APPETITE FOR DISCUSSION
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SoulMonster
APPETITE FOR DISCUSSION
Welcome to Appetite for Discussion -- a Guns N' Roses fan forum!

Please feel free to look around the forum as a guest, I hope you will find something of interest. If you want to join the discussions or contribute in other ways then you need to become a member. We especially welcome anyone who wants to share documents for our archive or would be interested in translating or transcribing articles and interviews.

Registering is free and easy.

Cheers!
SoulMonster

Don't Cry

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Don't Cry Empty Don't Cry

Post by Soulmonster Fri Aug 06, 2010 9:56 am

Don't Cry Newbor11
DON'T CRY
Album:
Use Your Illusion I, 1991, track no. 4.


Use Your Illusion II, 1991, track no. 13.


Written by:
Izzy Stradlin and Axl Rose.

Musicians:
Drums: Matt
Bass: Duff
Lead and Rhythm Guitars: Slash
Rhythm Guitar: Izzy
Piano: Dizzy
Vocals: Axl, Shannon Hoon
Background Vocals: Izzy

Information:
This song was originally called 'Don't Cry Tonight'. An early version must have written in late 1984 since it was debuted at the Hollywood Rose Reunion show in December 1984. IN March 1985, Izzy would say it had been written "a couple of weeks ago" [KPFK interview, March 1985].

Only the vocal tracks differ between the two versions found on the Use Your Illusions, and even then only in the verses; however, in those verses, not only are the words entirely different, but the meter and melody are also slightly different. There is also a third version, officially released only on the single for the song, which was recorded during Appetite for Destruction sessions in 1986 [Wikipedia].

Live performances:
The song was played for the first time by Hollywood Rose on December 31, 1984. It was also on the set-list for GN'Rs first gig with the Appetite for Destruction lineup on June 6, 1985. It was played extensively up till 2001. It was reintroduced into the regular sets in 2009 after Bumblefoot had used the melody as his personal solo for a while. In total it has, as of {UPDATEDATE}, at least been played {DCSONGS} times.
Lyrics:

Version of Use Your Illusion I (original):

Talk to me softly
There's something in your eyes
Don't hang your head in sorrow
And please don't cry
I know how you feel inside I've
I've been there before
Somethin's changin' inside you
And don't you know

Don't you cry tonight
I still love you baby
Don't you cry tonight
Don't you cry tonight
There's a heaven above you baby
And don't you cry tonight

Give me a whisper
And give me a sigh
Give me a kiss before you tell me goodbye
Don't you take it so hard now
And please don't take it so bad
I'll still be thinkin' of you
And the times we had...baby

And don't you cry tonight
Don't you cry tonight
Don't you cry tonight
There's a heaven above you baby
And don't you cry tonight

And please remember that I never lied
And please remember
How I felt inside now honey
You gotta make it your own way
But you'll be alright now sugar
You'll feel better tomorrow
Come the morning light now baby

And don't you cry tonight
And don't you cry tonight
And don't you cry tonight
There's a heaven above you baby
And don't you cry
Don't you ever cry
Don't you cry tonight
Baby maybe someday
Don't you cry
Don't you ever cry
Don't you cry
Tonight


Version of Use Your Illusion II (alternative):

If we could see tomorrow
What of your plans
No one can live in sorrow
Ask all your friends
Times that you took in stride
They're back in demand
I was the one who's washing
Blood off your hands

Don't you cry tonight
I still love you baby
Don't you cry tonight
Don't you cry tonight
There's a heaven above you baby
And don't you cry tonight

I know the things you wanted
They're not what you have
With all the people talkin' it's drivin' you mad
If I was standin' by you how would you feel
Knowing your love's decided
And all love is real

And don't you cry tonight
Don't you cry tonight
Don't you cry tonight
There's a heaven above you baby
And don't you cry tonight

I thought I could live in your world
As years all went by
With all the voices I've heard
Something has died
And when you're in need of someone
My heart won't deny you
So many seem so lonely
With no one left to cry to baby

And don't you cry tonight
And don't you cry tonight
And don't you cry tonight
There's a heaven above you baby
And don't you cry
Don't you ever cry
Don't you cry tonight
Baby maybe someday
Don't you cry
Don't you ever cry
Don't you cry
Tonight


Quotes regarding the song and its making:

Talking about writing the song:

When we first wrote the song, it was the first song for Guns N' Roses. [...] Actually, we weren't Guns N' Roses yet but it was starting to become a reality and Izzy and I wrote a song and decided that we needed to get back together. [...] which was one of our most Hanoi Rocks influenced songs. We knew we had something. [...] I was sitting outside the Roxy and I was really in love with this person and she was realizing this wasn't going to work, she wanted to do other things, and she was telling my goodbye, and I sat down and just started crying a little bit and she was telling me, "Don't cry." [...] Next night we got together and wrote the song in five minutes.
Don't Cry: Makin' F@*!ing Videos Part I, June 22, 1993

It was a girl that Izzy had gone out with and now she's a tattoo on my arm [?] [...] and I was really attracted to her and they split up.
Don't Cry: Makin' F@*!ing Videos Part I, June 22, 1993

It was [about] a girl that Izzy had gone out with, and I was really attracted to her, and they split up, and we wrote the song (...) I was sitting outside the Roxy, and you know, I was like really in love with this person, and she was realising this wasn't going to work, she was doing her things, she was telling me goodbye, and I like sat down, and just started crying, and she was telling me 'don't cry'. Next night we got together and wrote the song in 5 minutes. He'd been through some things with her, himself. It really means that even though the the relationship is not going to work, you shouldn't feel bad, time will heal, and you will feel much better. Everything is for the best. Heaven is above you, God is there to protect you, everything is going to be fine. Don't take it so hard.
Don't Cry: Makin' F@*!ing Videos Part I, June 22, 1993

[Nicky Beat] had a rehearsal studio in his house in Silverlake where we'd go, set up our gear, and jam, and that is where the whole band really came together. Izzy had something called 'Think About You' that we liked, and we revisited 'Don't Cry,' which was the first song I'd ever worked on with Izzy.
"Slash", 2007

When I first hooked up back together with Axl and Izzy, that was the song Izzy and Axl were working on. So that was my first having to deal with another guitar player. It was on Don’t Cry. I’m going to Izzy’s house and hanging out with him to try and build up some sort of a chemistry. So that song is actually pretty classic in my mind.
Guns N' Roses: The Hits - 1992

After three nights [of rehearsals] we had a fully realized set that also included 'Don't Cry' and 'Shadow Of Your Love', and so we unanimously decided that we were now fit for public consumption.
"Slash", 2007


Introducing the song:

This song's called 'Don't Cry Tonight' and it's a song Axl and I just wrote a couple of weeks ago. It's kinda a sad song. But it is cool. So you know everybody, grab a Kleenex.
KPFK, March 1985

This is a new, alternate version of the first song we wrote in Guns N' Roses and kinda the reason we got signed. Some people in Hollywood got pissed off we never put it on record [?]. So we got three version of the song on record. This is called 'Don't Cry' and this is my friend Shannon.
Inglewood, August 2, 1991

This next one is the first song that was written for Guns N’ Roses. I went over to Izzy’s and it was like, I threw some rocks at his window. He came to the window and, I don't know, he was worried I came over there to kick his ass (laughs). We’d been in an argument for a few months. So anyway, you know, it was like the Blues Brothers: "We gotta get the band back together, we gotta get the band together!” We sat down and I go, "Hey, I got some really depressing lyrics." He goes, "Oh dude, I got a really depressing guitar part." I was like, "Perfect, we got it made then.”


Talking about releasing two versions:

There will be a version of 'Don't Cry' on both records, one on the first one and one on the second. The one on the first one is the newly recorded version of the original lyrics and the second one is the newly recorded version of alternative lyrics, kinda like a '91 update. It's got different words and melody in the verses and it kinda happened while I was recording the other one. That's the song that basically, one of the reasons we got signed. People in LA that has been our fans since we started playing in clubs were always bummed we didn't put it on the record but we were kinda trying to save what we considered one of our ace cards, cause we didn't know if we'd sell five records, you know, or what (laughter). […]  I don’t know that, if it’s more upbeat or anything. It’s just kind of where my head is at with that song now, you know, rather than making a nostalgia piece.  When we do the new one, I hear it. And a lot of people that liked the original and it was their favorite song – they have license plates that say “Don’t Cry” or whatever - heard the new one and kind of flipped out, like, “How did you do that?” I don’t know! But, you know, when we were in the studio, I was like, “I don’t know what’s happening, Mike, but let’s just let me go with it." And it worked out really nice. And my friend, Shannon Hoon - he's in a band, Blind Melon - he’s from Indiana and they were doing Don’t Cry back there. They got a bootleg demo tape in Lafayette.
Interview with Axl Rose, May 1991

The original Don’t Cry was, like, the first song written for Guns N’ Roses. And then, when I was in the studio recording it, I started hearing different words and melody while I was singing the old one. And it was one of the last songs we did. And I just... we just put on another track and went for it. And I like the new one better, cuz it’s where I’m at now. It’s kind of where the band is at now. The old one means a lot to me, because of the nostalgia, and the history of our band, and the history of our lives for me. You know, I can see all kinds of things in that song when I sing it or when I hear it. But the new one is kind of where I’m at now. And the video that we just did for Don’t Cry fits even better with the new lyrics than the old one.
Rockline, November 27, 1991

I don't know that it's more up-beat or anything it's just where my head's are with that song now, you know, rather than make a nostalgia piece (...) And a lot of people who liked the original and it was their favourite song, license plates that says "Don't Cry" and whatever, heard the new one and kinda flip out like "How did you do that?", I don't know (laughter). But when I was in the studio I was like, "I don't know what's happening, Mike, but just let me go with it". And it worked out really nice.
Interview with Axl Rose, 1991

While I was recording the original version I started hearing another melody and words in my head. It really surprised me. I told Mike Clink, our producer, "Put me on another track! I don't know what's happening here but I've got a different song coming through my head and I want to get that on tape".
Shadow boxing with Axl Rose, June 1992

A whole new set of words for the verses and a melody for these words started happening while I was singing the parts. I started hearing this stuff in my head, and I was like, “Mike, put me on another track.” He’s like, “Why?” and I go, “I don’t know, just I gotta go with this, it’s too strong to stop.” […] I prefer the new version, because the original is kind of like a nostalgia piece for me that takes me through, like, the history of Guns N’ Roses.
Don't Cry: Makin' F@*!ing Videos Part I, June 22, 1993


Talking about recording the song:

When we recorded that song originally, we were driving the engineer nuts in Hollywood, and Steven wanted more high hat. And finally the guy cracked and he pulled a gun on us. Unlike Ryan Lochte and his gun, our gun was real.
Sao Paolo, Brazil, November 11, 2016


Discussing the song:

[…]but the first GN’R song that we wrote for the band was 'Don’t Cry'. […] we saved it, cuz we really liked it and it was our most successful song here in Hollywood, on the club circuit. And so we saved it cuz we didn’t know if we were gonna sell five records or a million records of the first one…[…] ...So we wanted to make sure we had a good song ready for the second [chuckles].
Rockline, November 27, 1991

It’s a love song, a pretty emotional tune for Axl to sing.
Chicago Tribune, May 1991

[Talking about the time when he entered the band] Izzy and Axl already had some songs, and the other guys knew them: "Think About You," "Anything Goes," "Move To The City," "Shadow of Your Love," and "Don't Cry." And we did sped-up punk versions of the Stones' "Jumpin' Jack Flash" and Elvis Presley's "Heartbreak Hotel".
Duff's autobiography, "It's So Easy", 2011, p. 59

It was one of the first songs we started playing as a band, in the incarnation, and it really put us across in the clubs. [...] It was something we would have recorded for the first record [...] Money was not allotted to do as much as we wanted to do.
Don't Cry: Makin' F@*!ing Videos Part I, June 22, 1993

[The audiences] liked 'Welcome to the Jungle' and stuff but 'Don't Cry' was, like, the most popular song. [...] It never came out feeling just right [for the first record] [...] and it was our most successful song to save it [for the next record].
Don't Cry: Makin' F@*!ing Videos Part I, June 22, 1993

As a matter of fact, it is, like, one of the only songs I remember from the club days, it was like the only audible song because the rest were so loud. [...] I think it all just has to do with hope, you can't give up home or your dreams.
Don't Cry: Makin' F@*!ing Videos Part I, June 22, 1993

We've added a lot of new life to it, especially with Matt playing the drums. [...] It has kinda taken a new life, which is cool.
Don't Cry: Makin' F@*!ing Videos Part I, June 22, 1993

Yeah. I remember playing the Troubadour when we used to open for speed metal bands, and we'd do the song "Don't Cry" that's on our demo tape—it's a slow ballad—and these kids with spikes all the way up their arms come up and go (in a deep voice), "Usually I don't like this kind of shit, but you guys are great; that one slow song is great" They like it 'cause of the realness.

We opened for speed metal bands and we'd do all our fast songs but we'd also do 'Don't Cry', and these guys with spikes all the way up their arms came up [to us] and loved that song.
Don't Cry: Makin' F@*!ing Videos Part I, June 22, 1993

My friend Shannon Hoon, he's in a band Blind Melon, he's from Indiana and they were doing "Don't Cry" back there. They got a bootleg demo tape in Lafayette (...) and he's got a really gorgeous voice so we do kinda like a duet on the songs.
Interview with Axl Rose, 1991

It’s one of the first songs that we started playing as a band in the incarnation, and it really kind of put us across in the clubs.
Don't Cry: Makin' F@*!ing Videos Part I, June 22, 1993


Shannon Hoon would also talk about how he ended up singing on the song:

I got it on this shitty-ass tape [=an early bootleg featuring the demo version] from someone, who knew someone, who knew someone. [...] I used to play in a cover tune band in Indiana, and we used to cover the song Don’t Cry, cuz it was a song that no one back there – everybody was into GN’R, but these were songs that weren’t on the Appetite album. […] It was kind of accident. It was kind of just open mic night at the Record Plant in Hollywood. […] I was singing along with it and I think – I don’t know, I’m not sure how it came about, but Axl came in, and Izzy said something, I think, to Axl that I was singing along with it. Then Axl asked me if I knew the song and I said yes. So he had a couple of background parts to do, and I went and sang a couple of background parts, and it sounded cool. And then he was like, “Well, fuck it. Sing the whole song." […] I do a lot of whoo-whoo’s.  I do a lot of whoo-whoo’s, not in the studio as a matter of fact.
Don't Cry: Makin' F@*!ing Videos Part I, June 22, 1993


Talking about reintroducing the song to the set in 2006:

It was May 2006, my first tour with GNR. Fans would email daily asking if we could please play 'Don't Cry.' I remember standing alone on stage in front of 100,000  people, taking a solo, and I just started playing it on my own, motioning the audience to sing along. For the next year that became part of my solo, a lone guitar rendition, the audience singing along, a moment where we'd really connect each night. One of the last shows after a year of touring, I played it as an encore and Axl joined in and sang it, for the first time in over a decade. [We] started adding it back into the set after that. Always loved the song, but after all that it has an added personal meaning to me now.
Guitar World, September 30, 2011

I knew Don't Cry from when it first came out, 15 years before I joined. In the first weeks I joined, fans wrote to me a lot asking if we could play the song - we didn't, so I did. Give the people what they want.
GnR Paraguay, March 2012

From the classic GNR songs, I like Don't Cry. The song started off as my solo in 2006, playing it myself and the audience would sing, it's always been the song where I feel a big connection with the audience. The connection is important to me. I don't like separation between audience and band, I like it when we're all together, and making the music together.

I loved playing 'Don't Cry'. Our first year of touring together in 2006, 2007, we didn't do that song as a band, and fans would always write to me and say, 'Why don't you do 'Don't Cry'?' What I started doing in my guitar solo, when it was time for me to do my thing, I started playing this sort of one-man version of it, bringing in the chords and the melody and everything, and the audience would sing along. Eventually, it became part of the set. I remember I was in Tokyo in 2007, and we were ending the show. I didn't grab a solo that night, and I remember Axl said to me, 'Hey, let's go out, second encore, and let's do 'Don't Cry'. I'm going to join you.' It was the first time he did that song live in over a decade, from what I understand. From there, it became part of the set."


And being asked about his favorite GN'R song:

Don't Cry Smile Simple & beautiful & dynamic Smile

Don't Cry Newbor11


Last edited by Soulmonster on Tue Oct 01, 2024 6:06 pm; edited 35 times in total
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Don't Cry Empty Re: Don't Cry

Post by Soulmonster Sat Apr 14, 2018 7:34 pm

A recollection from a production assistant of the music video to Don't Cry, Venice Magazine, November 1991:

John Markovich wrote:Save Your Delusion
by John Markovich

John Markovich goes behind the scenes on Guns N' Roses Don't Cry


I dunno. If I see one more Guns N' Roses article, I think I'm gonna puke. I know you will, too, so that's why I had to write this one. It's not "Axl Rose is the modern mythological hero…" or "Axl's behavior stems from deep-seated Freudian suppression…" or "Guns N' Roses are like, rilly, rilly bitchin' man." No, none of that.
This is just a day to day account of a music video. A really long, involved, traumatic music video that just happened to be for Guns N' Roses.
I was a Production Assistant of this wonderful job. Which means I was low man on the video totem, which means I did all the work nobody else wanted to do. I drove around and picked up all the equipment needed to shoot the video cameras, dollys, director's chairs and all the important coolers full of drinks. And when the video Don't Cry was over and the director was out celebrating a successful shoot, I - and my diligent co-workers - packed up all the garbage and equipment and took it all back. Glamorous job, huh?
I've left out loads of cool stuff (like meeting Slash's monster pythons) and a lot of juicy gossip (like Dave Navarro from Jane's Addiction joining the band) but I gotta save some stories for Boardner's if I wanna get laid, right?
In the meantime, enjoy the adventure. I've got millions of 'em. I'll tell ya a few sometime. Over drinks perhaps? I'll buy. Until then, stay tuned!

Day 1
The shoot starts in the Inglewood Cemetery where we'll film a funeral procession passing through the graves: Axl's procession one it's way to Axl's final resting place. While setting up for this shot, I have my first encounter with the conceptualist for the video, one of Axl's best friends, Josh Richman.
Josh is the ultimate rock-n-roll circus freak: whacked-out clothes with stars all over 'em, enough jewelry to melt down and make a Hyundai, silver boots and a cane with an eight ball on the end. He's got a big mouth with an attitude to match and if he wasn't so arrogant and comical, you'd wanna knock his fuckin' teeth out - just the kind of person I like.
Anyway, Josh is dancing around saying, "Killer shot, dude." As Andy Morahan, the video's director who also helmed Van Halen's Finish What You Started and Poundcake among others, just smiles and nods his head.
Meanwhile, everybody else is anxiously awaiting Axl's arrival. When he does show, he's almost two hours late and he immediately throws a tantrum. Then it's Josh to the rescue, calming Axl's nerves and convincing him to go in front of the cameras. When he does, it's with his girlfriend, Stephanie Seymore, and they're suppose to be having a picnic in the graveyard. "Hmmm, think I'll stick around for this part. Especially since Steph's wearing a particularly flimsy dress and if I stand in the right place, when she crosses her legs, I get a fantastic peek up her dress… ah yes, forever the voyeur!"
We shoot this segment till sundown, then head to Hollywood Center Studios where the art department is putting the finishing touches on the next set, which is a huge, frozen wasteland that takes up all of Stage 5.
"Hmmm, helpin' the art dogs looks like more fun that luggin' these damn coolers around," I think to myself, so I grab a big box of fake snow and start pouring it in front of the massive fans cranked up to "High," blowing it all over the set, creating these tremendous shredded plastic snowdrifts.
By the time Axl is out of make-up and wardrobe, he looks like some kind of ancient ice pirate wielding a bottle and a gun. Then the animal wrangler walks up with this monstrous raven named Edgar who's supposed to sit on a branch in the foreground while we shoot this scene.
So the fans start blowing, we're dumping tons of fake snow, Axl's trekking through the tundra, Josh is jumping around like a madman and Edgar's sitting there thinking, "Fuck this." and he flies off.
"Cut!" Andy yells.
Take two. Roll camera! …fans, snow, Axl, Josh…
Edgar thinks, "Fuck this." He flies away again.
Take three. And so it goes.
We eventually get the shot and all the rest we need, finishing at 5 a.m. the next day. I go home and shake a pile of flakes out of my hair that's so big, it would scare the hell out of Head & Shoulders. Then I promptly pass out.

Day 2
Today we're at another huge stage at KTLA shooting all kinds of bizarre shit that's supposed to represent Axl's twisted visions. Now I don't know about the rest of the crew, but I've had about six hours of sleep, I'm still spitting out plastic snow and I'm starting to cop an attitude, but hey, this is rock-n-roll, so I dive headfirst into the madness.
First up is a baby on an altar surrounded by candles in a very gothic looking room. "Great. Babies don't act, they cry… and they have absolutely no bladder control." Well, after a dozen takes and much foolish behavior by the crew to hold the babies attention, we get the shot. Then we break down the altar, fly in a bathtub and bring in Aquatot the stunt baby. "Two kids in a row, Jeez, this is brutal." Actually, it wouldn't be so bad if this little munchkin didn't like a splash. But he does… and as often as possible. Me, the prop master, and the camera wind up soaked as Junior does his aquatic aerobics.
Meanwhile, I'm looking over my shoulder and I see this green demon lurking around the set, leering at everyone. "No Lord! Not a flashback, not here." As it turns out, it's Axl in full body makeup for the next shot.
That's right, Axl bare ass nekkid, covered in green makeup from head to toe. I gotta give the guy credit, he's got balls (no pun intended) to go full on nude in front of a whole film crew and put it on video. And of course, the moment he drops his robe, his photographers swoop in, drawing a bead on his butt with their lenses, like vultures waiting for the kill. But the National Enquirer won't get the goods today, because Axl immediately chases them off. Hey man, this is a video, not a peepshow! If only his screaming, psychotic girlie fans could see him now.

Day 3
The entire day is spent lugging equipment up 33 stories to the top of the Transamerican building where we'll shoot the band's performance of Don't Cry. Cameras, cables, lights, and, of course, coolers are rolled, dragged, and pushed onto the roof to be piled haphazardly everywhere imaginable. But by sundown, everything is set and ready with two helicopters circling, cameras rolling, and … Axl's mike stand doesn't feel right. "Great." Axl climbs down from the stage, leaving the rest of the band hanging. It seems there's nothing left for them to do but… play Zepplin covers! That's right, with Axl gone, the rest of the band while away the time by jammin' some Zep. It was like a backyard party with Slash and the boys. Now that's entertainment! Eventually, Axl makes it back to the stage and things are off and rollin' again.
Hours later, I'm down in the production truck, and boy, do those furniture pads look comfortable. Now, I've been conscious for about 14 hours and we'll probably be shooting for another four, so… while the lights are flashing, the cameras rolling and the helicopters circling, I pass out and sleep to the sound of thunder.

Day 4
For the next two days, we're up in the San Gabriel Canyon, north of Azusa, doing lots of driving shots and car crashes. Today, we film Slash and some video bimbette winding their way up a canyon road. The bim is kickin' and screamin' while Slash tries to concentrate on driving. Since most of this involves cameras hangin' off a helicopter or mounted on a car, there's not much to do, so I seize the opportunity to snooze awhile and catch up with some sleep I've been missing.
At the end of the day, the Art Director, Prop Master, a few others, and myself decide to stay overnight in the canyon. "Hell, we got two motor homes and plenty of food. All we need is… BEER." We locate the nearest Greasyspoon and, lo and behold, it's also got a bar! We all belly up and order a round. In no time, we're all feelin' good and Rex is cooking up a load of burgers for us. Rex, by the way, is the friendly proprietor of this fine establishment, who wanted to be a dancer, but his high hopes were dashed to pieces when he became a biker instead. With his Liberace hairpiece and his lilting voice, you'd never think otherwise. So we eat and drink our fill and head back to the motor homes where we proceed to do like the locals; crank up the country-western and howl with the coyotes until we pass out.

Day 5
Bang! Bang! Bang! "Hey, wake up, we got ten minutes to be on set!" That's my wake up call this morning. I gather my frazzled wits; I recognize my strange surroundings. Today's the big day… the CAR CRASH.
The circus starts early as the highway patrol begins blocking traffic and curious onlookers gather along the edge of the road. We've got two cameras across the chasm from the ramp, two at the bottom of the pit, and one inside the car for that "I was there" effect.
Since the car can obviously have no drivers, the trick is to launch the car off the ramp and over the cliff as if someone were driving. This is accomplished with a drive car, a cable and a pulley system. One end of the cable is attached to the crash car. It goes up the ramp to a release mechanism and a pulley, then back to the another pulley attached to a large stationary truck and then to another car running parallel to the crash car that will ultimately pull it over the ramp.
Long about noon, after everyone is sufficiently wound up to a feverish pitch, it looks as though we're ready to shoot. As the crew's making their final checks, Andy turns to me and says cynically, "I'll bet that bloody thing only lands in the third tree there." Ever one to aggravate the director, I smile and say, "You're on."
Roll cameras. Action. A collective psychic breath is taken as the car lumbers towards the ramp. It smashes through the barricade, tips, falls, and… plop! Third tree, no more than 100 feet from the top of the ramp. Andy pulls his face from the video monitor and glares at me.
"Shoulda put my money on that one," I say and burst into laughter.
"Fock off," is the response I get.
For the next half hour, accusatory glances and comments fly as everyone rationalizes their contribution to such a foul "practice" run.
"I want that fuckin' car comin' off that ramp at 100 miles per," yells the D.P. and, of course, everyone agrees.
So for the next few hours, the whole process - set-up, prep, and crash - goes on again. This time, when cameras roll, the car rockets off the ramp, blasts through the barrier and sails through the air with pure filmic finesse. Did you expect anything less?

Day 6
Reality is definitely fraying around the edges at this point in the shoot. Everybody's exhausted and the shoot won't end. As we set up in a mansion at the top of LaBrea, the crew jokes that this is no longer a video, but "Guns-N-Roses - The Feature."
Tonight, we stage and film a fight sequence between Axl and Stephanie. Fortunately, Axl is in good spirits tonight ("How couldn't he be? Hell, if I was doin' Stephanie Seymore, you couldn't chisel that glazed smile off my face.").
This is the first time I've been able to interact with Axl with more than an occasional glance and "Hey, how's it goin'." At one point, we both spot a huge stuffed raven that's being used as a prop on a table in the scene.
"Looks like Edgar's not doin' so good," jokes Axl.
"Kids and animals," I say, "How else can you keep them still."
"I wonder how the baby turned out," is Axl's response.
There's a moment of silence and then we both burst into laughter.
We continue shooting at a snail's pace for the rest of the night. As the sun comes up and we're not even halfway done shooting what we need, it's obvious that we'll be shooting here again. But when?

Day 7
The Park Plaza, a few dozen rock bims and Guns N' Roses - sounds like a wicked party. Well, that's what's happening tonight as we shoot a bar fight between two women vying for Axl's attention. To pull this off, we've got stunt doubles, fight choreographers and plenty of breakaway glass.
Meanwhile, a hundred or so busty bims have been hangin' out for hours, waiting to be pared down to 30 bims to be used in the video. "Just hangin' out… yes, how interesting. O.K., decisions have to be made." So, I bound in, looking as important as possible and in an instant I've got every one of those women on their feet, trying oh-so-hard to stand out and be nondescript at the same time (let me tell ya, in this moment - this one gloriously sexist, rock-n-roll, Hollywood moment - I could die a happy man). Fortunately, I live to be an even happier man as I pick each and every bim to appear in the scene. Ah, what a rush.
Back at the bar, Axl's sitting quietly at a grand piano. As he begins to play, all eyes turn to him in amazement. Where does someone as over-the-top, out of control as Axl Rose learn to play such beautiful music?
So, in come the bims, in come the stunt doubles and in comes the band and for the next fourteen smoke-filled hours, glasses are smashed, beer flows like water, miniskirts are perpetually pulled down and everyone screams and yells for the camera.
As Slash, Dizzy and Duff happily hug and squeeze bims, Matt busies himself by pouring beer on the table, the floor, and everyone around him. Axl looks on with removed amusement.
As the sun comes up, I find myself unconscious on one of the smelly, war-torn couches in the huge lobby of the Park Plaza. God only knows how many people have have puked, passed out and gotten laid (not necessarily at the same time or in that order) on this couch. In the misty distance I hear a voice yell, "That's a wrap!" I open my eyes and squint at my watch. 7 a.m. Another day bites the dust.

Day 8
Once again, we're back at the mansion, so it feels like a big flashback/bad dream happening. The first grueling task is to reconstruct a table covered with bits and pieces of Axl's personal momentos (old photographs of the band, magazine covers featuring Guns N' Roses, and a Nirvana 45 that I just had to snag the day before so IU could make a copy of it for myself) so it matches the same shot we did two nights ago. Next, we finish the fight scene between Axl and Stephanie and then we're into the pool.
In this scene, Axl's drowning in a tumultuous sea, but below the surface, Stephanie - in a real funky bathing suit with long tendrils hanging off it - is clinging to his legs (pulling him down or holding him up?). So as we're setting up the shot, Axl's hanging off this bar we've got suspended over the pool and as Steph's getting into the water, he says, "Wow, I feel like I'm in an Almay commercial." - referring to the Almay commercials that Stephanie has done in the past.
The crowd chuckles and I smile. This scene goes on until the comes up and Axl and Stephanie are too damn cold to do it anymore.
Then, as Axl is about to head to the motor home, he stops and does what we've all been aching to do. He gives our good buddy Josh a tremendous push into the pool. The whole crew erupts into fits of laughter as the soggy stardog climbs from the water, soaked to the bone. It was like a neon sign saying "shoot's over" because things got real loose after that.
At one point, I'm dozin' on the therapist's couch in the last set-up of the day and I hear, BOING, SPLASH, "Wow, nice dive!" I sit up and look out the window and see a handful of crew frolicking in the pool and another bunch strewn about the lawn like dead people roasting in the sun… and we're not even close to finished.
So, finally Axl does his last scene, the three greatest words in filmdom - "That's a wrap!" are called and we start to pack the circus. Axl kicks back for one last interview and well, what the hell, I crack a beer and listen in.
Same old shit as usual. He's amazed at the band's success. He doesn't know what the future holds. Blah, blah, blah. The success thing doesn't ring true though… and it ties in with that poolside Almay comment earlier. Here's this punk kid from Bumfuck, Indiana with his girlfriend who's one of the most beautiful models in the world, makin' multimillion dollar videos and honestly being amazed with the whole thing. It does make ya wonder, doesn't it?
Me? I go home, wipe my ass with my film degree and have nightmares about luggin' coolers around when I'm 100. How's that for illusion?
Okay, okay, I'm not that cynical and despite all the torturously long hours, I did have a good time. Hell, I'm actually very lucky. How often do you get to hang out with Guns N' Roses for a week? And even though they're ultra mega superstars, they were all very approachable and willing to listen to any nonsense you wanted to talk about. Kinda like hangin' out with your brother's stoner, surfer-dude buddies - only these guys are in a killer band. No delusions here folks, just a bunch of cool guys makin' music and millions. Ain't rock 'n roll grand?
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Post by Blackstar Sat Apr 21, 2018 8:12 pm

When we recorded that song originally, we were driving the engineer nuts in Hollywood, and Steven wanted more high hat. And finally the guy cracked and he pulled a gun on us. Unlike Ryan Lochte and his gun, our gun was real. [Sao Paolo, Brazil, November 11, 2016]
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Post by Soulmonster Fri Jul 05, 2019 9:34 am

Shannon Hoon would describe how he ended up singing on the song:

"I got it on this shitty-ass tape [=an early bootleg featuring the demo version] from someone, who knew someone, who knew someone. [...] I used to play in a cover tune band in Indiana, and we used to cover the song Don’t Cry, cuz it was a song that no one back there – everybody was into GN’R, but these were songs that weren’t on the Appetite album. […] It was kind of accident. It was kind of just open mic night at the Record Plant in Hollywood. […] I was singing along with it and I think – I don’t know, I’m not sure how it came about, but Axl came in, and Izzy said something, I think, to Axl that I was singing along with it. Then Axl asked me if I knew the song and I said yes. So he had a couple of background parts to do, and I went and sang a couple of background parts, and it sounded cool. And then he was like, “Well, fuck it. Sing the whole song." […] I do a lot of whoo-whoo’s.  I do a lot of whoo-whoo’s, not in the studio as a matter of fact" [Don't Cry: Makin' F@*!ing Videos Part I, June 22, 1993].
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Post by Soulmonster Mon Feb 10, 2020 9:05 am

Review of the music video found in Janesville Gazette, December 15, 1991:

Don't Cry Janesv10

Transcript:

Taking the plunge
New Guns N' Roses video dives into full-force lunacy

By Jim Farber
New York Daily News

Selling insanity has done wonders for Guns N' Roses. The more stark-raving nuts Axl Rose acts in public the more we voyeuristic, thrill-starved media masochists eat it up.

Such antics have proven a political bonanza for the group as well. How better to finally get over Axl's old racist/homophobic writing than by proving he's someone who cannot be held accountable for his actions? Even better, the guy doesn't have to act the part; just let him loose and something cracked is sure to come out.

No surprise, then, that in G N' R's first video - "Don't Cry" -since Axl announced he's seeing a shrink, the group gleefully plunges off the deep end into full-force lunacy.

The clip makes no sense in so many ways one barely knows what to make fun of first. It's hard even to know which Axl we're watching, so many are thrown at us. There's Aid the romantic (who tries to blow his girlfriend's brains out), Axl the shrink patient (who ends up in the big white room). and Axl the slime-covered zombie who writhes around 6-feet-under in the nude).

What ties all these Axls together? For lack of a better word, plot. A drunken and stumbling Axl introduces the clip; inexplicably dressed like a soldier from the Revolutionary War, brandishing a bottle and a gun Then we cut to modern L.A., where Axl is waving around a gun meant to kill ... himself? Others? It's not clear.

A girlfriend wrestles the thing away from him as the camera struggles to get away from the two of them, resting on a picture of the couple in happier times. Apparently their idea of happy times involves picnicking at a graveyard and a hair-pulling fight in a bar between Axl's girlfriend and some other dish he's got on the side.

The brawl so amuses onlooking band members, Slash is even moved to a reverie in which he gigglingly drives himself and a nagging girlfriend over a cliff to their fiery deaths. (He is instantly reborn to play a solo; she, we never hear from again.)

Lest we forget who the star sickie is, we then cut back to Axl, who has an uncontrollable shaking fit in his shrink's office, which causes him to be confined to a kook house wherein he's greeted by yet another version of himself who immediately smashes his head into a mirror.

Still with me?

The cherry on the cake comes when Axl visits a grave that -surprise, surprise - turns out to be his own. More Jarring is Axl's headstone, which reveals he bit it last year.

Not to worry, though. Perhaps the Axl of G N' R's early videos-that angry hustler turned alienated star-has bought the farm. But replacing him is someone much more attention-getting and fun: a public figure who's actually promoting himself as a lunatic.




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Post by Blackstar Tue Sep 14, 2021 8:16 am

This next one is the first song that was written for Guns N’ Roses. I went over to Izzy’s and it was like, I threw some rocks at his window. He came to the window and, I don't know, he was worried I came over there to kick his ass (laughs). We’d been in an argument for a few months. So anyway, you know, it was like the Blues Brothers: "We gotta get the band back together, we gotta get the band together!” We sat down and I go, "Hey, I got some really depressing lyrics." He goes, "Oh dude, I got a really depressing guitar part." I was like, "Perfect, we got it made then.”
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Post by ludurigan Wed Sep 15, 2021 4:18 am

Apparently Axl said "I miss that guy" (Izzy) on the show at the Hard Rock Live at Etess Arena, Atlantic City, NJ, USA, September 12, 2021, Hopefully that means that Axl will fire the employee who currently plays guitar for "Guns n' Roses" and the actual Guns n' Roses will reunite to make new music
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Post by Soulmonster Wed Sep 15, 2021 7:14 am

ludurigan wrote:Apparently Axl said "I miss that guy" (Izzy) on the show at the Hard Rock Live at Etess Arena, Atlantic City, NJ, USA, September 12, 2021, Hopefully that means that Axl will fire the employee who currently plays guitar for "Guns n' Roses" and the actual Guns n' Roses will reunite to make new music

I disagree with those who claim he said he miss Izzy. I think they heard it wrong.
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Post by ludurigan Wed Sep 15, 2021 1:00 pm

Yeah I couldn't be 100% sure if he said that or not. I listened the video of him talking and it was very hard to understand what he was saying. The video has been taken down so it it is hard to say whether he said "I miss that guy" or not. What did you understand from that part?
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Post by Soulmonster Wed Sep 15, 2021 1:05 pm

ludurigan wrote:Yeah I couldn't be 100% sure if he said that or not. I listened the video of him talking and it was very hard to understand what he was saying. The video has been taken down so it it is hard to say whether he said "I miss that guy" or not. What did you understand from that part?

@Blackstar transcribed it thusly:

This next one is the first song that was written for Guns N’ Roses. I went over to Izzy’s and it was like, I threw some rocks at his window. He came to the window and, I don't know, he was worried I came over there to kick his ass (laughs). We’d been in an argument for a few months. So anyway, you know, it was like the Blues Brothers: "We gotta get the band back together, we gotta get the band together!” We sat down and I go, "Hey, I got some really depressing lyrics." He goes, "Oh dude, I got a really depressing guitar part." I was like, "Perfect, we got it made then.”


I listened to it a few times, I am not entirely sure what was said. It could have been as in the transcript above, or something similar. I am convinced it wasn't "I miss that guy", both because it didn't sound like it but also because it doesn't sound right from the context. Not saying he doesn't miss Izzy, just that it didn't fit with the rest of the story. Lastly, I doubt Axl would explicitly lament the absence of a former member while on stage with the current lineup. Doesn't sound like Axl to kind of throw them (=Richard) under the bus like that.
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Post by Blackstar Wed Sep 15, 2021 1:12 pm

My transcription was based on the transcription by Rolling Stone (I just added a couple of missing bits).

I listened to it many times and I didn't hear "I miss that guy," so I don't think Axl said that. But I think he could have said it, even if it just meant missing him on a personal level.
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Post by ludurigan Wed Sep 15, 2021 1:45 pm

Soulmonster wrote:
I listened to it a few times, I am not entirely sure what was said. It could have been as in the transcript above, or something similar. I am convinced it wasn't "I miss that guy", both because it didn't sound like it but also because it doesn't sound right from the context. Not saying he doesn't miss Izzy, just that it didn't fit with the rest of the story. Lastly, I doubt Axl would explicitly lament the absence of a former member while on stage with the current lineup. Doesn't sound like Axl to kind of throw them (=Richard) under the bus like that.

That's interesting. I agree that it doesn't sound (much) like it. But I disagree that it doesn't fit the rest of the story. He was clearly sharing an "old war story", or a "good memory from back in the day", he was mentioning an "old comrade" in a very good way so it seems to make total sense to say "I miss that guy" in the context of that story he was saying, doesn't it?

On the "throwing them under the bus" part I think you don't need to much much further than 1989 when Axl did just that with Slash (and Izzy, and Steven) in the LA Coliseum in front of the crowd, press etc.

And you can also say that Axl throws Richard Fortus under the bus on a daily basis by clearly showing the world that the guy is an employee. Just see for comparison how the Rolling Stones treat Ronnie Wood (he appears in all their promo/communication as a full member) and how that doesn't happen with Richard Fortus or any of the other employees. All the photos on social media etc are 90% focused on the three GN'R guys. They even resurrected the Appetite skull (!) and a lot of the GN'R imagery for the last few years. The four employees are clearly left on the side, despite the fact that some of them have been employed for 30 years now. None of them has band member status, be it legally (money wise) or even "informally". Isn't that softly but surely throwing them under the bus? The impression I have is that if Axl wakes up and decides that Izzy has to come back then he will move whatever it is necessary to make that happen including throwing his employees and whoever else under the bus if that is needed.

Having said all that, I want it so bad for GN'R to reunite without the employees that I may be hearing and seeing things that do NOT exist. Like... is it me or that was the very, very best Don't Cry vocal that Axl ever did since the 90s? Like... is it me or he clearly "switched a button" to adjust his voice to a "GN'R voice" when singing that song on Sunday?
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Post by Soulmonster Wed Sep 15, 2021 1:55 pm

ludurigan wrote:
Soulmonster wrote:
I listened to it a few times, I am not entirely sure what was said. It could have been as in the transcript above, or something similar. I am convinced it wasn't "I miss that guy", both because it didn't sound like it but also because it doesn't sound right from the context. Not saying he doesn't miss Izzy, just that it didn't fit with the rest of the story. Lastly, I doubt Axl would explicitly lament the absence of a former member while on stage with the current lineup. Doesn't sound like Axl to kind of throw them (=Richard) under the bus like that.


That's interesting. I agree that it doesn't sound (much) like it. But I disagree that it doesn't fit the rest of the story. He was clearly sharing an "old war story", or a "good memory from back in the day", he was mentioning an "old comrade" in a very good way so it seems to make total sense to say "I miss that guy" in the context of that story he was saying, doesn't it?

On the "throwing them under the bus" part I think you don't need to much much further than 1989 when Axl did just that with Slash (and Izzy, and Steven) in the LA Coliseum in front of the crowd, press etc.

And you can also say that Axl throws Richard Fortus under the bus on a daily basis by clearly showing the world that the guy is an employee. Just see for comparison how the Rolling Stones treat Ronnie Wood (he appears in all their promo/communication as a full member) and how that doesn't happen with Richard Fortus or any of the other employees. All the photos on social media etc are 90% focused on the three GN'R guys. They even resurrected the Appetite skull (!) and a lot of the GN'R imagery for the last few years. The four employees are clearly left on the side, despite the fact that some of them have been employed for 30 years now. None of them has band member status, be it legally (money wise) or even "informally". Isn't that softly but surely throwing them under the bus? The impression I have is that if Axl wakes up and decides that Izzy has to come back then he will move whatever it is necessary to make that happen including throwing his employees and whoever else under the bus if that is needed.

Having said all that, I want it so bad for GN'R to reunite without the employees that I may be hearing and seeing things that do NOT exist. Like... is it me or that was the very, very best Don't Cry vocal that Axl ever did since the 90s? Like... is it me or he clearly "switched a button" to adjust his voice to a "GN'R voice" when singing that song on Sunday?

I don't know. I agree with the war story but it just doesn't seem right for him to add a sentence about missing the guy inside the anecdote. I could be wrong.

And yes, he did chastise his band mates in 1989, in an effort to save the band, but I think that was very different to him saying he misses an old band member while they are doing a live show with a different lineup.

I am not privy to details but I don't think Richard has an issue with this being about Axl, Duff and Slash. He knows what he entered and understands his position. I don't think he is the slightest insulted. He might have been, though, if Axl publicly, implicitly, stated that he wasn't happy with him.
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Post by Blackstar Wed Sep 15, 2021 2:02 pm

I don't think Axl saying that he missed Izzy would have meant that he wasn't happy with Richard - or that Richard would take it like that.

It could just mean that Axl would have liked Izzy to turn up at least for some shows, like he had done at NuGnR shows in 2006 and 2012.
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Post by Soulmonster Wed Sep 15, 2021 2:06 pm

Blackstar wrote:I don't think Axl saying that he missed Izzy would have meant that he wasn't happy with Richard - or that Richard would take it like that.

Axl might not have intended to imply he was unhappy with Richard nor may Richard have interpreted it as a slight, but I believe Axl is too conscionable about these things to have said it. Not publicly, not on stage.
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Post by Blackstar Wed Sep 15, 2021 2:18 pm

Soulmonster wrote:
Blackstar wrote:I don't think Axl saying that he missed Izzy would have meant that he wasn't happy with Richard - or that Richard would take it like that.
Axl might not have intended to imply he was unhappy with Richard nor may Richard have interpreted it as a slight, but I believe Axl is too conscionable about these things to have said it. Not publicly, not on stage.
I don't know. He had said publicly (not on stage, but in an interview) how much he had enjoyed the shows with Duff in 2014, how cool it was that Duff sang a line on Civil War and that he was a fan of his punk vocals, etc., although Tommy was still in the band.
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Post by Soulmonster Wed Sep 15, 2021 2:19 pm

Blackstar wrote:
Soulmonster wrote:

Blackstar wrote:I don't think Axl saying that he missed Izzy would have meant that he wasn't happy with Richard - or that Richard would take it like that.

Axl might not have intended to imply he was unhappy with Richard nor may Richard have interpreted it as a slight, but I believe Axl is too conscionable about these things to have said it. Not publicly, not on stage.

I don't know. He had said publicly (not on stage, but in an interview) how much he had enjoyed the shows with Duff in 2014, how cool it was that Duff sang a line on Civil War and that he was a fan of his punk vocals, etc., although Tommy was still in the band.

Yeah, you're right, that doesn't fit with my theory.
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Post by ludurigan Wed Sep 15, 2021 4:42 pm

Soulmonster wrote:
I am not privy to details but I don't think Richard has an issue with this being about Axl, Duff and Slash. He knows what he entered and understands his position. I don't think he is the slightest insulted. He might have been, though, if Axl publicly, implicitly, stated that he wasn't happy with him.

100% agree. I am pretty sure everyone knows their "place" or "status" there.
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Post by Soulmonster Tue Oct 01, 2024 6:06 pm

Yeah. I remember playing the Troubadour when we used to open for speed metal bands, and we'd do the song "Don't Cry" that's on our demo tape—it's a slow ballad—and these kids with spikes all the way up their arms come up and go (in a deep voice), "Usually I don't like this kind of shit, but you guys are great; that one slow song is great" They like it 'cause of the realness.
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