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Live ?!*@ Like a Suicide

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Post by Soulmonster on Thu Jul 10, 2014 6:01 pm

Live ?!*@ Like a Suicide 220px-Live_Like_a_Suicide_28Guns_N2

Drums: Steven Adler
Bass: Duff
Lead Guitar: Slash
Rhythm Guitar: Izzy
Vocals: Axl.

Track list:
01. Reckless Life
02. Nice Boys
03. Move to the City
04. Mama Kin

Band members talking about the album:
Some of the songs on our EP were written [when Axl was in LA Guns] [Hit Parader, 1986].
Explaining why they released the EP by themselves when they had already been signed to Geffen [which wasn't true, the EP was released as part of Geffen's marketing plans]: Because we wanted an inexpensive dedication to all the kids who helped us get by when we were really low and had no money and were living in abandoned apartments. The kind of record that not everyone will have, because we're only printing 10,000 copies initially [Hit Parader, 1986].
Adding to what Slash said: Also, there was some material which won't be on the Geffen album that [...] [Hit Parader, 1986].
Talking about the rumour that Paul Stanley off Kiss was to produce the EP: Well, we worked with Spencer Proffer on our demo tape, then Paul came to us because he was interested in producing. Slash had him come over and I sat down and talked production with him and played him the demo. He wanted to rewrite two of our very favorite songs, so it was over right then and there [Hit Parader, 1986].
We're putting out 15.000 copies of it [KNAC, December 1986].
You can pick it up at all the major record stores [KNAC, December 1986].
We recorded a couple test tracks with different producers and they [= Geffen] decided it was too "radio". That was really nice to hear. Too mellow, too radio, so let's just pull out all the stops [KNAC, December 1986].
There will be 15.000 copies out and then, possibly, after the other record comes out, and sales of that do whatever, then there is a possible chance we will re-release it if there's a demand for it. We will see [KNAC, December 1986].
You get four songs and a beautiful picture on this one but the next one will probably be ten songs [...][KNAC, December 1986].
There are covers on this because we do them live and people like them live and we kinda want to do this, like, for you and this is something we have been doing in our set[KNAC, December 1986].
These [covers] are songs that the kids always want to hear, too [...][KNAC, December 1986].
What we did was… we… in between the time the record came out, the time we got signed, we had to fuckin' fill space. We got really impatient, really uneasy real quick. [...] And put out an EP. Just to have something out there. And we did gigs to support it[June 1987].
Yeah, it did real well. [...] So, we made our own record label [to put out the EP] [...] So it turned out real good, it really got… it got us a real good back-bone on, you know, audience. 'Cause it's real raw, so all of our hardcore audience is like, real fuckin' sleaze-bags and shit
[June 1987].
Talking about who financed the EP: Umm, we did. [...] We financed it off… pretty much the bulk of money that we had, you know, accumulated there and there [June 1987].
It was live, it was punk rock, it was great. I enjoyed it because it was fast and straight in your face. [...] 'Live ?!*@ Like A Suicide' is indicative of what this band was all about when we first got together. We didn't sit around in rehearsal studies saying we have to be like this or that. We wanted to go out and play live. We would write songs real fast because we had already booked the gigs. We were an angry bunch of kids. That EP means a lot to me because we wrote songs, got them together in an evening, and then went out and played them [Guitar for the practising musician, September 1988].

Last edited by Soulmonster on Fri Aug 23, 2019 8:04 am; edited 1 time in total
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Post by Uli on Sat Dec 17, 2016 1:44 pm

Legend tells us that Guns N’ Roses began their march toward global domination with 1987’s era-defining Appetite for Destruction, home to “Welcome to the Jungle,” “Sweet Child O’ Mine,” “Paradise City,” and other now-classic songs.

Just a few months earlier, however, the L.A. quintet actually released a bite-sized taster of things to come called Live ?!*@ Like a Suicide. The four-track EP, which arrived in the waning days of 1986, was said to have captured Guns N’ Roses in concert. But did it?

Since signing their deal with Geffen Records, Axl Rose (vocals), Slash (lead guitar), Izzy Stradlin (rhythm guitar), Duff McKagan (bass) and Steven Adler (drums) had been searching for a manager (eventually settling on Alan Niven) as well as producers to helm recordings for their still-germinating debut album.

At one point, Guns N’ Roses recorded a slew of demos at the famous Sound City Studios with Nazareth guitarist Manny Charlton overseeing proceedings; a little later they linked up with Spencer Proffer (W.A.S.P., Quiet Riot, Tina Turner) at Pasha Studios in Hollywood. Progress was slow, and Geffen was losing its patience.

The newly appointed Niven came up with a solution to this dilemma, according to Slash’s autobiography. “[Alan] thought it was essential for us to get some product out while we still had a strong buzz in the industry; it would keep the excitement alive while we recorded our full-length album,” the guitarist wrote.

Guns N’ Roses decided to release an EP on a Geffen-financed imprint of their own invention. “It would appear to be a ‘live EP’ on an ‘indie’ label but in truth it wouldn’t be either,” Slash continued. “We called the label Uzi Suicide and the EP … was untouched demos of four songs we’d been playing since our first rehearsal: Aerosmith‘s ‘Mama Kin,’ Rose Tattoo‘s ‘Nice Boys’ and two of our own, ‘Move to the City’ and ‘Reckless Life.'”

Even back then, there were clues that the results weren’t actually recorded live – beginning with the full-fledged horn section blaring away throughout “Move to the City.” Then there was the “?!*@” strategically placed within the EP’s title.

So, how did Guns N’ Roses get the audience reaction? McKagan later explained that the crowd noise was swiped from the Texxas Jam, the famous ’70s mega-festival. “We thought it would be funny to put a huge stadium crowd in the background,” he wrote in his autobiography It’s So Easy, “at a time when we were lucky to be playing to a few hundred.”

Live ?!*@ Like a Suicide was subsequently pressed up and released in a limited run of some 10,000 vinyl and cassette copies. Most future Guns n’ Roses fans wouldn’t even know of its existence until two years later, when these four songs were reissued in combination with four other acoustic tracks as G N’ R Lies.

Of course, once new recordings from Guns n’ Roses became less frequent than sightings of the Loch Ness Monster, Live ?!*@ Like a Suicide became increasingly prized by collectors. What they discovered was a group of early songs that, despite the tacked-on audience, still very much hold up. “They’re raw, I guess,” Slash concluded in his autobiography, “but if you ask me they still sound pretty f—ing good.”

Read More: 30 Years Ago: Guns N' Roses' 'Live ?!*@ Like a Suicide' Is Bolstered by Texxas Jam Crowd |

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Post by Blackstar on Wed Aug 29, 2018 8:41 pm

Review from Circus Magazine, April 30, 1987.
Many thanks to @troccoli for sharing it with us. The original picture of the article can be found on his site here:

Guns N’ Roses/Live?!*@ Like A Suicide
The rock world doesn’t need another “bad boy” band, but from a look at the charts, it does need this L.A.-based quintet. While they aren’t particularly original, they manage to parlay what amounts to only average talent (and above-average ego) into some truly manic punk/R&B/glam/metal noise that’s guaranteed to piss off your folks (and half your friends as well).
Recently signed to Geffen, the band has re-released this live EP (which features a Cuisinarted cover of Aerosmith’s “Mama Kin”). With the glut of Motley Halen impersonators cluttering up your neighborhood leather stores, remember these guys. Inside of two years, they’ll be the next band that everybody tries to copy.

(Apparently the information that it was re-released is wrong)

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Post by Soulmonster on Fri Aug 23, 2019 8:02 am

Review in Music Connection, February 9, 1987 (taken from Marc Canter's excellent book, "Reckless Road").

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