in order [MTV, March 1993]. Duff would later say that Platinum had "kinda screwed [them] over" [Rockline, September 27, 1993].

In July 1993 Duff would talk more about the happiness of finally being in a stable relationship:

I'm happy now. I have a beautiful wife who was like my best friend for two years before we started realising, 'Well, wait a minute...' I wrote this song about wishful thinking, seeing a girl, like 'Is this the one?' It's a really lonely song, but it's also like a song full of hope, because it turns out that she is the one. 'Could It Be U' is for Linda, my wife [Kerrang! July 17, 1993].
Duff would also for the first time start opening up about his anxiety attacks:

If I have an anxiety attack onstage, Gilby will come up to me, put his arm around me and say, "I'm here. I'm here for you, man," and he means it. Gilby won't play until I'm better[RIP Magazine, November 1993].
Maybe it was the cathartic experience of releasing a highly personal solo record that made Duff open more up about his personal issues? Or just added maturity? Or being in a stable relationship again?

With his stable relationship he also looked into a future with his own family:

I'm the youngest of eight kids, and in the future I look forward to having kids of my own. Road temptations, like groupies, that ain't no thing. I got my wife[RIP Magazine, November 1993].
In an interview published in various magazines Axl would talk about collecting antique crucifixes, and looking for such at antique shops in South America [Hit Parader, June 1993; RAW 1993].

In late 1992 he would be asked if he was happy:

Am I happy? Hmmmm. Yeah, but I won't really know how happy I am until the end of this tour in May. That's when I'll know if I achieved all my goals. I've achieved a lot of them, but I'm not in a place where I can sit back on my laurels and say "Hey, I did it." If i can kick back in June and feel a sense of accomplishment, then I'll be happy [Hit Parader, June 1993; but interview done in December 1992].
He would also mention trying to get back in skateboarding as a hobby:

I just bought a skate board, and I was thinking of getting back into that. I can do that then because if I break my arm, I won't have to miss any tour dates because I won't be on tour anymore! I bought a new house, so I guess I'll try to set that up and get some stability in my life. I'll be happy doing some domestic things. Stephanie and I have worked very hard to try and have a personal life, but it's not easy. We've tried to stay in touch as much as possible, but our lives are such fast-moving things. Five months for us, are like five years for most people [Hit Parader, June 1993; but interview done in December 1992].
In early 1994 Axl would be asked what he does in his spare time, and like Slash (below) say that business and personal life overlapped:

There's no real split between business and personal things, so it's still Guns N' Roses. I mean, I don't know when we'll go out again. We're aiming at '96 and we'll probably be doing a lot of recording, and trying to put a lot of things between now and then. But, we're still trying to move ahead as… And just keep this moving as hard as we can. So, there's not really a whole lot of free-time. I mean, now and then you kick back watching a movie or something. […] Other than that, it's just trying to keep your life together. And people from taking it away [Rockline, January 3, 1994].
Axl's break-up with Stephanie Seymore is described in a separate chapter.

Slash and his wife Renee were living in a house in Hollywood Hills that would be described lik this by Kerrang! in March 1994:

"Home for Slash and his wife Renee is a glorious house at the top of a winding road in the Hollywood Hills, with the kind of view of LA's long straight roads and twinkly car headlights that you'd normally go up in an aeroplane to get. It's got cats, it's got snakes - the snakes almost got one of the cats at one point, but that's a whole other story! - and, probably most important of all to Slash, it's got a studio" [Kerrang! March 12, 1994].

They had found a way to balance marriage and Slash's rock life:

She refuses to come to shows because of the groupies and all that. So she comes out with me, and then she hangs out for a couple of weeks and stays at the hotel, or hangs out with other wives or girlfriends that are out. And I go on to do the gig and I have my freedom. It’s cool. Good sort of balancing [The Big Breakfast Channel 4, May 28, 1993].
Yet he would also state that marriage curbed his promiscuity:

And, you know, I'm married now, which keeps me off the streets a little more then I used to be. Keeps me from waking up in some strange girl's apartment. And I love her very much so it's OK. That's curtailed my extracurricular, lunar activities [Swedish TV, June 13, 1993].
In February 1993, when an interviewer said "Hi" from Traci Lords, a former girlfriend of Slash and former porn star, Slash would respond:

Traci Lords! God, my wife would love to hear that! [chuckles]. Yeah, I’d like to say hi to her, but that’s probably not a good idea [RAW, June 23, 1993].
Being asked if he pictured himself as a father:

I have a really hard time with that. [laughs]. […] 'Cause I'm just not ready for it. I wasn't even ready to get married actually. I was the least likely candidate for marriage I ever met. […] Yeah, 'cause I loved her too much [to not marry her]. And I was afraid I would end up losing her and then I would be more pissed off, eventually. I had other little reasons why I wanted to stay with one person [Swedish TV, June 13, 1993].
Slash was also building a studio in his Hollywood home [Swedish TV, June 13, 1993], where he was reported to have pin ball machines and his snakes, cats, his alligator, lizards, iguanas, monitors "and stuff" [The Big Breakfast Channel 4, May 28, 1993].

It’s got a great studio, and a party room – and my snakes are there. All 35 of them... well, it might be a hundred by now,’ ‘cos one of them is pregnant. Plus, I have my lizards here, and my alligator [RAW, June 23, 1993].
On January 17, 1994, an earthquake of magnitude 6.7 struck the San Fernando Valley in California, causing damage to Slash's house:

Actually I just gotten done recording and come down the stairs, and was getting in bed and kiss the little woman goodnight, kind of thing. And all of a sudden: "Bam!", and the TV popped out across the room and that's when it started. The whole house blacked out and it was pretty much one of the most violent things I've ever been through. […] the house is fucked! [laughs] Everything living in the house, my pets and my wife and my cousin-in-law are all fine. All things considered, I could give a fuck about the house [97.7 HTZ_FM, January 1994].
It was major. That had to be the most shocking experience I’ve ever had. The house was devastated. And my wife was there and her cousin and I’ve like some 40-plus animals and t he whole thing was just a panic. Some of the cats were so freaked out, they were wedged in areas where you couldn’t even find them. And one of the major priorities after the initial shock was over was to check the cobra cages, but it was OK. They hadn’t gotten out.

Besides, it was just a house. I can still play guitar and everybody close to me is still alive and all the animals are fine. So, I’ve got nothing much to complain about
[Calgary Herald, January 29, 1994].
The damage meant that Slash and Renee would evacuate to a hotel for some time [Kerrang! March 12, 1994].

Not long after a wildfire would ravage the outskirts of Los Angeles:

right by it. And fortunately it didn't come this far. I fuckin'… I was asleep early one morning, and the phone rings, and it's this friend of mine, who I actually don't talk to that much, he goes: "Are you watching the news?" Uh, no, why? He says: "Well, 'cos Mulholland's burning." And I was like, Mulholland? (Laughs) That's the street I live off. It turned out it was Mulholland City which is pretty far away so it didn't get this close. Matt (Sorum, GN'R drummer) almost lost his house. And Tom Zutaut from Geffen Records did. And Axl almost lost his. It's pretty… y'know, it's fucked up, so what I did was - that sort of gave me a little bit of panic, so I went out and got emergency evacuation containers for all my snakes and cats [Q Magazine, March 1994].
By late January 1994, Slash would say he had about 50 pets, listing "a lot of reptiles", "a lot of cats" and a mountain lion called Curtis [97.7 HTZ_FM, January 1994].

My wife's cousin Greg, his first visit to LA, right. He comes to my house, he had to sleep in the room where all the cobras are. And so, he got a little nervous, 'cause the cobras get up at night and start moving around. So he moved into my wife's office. And he had Curtis to deal with and all that, and all of a sudden the earthquake. […] So he's pretty frazzled. He got about 20 years of stress in about ten minutes [laughs] [97.7 HTZ_FM, January 1994].
No. I wouldn't trust him with it - he wouldn't know what to do! No, he's a pretty good father. He's got a baby cougar - it's like having a kid, and he's been really good with it. […] The cougar's cool; we hang out with him a lot. Now he's getting big, he's like eight months old, and he's the same size as me now - he's 150 pounds! He's fun. If you're sitting there playing pinball, he'll stalk you and pounce on you. It's fun. He's got a really good personality [Kerrang! May 25, 1994].
The snakes were kept all over the house:

[…] they stay in the cages. But there's cages all over the house. […] But I keep most of them separated. Like... you know, I have one room, which is my office that has all the dangerous snakes. You know, the poisonous ones in that room and then there's a couple of rooms in the back of the house... When we bought the house, there's a maid's room. I don't have a maid so I put... that whole room is filled with cages. And then there's a, what do you call it? A maintenance room in the garage, and then there's a couple of big cages in the main part of the house [97.7 HTZ_FM, January 1994].
Being asked is Renee likes the snakes:

She's... I mean, anybody that can deal with me as a husband, you know... Snakes really aren't that kinda big deal [97.7 HTZ_FM, January 1994].
In early 1994 Slash would be asked what he does in his spare time, and like Axl (above) say that business and personal life overlapped:

To tell you the truth, most of the time I spend, as far as free-time is… Just working with Guns stuff. It's a never-ending thing [Rockline, January 3, 1994].

In between his busy schedule Slash also had a small role in an episode of the TV series "Tales from the Crypt":

I don’t have an acting career. I only did it cuz it’s Tales, and that’s my favorite, all-time favorite TV show. I’m, like, the cool DJ that’s got the prime time slot [MTV, October 1994].

Dizzy continued to be a low-key member of the band, doing little press and generally operating under the radar. In mid-1993 he would do a rare interview and mention getting tired from the touring:

I feel worn out as we speak. We’ve been touring USA and Canada non-stop in the last two months. I miss my home, my wife, my kids, my dogs, my cats. […] I don’t have a problem with touring. What bothers me is the continuous travelling to be in a different city every night... You want to go to a club, you get into a taxi, the driver asks where you’re going, and you’re like, “I don’t know!” You don’t even know what hotel you’re staying at or which room.  It’s weird. It isn’t natural. It isn’t normal! [Pop & Rock, June 1993; translated from Greek].
Matt bought a Spanish-style house in Malibu, CA, for about $1 million, for him and his wife Kai [Real Estate Beat, October 31, 1993] but in May 1994 it would be reported that the pair was getting divorced [The Windsor Star, May 20, 1994]. The divorce papers were filed on June 1 [People Magazine, June 20, 1994].

Matt also planned a drum clinic in Windsor, Ontario, Canada, on May 23, 1994 [The Windsor Star, May 20, 1994] but had to postpone [The Windsor Star, May 21, 1994] likely due to having to do a testimony after being charged, in true GN'R fashion, with spousal abuse [UPI, May 23, 1994]. The domestic violence, one misdemeanor count, was claimed to have happened on May 7 at their home at Maisel Avenue [UPI, May 23, 1994]. Matt pleaded innocent to the charge [UPI, May 23, 1994]. Pre-trial hearing was set for June 24 [People Magazine, June 20, 1994].

Gilby had been working on a solo record for a while. By January 1994 Slash would say Gilby's solo record was "pretty much finished" [Rockline, January 3, 1994]. and in May 1994 he would report it would be called 'Pawn Shop Guitars' but didn't know what his solo band would be named [Kerrang! May 14, 1994]. He intended to do a tour in Japan and then a tour in the US in July [Kerrang! May 14, 1994], because of his touring plans he had informed Guns N' Roses he would be unavailable from "July until the end of the year" for any GN'R work [Kerrang! May 14, 1994]. Slash, Duff, Matt and Axl would all feature on the record [UG Rock Chronicles, June 13, 1994].

I don't know why Axl didn't play on Duff's album, but he was easy to work with on mine. He came down to the studio, wasn't terribly late [laughs] put down the vocals and the result was good. […] Axl came down, played piano and when he was ready he said "do you want me to sing too?". I was surprised and answered "and I thought you didn't want to" [Heavy Mental, June 1994].
I had actually asked Axl to come play piano on the song, because he plays piano very well," Clarke said. I just thought it was kind of like an odd thing, kind of like having Frank Black (ex-Pixies) play on 'Jail Guitar Doors.' I had no intention of him singing, and then he said, "So, you want me to sing with you or what?" [AP/Daily News, October 4, 1994].
Gilby also had his first baby due in June:

I think everything's gonna change. It's gonna be strange because it's hard to say, but there's gonna be someone coming into my life who's gonna be the most important thing. […] It's gonna be weird, because me and Daniella just mess around a lot, but now there's gonna be someone who's gonna take everything from us. You know, all of our attention. Everything we do is gonna be for the baby [Kerrang! May 14, 1994].
I’m a papa. I have a little baby daughter, her name is Francesca. She’s a sweetheart. I’ve never thought of myself as a father figure (laughs). But she is such a sweetheart, and I don’t even look at it like, you know, “I’m your father.” It’s like, we’re like a new team, me, my wife and my daughter now [Argentinian TV, June 1994].
When asked if Slash is going to be the godfather:

No. I wouldn't trust him with it - he wouldn't know what to do! No, he's a pretty good father. He's got a baby cougar - it's like having a kid, and he's been really good with it [Kerrang! May 14, 1994].
As for what has changed since joining GN'R:

As a person, I don't think I've changed at all. I don't think I've mellowed or gotten wilder. I think I'm pretty much the same. […] The only thing that's different is that financial things are more taken care of. But then, again they're not... You know, I have a house and I got more cars and motorcycles, but now I gotta work to pay for 'em! People always say, `Well, you have more money'... I say, `Maybe I have a couple more zeros, but my debts also have a couple more zeros'! [Kerrang! May 14, 1994].
I mean, obviously, from the days of – you know your house is now paid for, I have cars that are paid for; and, you know, you get to buy a couple of toys here and there. So it’s alright [Argentinian TV, June 1994].

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Post by Soulmonster on Mon Jul 01, 2019 6:27 pm


Despite Duff being knocked out by a bottle on last night's show, the band was on again on for April 4 for their show at Lawler Events Center in Reno, Nevada, April 7 at Delta Center in Salt Lake City, Utah and April 9 at the Rushmore Plaza Civic Center in Rapid City, South Dakota.

For this last show Blind Melon had taken over opening duties after Brian May [Rapid City Journal, April 10, 1993].

The band's practice of encouraging girls to show their breasts on camera also continued, and, as usual, received quite a bit of controversy in local press:

Kevin Buntrock said he would have stopped a giant-screen video display of topless women during the Guns N’ Roses rock concert Friday — if he had realized what was happening. Buntrock is manager of Rushmore Plaza Civic Center here.

The incident apparently was partly spontaneous.

During the long break between the warm-up band, Blind Melon, and Guns N’ Roses, a video cameraman onstage panned the crowd.

Several young women pulled up their shirts for the camera, which projected their images by closed-circuit television onto two large television screens.

The cameraman was with Guns N’ Roses. The large screens were used during the concert to give the audience a better view of the band.

But witnesses said the cameraman encouraged and even urged women to bare their breasts. One witness counted 20 women on camera, although not all of them pulled their shirts up.

Ben Eicher, a Rapid City attorney who reviewed the concert for the Rapid City Journal, said he was surprised that the display was allowed to continue for so long - possibly as long as 45 minutes.

Buntrock said he was aware that two or three women had exposed their breasts, but he said he was not in the main arena at the time. He said he did not know the extent of the display until after it happened.

"That’s not acceptable behavior in most markets," he said.

Assistant City Attorney Kent Hagg said the women could have been cited for indecent exposure. Hagg also said the cameraman might have been cited for "inciting" or "soliciting" the behavior, but he said it would be difficult to prosecute such a case.

None of the flashers was cited.

Rapid City Police Capt. Doug Noyes said it would have been impractical and possibly dangerous to wade through the tightly packed crowd on the floor of the arena to write a ticket for indecent exposure.

“You have to be realistic,” Noyes said. "I do not think it would be prudent to enter that crowd for an arrest of this type.
[Rapid City Journal, April 15, 1993].

After this show the band played April 10 in Omaha Civic Auditorium in Omaha, Nebraska[b], [b]April 13 at The Palace Of Auburn Hills, Auburn Hills, Michigan.

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Post by Soulmonster on Mon Jul 01, 2019 6:28 pm


On April 15, 1993, the band was originally intended to return to the Omni in Atlanta for their first time since November 22, 1987, when Axl had famously stage-dived to fight security guards and the police.

For the return show, the concert promoters thought it would be a good idea if Axl was handed a key to the city, or at least an apology the mayor [The Atlanta Constitution, April 1, 1993; Herald and Review, March 3, 1993]. But official city image protector, Joel Babbit disagreed:

Babbit: "I don’t think it’s appropriate that you give a key to the city to a guy who hits a policeman on his last visit here. I think he ought to be the one giving something to us — maybe 1,000 bulletproof vests for police. Plus, I don't like his music. [[Herald and Review, March 3, 1993].

Axl: "I suppose the mayor will say I’m some [bleep] who doesn’t care for his fans... but I'm not willing to be a sitting duck for the police" [The Atlanta Constitution, April 2, 1993].

Slash: "We’d love to play there. After all, they have great strip bars" [The Atlanta Constitution, April 2, 1993].

Regardless of the reasons, the city and venue was changed to Roanoke Civic Center in Roanoke, North Carolina.

Slash would mention this in his book:

We canceled a show in Atlanta both to let Duff recover and because Axl had been arrested there during the Appetite tour for kicking in the head a security guard whom he’d supposedly seen roughing up audience members. Doug didn’t trust either Axl or the venue’s security and he was probably right on both counts [Slash with A. Bozza, Slash, 2007].
Axl would also reference this from stage in 2011 when they did finish a show in Atlanta:

That's a better start than the last time I was here. I'm not in jail yet! [Concert at Philips Arena, Atlanta, GA - November 2, 2011]

After Roanoke the band played a show on April 16 at Dean Smith Center in Chapel Hill, North Carolina.

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Post by Soulmonster on Mon Jul 01, 2019 6:30 pm


The band then travelled to Mexico for five shows in Guadalajara, Mexico City and Monterrey on April 21 to 28.

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Post by Soulmonster on Mon Jul 01, 2019 6:30 pm


After returning from Mexico the band had some downtime before travelling to Europe to continue the Skin N' Bones tour. At the very first day after their last show in Mexico, April 29, Gilby crashed on a motocross bike and broke a wrist while preparing for a celebrity race [The San Bernandino County, May 18, 1993]. The bike belonged to MTV's Riki Rachtman [MTV Headbanger's Ball, May 1993].

Gilby: "We were sitting like way back, you know. It happened, I think, on a triple jam. I was going up, I was doing three spins and something on the way died" [MTV Headbanger's Ball, May 1993].

The injury required surgery and a metal plate and screws had to be inserted [The San Bernandino County, May 18, 1993].

Gilby: "I’m just gonna miss a couple of dates in Europe and then I’ll be back. […] I’m gonna miss, like, five dates of Europe then we’re going out in the middle of this month" [MTV Headbanger's Ball, May 1993].

Gilby: "Yes, the accident came like a serious chock for me. It happened on a day-off and I was in a fucking hospital with a broken wrist when we were going the next day! The whole Europe leg was left and it included a lot of important places that we hadn't visited yet. All the arrangements were done and there was no way that we could reschedule the tour" [Heavy Mental, June 1994].

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Post by Soulmonster on Mon Jul 01, 2019 7:41 pm


In May it would be reported that Izzy had been asked to step in for Gilby for shows in "Israel, Greece, Turkey and the United Kingdom" later in May [The San Bernandino County, May 18, 1993].

Someone wondered "how will we find a replacer? Are we going to do it without Gilby?" and someone else came up with the idea "we'll ask Izzy, he knows all the songs". I went totally… "What? Can't you get someone else but Izzy? I have several pals that can learn the songs in no-time". […] It was a shock. To be totally honest I was so gone due to all the analgesic medicine that I took, so I wasn't thinking entirely clear. That's why it didn't take me so hard then[Heavy Mental, June 1994].

It was Slash's idea to call Izzy:

It was my idea to call Izzy; I thought It would be interesting. I didn't know he hadn't picked up his guitar in the last f"kIng year![Kerrang! March 12, 1994].
But it was Axl who picked up the phone and called Izzy:

I'd returned to Indiana, I lived peacefully, and one day, Axl called me. He asked me whether, effectively, I could help them on some concerts. I asked where these shows would take place, and it answered in Istanbul, in Athens, in London... you think that I hesitated (laughter)?! I love to travel and see new countries! [Hard Rock (French), June 2001].
Well Axl was the one who called me and asked if I would do it. I was home working on my bikes when I got the call. I thought about it for a couple of days, and then said that I'd do it for those five dates. Why did I go back? Well, I just saw it as a free holiday, really. I got to go to countries like Israel and Greece where I'd never been before[Metal CD, 1993].
Izzy would admit the main reason he did it was because of the money, and that he would use the situation as leverage to pressure the band for money:

Part of the reason [for doing these five shows] was that I had time off in Indiana, I wasn't really doing anything important, just working on bikes, motorcycles, and, yeah, "maybe it's fun". They played Turkey, they played Greece, they played Israel, so maybe it's cool to go see those places since I've never been there. And I knew all the music so it wasn't like I had to study or practise much, just take a guitar and go over. But the main reason was that for a year and a half since I left them they had never paid me all the money that I was owed, because there was a dispute about what was. So I told them, "look, tell your people to call my people and write up some paperwork and pay me my fucking money, and I'll gladly come over and help you guys out". Because they were kinda in a position where they didn't do these shows they would have lost, like, a lot of money [Interview with Izzy in Japan, September 22, 1993]
It was weird. We toured Greece, Istanbul, London – I liked that side of it, seeing some places I’d never seen. […] a big shit load of money sitting somewhere [for me] and they weren’t paying me [it]. I don’t know the deal was, some kind of legal bullshit. […] Money was a big sore point. I did the dates just for salary. I mean, I helped start this band… [Classic Rock, 2001]
Besides, Alan Niven, my manager, who was also that of Guns in the beginning, explained to me that the band still owed me some money. He advised me to accept to make them pay what they still owed me. It's only afterwards that I realized that Alan was going to get 20% of this sum (laughter)! [Hard Rock (French), June 2001]
Asked if he was freaked out when he heard Izzy would be stepping in to replace him, Gilby would respond:

A little bit. But I was so drugged up I didn't really notice it! […] Yeah, it was really strange, but when it first came up I was literally still in a hospital bed. I'd just gotten my wrist reset. And that's when they brought it up. 'Well, we can't cancel the tour. Who are we gonna get to play guitar?'. And I'm like, 'Wait a minute...'. And so they came up with the Izzy idea. In the back of my head I was going, 'Well, I don't think that's a very good idea', because what if Axl goes, 'Hey, this is kinda cool, let's just get Izzy back'[Kerrang! May 14, 1994].

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Post by Soulmonster on Mon Jul 01, 2019 10:06 pm


On May 15, 1993, the Drunk Fux would be resurrected for a charity gig at the Hollywood Palladium [MTV, May 21, 1993]. The charity was to raise money for a popular local tour manager called Fred Saunders who had suffered massive injuries from a motorcycle accident [MTV, May 21, 1993]. For the occasion the Drunk Fux included Slash, Duff, Gilby (just singing due to his cast), Matt as well as Lemmy and others [MTV, May 21, 1993].

Duff: "Of course [Saunders] didn’t have any medical insurance or money for, you know, in general. So, you know, he’s gonna be okay, but this is the outfit for his medical bills" [MTV, May 21, 1993].

Slash: "Now that we are all here we sort of talked about what songs we can play, which ones we remember since none of us got together and practiced any of it" [MTV, May 21, 1993].

The show raised $ 40,000 [MTV, May 21, 1993].
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Post by Soulmonster on Mon Jul 01, 2019 10:15 pm


After a few weeks break the band continued its tour. This time they would return to Europe and Slash would explain why:

In all honesty, the reason that we're going back to Europe, is… most, 75 percent of the tour is focused on places we've never been. And the unfortunate thing about Europe is that… aah, like in the States we can play arenas, we can go anywhere from theatres to arenas to… to stadiums. And there's even in between venues, that you can play. And in Europe you have, little tiny clubs, theatres and stadiums. So, we have to play, you know, the gig that is gonna facilitate our show.

Which means that we're going back into stadiums again. And so in some of the countries that we want to play in, the only place we can play in is in the stadiums that we have played in already. But, uuh, everybody travels far and wide to those gigs from all over the country. It's a lot different then playing in the States. So if we wanted to make up a gig that we couldn't have done, because we couldn't have gone in to that particular little city. If we go to, you know, the main stadium in the country, then those people will commute to get there. So, you end up playing same country over and over again. So people keep travelling from different cities, if that makes any sense. It's basically just to reach a bunch of people that you haven't reached before
[The Civil War EP, March 15, 1993]
For the Skin N' Bones tour Axl had stopped with the frequent changes in clothes during shows:

On this tour, what I wear on stage is pretty much what I wear every day. That will change when the tour is over, because then I can have the time to wear clothes again, and next it will be like the Chili Peppers and wear socks. Slash thinks that the greatest freedom will be to play naked. I personally don’t have a great desire to be on the same stage, but – ["Guns N' Roses: The Photographic History", Documentary, June 19, 1994].
This last leg of the tour started on May 22, 1993 at Hayarkon Park in Tel Aviv, Israel. For the first five shows Izzy was substituting Gilby who had suffered a broken wrist. Brian May was also back as the opener.

Slash was disappointed with Izzy's performance and what he would claim was a couldn't-care-less attitude:

I really looked forward to playing with him again and really hoped that he had changed. I booked a place before the first gigs in Tel Aviv to rehearse. But Izzy thought it was unnecessary, that it was just wasted time. He hadn't changed one bit and therefore the gigs turned out the way they did. [...] Izzy simply doesn't like playing rock at the level where we are right no. We understand it no and I'm personally very fucking disappointed at his previous behavior [Metal Zone, December 1993]
And we just recently played with Izzy and Izzy is just not interested in this business anymore [Swedish TV, June 13, 1993].
Axl would lately corroborate on this when he mentioned they had to turn his amps down during shows:

You know, I read something somewhere. Someone was writing an article about my other friends. And they wrote this thing about how 'in the old days, you know, there were lots of problems and technical errors of the band and Izzy couldn't hear himself' [laughing] The reason that Izzy couldn't hear himself - this isn't being mean - is our roadies would stand behind Izzy's amp, 'cause Izzy would be so whacked out of his mind that he would basically be playing a different song in the wrong key, and the only way we could do the songs was that every time he would go to him amps, he would turn his amps up and turn around to the crowd. When he would turn around to the crowd the roadie would reach around and turn his amps back down so that we could play the song. That worked especially well in Tel Aviv [laughter] Just a full tippit there for your Trivia Pursuit [Onstage Boston, December 2002]
This could be read as Axl implying that Izzy was back on drugs again, but this is likely a misunderstanding and Axl was talking about Izzy not remembering the songs or not playing them well enough.

And Duff would confirm that Izzy couldn't remember how to play all the song but that he was happy t have his friend back:

Myself, I've always been friends with Izzy, and so it’s really good, like, him stepping back in. It’s okay, I mean he’s forgotten to do the songs (laughs). But that’s alright, you know. People know that he hasn’t played with us for over two years, so they’re not gonna expect crystal clear, perfect sounds coming off the stage. Cuz they definitely are not. Not that I just think it’s Izzy, I mean everybody. We’ve never been perfect[MTV. May 1993].
[Izzy] had his reasons for quitting and he is his own man; if he’s not happy then screw it. So him coming back was neat. He was really excited and it was like old times with him playing next to me and we just goofed off. He had nothing to lose: he could make all the mistakes he wanted![Guitarists Magazine, November 1993].
Izzy was also not happy about the shows and would complain about the state of his band mates:

I didn’t actually say ‘see you’ cos they were all fucked up. Duff and these guys, they didn’t even recognise me. It was really bizarre. It was like playing with zombies. Ah, man, it was just horrible. Nobody was laughing anymore…[Classic Rock, 2001][/i]
I did these shows and I didn't enjoy myself a lot because Duff and Slash were always still wasted. I don't want to pretend I'm a saint, 'cause I did everything, but when you're clean, there's nothing funny about seeing your friends like that[Hard Rock (French), June 2001]
While in Israel the band visited Jerusalem [MTV, May 1993].

The next show took place on May 24 at the Olympic Stadium in Athens, Greece.

Talking about the crowd in Athens: At first they were a bit (?). I guess a bunch of bands have cancelled for whatever reasons. So the fans were a bit (?) at first and apprehensive. But once we started on, the crowd really got into it. That was good and all [MTV, May 1993]
Before the show members of the crew would be interviewed about the production.

Tom Mayhue, described as Axl’s on stage health consultant, would talk about Axl using a tent with a humidifier during the show to moisturize his throat:

"Basically we’ve got an oxygen rig with a humidifier, which puts moisture back in his throat during the show. Then later we’ll have assorted teas and things like that that he uses. It’s a make-up table with what-have-you - towels, mic stands, tea pot, you name it. We’ve got it all in here" [The O-Zone BBC, May 31, 1993].

Slash would also be asked if he playing in front of so many people frightened him:

You know, we’re used to doing it. We’ve been it for a while, but I have to admit that the couple of hours before we get on stage are pretty tense, especially because we’re not what you’d call a very rehearsed band. So if we have a good night it totally depends on how we get on together on stage and the way the building sounds, or the venue sounds, and what the kids are like. So you never know exactly what it’s gonna be like every night [The O-Zone BBC, ay 31, 1993]
Slash would also be asked how the tour has changed:

Well, right now we don’t have that big band that we were carrying around before, and we’re doing an acoustic set. That’s a big difference. The thing is, like, we did the show in Israel the other night and Izzy was playing with us because Gilby broke his wrist, so that was interesting in itself - I think we’re one of the first stadium bands who’s replaced their replacement with the original guitar player. And we went up there and we played pretty much like a club band. There was a small stage and we were loose, and Izzy hadn’t played with us in a long time, and, basically, had no idea what the set was like, and we didn’t know what he was gonna be like – and it was all pretty much spontaneous [The O-Zone BBC, May 31, 1993]
And the frustration of not being able to explore the places they go:

When you get to go somewhere in a different country, because of the fact that you’re confined to a hotel most of the time, it’s actually a little frustrating. You know, because it’s exciting when you get into the airport, into an entirely different culture, and you go straight to the hotel. And that’s basically it until the gig, because the hysteria level is so high; which, you know, I’m not complaining or anything, but it does get to be a drag, cuz you can’t go out and experience it, except if you pick some time in between, say, tour dates and just gather maybe one or two people and just go on your own. When the whole entourage is in town, everybody knows; there’s no escaping it [MTV, May 1993]
Slash and Dizzy would also talk about how the idea of having an acoustic set came:

I think it’s a blast. When we first started rehearsals to do that, I remember we brought out, like, all those stools, and we were sitting there doing (does gesture of playing guitar). And I remember Axl at the rehearsal is like, “No way, we can’t do this.” He’s like, “We need a couch - and a coffee table.” You know, and it just looks like your living room now, right? (?) And we brought the couch out there, and the table, and got the guy to serve the pizza. You know, it’s like sitting around in your house jamming. And that’s, basically, what you could do to get stuff started out. In some way we’re trying to portray that to the audience and make it more real. I think it’s a lot of fun for us and I think most of the people get into it in the same way [MTV, May 1993]
A lot of diehards and, like, metalheads will be like, “Oh, man, they do, like, a 20-minute really boring acoustic set.” But we have a great time doing it and the songs are there. And, you know, we just do whatever we feel like, which makes it fun for us, and I think people can read that more than when they see a band that’s out there doing it extensively like a job and just doing the same ritual routine over and over and over again. I can name a lot of bands that I know that would actually flag me and name Guns N’ Roses, but I won’t name them. But there are bands out there doing it, and they’ve been doing it for a long time [MTV, May 1993]
The next show was in Turkey:

We have to go to Turkey tomorrow and, you know, we might never come back from there. So it’s like our last right to life, I say – something like that [MTV, May 1993]
That show was on May 26 at Inönü Stadyumu in Istanbul, Turkey.

They then headed to England for two shows on May 29 and 30 at the National Bowl in Milton Keynes. These would be the final shows with Izzy playing full sets. He would come back to play with various incarnations of Guns N' Roses later, but never for a full show.

For the second show at Milton Keynes Gilby had returned, although he didn't play and instead saw the show from backstage until he was called on to sing on 'Dead Flowers':

I came to Izzy's last gig in Milton Keynes in England and I sat by the side of the stage. I thought "but what's happening here. This is my part!". Even though it was Izzy's from the beginning. He used all my old equipment too, so it felt very weird. Then I went on-stage and sang a song with the band. I didn't notice I sang it on my own! We never rehearse and Axl came to me and said, "we do a cover of Rolling Stones. Izzy knows everything with Stones" and so we played "Dead Flowers". Axl said, "hit it!" and I thought we were gonna sing together. There I was in front of 50,000 people and sang [laughs][Heavy Mental, June 1994]
The next show took place at June 2 at Praterstadion in Vienna, Austria, before heading to Netherlands for two shows on June 5 and 6 at the Stadspark De Goffert in Nijmegen. Then followed a June 8 show at Gentofte Stadion in Copenhagen, Denmark, a show on June 10 at Valle Hovin in Oslo, Norway.

While in Oslo Duff would visit a dentist to have a tooth removed:

Yeah, I still have it! It’s a big ugly fuckin’ big-ass three fuckin’ rooted tooth! It doesn’t look human, man, It’s like this THING but it came out of my mouth and now I have this huge gap. They coulda saved it, but I didn’t have the time to undergo six weeks of root canal shit and it hurt so bad I just said, ‘Please, please get it out!!! And it was so big and ugly I had to keep it! [RAW, September 1993].
The band then travelled to Sweden for a show on June 12 at Stockholms Stadion in Stockholm,

Talking about the show in Stockholm: The only thing that was screwed was that it rained all day. The stage was completely soaked. I found it really hard to try to run around on stage, because it was so fucking wet. Otherwise it was great. The crowd was fucking awesome [Swedish TV, June 13, 1993].
The next show as on June 16 show at Fussballstadion St. Jakob in Basel, Switzerland.

For the Basel show, Blind Melon was back as the opener. And instead of the normal guy bringing the band pizza, it was a nude Shannon Hoon (the singer of Blind Melon) that came on stage. He proceeded to play congas with the band, still stark naked, before exiting the show and being immediately arrested by waiting on the side of the stage [Craig Duswalt, Welcome To My Jungle, BenBella Books, May 2014].

The band then travelled to Weserstadion in Bremen, Germany for a show on June 18, Müngersdorfer Stadion in Cologne, Germany on June 19, Wildparkstadion in Karlsruhe, Germany on June 22, Waldstadion in Frankfurt, Germany, on June 25, Olympiastadion in Munich, Germany, on June 26, before two shows at Modena Stadio in Modena, Italy on June 29 and 30.

After the first Modena show, as Axl was being brought back to his hotel with his entourage of Earl the bodyguard and Axl's two assistents, their limo was swarmed by fans who wanted to get to Axl. Despite "protocol" Axl decided to exit the limo and try to get into the hotel by himself. This led to a scuffle as Axl's entourage tried to free him from all the fans who wanted to grab and touch him. Axl's two assistants got in a fight with paparazzi who had bumped into Axl and knocked him over. The situation was resolved when a police man fired his gun in the air, causing everybody to pause long enough for Axl and his crew to quickly dart into the hotel [Craig Duswalt, Welcome To My Jungle, BenBella Books, May 2014.].

The band then travelled to Spain for a show on July 5 at Estadi Olimpic in Barcelona and a show on July 6 at Vicente Calderon Stadium in Madrid before heading to France for a show at Halle Tony Garnier in Lyon on July 9 and to Belgium for a show at Werchter Festival Ground in Werchter on July 11 before heading back to France for a show at the Palais Omnisports de Bercy in Paris on July 13.

This concluded the European leg of the Skin N' Bones tour. The band would now travel to South America for two shows at the Estadio River Plate in Buenos Aires, Argentina, on July 16 and July 17.

While in Argentina, the band was accused of having bought 50 g of cocaine from drug dealers in the hotel, and for indecent exposure after Slash showed his ass from the balcony of his hotel room [The Windsor Star, July 19, 1993]. A judge quickly ordered their rooms searched but no drugs were found [The Windsor Star, July 19, 1993] and both charges were dropped after Slash agreed in writing to not expose himself again, allowing the shows to take place [The Windsor Star, July 1993].

In October 1993 it was reported that the accuser, former state intelligence agent Juan Imbessi, had been motivated by unspecified "anguish and erotic exasperation" and had "sought to cancel the show" [Gainesville Sun, October 21, 1993].

Gilby, looking back at the incident:

It was a joke. […] What it is, it’s a complete joke and it’s really inconvenient, too. But I don’t know if you remember when it happened – […] It was really funny, because they came and we were all like – I mean, we were all around laughing at this, like, “Go for it.” I mean, come on. It’s really, really silly, you know? They make all these accusations and stuff and it’s like, come on, don’t insult our intelligence, first of all. “We’re carrying drugs because you ain’t gonna find them” (laughs). But we don’t do that, you know? We’re not stupid. We don’t want to go to a country, get kicked out and never come back [Argentinian TV, June 1994].

Craig Duswalt would recount the incident in his biography:

"At approximately 5 p.m., a group of about fifty police officers from the city’s narcotics division descended on the hotel. They were looking for a large amount of cocaine, which had allegedly been stashed in one of the band member’s rooms. They forced their way onto our secure floor and were met by our security team and Doug. I heard on my walkie-talkie that something was going down, and it didn’t sound good. I came out of my hotel room, and there, by the elevators, were a ton of armed policemen talking to Doug and a few others. I took position in front of Axl’s door. At that point he had no idea what was going on. He was eating dinner inside his room, while Steve was taping his ankles for the show. The chief of police was demanding to see Axl’s room. […] But before they went in any of the rooms, Doug did something very smart. He negotiated with them that we have an American representative go in the rooms with their team of policemen while the rooms were searched. We were all afraid of drugs being planted in our rooms. […]Eventually the American representative showed up, and the chief of police and his posse started searching the rooms. Of course, they wanted to start with Axl’s room. And because we now had an American representative, we showed them which room was Axl’s.[…] No cocaine. After all that, the chief of police and his team were about to leave Axl’s room, when the chief turned to Axl and asked for his autograph. […] Axl had Doug and I set up an impromptu press conference and within minutes we had a meeting room, and a room full of reporters, and television crews. Axl released a live statement of what had just occurred, adding that no drugs were found in any of our rooms. It was fed live to all local television stations. Only an hour and a half later, Guns N’ Roses hit the stage and put on another amazing show" [Craig Duswalt, Welcome To My Jungle, BenBella Books, May 2014].

These were the last shows with Matt and Gilby, and the last shows with both Duff and Slash until April 2016. The band would not play any more shows until January 1, 2001, but then with a radically different lineup wit only Axl and Dizzy remaining.

Looking back at the Skin N' Bones tour:

Then we went to do our own tour, the 'Skin And Bones' one. We did it in Europe, which is always better than playing in the States. […] It was really cool. European audiences appreciate the stuff I would appreciate. In the US, there are some towns where bands don't go to much and they always appreciate it. But you go to some towns, mostly the major cities, and it's different [Kerrang! January 8, 1994].
[…] I've got a lot of stamina, but those last records and that entire tour, it was such an endurance thing. […] That was a hell of a long tour. A lot of stuff went on. Nine kids were born, a dozen people got divorced, a dozen people got married. I got married! I'm the last person I'd ever expect to get married - it's funny! All this stuff went on while we were still doing the tour. It was like watching real life going down in this mad kind of environment - such a contradiction in terms [Kerrang! March 12, 1994].

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Post by Soulmonster on Wed Jul 03, 2019 4:36 pm

1991-1994 - THE PRESS III

I don't even think [the press] expect us to be nice any more. I think they now see us as their puppets. It's really just sensationalism, like if there's nothing to write about let's talk about Guns N' Roses' s latest antics. When you actually meet them face to face, some of them are a little paranoid, like I'm going to smash a bottle in their face or something. Some of them want you to! [laughs] I haven't been able to figure out the psychology behind that! And if there's nothing they can say they make it up. Those are the press people we're pissed off at, in 'Get In The Ring', the ones who make it up. Because what I'd been hoping would happen at some point in our career is that our musical ability – going out there as a rock band and kicking ass – would somehow surpass the hype some day [Music Life, November 17, 1991].
The press tends to really jump on the wrong things. They twist words around and just make things up about you when they want to. I have no use for that. It angers me when the fans read something about me or the band that they believe but that we know is not really true. But I've also come to realize that you either fight with the press or you try to cooperate the best you can [Hit Parader, July 1994].

In August 1991 the band would refuse to do any of the planned interviews with UK magazines as the band visited England to play at Wembley in London (August 31, 1991], although they did at least talk to RAW Magazine: "At some unGodly hour [Axl] called his publicist and decided that all the press Guns n' Roses were gonna do in the UK was just gonna have to be undone. Consequently there's a horde of TV crews and assorted press people standing around looking a little dismayed at the fact that despite all the assurances, there are no members of Guns n' Roses in the building" [RAW, October 1991].

In November 1991 Axl would indicate that he had learnt from his dealings with the press:

That you have to just deal with it. Just take the time to understand it, and go over where you feel you didn't get your point across so well before. And just being aware of the interviewers' motivations, how your interviews are being used, how much money different people are making by running articles on you or comments by you [Metallix, 1992].
And in early 1992 Axl would say the following:

I’d like you to know something: unless I’m publicly somewhere saying I did this interview, half the shit you read I said, I’ve never fuckin’ said. I haven’t done an interview with a lot of magazines in three to four years [Onstage in Dayton, January 13, 1992].
In July 1991 (although published in August) Slash would confirm that many of the earlier press stories had been grounded in the truth and that they had been behaving outrageous with little regard to how they came across:

I’m more concerned about it now after reading some of the stuff, or watching some of the stuff that we did when we weren’t at all conscious of what we are doing. Not that we were incoherent, just that we didn’t care. Then you read it back and go, ‘This is just f**kin’ ridiculous, you know'. So I think, as we grew up a little bit, not as a band but just as individuals […] [Kerrang! August 3, 1991].
As for press dealings, like in previous years, Izzy was holding a low profile. In June 1991, Rolling Stone confronted him with his reputation of being the "most press shy band member":

I've read so much bullshit about our band. […] At first I thought it was funny. Then I was like 'I don't need this'. Why should I try to explain our version when they are going to write whatever? [Rolling Stone, September 1991].
And Rolling Stone would point out that he "does however find doing the rare interview useful - like say when he's lost touch with two of his old Indiana friends – Mike Gold and Troy Kendall - and thinks that crediting them as early influences in a magazine article might prompt them to look him up" [Rolling Stone, September 1991].

Of course, at this time Izzy was considering leaving the GN'R circus altogether, and probably found interviews pointless.

After the band first show at Madison Square Garden in New York on December 12, 1991, Jon Pareles, writing for New York Times, wrote a lackluster review of the show. This prompted Axl to invite him to attend the second show at MSG and "tell the crowd why they weren't having a good time." In an interview with Rolling Stone by Kim Neely, that was published in April 1992, Axl was asked why he did that and if he didn't realize Pareles would be walking into "a minefield":

[Pareles] didn't have the balls to stand behind what he wrote, and he got exposed [Rolling Stone, April 2, 1992].
When Neely asked why Axl couldn't call Pareles or meet him at "neutral ground":

I'm not gonna make the New York Times any more money. It was an obnoxious piece. It was shit journalism. He could've written: "I didn't like the show, personally. I think they suck." Okay, fine. Cool. You can think we suck, and I can think you're an asshole. But don't just try to make it look like nobody enjoyed it [Rolling Stone, April 2, 1992].
And when Neely pointed out that he might just have been "calling it like he saw it":

Then that's a person with some severe fucking personal problems, and he has no business being there writing about our show. It's a different crowd at a G n' R show now than it used to be. He didn't understand it. Most people that have been into G n' R for years don't understand it, but they can feel it. Having a nice time is weird for people that don't have nice times in their lives. When you don't really know what a nice time is, a nice time is for pussies [Rolling Stone, April 2, 1992].
In April 1992, Rolling Stone would publish a heavy discussion between Lonn M. Friend and Axl that talked in detail about Axl's therapy and what he had discovered about himself and his childhood. Apparently, Axl had been nervous about how the article would come out, but was so happy about the end product or its reception that he immediately made himself available to new interviews [New York Magazine, April 6, 1992].

In an interview in May 1992, that would be published in June in the Liverpool Echo, Slash would say that Axl "gets a bit worked up sometimes and things get to him" and the newspaper would imply that because of this Slash was now taking over all dealing with the press [The Liverpool Echo, June 8, 1992].

In June 1992 Slash would talk about all the articles that were written about them:

Well, you know, certain things come out, people makes you aware of certain articles or, I go to get some cigarettes. You know, from a newsstand, and I see a cover with my face on, and go "ok." Then you feel like a real idiot, 'cause the guy selling you the cigarettes is looking at you looking at yourself in a magazine. I mean, he knew who you were when you were walking up there to get the cigarettes. Which you try and walk in like you're just anybody. And you'll flip through it. But I've never do anything but look at the pictures. [laughs] I mean, who's got time to sit there and read like a page of garbage, on some band, you know. The Guitar Player ones I'll read. That's it. Axl's Rolling Stone cover, because I knew what a big deal that was. That was something I read. Every so often that you have a series article that you do… an interview that you do that you vent out a lot of stuff, personal stuff. So you gonna see how that come out. But for the most part, no, I don't read anything [Fully Illustrated Book & Interview Disc, June 6, 1992].
When asked specifically about Axl's Rolling Stone interview:

I was just glad he got it off his chest. He had a lot going on and… I mean, to do it in Rolling Stone… I think he really needed that Rolling Stone has. Which is a hell of lot of people, a lot of different… sides of the spectrum, as far as people go. It was great for him to do that, because people really misunderstand him. So it's cool. For me, I could say anything. [laughs] I mean, it's a different kind of scene. I mean, I don't usually get that serious, you know, regardless of how serious things are. It's hard for me to sit down that long and share it with anybody else [Fully Illustrated Book & Interview Disc, June 6, 1992].
Also in June 1992 Hit Parader would publish an interview with Duff where they would discuss bad experiences with the press:

There has been things said about us.. .ya know.. .We’ve been there for the interview and like trusted the guy.. .ya know....because we were always good to them. And you think this guy’s cool....give him a beer or whatever and hang out with him and you do the interview. And then this totally slanderous interview comes out two months later. Ya I thought this guy was my friend. […] It happens more than you can imagine....or happened I will say now [Hit Parader, June 1992].
When asked about the press contract, Duff would first say he didn't want to talk about it, but when pressed he would say that they still used a watered down form:

Well that’s yeah....yeah. And there still is a form. It’s not as harsh as the old one was. It was so harsh because we had over the years accumulated all this crap on us that wasn’t true. And we got fed up. It was like.. .OK, if you want an interview you got to sign this, and we get to go over everything that’s gonna be printed. And if you don’t print exactly the way you show it, then you get faced with a libel suit. […] [The suit] is totally against our.. .you know....were just five, six guys out playin’ and we don’t want to do that. But then again, you don’t wanna look back when you’re fifty years old and look at these interviews sayin’ garbage. […] There’s a different contract now. I don’t wanna talk about this because it’s got nothing to do with rock and roll [Hit Parader, June 1992].
In August 1992, Duff and Slash would discuss the press:

The journalists, I would think, they would practice it to more – you know, the rainforest thing that’s going on down there, and Yugoslavia and all that. I think they, sometimes, get their morals or their...[…] focus a little screwed up. Yeah, focus. Exactly. And we’re not that big of a deal, you know. We’re just a rock ‘n’ roll band. We’re touring and that’s what we’re doing [Much Music, August 9, 1992].
Yeah. One of the things that we’ve been doing is, like, just doing more press - and especially doing it on camera - so that we can actually speak our minds about stuff, instead of letting other people do it for us. Because it just gets out of hand. And it’s just like, the tabloids and stuff kind of attitude, where they’re just feeding off of personality, and it gets to the point where it gets so negative. It’s like, what you’re trying to concentrate on, what you’re trying to communicate with the readers. You know, and the people who are interested in what “entertainers” –as they would call it- are doing, at least they should be told the truth. Otherwise, it’s like, this whole big facade is built up, and when you go out and play in front of people, they have no idea what you’re all about [Much Music, August 9, 1992].
When the band toured South America in late 1992 the press would write crazy stories about the band and its members, this resulted in Axl, Slash and Duff doing a rare press conference on December 4, 1992 in Buenos Aires, Argentina, to try to address the rumors:

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].
Dizzy would also comment on these rumors as some of the "most ridiculous things" he had heard about the band:

Oh God, there’s been so much stuff that I don’t know where to start. There was a story in Argentina – some guy's inspiration, who wrote that Axl had brought the Argentinian flag out on stage during our show in France! Nice, huh? Anyone can write some bullshit... But why would they do that? An Argentinian flag in France? It just doesn’t make sense. He also wrote that we’d have to take our boots off before leaving Argentina, because we couldn’t enter the States after having stepped on the Argentinian shit - something like that, haha ​​(!!!) [Pop & Rock, June 1993; translated from Greek].
In the same interview Dizzy would talk about the press in general:

I'll tell you how I see it: When journalists see a movie or a band they don’t like, they present it in a way that makes you want to check it out too! Many of them just make stuff up, and that’s a shame. That's why I tell people that they shouldn’t always believe what they read. Publicity isn’t always beneficial, so I don’t agree with the old motto that goes, ‘Any publicity is good publicity.’ We have personal lives, too, and we don’t like getting slandered in the press. That’s why we’re all wary. Of course, a way to show ourselves as we really are is to give interviews to the right people – like you. […] Many journalists are honest and trustworthy. But others make up their own stories and print them. Sometimes they make us laugh; but, in general, we take them seriously and get pissed off [Pop & Rock, June 1993; translated from Greek].
As before, the press was most interested in Axl and Slash. When this came up in an interview, Duff would respond:

They deserve what they get. And to tell you the truth I really wouldn't want to be that prominent in the public eye. I like the position I have, the role that I play. The guys in the band know what I do and respect it, so that's fine with me [Kerrang! July 17, 1993].
Axl and Slash are more the public face of GN’R than I am and that’s fine with me. I don’t envy the guys at all because they’re constantly hounded and I’m not. It’s really become a pain in the ass. I didn’t get into rock’n’roll to be on the cover of Rolling Stone or to be gawked at; I did it for the music. As far as being a household name goes - I'd rather not be, thank you very much [Guitarist Magazine, November 1993].
I think Axl's image has really never matched the guy,’ bandmate Duff McKagan said. "I’ve known him a long time, and when I read about him in the papers or the magazines, it just doesn't make sense. He's a very strong willed guy who will fight for whatever he thinks is right. I think that's a very noble quality. That some portions of the media have made him into some kind of a scapegoat is really amazing. They don't understand him at all. He's a very complex individual [Hit Parader, July 1994].
In early 1994 Axl and Slash would be asked what it would be the would choose to change if they could change one myth about GN'R:

When Use Your Illusions came out, I actually read a review that said we should have titled the albums "Our Hitler", meaning me, or something. And I would like to change the myth that we want to control the media, and control people. That's not… You know, there's some people that believe that, or something. It's like, I don't wanna control the media, I just want things to be accurate. It's the only control that we want, is that it's accurate and the things that we say and do are there as we say and do them. Not changed around or taken out of context or distorted. A lot of times we don't get an opportunity, or chance to rectify things without having to go through a whole lot of trouble that opens up a whole new can of ones [Rockline, January 3, 1994].
What I've been seeing since we've been off the road is… The simple fact that the media is the one that's really backwards and very twisted. And I think it's actually sicker what they do than anything they even try to make us out to be. And it's a drag because when it comes down to it… We've been together for a long time and I know these people and it's like… be taken that seriously for one and then, from a completely wrong direction is just… you know, it's a drag and you don't have any control over it. After a while you have to take a… [Rockline, January 3, 1994].
To dispel the myths the band had planned a book:

We've been working on a book since we started as Guns N' Roses, with Del James. We've been doing interviews for this book for a very, very long time, to try to get an accurate picture with all our own personal mistakes and our own personal nightmares. And actually it's very exposing. But, we wanna show, like, an accurate picture of who we are and where we've been. It's not necessarily favorable for us in some places. It's a lot of times: "I said that? What an idiot! I can't believe I said that." But we're gonna put it all out [Rockline, January 3, 1994].
In March 1994, Slash would say he had stopped reading the press:

But at this point I really don't care. I've had too much flak for too long. That's why I just ignore everything. I don't even read the press anymore. I don't read magazine articles. I probably won't read this when it comes out (laughs) [Q Magazine, March 1994].

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Post by Soulmonster on Wed Jul 17, 2019 10:34 am


Slash: "There's no set rules. I might write a guitar solo or maybe I'll just keep it in my head, or maybe I'll get together with Axl. There's loads of ways" [Kerrang! May 16, 1992].

Slash: "You write when you feel like it. It's whenever it comes to me. A lot of the time I write songs I hear in my head, and they're almost finished when I actually apply them to guitar. I don't have a diary, I just keep it in my head. It saves the trees [laughter]. I don't know how I do that, but if it's a cool melody, it sticks with me. I've written a lot of stuff which I've forgotten because I didn't have a guitar with me. Usually if I sit down and play, it might pop up, or sometimes, three months later, it'll pop up again in my head" [Guitar for the Practising Musician, November 1992].

Slash: "I scrutinize everybody else's playing to the point where I wouldn't make that same mistake twice. Do you know what I'm saying? When I hear a guitar, I listen to it. I listen to licks that other people are playing and go, "God, he could've hit this note and it would've been really cool." And so when I'm playing, I try to hear exactly what I want to hear and have it come out of my finger" [Guitar for the Practising Musician, November 1992].

Slash: "I write what I call a cool signature riff, and maybe a good chorus and some good guitar parts, then I work with the other guys" [RAW, June 23, 1993].

Slash: "I always think about music during the wake hours. If I don't play with Guns or play on a record, I write songs, rehearse or talk in the phone with somebody about music. I would go nuts in no time if I didn't have something to do" [Metal Zone, December 1993].

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Post by Soulmonster on Thu Jul 18, 2019 8:29 am


[…] we've got to pay [Steven] a lot of money. For no fuckin' reason that I can understand [Q Magazine, March 1994].


In August 1993 the lawsuit between Steven and GN'R finally came up in court. Steven had sued the band on July 19, 1991, claiming members of the group forced him to use heroin, then made him quit the band while he was trying to kick the habit. In the lawsuit he asked to have the agreement he signed on March 28, 1990, that led to him being fired, annulled. The suit sought unspecified damages and a breakup of the band so assets could be doled out to members [AP/Vidette Messenger, July 1991].

The trial started with Steven testifying on August 19, repeating that "the group encouraged his drug use and presented him with a complicated termination agreement to sign while he was under the influence of withdrawal medication" [L.A. Daily News, August 24, 1993]. Steven's attorney would contend that the band owed him $4 million [The Reno Gazette, August 24, 1993].

In court, Slash and Doug Goldstein testified that Steven had been put on a 30-day probation period to scare him into quitting with his heroin habit, not as a means to fire him [Star Phoenix, August 21, 1993; The Los Angeles Times, August 21, 1993]. Slash also admitted that Steven had been "strung out" when signing the probation contract [The Montgomery Advisor, September 25, 1993; The Tennessean, September 25, 1993]. And also that while on probation Steven was an employee of the band [Star Phoenix, August 21, 1993].

I tried for a year and a half to get him clean, and we decided we had to do more. We had to clean him up because he'd wasted hundreds of thousands of dollars" in worthless studio and rehearsal time [The Los Angeles Times, August 21, 1993].
In his testimony, Axl would contend that they tried to get Steven to quit drugs:

My intent with the document was that Steven quit drugs, play properly or be fired [The Reno Gazette, August 24, 1993].
Axl would also say they had discussed replacing Steven with "Alan Niven and Doug Goldstein, Slash, Duff, Izzy" and "Peter Paterno" and that Axl, the band's management and attorneys had discussed the terms of the probation and that if Steven didn't quit drugs he would be fired [Excerpt from Axl's testimony at the trial for Steven's lawsuit, August 23, 1993]. He also said that prior to the probation contract being signed, there had been questions on what would happen if Steven was fired, how much Steven would be owed and how they would pay him, but that they hadn't concluded [Excerpt from Axl's testimony at the trial for Steven's lawsuit, August 23, 1993].

Duff would testify that Matt had been brought in when Steven "appeared incapable of performing in the studio" [L.A. Daily News, August 24, 1993] and that he had warned Steven to quit heroin the first time he saw him doing it [The Reno Gazette, August 24, 1993]. Duff would also testify that he had to help Steven with drum parts for songs on the band's first two records [The Reno Gazette, August 24, 1993].

On Friday September 24, the band and Steven reached a settlement shortly before the the lawsuit would have gone to the Superior Court jury [The Montgomery Advisor, September 25, 1993; The Tennessean, September 25, 1993; The Gazette/Los Angeles Daily News, September 26, 1993]. As per the settlement, the band would pay Steven $2.3 million, Alan Niven would pay him $150,000 and Doug Goldstein would pay him $50,000 [The Montgomery Advisor, September 25, 1993; The Tennessean, September 25, 1993; The Gazette/Los Angeles Daily News, September 26, 1993].

After the settlement was reached, juror members allegedly stopped to shake Steven's hand [The Montgomery Advisor, September 25, 1993].

Niven had a prepared statement:

I consider it insane that Steven Adler should have his junkiedom rewarded. There is something fundamentally wrong with a situation in which a junkie, expelled from a band before he can destroy both it and himself, hands over to lawyers the money he apparently retained from his days in G N’ R to sue the very people who saved his life and who attempted to prevent him from squandering those funds. That he can parlay that money into millions more through legal extortion is a travesty.[…] I resent having to pay a single nickel in settlement [The Gazette/Los Angeles Daily News, September 26, 1993; The Orlando Sentinel, October 1, 1993].
The band would also release a statement:

"We’re not thrilled about having to pay Steven Adler more money than we already were paying him, and we continue to believe in the defenses we asserted in the lawsuit. But we are certainly glad to have the dispute behind us " [The Tampa Bay/Bllboard, October 4, 1993].

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Post by Soulmonster on Thu Jul 18, 2019 8:56 am


[…] I bared my heart and soul on this record. There's a lot of emotion in there. Every song is like how I was feeling at the time. Sometimes you feel like an orchestra. Sometimes you just feel like aaarghhhh!!! Sometimes you feel all the angst in the world. Sometimes you just feel really straight-forward, like the Punk Rock Song. People have all different ways of dealing with their emotions, and this album is mine. And if people want to criticise it and put it down, they'll be stepping on my heart and soul [Kerrang! July 17, 1993].

Although other band members had solo record aspirations, as discussed previously, the first one out was Duff.

So, when we got back from the Appetite tour, I bought this big house, bought all this furniture, I was by myself, I was divorced, the door closed and there I was in this big house all by myself and I'm going, 'Okay, what do I do now?' So I started going down to these clubs, trying to meet girls, whatever — you know, do all the things that I was either too busy or too broke to go out and do before. And it kind of hit me. It slapped me slam, right in the face after a lot of months of being jerked around, that people weren't interested in me. They didn't want me for me, they wanted me because I was this guy in Guns N' Roses. And after a few months of this, getting ripped off, my heart getting stepped on or whatever, I just stayed in my house. I took comfort in going up into my loft, where I had an eight-track, and just doing some tunes. And that's really where the whole thing started [Kerrang! July 17, 1993].
Duff would repeat this story in many contemporary interviews he did around the release of the record.

I never actually set out to make a solo record. I had gone through a period of time before we even made the ‘Illusion’ records when I lived alone in this big house in L.A. I’m from Seattle and I didn’t have a girlfriend or anything, and I would go down to the clubs in Hollywood and I was so fed up because the girls and people in general didn’t really care about me - they were only interested because I was in this big band and I had some money. So, I basically had enough of that. It was really a mind blower when I really realised they never wanted me for me.

So I sat up at my house with my eight-track for a couple of months and just wrote and recorded something like 60 tunes; they just poured out. Then when we were doing the ‘Illusion’ records and we had a day off, I realised there was a drum kit there, and a Marshall stack and everything.

So I went down to A&M with my song, The Majority, and put down a drum track, guitar and some bass.
Lenny Kravitz had been hanging out at my house, and he heard it and loved it and used to sing it; so when I was at the studio I decided to give him a call and he came right down and sang it.

So, I thought: ‘Cool, I’ve just recorded a song in a real studio just for the hell of it.’ Then we mixed it and I realised I could record some more: I can play drums and guitars and make it work. But still I just financed it myself and thought that I would just have these recordings for myself. But as more and more songs were recorded the more Geffen got interested and the more other people wanted to play on them and it turned out cool
[Guitarist Magazine, November 1993].
In 1991, he had started recording some of these songs for his solo record. As reported by The Seattle Times in July 1991: "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].

The first songs were recorded in studios booked for 'Use Your Illusion' recording, but which went unused as band members didn't show up:

Fuck this, there was this studio with amps and drums and everything set up in it. I'll go record something [Kerrang! July 17, 1993].
As the 'Use Your Illusion' tour started in May 1991, Duff would continue to record while touring:

I carried on doing it on days off — sometimes not even days. The last song on the album, 'Lonely Tonite' — we played for like three hours in Dallas and got done at about 1.30 a.m. And I went into the studio at about three in the morning and came out about three the next afternoon, and I recorded that song and did drum tracks for another song. It was like, if I felt like it, I'd do it, the time is now. Whether it be after a three hour gig or whatever. I never did it out of boredom or whatever. I never planned on when I was going to do it. I just did it when it was right [Kerrang! July 17, 1993].
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].
Yet in an interview with Duff in July, Matt and Gilby was out and the lineup would be listed as Duff on guitar and vocals, Richard Duguay on bass. Joie Mastrokalos on lead guitar, Aaron Brooks on drums, and Teddy Andreadis on keyboards [Kerrang! July 17, 1993].

In March 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].

The guys who played on my record were all friends who just wanted to play. They'd hear something and say, 'Hey, can I play on that?' Even Jeff Beck. He was supposed to play with us in Paris, that's how I met him, and he had tinnitus, that ear thing, and he blew out another ear in soundcheck so he couldn't play with us. So I was back in my hotel room and I was just playing the song, and he heard what I was doing and said he'd like to play on it. And I was like 'Uh, uh, when? Where? Of course? We set it up in London. He drove all the way down, like 100 miles from his house to The Townhouse, where we recorded at. He really was a nice guy — unpretentious, that's for damn sure. He plays with his fingers — a really odd style, I've never seen anybody do it. He goes, 'I used to always drop my picks, so I had to do it with my fingers. I don't question how I play now. Don't make me think about it', he goes. 'I might fuck up!' It was really cool.... The guys from Skid Row — that's from when they were touring with us. […] They'd just come down the studio and join in [Kerrang! July 17, 1993].
But in interviews in the same month and in July, 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].
They were there, they heard what was happening and they just joined in. Slash did some great stuff on there. It was really interesting, because I had written the part and played it myself on the demo, and it was great how Slash interpreted what I'd done. There was no pressures. He just went in there and played great [Kerrang! July 17, 1993].
Interviewers would comment that Axl wasn't featured on the record:

Oh, yeah. You know, I didn't realise everybody except Axl had played on it until I looked at the credits. I was putting the credits together and it was like", he laughs, "Oh shit...! […] No no [it doesn't bother me that Axl isn't there], not at all. It wasn't a show-off thing, who'd be on the record. He didn't feel pressured that he had to be on it; it just turned out how it did. […] The truth is, Axl's the biggest fan of the record. He called me a couple of weeks ago — he had the schedule for my tour and he goes, 'Number one, you're crazy going out on tour again' — laughing; he admires me for what I'm doing. And then he said, 'Is it okay if I come and hang with you on a couple of dates? [Kerrang! July 17, 1993].
It’s just the way things turned out. In fact, Axl has been the biggest fan of my record. I mean, all the guys in the band are completely behind me, but Axl even asked if he can come out on tour with me! [Guitarists Magazine, November 1993].
The album would also contain a rap/rock hybrid:

I have many friends that are rappers. The Guys that were in NWA, like Ice Cube, and the guys in Body Count. We used to barbeque with each other [Okej, November 1993].
Duff would also talk about the upcoming tour, scheduled for October 1, and compare it to the recent GN'R touring:

Yeah, well it's a whole different thing — relaxing, kind of a therapy thing. Everything just fell into place. There wasn't any work in trying to get a tour or trying to get a band together or anything. Everything came together perfectly, so the stress level is really low [Kerrang! July 17, 1993].
The exact dates and venues wasn't decided yet, partly because Duff had to prioritize GN'R:

I don't know exactly where; wherever the fucking plane lands I'll get out and play! We're going to do some one-off club dates as well — I'm not going to tell you where, but there'll be a couple in London. The Scorpions [who are headlining some of the shows] have been really cool. They've even taken my equipment on their truck and everything. They've heard my record and say they like it. They've offered us the Canada dates, but I haven't given them a definite answer. […] [Mostly because, come next Spring] we're all planning to get back together to work on GN'R stuff, and of course that's the priority [Kerrang! July 17, 1993].
Eventually, the tour would be preceded by three September warm-up dates in the US [Guitarist Magazine, November 1993].

We’ll be doing some one-off solo dates as well - in London I think we’re doing the 100 Club. But The Scorpions gig was offered to us, they’re big in Europe, and we get to use all their P.A. and lights and stuff; so we took it. And we only have to play 45 minutes a night! [Guitarist Magazine, November 1993].
In an interview in September 22, a week before the release, Duff would say that his band was called "DUFF" [Much Music, September 22, 1993].

On why he decided to release a solo album:

Well, it’s really something that I’ve always wanted to do, since I was, like 15 years old, Prince’s first record that he did, and I went, “Wow!” You know, I always played drums, I always played bass, guitar and sang songs. And I went, “Wow, this guy did it. I can do it.” Then I went through a period of my life, after we did the Appetite for Destruction tour for two years. We had no money and nothing, and I got back and they handed me a credit card, a gold card - I didn’t even know how to use a credit card - to buy a house. So I bought this big house, and bought furniture and got all of that loaded in; and the door closed, and here I was, going, “Okay, now what?” So I started going out in the clubs in Hollywood, and all of a sudden people liked me, people that wouldn’t give me the time of day before. And I was like, “Wow, maybe I should have more confidence” or something. You know, I’m not naive, but I guess I was to that. And so, after about two or three months of finally realizing that they just kinda liked me for being in the band, or maybe I had a couple of bucks in my pocket or something, I went back up to my big house, and shut the door, and realized, “Okay, Duff, you’ve got yourself. That’s about it, for now.” It was a positive thing, you know. So I went off to my loft, and songs just poured out, and that’s what is on here [Much Music, September 22, 1993].
Basically, when we've gone off tour, you know, I got a credit card and… Which, I never even knew how to use a credit card and… They said: "buy house", so I bought this nice, big house and got furniture and all that. And… And… And moved it all in and the doors shut and I was like: "Wow, what am I gonna do now?" It was the first time off I'd had in years and years and years. And so… I started to go down to clubs in Hollywood, just to meet people. And all of a sudden, you know, these people that wouldn't give me the time of the day before, were like: "Wow, this guy…". You know, they were coming up to me, and girls and all that. And I just thought to myself: "Wow, I must be holding myself better, I must have more self-confidence or something". And… And… You know, I'm really not naive, but I really was when it came to that. And after about two or three months of this, after kind of getting stomped on a bit, I went: "To hell with this!". And went back up to this big house and I had a 8-track recorder and a drum machine, and just wrote like… Songs just poured out, like 50 tunes, so "Believe In Me" was just about... I had to believe in myself, and I think that's… If you got that, you don't need anything else [Rockline, September 27, 1993].
On recording the album while on tour with GN'R:

It was a therapy. I’d get my feet on the ground. I’m playing to people - 50,000 to 140,000 people a night. And that gets very surrealistic, you know? So I’d take solace in the studio, and just turn off all the lights and light candles, and there it was [Much Music, September 22, 1993].
Well, I wouldn't, you know, suggest to record this way to, you know, other people. But for me it was a way to kind of keep my feet on the ground. And it was also… you know, we were playing to lots of people. You know, the smallest crowds was like 50,000. You know, that was the smallest. And… umm, so, it's pretty intense… I'm a very simple guy and… So, after… I mean, things got hectic I would go into a recording studio, wherever we were at, and kind of just turn off the lights and light candles and roll tape. And… you know, I started before the tour, and it was written like, after the Appetite tour and… There was reasons why I wrote it and here it is. It's out [Rockline, September 27, 1993].
I wasn't out to make a solo record. I just wanted to get these kind of things out of my system. These... these feelings, and these songs and... I financed it myself, you know. Until Geffen signed it... "Let's sign the kid", you know. Umm, you know, it was just something I wanted to do and... And friends came in and would listen at the studio and say: "Hey man, can I play on that?" You know, it was really gentle and that cool [Rockline, September 27, 1993].
And on getting people to play on it:

Yeah, like, Jeff Beck, he heard me playing at my hotel room, and I had all the basics. And knocks on the door and he comes in and he says, “What’s this?” I told him what I was doing, and he goes, “Man, can I play on it?” And I’m like, “Oh, when?” – you don’t say no to Jeff Beck, you know? And Lenny, he’s such a good friend of mine, and he used to come and play at the house, and he really liked this song, “The Majority;” and I got it down and recorded it in the studio, in A&M, a studio in L.A., and I called him and said, “Dude, I recorded at a real studio. Do you wanna sing it?” He was there in five minutes singing it, and that was that [Much Music, September 22, 1993].
Umm, we were in Paris. [Jeff Beck] came actually to the room, and I was playing a rough track of the song "Beyond Belief". He goes, "What's this?" And I told him what was going on. He goes, "Can I play on it?" And, you know, it took me about a tenth of a milli-second to answer [Rockline, September 27, 1993].
We were in Paris doing that pay per view satellite broadcast thing, and he was supposed to play. We were going to do ‘Locomotive’ with him. He already had tinnitus in one ear but he got to soundcheck with us and, the poor guy, he had it in his other ear too, so he couldn’t do the gig. Anyway, he was staying in the hotel room right across from mine and I was playing a cassette of the rough mixes for ‘Fucked Up Beyond Belief’ and a couple of other songs on my ghetto blaster and my door was a little bit open. Suddenly I hear this knock, and Jeff puts his head around my door. I explained to him what I was doing and he goes, ‘But what’s that song. Can I play on this?’. And I’m like, aaah, I’m not worthy! I’m not worthy!” [RAW, September 1993].
Being asked if the solo record would cause any conflicts with the band:

Well, no. I mean, the guys in the band, they’d come in and check it out, and say, “Wow, can I play on this?” And I talked to Axl last night, and – they are the biggest fans of the record, they’re all gonna fly out and join me on tour; “Can I come out and hang with you?” you know. And they respect what I did and the reasons why I did this. GN’R is my band, you know. This is something I had to do. It’s nothing like, “Oh, see what I can do.” It’s nothing like that [Much Music, September 22, 1993].
They love it. They're like the biggest fans of the record [Rockline, September 27, 1993].
It's just, you know... uuh, a thing that, again, I must say, that I did... umm, that had to come out. And then... we got done touring about two and a half months ago, two months ago, and the album was coming out and so like, "Well..." Joie [Mastrokalos, guitar in Duff's band] and I, "Let's put together a band, you know. Let's go tour on it." And, you know, GN'R is my band, you know, but this is... These guys... Joie and the guys are... you know, also... It's just a different thing. I don't know really how to explain it. And the guys in GN'R are completely, way a 110% behind it. So... [Rockline, September 27, 1993].
Before the band did their first show in Hamburg, Germany on October 1 [Much Music, September 22, 1993], the band played a gig on September 26 n New York City, attended by "all" his band mates in Guns N' Roses [Rockline, September 27, 1993].

Talking about music videos:

Well, as a matter of fact, as we sit here, we're just gonna finishing up the video for "Believe In Me". We... taped all weekend long, the gig and, just kind of walking around and... you know, in the city and... and... and doing like, Rockline. And we did MTV Headbanger's Ball today. We played , the whole band live and... Yeah, so, that's a good question. Yes, we are and it'll be out... when it comes out [laughs] [Rockline, September 27, 1993].
And on whether he offered up any of the songs for GN'R:

Uuhm... Well, it doesn't really work that way with the band. We all co-write everything. These songs are really kind of personal for me to, you know... This is something I had to get out myself. And also, it... Even if it came to that, which it wouldn't, you know, it wouldn't be fair for me to, umm... to ask Axl to sing the personal things that are coming from my heart, you know. 'Cause he wouldn't be honest [Rockline, September 27, 1993].
Talking about whether there are any differences between a song he would write for GN'R and one he would write for himself:  Yes and no: I mean there are songs that didn’t make the album that Slash and Axl said, ‘Come on, man, can we have these? Please.’ But for the main they are real personal songs. I’ve got plenty of other songs for GN’R, but it’s Slash and me and Matt who write the songs music-wise there; for most of the songs that I wrote for GN’R - although not all of them -I needed that magical chemistry.

But this is much more on a personal level. I couldn’t have - or ask - Axl to sing one of my personal songs because it wouldn’t be coming from his heart
[Guitarist Magazine, November 1993].
And on who produced the album:

Actually I co-produced it with Jim Mitchell, who engineered... uuh, the Illusions records. And he's just a good friend and he knows how to run all the stuff. [laughs] I know how to run some of the stuff but, you know, you need a guy in the room when I'm out in the, you know... out recording drums or bass or something, and... So, we just did it together. […] when I kinda got in the mood, I would just... I said, "Jim, get our here, you know, there's a ticket waiting for you, you know... you know, I'm in the mood to do this one particular song, or track drums or these two tunes […] [Rockline, September 27, 1993].
And on how personal the songs were to him:

I couldn't ask Axl to sing what's in my heart and soul. I'm not a singer, for God's sake. It's a human record. People critisize me for playing all the instruments myself; they say the musicianship ain't so great…That's not the point. I had to get these things out. When you hear my voice crack on the records, maybe its because I was crying [Park City Daily News, October 23, 1993].

Last edited by Soulmonster on Thu Jul 25, 2019 7:59 am; edited 22 times in total
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Post by Soulmonster on Thu Jul 18, 2019 10:38 am


Back in November 1992, Axl had agreed to a plea bargain that concluded the misdemeanor charges that had been filed by the St. Louis public prosecutor. But civil suits were still pending, including the one from Bill Stephenson ("Stump").

In late May 1993, Axl was questioned by lawyers before the impending court cases [The St. Louis Post-Dispatch, June 1, 1993]. During the deposition, Axl wore a t-shirt that said "St. Louis Sucks" and said, "I dived off the (stage), into the chairs" and "I didn’t land on Stump.” This deposition would be shown during the trial [The Associated Press via The Springfield News Leader - October 16, 1993].

In his suit, Bill Stephenson wanted $2,000,000 from Axl due to injuries to his back and knee when he was attacked by Axl before the riot [St. Louis Post-Dispatch, October 1993]. In the following trial, a friend of Stephenson claimed that Axl "dived onto Stephenson, and both of them fell over chairs bolted to the concrete floor." This would be corroborated by a security guard who said he saw Axl "land on top of William "Stump" Stephenson and begin throwing punches" [St. Louis Post-Dispatch, October 1993]. Stephenson would describe the incident this way: "As I’m turning back, I look up and Axl Rose is in flight, coming toward me. He hit me on my right side, headfirst in a dive position. I was just freaked out" [St. Louis Post-Dispatch, October 1993].

Axl, on the other hand, would deny the allegations: “I dived off the (stage), into the chairs. I didn’t land on Stump” [The Springfield News Reader, October 1993]. A doctor would also testify that Stephenson had not suffered any lingering back or knee injuries as a result of the shuffle [St. Louis Post-Dispatch, October 1993].

In the end, the suit was settled for a "very minimal figure" and an autograph. Axl signed Stephenson’s rock concert scrapbook: "Stump Axl Gn’R 93". The "minimal figure" was later disclosed to somewhere between $160,000 and $2,000,000 [St. Louis Post-Dispatch, October 1993].

After Axl's settlement with Stump, he settled in many of the other civil suits [St. Louis Post-Dispatch, June 1994; St. Louis Post-Dispatch, August 1994].

In a curious afternote to the St. Louis case, Slash would later talk about meeting "Stump":

When I returned to St. Louis with the Snakepit in 1995, the night before my show, I was walking from my hotel down to this row of bars nearby. I wasn’t going far, so I didn’t bring security because I knew that I was meeting our crew down there, but as I walked up this main drag, I saw five bikers in front of me and no one else around and for a moment I got worried. It was a pretty dark night on a pretty dark street, where tall streetlamps illuminated spots of ground every few yards. I got closer to them and they were looking at me; and I was looking at them. One of them got off of his bike and came at me and I wasn’t sure how it was going to go down.

“Hey, man,” he said, grinning wide. “I’m the guy who Axl hit.” Like I was supposed to pat the guy on the back. He had this attitude like, “Hey, we’re both anti-Axl, right?” He seemed to think we had something in common, but I don’t work like that; if any of you talk shit about Axl I’m going to get up in your face. Only I can do that; because I have that right, not some punk on the street who doesn’t even know him. Things got tense in that moment, but the guy started in with his own story, almost apologetically.

He had just won all of his money in the lawsuit; I think he’d been awarded his damages by the court like two days before. It was a tense situation: it was obvious to me that this was a guy who was riding high on that cash he’d just gotten and he wasn’t going to spend it wisely. His “friends” seemed to be enjoying his good fortune with him, that was for sure, because all of them were clearly out on the town. He was the shortest of the bunch, and as all small guys do, he was trying to impress everyone in sight. He had earned his bragging rights—and a decent amount of our cash—but as he told me in the few minutes I paused to speak with him, in the days after the incident, he couldn’t even leave his house. He received death threats by phone, hate mail, all of it. Only after the city won the lawsuit—after which he won as well—did the whole tide turn for him.

I was totally not impressed with this guy. I told him so and that I had to go and that was that
[Slash's autobiography, 2007].
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Post by Soulmonster on Tue Jul 23, 2019 7:49 pm


You know, I’ve got made fun of for liking The Ramones. And then, you know, eight years go by and then everybody that was making fun of me is sitting around watching Rock ‘N’ Roll High School - and loving it. And I want a lot of these people to hear songs that they didn’t hear. I mean, there’s selected cuts that you can’t really find the original recordings that they’re on, and B-sides and stuff of songs we think really rocked and way, way influenced us. And we also do a tribute to Steve Bators. We did Ain’t It Fun with Mike Monroe, and it was really strange because when we did it, you know, both of us in certain places, without even trying I ended up sounding a bit like Steve, you know. Candles would flicker and bells would ring for no reason, and we’re like, “Steve’s here.” (Chuckles) [MTV, May 1991].
“We started The Spaghetti Incident? without even knowing that we were going to finish it and have an album to put out. We started it just to alleviate all the pressure of doing the Use Your Illusion records. We’d just jam on songs that we grew up with, just off the top of our heads.

They were a lot of fun to do and nobody in the business took it all that seriously so there was none of this outside business bull.... going on. It was a relief and it was also very grounding when the stress seemed so unbearable.

It was like a real bonding thing for the guys in the band just to book a studio without asking anybody for the money or anything. I’d call up some studio, let’s say, in Boston and just go: Yeah, this is Slash from Guns N’ Roses and can we book the studio from such and such a time to such and such a time and record a song.’ And they’d go: Yeah, right.’ And then we’d all show up with borrowed gear. “It was just nice to know that the foundation of the band is still the same. It’s just that everything around us has changed so much. And it was probably one of the things that was most instrumental in keeping us going
[The Calgary Herald, January 29, 1994].

With the Use Your Illusion tour finally being over in July 1993 the band could turn to release the long-awaited next record. The release didn't happen immediately after the tour ended, though, and this is likely at least partly due to Axl not having finished the vocals and due to it having to be mixed and mastered:

Also, we've got the punk-rock EP to release. Basically all that needs to be done on that is Axl's vocals [RIP Magazine, November 1993; but interview done in late September].
Since we've been off the road for the last four months, I instantly went back into the studio to mix and master 'The Spaghetti Incident?' record, to help myself wind down from the tour pace [Kerrang! January 8, 1994].
I went in the studio and mixed it, and mastered it with Bill Price and this guy in New York that I mastered... George... George something [George Marino] [97.7 HTZ_FM, January 1994].
When I got home, I went straight back into the studio. That was my antidote for post-road depression. We finished up recording the '...Spaghetti...' album, and then I got completely wrapped up in mixing lt [Kerrang! March 12, 1994].
But in October 1993 the label could send out a press release informing that the release date would be November 23:

"Guns N' Roses will unveil "another album chock full of unsavory subject matter" with their much anticipated collection of cover songs, The Spaghetti Incident?, set for release November 23, 1993 on Geffen Records worldwide.

The notoriously unpredictable rock 'n' roll band has conjured up a few surprises for this album, including a Slash N' Axl vocal, a guest appearance by former Hanoi Rocks frontman Michael Monroe and a GN'R version of "Since I Don't Have You," originally recorded in 1958 by The Skyliners. The album also includes scorching renditions of songs such as "New Rose" (originally recorded by The Damned), "Down On The Farm" (The UK Subs), "Human Being" (The New York Dolls), "Raw Power" (Iggy And The Stooges), "Ain't It Fun" (The Dead Boys), "Buick Makane (Big Dumb Sex)" (T.Rex/Soundgarden), "Hair Of The Dog" (Nazareth), "Attitude" (The Misfits), "You Can't Put Your Arms Around A Memory" (Johnny Thunders) and "I Don't Care About You" (Fear).


Eight of the tracks were produced by Mike Clink and Guns N' Roses, one by the band alone and one by GN'R bassist Duff McKagan and Jim Mitchell. All were mixed by Bill Price.
" [Geffen Press Release, October 13, 1993].

On the day of the release Geffen would send out another press release which included some quotes from Slash:

It’s not so serious but it’s real honest. […] It’s live and haphazard, just us hanging out. It’s not making any particular statement; it’s just about passion and spontaneity [Geffen Press Release, November 23, 1993].
We thought we’d do three or four really cool punk tunes we don’t hear enough of. […] But this isn’t a punk record. These are G N’ R’s version of songs from when punk was happening, a tribute to songs and bands that had a lot to do with where we come from. There were some great bands back then but they aren’t being recognized as newer generations get into music. We want to help make them known again. We were originally fans – I remember seeing Fear and The Misfits. Part of our fantasy was also playing songs from bands we would’ve loved to have seen but never had the chance [Geffen Press Release, November 23, 1993].
It was important to the band to not over-hype the record. As written in an article in The Boston Globe:

"Slash is willing to discuss the album, but he is wary of over-hyping it. He’s been assured that the record company, Geffen, will undertake a relatively low-key promotional effort. “The Spaghetti Incident?” isn’t intended to carry the import or weight of the “Use Your Illusion” simultaneous double releases in September of 1991. And in the liner notes, Guns N’ Roses gives credit to all the original bands and suggests listeners seek out those originals" [The Boston Globe, November 26, 1993].

The Geffen people were thinking ‘How brilliant!’ [when they heard about the record plans] and we were just like ‘whatever.’ I think it was a cool idea and the recordings were genuine - you know the heart and soul of the band is laid out - but I didn’t want it blown out of proportion.

It was really something that wasn’t supposed to be taken all that seriously. There was a point when we were in the studio doing the ‘Illusion’ records and we would just go in and [mess] around on some things and we realized that we sounded pretty cool at covering songs that we really liked, songs that had some major influence on us, really. We recorded four songs and we knew we didn’t have enough room to put them on the ‘Illusion’ records, so we thought we’d do an EP - and it sort of grew from there. We started realizing that it was a great catalog for people who would never, ever hear any of these songs, probably for the simple reason that they’re a generation behind or because a lot of the stuff is out of print. Some people don’t even know what the Nazareth song [‘Hair of the Dog’] is! Heaven forbid someone bring up the UK Subs and ask if anyone’s familiar with that
[The Boston Globe, November 26, 1993].
The record wasn't thought out too much and it wasn't supposed to be taken so seriously. To us it was like a joke. I have no idea how the general public is going to react, although it is very aggressive, and people usually like it when you say "fuck you" on a record. The kids who have grown up with us probably don't know some of the material. Then there are going to be some people who will go, "No fucking way! 'Raw Power' is on there?" [Guitar Player, January 1994].
As for explaining the title:

It has nothing to do with the record. But then there’s no point to the album either. It’s something for fans to listen to and tide them over until we complete the next original one – God knows when that’ll be [Geffen Press Release, November 23, 1993].
An inside joke, an actual incident when we were trying - to get it together to write the ‘Illusion’ records in Chicago, but it’s one piece of trivia I don’t think anybody will ever get [The Boston Globe, November 26, 1993].
It’s an inside joke for the band, and I can’t wait for the rumors as to what the “spaghetti incident” is all about (laughs). But I’m not gonna divulge that information [MTV, December 1993].
It's an inside joke. I won't get into it. There definitely was a spaghetti incident. […] [The readers] will probably come up with stories that are a lot worse. I can't see anybody being able to imagine exactly what it was. I can't wait for the rumors to start flying [Guitar Player, January 1994].
Neither the pre-release press release or the press release on the release date, would mention the hidden track, 'Look at Your Game, Girl' a cover of a Charles Manson song.

In the liner notes of the record the band would encourage listeners to go out and buy the original music:

It would be cool if our fans discovered the bands that meant so much to us, says Slash. That's why we wrote "A great song can be found anywhere. Do yourself a favour and go find the originals" in the booklet. It was written so damn much good songs when we grew up. Most of the records are hard to find and several of the musicians are dead, almost everyone are broke. It didn't go well for our heroes [Okej, November 1993; translated from Swedish].
Commenting on being truthful about their influences: Yeah, we don't lie. It's not like, 'Oh, we never listened to anybody. We never copped.' If I could list the shit that we - I wouldn't say rip off, but you use everything you've heard in your life for your writing. And anybody who says they haven't is full of shit [Metal Hammer, December 1993].
When pointed out that their influences should be very happy being acknowledged by 'The Spaghetti Incident?': [laughing] And very rich! [Metal Hammer, December 1993].
Can say we wanted to call the record "Pension Fund". 'Cause we're kind of paying some… Helping these guys pay some rent [Rockline, January 1994].
Some of the guys who wrote these songs are fuckin' stoked because they'll get some money [Guitar Player, January 1994].
After the release Slash would shed more light on the song pickings:

I met Steve Jones from the Sex Pistols at Matt's wedding. He asked when the record came out and if our version of Black Leather sounded better then the "cover" the Runaways did. Absolutely, I said, it sounds better then your version too... [Okej, November 1993; translated from Swedish].
I saw [former Sex Pistol] Steve Jones at [Guns Drummer] Matt Sorum's wedding. He goes, "When is the record coming out?" I said, "Probably in November. 'Black Leather' sounds really good." He says, "I hope it's better than the Runaways' version." I said, "Steve, I'm sorry to say it's a lot better than yours too." [Laughs] I've known him for a while, I was just fucking with him [Guitar Player, January 1994].
I wanted to do Nazareth's "Hair of the dog", T-Rex "Buick Makane", and Fears "I don't care about you". Those are songs that meant much to me. Axl always hums on the Skyliners' "Since I don't have you", and he loves "Black leather" so those were his choices. […] Duff picked "Down on the farm" by the UK Subs, and we all wanted to a song by the New York Dolls. It became "Human Being" [Okej, November 1993; translated from Swedish].
The songs we picked out were what you call 'neutral.' The New York Dolls, as a whole, were not my favourite band, although they had certain songs I dug. So everyone in the band had to be able to relate to whatever song each one of us wanted to do. […] We could've done a million other bands, but these are the ones that came off the top of our heads when we got on a roll. We didn't have any interest in doing a Zeppelin cover or another Aerosmith cover, and I don't see much justification in redoing an old Stones song, because those songs just don't need to be covered. […] The songs we picked for 'The Spaghetti Incident?' were songs that relate to this band as a whole. Some of them were really easy and some of them took some thought - like which Iggy Pop song we were gonna do, which Dolls song… […] The UK Subs song was obvious. The only T-Rex song I wanted to do was 'Buick McKane', and the Fear one was their only one I wanted to do. […] But also there was the lyrical content to consider, like The Dead Boys' 'Ain't It Fun', which was something that represented what we've seen and been through as a group - and even before the group, as people, the shit that we've seen in this bullshit, and what's gone with us since we became successful, that became the key song, the one that was very indicative of what GN'R is [Kerrang! January 8, 1994].
Everybody picked songs that they wanted to cover. Axl wanted to do [the Sex Pistols'] "Black Leather" and [the Skyliners] "Since I Don't Have You," which he used to sing all the time. "New Rose" by the Damned was definitely Duff's choice. We did [the UK Subs] "Down On The Farm" at Farm Aid, but I can't remember how that came up. We wanted to do a New York Dolls song and "Human Being" was the best one. We did two Stooges songs, but Axl liked the vocal on "Raw Power" the best. It was Mike Monroe's idea to do a Dead Boys song as a tribute to Stiv Bators. "Buick Makane" [T. Rex], "Hair Of The Dog" [Nazareth], and "I Don't Care About You" [Fear] were my ideas. I can't remember whose idea it was to do the Misfits' "Attitude." I didn't play on [Johnny Thunders'] "Can't Put Your Arms Around A Memory" and an unmentioned track, which features a guy named Carlos on guitar [Guitar Player, January 1994].
We did a Hanoi Rocks tune but we decided not to put in on the album because we didn't wanna give Andy McCoy (former Hanoi guitarist) the money! McCoy's an asshole! The basic track was done but we never did any vocals on it. Wo also recorded a basic track on Iggy's 'Down On The Street', but we didn't finish that either. We stuck with 'Raw Power' — it just sounded cooler [Kerrang! March 12, 1994].
The only thing that we didn't record that we should have done is 'Heartbreak Hotel' (the Elvis Presley classic). I'm going to try to get us into the studio to record it for a B-side. We used to do a killer version of that song, but we haven't played it in a long time. You can buy it on bootleg. There's an old demo tape wo did that was bootlegged. It had 'Welcome To The Jungle', 'Think About You', 'Anything Goes' and 'Heartbreak Hotel' [Kerrang! March 12, 1994].
We actually did a couple of Hanoi Rocks songs that never made it, and a bunch of Iggy Pop songs that never made it, though one did make it [Kerrang! May 14, 1994].
These quotes, and the quotes in the previous chapter about the making of the record indicate that the the following unreleased songs exist from the various 'Spaghetti' sessions: 'Down on the Street' (the Stooges) likely without vocals, unknown Hanoi Rocks song, and 'Beautiful King' (T-Rex). In addition, if we are to trust Gilby's quote there would be additional Hanoi Rocks and Iggy Pop songs, but likely without vocals.

And Duff and Axl would talk about why they did this album:

The album is out for – I think it’s a dedication to all these bands that haven't gotten recognition. So the only reason I hope it sells a lot is so they can get some money, you know, because a lot of these guys are poor. And they’re also waiting for it to come out (laughs) [Metal Express, December 1993].
We had an idea of this going into the first album… that there were some songs that, what we called "punk" to us, or whatever, that we wanted to record a long time ago, that we wanted people to hear, that we liked a lot. And there's songs that Izzy and I liked, there's songs that Slash and I liked, there's songs that Duff and Izzy liked. Things like that, and then it turned into… We had a collection over about nine years of over ten songs that we really liked and we realized we could make an album instead of just a little EP and throw out there [Rockline, January 1994].
Slash would mention that lyrically the record was more about Guns N' Roses than any of their other records:

The coolest thing about that whole record is that the songs that we picked to do were more indicative of what GN'R was about, and the lyrics explain more about us, than even our own songs do. You can look at the band from a completely different perspective. This is us just blatantly picking a page out of a book and going, 'This is us' [Kerrang! March 12, 1994].
And how they did the vocals:

I do a lot of vocals, yeah. I sing on – you know, I just laid down scratch tracks, because I knew all the songs better than anybody else. It was my record collection that all the songs came from. So I would lay down a scratch track for Axl, like Raw Power I sang, and New Rose by the Damned, Attitude... And I’d lay down a vocal for Axl to listen to, and he’d come down to hear it and he’d go, “Hey man, that’s good. I’m not gonna sing it” [Metal Express, December 1993].
Duff would also finally explain the title of the record:

The title is – I can talk about it now, because the trial is over, the Steven Adler trial. It’s actually from my deposition. Steven, Slash and myself lived in Chicago for three months to write tunes, and we all lived together in this condominium, in an apartment above an Italian restaurant - this is very funny, this is why it’s called “Spaghetti Incident.” So in the deposition, Steven’s lawyer asked me, and he goes, “Did you guys ever get into any fights while you were there?” And I said, “Well no, not really. It was just kind of like brotherly fights.” Then I said, “Maybe,” you know, “just maybe, if I got spaghetti from the Italian place below us one night, and ate half of it and saved the rest for the next morning – because everybody likes cold spaghetti - and maybe somebody else ate it, and I was looking forward to eat it, maybe there’d be, like, a real fight.” And that was it, period. And the lawyer was like, “Okay.” So we get to court, and I’m up on the stand, there’s a jury and everything. “Now, about your spaghetti incident...” and I just – and the guys in the band and everybody started busting up [laughing], because the lawyer took it seriously. So we got done with the court that day, and we were like, “We gotta call this album ‘Spaghetti Incident’.” So that's where that’s from [Metal Express, December 1993].
Still, Slash would be reluctant to explain the title:

It was something they mentioned in the court case (with Steven Adler). I don't want to say exactly what, since we've been having a great time getting tons of letters from people as to what they think the spaghetti incident is! We've been getting these sex ones. It's unreal! […] There was something in People magazine which said I was going out with this porno chick, and they said I stuffed spaghetti in her! In public! In a club in New York! Can you imagine the time it would take to do that? [Kerrang! March 12, 1994].
In early 1994 Slash and Axl would point out that these are punk songs made the "GN'R way":

You know, we have our version of [Black Leather], but then again, I like listening to the original better. It depends on what mood people are in. What they want to hear. I mean, I've heard criticism about: "Well, a punk record shouldn't have drums this heavy." And this and that. But we do it GN'R-style [Rockline, January 3, 1994].
It was GN'R doing all these songs of ours the way that we play 'em. I mean, there's no changing that. So, we're not exactly "the best sounding punk band"… technology and decent marshals at work [Rockline, January 3, 1994].
Then we put out this really easy, relaxed record of songs that we dug. We thought we'd pay homage to people who we thought everyone had forgotten about, all the stuff that's out of print. Half these guys are dead! 'The Spaghetti Incident?' is a record to show where the f**k a band like us came from, and the critics try to tell us we didn't use the right amps or whatever! F**k! You gotta just do what you do! [Kerrang! January 8, 1994].
Well, we didn't even have any access to most of the originals to learn the songs correctly, you know what I mean? So we just play them the way that we play them. It's basically a Guns N' Roses record, just a bunch of songs the way that we interpreted them. But the original versions have that natural raunch. They represent the times that they were recorded in. They tell a million stories in three minutes, y'know? So the original versions always are more romantic [Q Magazine, March 1994].

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Post by Soulmonster on Tue Jul 23, 2019 7:50 pm


Back in October 1993, before the release of 'The Spaghetti Incident', rumors would claim that the record would include a song by convicted murderer and cult leader Charles Manson [Los Angeles Times, November 21, 1993]. Geffen Records denied these rumors, but on November 21, sources "close to the label" would confirm the rumors were true but that the song, 'Look at Your Gane, Girl', would not be listed on the album nor would Manson be mentioned [Los Angeles Times, November 21, 1993]. Allegedly, to keep the song a secret it was not included on advance copies of the record distributed to reviewers [Los Angeles Times, November 21, 1993].

There is a bonus track on the album, but Axl wants it to speak for itself. […] It wasn't done for the critics or anybody else. It was a bonus for the fans [Los Angeles Times, November 21, 1993].
Despite Goldstein saying that Axl wants the song to speak for itself, a week after the release of the record he decided to send out a press release inwhich he would explain the inclusion of the song and state that all proceeds from the song would go to charity:

It's come to my attention that some people have taken offence to a particular song, Look At Your Game, Girl, on our new album The Spaghetti Incident?. What it all boils down to is this: The Spaghetti Incident? is 13 historical and musical gems that may have been overlooked. For instance, New Rose was one of The Damned's main songs but for whatever reason a lot of the world didn't hear it.

In Indiana, I was ridiculed and physically attacked for my musical tastes, tastes that I never made any effort to hide. I thought it would be interesting for the so called mainstream and the people who were against this material when I was a teenager to actually hear these songs. Maybe they'll hear something they like, and more importantly, maybe they'll go and find the originals better, including Look At Your Game, Girl. The reason we didn't list that song on our album is we wanted to downplay it. We don't give any credit to Charles Manson on the album; it's like a hidden bonus truck.

It's my opinion that the media are enjoying making a big deal out of Guns N' Roses covering a song that Charles Manson recorded, but if another band had recorded that song, it probably wouldn't have been of interest. The media need their "bad guys" to guarantee some ratings, so they use Manson's name coupled with mine to promo their news programs.

However, when I do something positive, like contribute to charity, it's hard to get the news to pick up on those stories. The media is an interesting beast.

Why did I choose to cover that particular song?

Oddly enough, one of the things we do up at my house is have "Name That Artist" contests where we play obscure songs and everyone tries to name the artist. My brother Stuart found Look At Your Game, Girl at a large record chain and, needless to say, he won that round. Personally, I liked the lyrics and the melody of the song. Hearing it shocked me and I thought there might be other people who would like to hear it.

I like the words because, to me, it's about a woman who has thrown things away. She thinks she's gaining love but basically she's gaining sadness. It was very fitting for a personal situation I happened to be in. The song talks about how the girl is insane and playing a mad game. I felt that it was ironic that such a song was recorded by Charles Manson, someone who should know the inner intricacies of madness.

Manson is a dark part of American culture and history. He's the subject of fear and fascination through books, movies, and the interviews he's done. Most people hadn't heard anything Charles Manson recorded.

A lot of people can say I wear the "Charlie Don't Surf" T-shirt for shock value, but I've worn that shirt for the past year on tour, all over the world. Yes, I was trying to make a statement. I wore the T-shirt because a lot of people enjoy playing me as the bad guy and the crazy. Sorry, I'm not that guy. I'm nothing like him. That's what I'm saying. There's a real difference in morals, values and ethics between Manson and myself and that is "Thou shalt not kill," which I don't. I'm by no means a Manson expert or anything, but the things he's done are something I don't believe in. He's a sick individual. Look at Manson and then look at me. We're not the same. Plus, I like the black humor of the "Charlie Don't Surf" line for the movie Apocalypse Now.

I think people think I'm crazy because I believe in telling the truth. I'll admit sometimes I don't do a perfect job of it, but my efforts are true.

It is my understanding that the song was written by Dennis Wilson. To what extent Charles Manson is involved in the publishing, I'm not aware. However, I am donating all my personal profits from having that song on our album to a charity, an environmental group to help protect wildlife and our oceans. In our video for Estranged, which will be the last video for the Use Your Illusion albums, we used dolphins, and this is my way of giving something back to the dolphin, which are endangered and threatened with extinction.

Unfortunately I Don't Surf Either
[Press release, November 30, 1993].
Axl had a point when arguing that the media made more out of this cover than if another band had done it, because Hot Metal would discover that both Redd Kross and the Lemonheads had covered Charles Manson before without any media backlash [Hot Metal, January 1994]. But, of course, Guns N' Roses was the world's most popular band at the time and their impact and influence much greater.

David Geffen, who had known two of the victims of Manson's cult, and head of Geffen Records, was not impressed:

Geffen: "I would hope that if Axl Rose had realized how offensive people would find this, he would not have ever recorded this song in the first place. The issue is not the song itself. The fact that Charles Manson would be earning money based on the fame he derived committing one of the most horrific crimes of the 20th Century is unthinkable to me" [Los Angeles Times, December 1, 1993].

Patti Tate, sister of one of the victims, also took affront:

Tate: "Doesn't Axl Rose realize what this man did to my family? It really hurts and angers me that Guns N' Roses would exploit the murders of my sister and others for capital gain" [Los Angeles Times, December 1, 1993].

It is likely that neither Geffen or Tate knew all revenues from the song would go to charity, not that this would necessarily remove all criticism.

Parts of the press was outraged by the song's inclusion on the album and also by Axl's wearing a shirt with Manson's face on it on one side and the text "Charlie Don't Surf" on the other side during numerous concerts in 1993. This shirt was apparently officially licensed and Manson would receive 10 cents per shirt sold [The San Francisco Examiner, December 19, 1993].

According to Los Angeles Times, "sources" close to then band said that "most of the five band members want the song taken off future copies of the record, and that Rose is considering that action" [Los Angeles Times, December 1, 1993].

When asked about the song Slash would say:

I don't even play on "Look at your game girl", it's a guy named Carlos...[…] It was exactly what we wanted to avoid. That's the reason why we didn't wrote neither the name of the song or Manson's name. We didn't want to be elated with him. But things never turn out the way you want... [Okej, November 1993; translated from Swedish].
And Duff would distance himself from the song:

I don't know nothing about it. I swear to God I haven't heard it... I believe it's by Charles Manson. Axl was talking about it once, and me and Slash were cringing, going, 'No! Please! It's a nice album...' [RAW, unknown issue, quoted in Hot Metal, January 1994].
Yet only a week later Geffen Records would send out a new press release stating that the song would not be removed from future releases of 'The Spaghetti Incident?' [Geffen Press Release, December 8, 1993; Los Angeles Times, December 8, 1993]. According to the press release, Axl and Slash had considered removing the track when they heard that Mason might benefit, but after discovering that he wouldn't and that any royalties would go to the family of one of the victims, they decided to leave it:

When it was confirmed this week that Manson would not receive royalty payments, we decided to leave the track on the album. We feel it only fitting we can help the family of at least one of the victims [Geffen Press Release, December 8, 1993].
When we heard Manson might get the money, we were ready to pull the song off the record. But then we found out that all the money would go to this guy in Poland who lost his dad [Los Angeles Times, December 8, 1993].
"That guy in Poland" was the son of Wojiciech Frykowski, Bartek Frykowski, one of the victims of Manson's cult [Los Angeles Times, December 8, 1993].

The press release would also contain a statement from Slash:

We naively thought there was a certain dark humor in Manson singing these love song lyrics at the time, but now I find the word 'humor' doesn't fit into the equation at all. Especially when we think about the families of his victims and how this makes them feel. Even though I was only four in 1969, I remember what a shock it was to my hippie parents that there would be someone like Manson out there. It was one of those 'wake up and smell the roses' kind of things that signaled the end of the whole love era.

We didn't credit Manson on the album because we didn't want to draw any attention to him. We simply didn't anticipate everyone making such a big deal out of it. We especially don't want Manson to think we think he's bitchin' - or anybody else to think it for that matter. There are no words to describe him as a human being. He's the epitome of what's wrong with human existence at this point and we don't want to glorify Manson in any way. But rather than pull the track it seems like we could at least help out a kid who lost his Dad
[Geffen Press Release, December 8, 1993].
Ed Rosenblatt, President of Geffen Records, would also be quoted:

Rosenblatt: "We would have preferred the song wasn't on the album, but given our belief in freedom of speech, as well as the clear restraints of our legal agreements with the band, it is not our decision to make. That decision belongs solely to Guns N' Roses. Although we'd reviewed the lyrics for warning sticker purposes, none of us fully appreciated the impact the song would have. We genuinely regret the distress this situation has caused" [Geffen Press Release, December 8, 1993].

According to sources to Los Angeles Times, Axl had recorded the song without the rest of the band's knowledge and only got their reluctant acceptance for its inclusion on the record if it would remain unidentified in print or in interviews [Los Angeles Times, December 8, 1993].

In early 1994 Axl would be asked if he considered pulling the song off the record:

At this time, no. But, we've also been notified by a fan that if we do pull the song, he'll sue us and Geffen Records for one dollar per album sold, as of the date that we pull the song. You know, he'll file s in federal court. But we don't have plans of pulling it as of now [Rockline, January 3, 1994].
There was a time when we were planning on pulling it because of the fact that it was… I don't know… the messages were all crossed. As far as to what we were really doing. I mean, basically, all we did was do a track that had something to do lyrically with the band. Or… you know [Rockline, January 3, 1994].
Axl and Slash would also talk about why the song was included:

I like the lyrics of the song. I also thought it was something that people hadn't heard and was a missing part of the puzzle. And almost everything about Charles Manson has been public, but this was something that wasn't public really, on a big scale, to my knowledge, and just thought that people would be interested in hearing it. But… you know, even the… One of the… The victim's son whose getting money supposedly, was talking about people worshipping Charles Manson and I was like, getting a vibe that people were trying to paint a picture of me worshipping Charles Manson now. It's exactly, for me, the opposite of that. […] He's a pop-cartoon-icon of absolutely how far off the edge you can go, which… I don't have any desire to go that far [Rockline, January 3, 1994].
Stuart, Axl's brother, had a copy of the Manson cassette, and that particular song had significant lyrical matter, especially since Manson was singing it. We were a little bit shy about doing it, because we didn't want anybody to pin us on a Manson thing. There's a rumor that he didn't write it. I got a phone call from someone who said it was written by Dennis Wilson and somebody else. To this day we still don't know who the fuck wrote it. We did it anyway, but we didn't want to put its title and Charlie Manson's name on the record. None of us are into that for a serial killer's sake. We didn't want to give him the credit [Guitar Player, January 1994].
So both Slash and Axl would say the song came from Axl's brother Stuart. The San Francisco Examiner, on the other hand, would claim Axl received a tape containing the song from a Richard Lemmons who he had met at a video shoot [San Francisco Examiner, December 19, 1993]. Richard Lemmons and his brother Dan were the guys behind Zooport Riot Gear, the company that sold the 'Charlie Don't Surf' t-shirt [San Francisco Examiner, December 19, 1993]. The magazine Hot Metal also tell the story that Axl got the tape from Lemmons and Lemmons would be quoted as saying that "Axl went nuts over it" [Hot Metal, January 1994].

Slash would defend the inclusion:

It was supposed to – it wasn’t supposed to be anything. It was just a joke. We were surprised that the guy even sang, you know? (laughs). […] and a lot of other bands have covered him before we did. I don’t think there’s anything sick about taking an obvious psychotic and taking his material, and going, “Look what this guy did.” And that was all we did. We buried it on the record, it’s not on the sleeve, it’s not on the credits or anything like that. […] And it just turned into one of those Guns N’ Roses media blisses, and that’s it. It’s a dead issue now, you know? And he’s not gonna get anything out of it [Musique Plus, January 1994].
We didn't want to draw attention to it. If you're that f**ked-up that you're going to sit there for seven seconds after the CD ends, you deserve to hear it [Kerrang! March 12, 1994].
Slash would also refer to other bands having covered Manson before:

Other bands have covered his material, there’s even one band that did the same song we did, and it’s a little disturbing that just because of who we are we seem to be the pinnacle of media attention because of something that we thought was, well, fun [The Chicago Herald, January 29, 1994].
The dark humour behind the idea of someone as psychotic as [Manson] writing a love song like 'Look At Your Game, Girl',.. I mean, it's entertaining. The Lemonheads already covered a Manson song before we did, and I don't hear anybody moaning about them! […] [Manson was] so **king Hollywood! He was the antithesis of the end of the '60s. All of a sudden, everybody had to wake up and realise that this whole little fantasy was not realty happening. The world was not going to change that much. He was the perfect psycho for that period of time, everything about him [Kerrang! March 12, 1994].
Slash would also reveal that Manson had complained about the band not asking for permission before covering the song:

[Manson] complained because we didn't ask his permission. So f**k him! [Kerrang! March 12, 1994].
When asked if he wasn't afraid of "pissing off a madman who made a successful hobby out of sending nutcases into the Hollywood Hills to murder celebrities?" Slash would defend himself saying he didn't pick the song nor played on it:

Well. I didn't mean to do that. I can't take it seriously at this point. Although, if any weirdos show up outside my house... You have to understand it wasn't something I picked, and it wasn't something I even played on [Kerrang! March 12, 1994].
In June 1994, Gilby would distance himself from the song:

It was all Axl (laughs). Honestly, what happened with that song is, nobody from the band played on that song. That’s none of us. Slash didn’t play guitar, I didn’t play guitar. It’s a song that Axl liked, and he just picked it and he put it on the record, you know? It was – he did it. I don’t really know a lot about it. He said that he found this song. I don’t think he really knew that Charles Manson wrote it, though. I think he was under the impression that he just sang it, and he liked the song [Argentinian TV, June 1994].

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Post by Soulmonster on Wed Jul 24, 2019 9:20 am


There would only be two singles released from 'The Spaghetti Incident?'.

In the labels press release about the imminent release of 'The Spaghetti Incident?' it would be stated that the first single would be 'Ain't It Fun' [Geffen Press Release, October 13, 1993].

The next single was 'Since I Don't Have You' which was released in January 1994 [The Journal Times, January 24, 1994]. This was a cover of a Skyliners song from 1958 partly written by Joseph Rock. Rock would be asked what he thought about the song:

Rock: "This is a 35-year-old song and here it is on an album that’s double platinum already. Certainly it’s a kick. It’s a real kick. […] It’s not about the money. It’s the fact that people of that ilk would still say ‘Hey, it’s all in the song,’ because as far as I'm concerned, it is. I don’t know what it says to me, but it certainly is a great tribute to the song. [… ] Maybe somebody else in Pittsburgh will write a song now that, somebody famous will take to the charts. I’d like to see that" [Pittsburgh Post-Gazette, January 28, 1994].

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Post by Soulmonster on Fri Jul 26, 2019 2:25 pm


After returning after the marathonic 'Use Your Illusion' touring and getting 'The Spaghetti Incident?' released, Slash wanted to get back on the road quickly. To him, the period between touring was always hard and he was suffering from "post-road depression" [Kerrang! March 12, 1994].

Despite Duff having said they had grown too big for club shows [Rip It Up, January 1993; Kerrang! January 1994], the Boston Globe would in November 1993 report that Slash had "half-persuaded" Axl to agree to a club tour, which would be "the best way to put the lid" on the Spaghetti Incident-project [Boston Globe, November 26, 1993].

In March 1994 Slash was talking about an arena tour and that he was "just trying to get back on the road!" [Kerrang! March 12, 1993]:

Slash: "I'm thinking maybe we should go back to doing some medium size arenas or whatever with this record [= 'The Spaghetti Incident?'], so enough people can get in but I don't have to play in front of a hundred f**king thousand people a night" [Kerrang! March 12, 1993].

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Post by Soulmonster on Sat Jul 27, 2019 12:57 pm


When it comes down to it, you get up in the morning, try and find something to eat, and figure out what you’re going to do for the day. You’re not a celebrity. Then, when you walk out the door and get into your car to do some errands, and that's when things start to get weird [Winnipeg Free Press, January 29, 1994].


After the successful and massive Use Your Illusion touring Guns N' Roses was one of the most popular bands in the world. This posed more problems to Axl and Slash who were by far the most recognizable and popular band members:

I have to admit that our social life, personal life, or whatever, is a little bit more restricted. I don't go out as much anymore. We stay in hotels and we don't come out during the day, and we hardly go to clubs anymore at night, just because it's a hassle. I sort of feel raped because of that. But it's a small price to pay for being able to go out on tour and play to all these enthusiastic people that like the band and everything [Swedish TV, June 13, 1993].
Talking about being recognized: I'll go someplace like Portofino, Italy, and the next thing you know, you've got to stop eating dinner because there are people all around. […] LA is probably the easiest place for me to get around, and the second would be New York. In New York, it's like, 'Yo, Axe'. But they can spot me no matter what I'm wearing, so I don't bother to go in disguise. It just doesn't work. They think it's Axl's new look [RAW, November 10, 1993].
I can't hang out on the street like I used to be able to do without getting hassled. So I've got this house and this studio - I've even got a pinball machine! I don't go anywhere any more Kerrang! March 12, 1994].
If I go to a bar in LA, every so often I run into someone who really appreciates the music, or they know a certain direction a song has that they relate to. That lasts for a week. That really does work when people appreciate the music and don't care about the other stuff. They may not even read the papers or know about it! […] The thing I can't stand, the thing that irks me, is I cannot get into my car and go to local clubs I used to hang out at. I can't go to the local store or market without feeling everybody's f**king staring at me! Some people are really nice and genuine and you appreciate that, but some people see you like you're a f*king cartoon character, like you're Bugs Bunny walking down the street! That gets to be a drag. I cannot hang out like I used to. And as far as the press goes… I don't read it! I don't wanna be bitter or overly jaded, but I can see changes in myself when I get around certain people [Kerrang! January 8, 1994].
Slash's solution to this, when the pressure from media and people got too high, was to escape it all, to Africa:

[…] Africa's where you go! I've done that a couple of times, and it's extreme. Every time a record comes out I leave town. I don't wanna be around when it comes out. I don't wanna deal with LA so I go to a place where there is no 'community'. There's just animals around. I take my wife, we put up a tent, hang out for two weeks - there's no phones. You clean out. And your woman turns into an awesome creature if she's in the jungle and into it! It's great. You hang out with in the forest for a couple of weeks, and when you come back, everything that was worrying you before you left seems really f**king stupid! [Kerrang! January 8, 1994].
Duff, despite being a less popular member, would also have to cope with the new reality of Guns N' Roses being the most popular band in the world but would realize that he was the same:

When we started to get big and make some money — whereas before we were just a band making a record — I was doing interviews and people were asking, 'How much has fame and fortune changed your life?' And I could never really give an answer. I was always like, 'Well, I don't know.' And then it finally hit me — that it hadn't changed me, it just changed other people, how they react to you. I'm the same person, you know. All this money or whatever hasn't changed me. I'd give it all away to charity in a second if I thought it had. [laughing] Luckily, it hasn't! [Kerrang! July 17, 1993].

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Post by Soulmonster on Sat Jul 27, 2019 1:26 pm


On November 9, 1993, a tribute record to Jimi Hendrix called "Stone Free" was released [MTV, October 1993]. Slash contributed with the song "I Don't Live Today" together with Paul Rogers and band of Gypsies.

Slash: "We had a list of songs to use from, you know. Some of it was, like, inherently Hendrix. […] And it was just natural for us to do a good homage to Jimi. But at the same time, I’m not trying to rip him of, or use too much – you know, try and copy him, like a lot of guitar players do" [MTV, October 1993].

In March 1994 it would be reported that Slash had played with Billy Joel and had intended to play ukulele with Bette Midler but that "there was no place in the show" [Kerrang! March 12, 1994].

On June 26 Slash participated at the 'Gibson Night of 100 Guitars' at Wembley Arena, London:

Slash: "It was real fun. I had a great time, although I suffered from severe jet lag because my schedule only allowed me to fly from LA to London the day before the gig - and I had to fly back again the following morning. Still, it was worth it, just to be able to play with someone like Paul Rodgers" [Kerrang! July 16, 1994].

Talking about his collaborations:

Slash: Being asked why he do all the collaborations: "Because I dig playing and, you know. Some people go out, you know, doctors go and they play golf. I get together with musicians and we jam. And we've recorded. And most of these people I've played with are, they are cats that I've met and, you know, people I admire or respect in some wayship before. And gotten to know. And we get together and we play. And we record and it comes out cool. And whenever Guns isn't doing anything, in order for me not to sit around and fester, you know, hanging out with somebody, you know. Just jam with them. And so that's where that started. And then I started doing it a lot. And then, um, more recently I started getting all the phone calls. You know, will you play on this and will you play on that. Um, are you gonna be available at this such and such date. Which is gotten a little bit more then, you know, I never planned on doing it this much. But I'm still having a good time and all things considered, it's been a lot of fun" [The Civil War EP, March 15, 1993].

Slash: "I spend most of my time writing material that's focused towards Guns N' Roses. But there's some songs that we just ended up not doing. And so I just go recorded it with someone else. [laughs] I mean, when Steven was still in the band, he couldn't play certain songs. There were certain songs that didn't make the record that I recorded with other people. And Axl and Duff were like: "Why did you do that?" I was like: "'Cause Steve couldn't play 'em". And we got a new drummer and we could have played 'em. Especially the Lenny Kravitz tune. But I'm happy I did it with Lenny, 'cause he's great and I'm glad the way that turned out" [Swedish TV, June 13, 1993].

Slash: "Well, it's good experience, is what it is. It's like, a lot of these people I know. Michael was the one I didn't know at the time. But, a lot of these people I just gotten to know. Either from the business, or people I went to school with. Or... people that were friends with my parents. You know, stuff like that. And so we just get together and play. It's really not that big a deal. But, at this point, it's great to work in other people's environment. You know, I'm a pretty decent studio guy at this point. I can deal with any situation in any studio, just because I've worked with so many people. And it's how I keep active. Otherwise I'd fuckin'... I don't wanna be a complacent, fat, you know... Sitting around in a house somewhere doing nothing, because of, you know, I was successful with, you know, a couple of records. I mean, it's like good to keep working, and knowing that you still have the groove happening and your chops are still together and so on" [97.7 HTZ-FM, January 1994].

Slash: "Everyone's so amazed that I go to these things and want to do it; I'm so totally out of place, but it's really cool. It's just grounding for me. It keeps me focussed on what I'm supposed to be doing. When I'm home, I can't just sit around and take it easy to the point of kicking back and doing the housework. I'll never change to that extent. So I just keep myself playing all the time, and then I'm happy" [Kerrang! March 12, 1994].

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Post by Soulmonster on Sat Jul 27, 2019 1:46 pm


As previously discussed, Axl was a huge fan of Elton John. They had previously sung together at the Freddie Mercury tribute show in Aril 1992 and at the 1992 MTV Video Music Awards where Guns N' Roses performed 'November Rain' together with Elton John.

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].
In January 1994 Elton John was inducted into the Rock and Roll Hall of Fame and Axl held the induction speech:

I've never done anything like this before, so this will be kind of simple put together.

I've never really understood what the Rock and Roll Hall of Fame was about, but tonight I'm getting an education, and I'm thankful for that. I've always considered the Rock and Roll Hall of Fame kind of in my record collection, on my radio or now on MTV; but, more importantly, in our hearts and minds. The Rock and Roll Hall of Fame honors the musicians who make the music, that not only becomes the soundtrack to our lives, but it actually helps us get through each day of our life.

And for myself, as well as many others, no one has been there more for inspiration than Elton John.  Also when we talk of great rock duos, like Jimmy Page and Robert Plant, John and Paul, Mick and Keith, I like to think of Elton John and Bernie Taupin.

Also tonight I think that Elton should be honored for his great work and contribution in the fight against AIDS; and also his bravery in exposing all the triumphs and tragedies of his personal life, and the knowledge of these things helps ourselves get through things every day.

When I first heard “Bennie and the Jets,” I knew at that time that I had to be a performer. So now a man, who in ways is responsible for more things than he ever planned on (laughs): Elton John
[Rock and Roll Hall of Fame, January 19, 1994].
At the end of the induction ceremony which also included John Lennon's posthumous inducted, Paul McCartney was supposed to sing 'Come Together' with Bruce Springsteen. But supposedly according to jetlag, McCartney decided to opt out of this. On short notice Axl was reined in to do the duet instead together with Springsteen [Hartford Courant, January 21, 1994].

Another version of what happened would later be posted at Bruce Springsteen fan forum and youtube by "Will Hoffmann":

"This duet was originally scheduled / planned for Rod Stewart and Elton John. Rod Stewart didn't make the event because of the earthquake in Los Angeles shortly before the event. As Bob Weir / John Popper and others performed on stage the production personnel approached Bruce with the lyrics to "Come Together". Bruce politely refused, repeatedly. The producers then approached Axl Rose who was at the next table over. Axl agreed and then pulled up a chair next to Bruce. After a minute or two of conversation, Axl put the lyrics on the table and Bruce and Axl hovered over the paper for a few minutes. As Bob Weir / John Popper et al. left the stage, Bruce and Axl simply got up, walked onto the stage and rocked. No rehearsal. No practice. Amazing to witness " [Comment section to].

It is impossible to determine which version is correct (that McCartney and Springsteen was supposed to do the duet or Rod Stewart and Elton John), and it is also possible both are correct and that the original plan was for Stewart and Elton doing the song together but when Stewart couldn't make it to the show, McCartney and Springsteen was asked before McCartney pulled out and Axl was reined in at the last minute.

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