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THE HISTORY OF GUNS N' ROSES - IN THEIR OWN WORDS

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Post by Soulmonster on Mon 24 Jun 2019 - 13:01

JANUARY-FEBRUARY 1993 - TOURING JAPAN AND OCEANIA


The tour kept rolling on.

Dizzy: "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 24 Jun 2019 - 13:02

HOW THE BAND MEMBERS DEALT WITH AXL DURING THE 'USE YOUR ILLUSION' TOURING


"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. The one that struggled the most with Axl's behavior was naturally 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].


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Post by Soulmonster on Mon 24 Jun 2019 - 13:02

PRE-SHOW ROUTINES


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 24 Jun 2019 - 13:02

1991-1993 - PLANNING THE FOLLOW-UP TO THE 'ILLUSIONS'


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].

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].
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].


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Post by Soulmonster on Mon 24 Jun 2019 - 13:02

1992-1993 - PLANNING THE SKIN N' BONES TOUR


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 24 Jun 2019 - 13:02

FEBRUARY 23-APRIL 1, 1993 - THE SKIN N' BONES TOUR


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 24 Jun 2019 - 14:01

MARCH 1, 1993 - AXL AND STEPHANIE SPLITS


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].


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Post by Soulmonster on Sat 29 Jun 2019 - 13:07

APRIL 3, 1993 - DUFF GETS BOTTLED AND AXL TAKES ON METALLICA


As discussed in the chapters about GN'R and Metallica touring together in 1992, the band didn't see eye to eye on everything, and especially James Hetfield ripped on Axl on a few occasions.

One of these occasions 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]
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].


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Post by Soulmonster on Sun 30 Jun 2019 - 14:10

THE FINANCIALS OF THE 'USE YOUR ILLUSION' TOURING


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 30 Jun 2019 - 16:32

1993 - 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].


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Post by Soulmonster on Mon 1 Jul 2019 - 12:50

1993-1994 - PERSONAL LIVES


By March 1993 Duff had been married to Linda for 8 months. 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].

Axl's break-up with Stephanie Seymore is described in a separate chapter.

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].

Slash and his wife Renee had found a way to balance marriage and Slash's rock life:

Slash: "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:

Slash: "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:

Slash: "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].
But being famous and recognizable still presented problems to Slash:

Slash: "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].


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Post by Soulmonster on Mon 1 Jul 2019 - 16:27

APRIL 4-13, 1993 - THE SKIN N' BONES TOUR


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 1 Jul 2019 - 16:28

APRIL 15, 1993 - ROANOKE, NOT ATLANTA


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 1 Jul 2019 - 16:30

APRIL 21-28, 1993 - THE SKIN N' BONES TOUR - MEXICO


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 1 Jul 2019 - 16:30

APRIL 29 1993 - GILBY CRASHES HIS BIKE AND BREAKS HIS ARM


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].


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Post by Soulmonster on Mon 1 Jul 2019 - 17:41

MAY 1993 - IZZY IS ASKED TO STEP IN FOR GILBY


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].

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]
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]


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Post by Soulmonster on Mon 1 Jul 2019 - 20:06

MAY 15, 1993 - THE DRUNK FUX IS REVIVED FOR A CHARITY GIG


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 1 Jul 2019 - 20:15

MAY 22-JULY 17, 1993 - THE SKIN N' BONES TOUR


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]

This 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:

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 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.

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, before the band 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].

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.


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Post by Soulmonster on Wed 3 Jul 2019 - 14:36

OCTOBER 1993 - AXL SETTLES OUT OF COURT II


Axl had already settled some of the lawsuits [which?] back in 1992, 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].

In his suit, 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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