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1988.09.14 - Pacific Amphitheatre, Costa Mesa, USA

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1988.09.14 - Pacific Amphitheatre, Costa Mesa, USA Empty 1988.09.14 - Pacific Amphitheatre, Costa Mesa, USA

Post by Soulmonster on Tue May 15, 2012 8:53 pm

September 14, 1988.

Pacific Amphitheatre.

Costa Mesa, USA.

01. You're Crazy
02. It's So Easy
03. Mr. Brownstone
04. Out Ta Get Me
05. Nightrain
06. Sweet Child O' Mine
07. Welcome To The Jungle
08. Patience

Axl Rose (vocals), Izzy Stradlin (rhythm guitarist), Slash (lead guitarist), Duff McKagan (bass) and Steven Adler (drums).

1988.09.14 - Pacific Amphitheatre, Costa Mesa, USA Rightarrow Next concert: 1988.09.15.
1988.09.14 - Pacific Amphitheatre, Costa Mesa, USA Leftarrow Previous concert: 1988.09.12.
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1988.09.14 - Pacific Amphitheatre, Costa Mesa, USA Empty Re: 1988.09.14 - Pacific Amphitheatre, Costa Mesa, USA

Post by Soulmonster on Wed May 07, 2014 2:44 pm

Review in Los Angeles Times, September 16, 1988:

Pop Music Review : Guns N' Roses: A Hard-Rockin' Baby That's Growing Up Fast
September 16, 1988|ROBERT HILBURN | Times Pop Music Critic

A rose is a rose is a rose--and a hard-rock band is a hard-rock band is a hard-rock band, right?

Not when the Rose is named Axl and the hard-rock band is named Guns N' Roses, which opened a sold-out two-night stand Wednesday opening for Aerosmith at the 18,000-seat Pacific Amphitheatre.

Few genres of pop music over the last decade--save disco--have been saddled with as much critical abuse as hard rock/heavy metal. And with good reason.

While sales have flourished for many of these high-decibel, low-imagination outfits, the bands themselves have been characterized chiefly by a slavish devotion to cliched images and recycled sounds.

For all the rebellious rhetoric and maverick posturing, the musicians in these bands--from such politely named groups as Cinderella to such tougher-titled ones as Poison and Ratt--deal in a corrupt and synthetic brand of rock 'n' roll that panders to--rather than challenges--its audiences.

Anyone at the Pacific on Wednesday seeing the Los Angeles-based Guns N' Roses walk on stage for the first time may have felt that here was yet another band merely clinging to the symbolism of rock.

Axl Rose certainly dresses the part of the familiar rock rebel: dark glasses, long blond hair oozing out from beneath a backward Harley-Davidson cap, black leather chaps showing lots of flesh, a sleeveless jacket with the band's logo in the style of a motorcycle gang's graphic.

His mates--especially single-named guitarist Slash--also come from the gunfighter school of renegade cool that has been handed down from Keith Richards through Aerosmith's Joe Perry to a generation of offspring. The look, in Guns' case, is backed up by enough off-stage notoriety to make them qualify as rock's new bad boys.

Once the band started playing, however, an intriguing sense of individuality began to slowly emerge in both the songs and in Rose's manner--traits that belied the notion that this was merely another link in the hard-rock chain of soulless, calculated merchants.

The band's songs often rely on the sex 'n' drugs reference points so often found in hard rock, but the tunes are not merely hedonistic exhortations or paint-by-number slogans.

Instead, there is an exploration of the temptations and consequences associated with what, in its broadest sense, could be described as the "live hard and die young" rock ethos.

The songs--which also sometimes look beyond the rock subculture to reflect on hypocrisy on a personal and societal level--don't always focus sharply on these issues in the way, say, the Eagles examined the fast-lane generation, but this is still a young and evolving band.

Where the siren-esque "Welcome to the Jungle" (which is spotlighted in Clint Eastwood's film "The Dead Pool") underscores the temptations, the more sensitive "Sweet Child O' Mine"--the most fully realized and affecting song on the group's "Appetite for Destruction" album--looks at the consequences.

The band's rendition of "Sweet Child" would have been the high point of the group's 45-minute set Wednesday, except for the introduction of a new, equally sensitive song, "Patience," that reflected the melancholy sweetness of some of the Rolling Stones' country blues.

The best thing about Rose, the performer, is his spontaneity as he moves about the stage in a slow, hypnotic resonance with the music, lifting his hips and shoulders slightly as he steps.

When speaking to the audience or pacing between numbers, Rose seems to be someone who is reflecting his emotions of the moment. That's a rare quality in a field that has always prided itself on spontaneity, but rarely--at least at the arena level--delivered it.

The most revealing moment came when Rose, looking out at an audience in which hundreds of fans were wearing Guns N' Roses T-shirts or homemade versions of the sleeveless jackets, stated that it's the group's music that's important, not its look.

Returning to the stage after a guitar solo by Slash, Rose underscored the point by trading in the leather chaps for a pair of bright red, Mickey Mouse shorts.

The other members of Guns N' Roses play their blues-accented rock in a free, impulsive--as opposed to carefully structured--manner that complements well Rose's free and loose movements.

Though Guns N' Roses was the opening act for Aerosmith at the Pacific, it clearly owned the night. It's not that Aerosmith--which was reviewed at length earlier this year at the Forum--was anything less than its sassy and enticing self.

This tour date was booked before a phenomenal burst of popularity that has seen Guns N' Roses' album race to the top of the national charts, selling as many as 500,000 copies a week, according to a Geffen Records spokeswoman. Album sales now total 5 million in the U.S. alone, she added.

Because this was the band's first local appearance since the album entered the Top 10, there was a strong sense of homecoming about the show.

Aerosmith's Steven Tyler good-naturedly noted that spirit by telling the crowd, "The blues had a baby and they called it rock 'n' roll . . . Los Angeles had a baby . . . Guns N' Roses."

Tyler would been within his rights to say, "Aerosmith had a baby and they called it Guns N' Roses," because Rose's band, like so many other contemporary hard-rock groups, owes a major debt to Aerosmith's '70s recordings.

But Tyler suffered too long under endless Rolling Stones comparisons to want to point a finger at another band. Besides, rock history has proven Aerosmith to be worthy of its own attention--and Guns N' Roses, too, appears to be a band that is carving out its own identity and destiny.
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1988.09.14 - Pacific Amphitheatre, Costa Mesa, USA Empty Re: 1988.09.14 - Pacific Amphitheatre, Costa Mesa, USA

Post by Blackstar on Mon Jul 15, 2019 4:59 pm

Review in Los Angeles Daily News, September 16, 1988:

Daily News Critic

It had nothing to do with the Olympics, yet rock fans had hoped to see a passing of the torch Wednesday at the Pacific Amphitheatre in Costa Mesa.

Guns N' Roses, which may be the best new hard-rock band of the '80s, opened for Aerosmith, the most significant survivors of '70s hard-rock.

The two-night stand at the Pacific was the only Southern California stop on the tour.

In front of a capacity crowd, the veteran band managed to hold off its younger, enormously popular support act, although Guns N' Roses did put in a promising performance.

Some speculated that the Los Angeles-based young Guns would blow Boston- based vets off the stage. After all, the new bad boys of rock are riding high.

After more than a year on the chart, the band's debut album, "Appetite for Destruction," topped the album chart with minimal support from album-rock radio. Likewise, the single "Sweet Child o' Mine" recently spent two weeks on top of the pop singles chart.

In its nearly three-decade-long career, both of these honors have eluded Aerosmith.

Guns N' Roses may be pulling ahead in fan appeal. At the recent MTV Music Awards, where both bands performed live, the newer band received a much stronger response.

Some even suggested that Aerosmith was asking for trouble when it invited the young hot shots on the tour.

After an impressive nearly one-hour set by Guns N' Roses, Aerosmith took the stage and plowed through nearly two hours of greatest hits-caliber material along with a few somewhat weaker cuts from its most recent album ''Permanent Vacation."

The members of Aerosmith are literally old enough to be Guns N' Roses' fathers. Nonetheless, the band, especially singer Steven Tyler, who celebrated his 40th birthday in March, performed with a youthful abandon that rivaled the young opening act.

Dressed in a white outfit, Tyler commanded the stage prancing and pouting with his trademark scarf-covered microphone stand.

But the bluesy-singer is only part of the band's appeal. Guitar ace Joe Perry, who has always focused his attention on memorable riffs, rather than the pretentious fast fret work favored by most of the current hard-rock guitarists, is the other key element of the Aerosmith attack.

With ample support from rhythm guitarist Brad Whitford, bassist Tom Hamilton and drummer Joey Krammer, Tyler and Perry sounded as strong on more recent material, such as the hit "Dude (Looks Like a Lady)" as they did on classics, including "Back in the Saddle" and the set-closer "Walk This Way."

One fan was overheard commenting that the band performance was stronger now than it was in its mid-'70s heyday. The fact is, more than a decade after its finest recordings, Aerosmith is now in its performing prime.

Guns N' Roses' opening set proved that the band has the fire-power live to back up its potent recordings.

Stand-outs included the band's hit ballad "Sweet Child o' Mine," urgent album-opener "Welcome to the Jungle" and "Patience," a new Rolling Stones- like ballad that proves that the Guns, like Aerosmith, are much more than just another heavy-metal band.

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