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Post by Soulmonster on Tue Mar 10, 2020 6:53 pm

Who the hell was Gary Sunshine and how come he was involved? I suppose this will be clearer with more recent quotes, but what I need to know now is whether to set aside a chapter to him.
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Post by Blackstar on Tue Mar 10, 2020 6:59 pm

@Soulmonster wrote:Who the hell was Gary Sunshine and how come he was involved? I suppose this will be clearer with more recent quotes, but what I need to know now is whether to set aside a chapter to him.
He taught Axl guitar. I think he was his friend. Brando (Appetite For Distortion) interviewed him a while ago.

Probably he was the friend who Axl was taking guitar lessons from in 1996, too, and not Paul Huge/Tobias.

Maybe he could be included in a chapter about the "other musicians" (besides band members and famous guests like Brian May) who worked with Axl during that period, like Billy Howerdel.
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Post by Blackstar on Tue Mar 10, 2020 7:18 pm

@Blackstar wrote:
@Soulmonster wrote:Who the hell was Gary Sunshine and how come he was involved? I suppose this will be clearer with more recent quotes, but what I need to know now is whether to set aside a chapter to him.
He taught Axl guitar. I think he was his friend. Brando (Appetite For Distortion) interviewed him a while ago.

Probably he was the friend who Axl was taking guitar lessons from in 1996, too, and not Paul Huge/Tobias.

Maybe he could be included in a chapter about the "other musicians" (besides band members and famous guests like Brian May) who worked with Axl during that period, like Billy Howerdel.
The Appetite For Distortion interview with Gary Sunshine:

https://www.a-4-d.com/t3699-2018-12-31-appetite-for-distortion-interview-with-gary-sunshine-audio
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Post by Soulmonster on Wed Mar 11, 2020 10:41 am

@Blackstar wrote:
@Soulmonster wrote:Who the hell was Gary Sunshine and how come he was involved? I suppose this will be clearer with more recent quotes, but what I need to know now is whether to set aside a chapter to him.

He taught Axl guitar. I think he was his friend. Brando (Appetite For Distortion) interviewed him a while ago.

Probably he was the friend who Axl was taking guitar lessons from in 1996, too, and not Paul Huge/Tobias.

Maybe he could be included in a chapter about the "other musicians" (besides band members and famous guests like Brian May) who worked with Axl during that period, like Billy Howerdel.

Yeah, I will rewrite the "session musicians" chapter to fit this purpose.
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Post by Blackstar on Thu Mar 12, 2020 8:55 am

Short article mentioning that Matt rejoined The Cult; Music News Of The World, April 6, 1999:
Cult Members Reunite

Singer Ian Astbury and guitarist Billy Duffy of the gothic hard-rock band the Cult shared a stage for the first time in four years Monday night at the Viper Room in Los Angeles. Joined by latter-day drummer Matt Sorum and his bandmates in the Neurotic Outsiders, they performed three Cult songs, including "Wild Flower" and "Love Removal Machine." The get-together came at the end of an hour-long set by the Neurotic Outsiders, a supergroup featuring Sorum along with his onetime Guns N' Roses bandmate Duff McKagan, Steve Jones (Sex Pistols) and John Taylor (Duran Duran). Astbury, Duffy and Sorum plan to tour as the Cult this summer and then release an album, a band representative said.
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Post by Blackstar on Sat Mar 14, 2020 8:57 am

MTV News, June 8, 1999:
MOBY OFFERS ADVICE TO GUNS N' ROSES

Last week Moby took to the stage at a Virgin Records store in Manhattan to debut his new live show. During the set, Moby entertained requests from the audience, and one fan called out for an old GN'R classic -- and Moby seemed more than happy to oblige as he played a few bars from Sweet Child O' Mine.

A few weeks earlier, MTV News asked Moby, who turned down an offer to produce the next Guns N' Roses album, if he had any advice to offer Axl and company about their long-awaited new record.

"My advice to them would be to stop worrying about it and just make a record," Moby said. "Go into the studio for a month and at the end of the month, your record has to be finished. Go in and play and have fun and sing songs and don't worry about selling billions of records, just have fun and make a nice record. At this point, they've spent so many years on it, and they don't seem to be any closer to actually having a finished record."
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Post by Blackstar on Sat Mar 14, 2020 9:16 am

Chris Cornell talks about Josh Freese and Axl; Metal Hammer, October 1999 (source htgth):
We could call this the Foo Fighters route perhaps, although the album features several drummers of note such as Matt Cameron, Ministry’s Bill Rieflin and one Josh Freese, formerly of the Vandals and now session man to the stars. Including one Axl Rose. In fact Freese seems to be fast becoming the hot session man around town...

Yeah, he’s a busy guy, grins Chris. He was showing up playing from like noon to four, then he’d go off from like nine till four in the morning playing with Axl, and then he’d show up the next day when we needed him. He’s got lot of energy though, so he was OK.

So, did you get any sneak insights into the Guns N’ Roses record?

Not really. He’s also very, uh, word careful. We asked him certain questions, but he knew what he should and shouldn’t talk about. I just wanted to know what it felt like for him to be playing ‘Sweet Child 0’ Mine’ with a band made out of all these punk rock guys and Axl, cos I think that’s really fucking weird, but it must be kind of cool.

Going from Chris Cornell to Axl Rose and back must have been a bit of a trip - two very different ways of working, I would imagine.

Yeah, but I think they actually have a lot of creative freedom with what they’re doing with Axl, they’re getting to write parts and stuff - and when he’d come to work with me it’s almost the opposite of what you would think. I would tell him exactly what to play when the song was finished.

Now there’s a thought - Chris Cornell out control-freaking Axl Rose...
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Post by Blackstar on Sat Mar 14, 2020 10:16 am

Trent Reznor on Axl and Robin Finck; Rock & Folk Magazine (France), December 1999:
"I have respect for Axl Rose, I wish him all the success that he deserves and if his album sounds a little industrial, I will take it like a compliment... On the other hand, when we played MTV awards, he made pass a press release announcing that it would cut of his disc all the parts of guitars played by Robin Finck (former guitarist of NIN with which Mr. Rose worked during two years and which finally joined Reznor a few months ago) and I find that a little ridiculous, it is a whim of star."
https://web.archive.org/web/20001007025904/http:/www.nineinchnails.net/news/articles/RocknFolkDec99.html
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Post by Soulmonster on Sat Mar 14, 2020 10:48 am

@Blackstar wrote:Trent Reznor on Axl and Robin Finck; Rock & Folk Magazine (France), December 1999:

"I have respect for Axl Rose, I wish him all the success that he deserves and if his album sounds a little industrial, I will take it like a compliment... On the other hand, when we played MTV awards, he made pass a press release announcing that it would cut of his disc all the parts of guitars played by Robin Finck (former guitarist of NIN with which Mr. Rose worked during two years and which finally joined Reznor a few months ago) and I find that a little ridiculous, it is a whim of star."

https://web.archive.org/web/20001007025904/http:/www.nineinchnails.net/news/articles/RocknFolkDec99.html

A press release where Axl claims to cut out all of Robin's parts? That doesn't sound right. Granted, Axl did say that Robin's leaving was a blessing in disguise and that they could not up the ante a bit on the guitar work, but that doesn't necessarily imply that Robin's parts were removed, just that they could get different guitarists in to add parts to other songs. And Axl also said that it wasn't a problem that Robin left, because, and I am paraphrasing, his work was already done.
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Post by Blackstar on Sat Mar 14, 2020 11:00 am

@Soulmonster wrote:
@Blackstar wrote:Trent Reznor on Axl and Robin Finck; Rock & Folk Magazine (France), December 1999:
"I have respect for Axl Rose, I wish him all the success that he deserves and if his album sounds a little industrial, I will take it like a compliment... On the other hand, when we played MTV awards, he made pass a press release announcing that it would cut of his disc all the parts of guitars played by Robin Finck (former guitarist of NIN with which Mr. Rose worked during two years and which finally joined Reznor a few months ago) and I find that a little ridiculous, it is a whim of star."
https://web.archive.org/web/20001007025904/http:/www.nineinchnails.net/news/articles/RocknFolkDec99.html
A press release where Axl claims to cut out all of Robin's parts? That doesn't sound right. Granted, Axl did say that Robin's leaving was a blessing in disguise and that they could not up the ante a bit on the guitar work, but that doesn't necessarily imply that Robin's parts were removed, just that they could get different guitarists in to add parts to other songs. And Axl also said that it wasn't a problem that Robin left, because, and I am paraphrasing, his work was already done.
Yeah, I don't know where that came from. Definitely not from Axl's Oh My God statement, and there wasn't any other press release that I'm aware of.


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Post by Soulmonster on Sat Mar 14, 2020 11:10 am

@Blackstar wrote:
@Soulmonster wrote:

@Blackstar wrote:Trent Reznor on Axl and Robin Finck; Rock & Folk Magazine (France), December 1999:

"I have respect for Axl Rose, I wish him all the success that he deserves and if his album sounds a little industrial, I will take it like a compliment... On the other hand, when we played MTV awards, he made pass a press release announcing that it would cut of his disc all the parts of guitars played by Robin Finck (former guitarist of NIN with which Mr. Rose worked during two years and which finally joined Reznor a few months ago) and I find that a little ridiculous, it is a whim of star."

https://web.archive.org/web/20001007025904/http:/www.nineinchnails.net/news/articles/RocknFolkDec99.html

A press release where Axl claims to cut out all of Robin's parts? That doesn't sound right. Granted, Axl did say that Robin's leaving was a blessing in disguise and that they could not up the ante a bit on the guitar work, but that doesn't necessarily imply that Robin's parts were removed, just that they could get different guitarists in to add parts to other songs. And Axl also said that it wasn't a problem that Robin left, because, and I am paraphrasing, his work was already done.

Yeah, I don't know where that came from. Definitely not from Axl's Oh My God state, and there wasn't any other press release that I'm aware of.

I won't add it then. Could be some translational issue from English to French.
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Post by Blackstar on Sat Mar 14, 2020 11:32 am

@Soulmonster wrote:
I won't add it then. Could be some translational issue from English to French.
Based only on this Reznor quote, many fans consider it as given that Axl intended to erase Finck's parts, although it doesn't stem from any official source.

The only other source that it stems from indirectly is a Brian May interview from 2000 (to be added to the database).
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Post by Blackstar on Sat Mar 14, 2020 12:17 pm

From online polls run by Sonic Net in September and October 1999:
Can Axl Rose successfully revive Guns n' Roses?

30% Yes
70% No
[Thursday, Sept. 9]
http://www.mtv.com/news/517294/qotd-results-can-axl-rose-successfully-revive-guns-n-roses/
Can Guns N' Roses conquer the airwaves again?

39% Yes
61% No
[Tuesday, Oct. 12]
http://www.mtv.com/news/519010/qotd-results-can-guns-n-roses-conquer-the-airwaves-again/
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Post by Blackstar on Fri Mar 20, 2020 2:59 pm

Interviews with Zakk Wylde

Ink 19, December 24, 1999:
Zakk Wylde

By Matt Thompson

[...]

After “No More Tours,” Ozzy announced plans for retirement and Wylde was up in the air for something to do. A professed Sabbath/Ozzy freak, Wylde said hearing and playing those tunes night after night sent him looking for other aural pleasures. Exposed to such Southern Rock outfits as Lynyrd Skynyrd and the Allman Brothers Band thanks to his brother and childhood friends back in Jersey, Wylde began exploring the mixture of Southern twang with metallic crunch. The result was Lynyrd Skynhead, a jam band for between Ozzy gigs that eventually morphed into Pride & Glory (with drummer Brain Tichy and bassist James LoMenzo). The trio released an excellent eponymous album on Geffen in 1994, full of metallic riffs, Southern Rock solos and clever songwriting that Wylde said can only be described as “country metal,” and flew directly in the face of the “alternative revolution” of the time.

“Basically, it’s just a clusterfuck of the two,” Wylde joked. “I just do what I want to do, and don’t worry about what’s big at the time. I am who I am, and people can’t tell when shit’s fake and when don’t mean it. P&G, man, It’s real, no bullshit. We just get up and play.”

Despite the success of P&G, the mid-nineties were something of a dark period in Wylde’s life. Lynyrd Skynhead’s original drummer, Greg D’Angelo, hit Wylde with a lawsuit concerning credits for P&G. “I was sitting in my living room watching football, and I got papers served on me that said I was being sued for a half-million dollars by the guy who stood next to me at my mother’s funeral,” an incredulous Wylde said.

Also about this time, Ozzy came out of “retirement” for his latest studio release, Ozzmosis , which featured Wylde on guitar, and the Ozzman was itching to get back on tour. What’s more, Wylde owed Geffen another album, but he found the label less-than-friendly towards his desires. And if that wasn’t enough, he got a call from Axl Rose and Slash of Guns ‘n’ Roses about possibly filling in on second guitar. In the end, just about all of it fell through.

“Slash said he’d only play with Les Paul or me, and Axl said, ‘I may be wrong, but I don’t think Les is gonna want to tour anytime soon. Let’s call Zakk,'” Wylde laughed. “We did ( Ozzmosis ), and Ozzy asked me what’s up. Then, Axl called me up and said ‘Let’s do some jammin’.’ Man, when I was there, there was no synths or no bullshit, just jammin’, and it all looked good. But once you get the lawyers and that horseshit involved, they slow the process down like molasses in January. I got a fax from Slash saying they wouldn’t need my services, and Ozzy got Joe Holmes to play on the tour, so I wound up doing Book of Shadows .


“Mostly you don’t want to bum anyone out and let anybody down, but I wound up sorta stringing everyone along. But at the end of the day, that’s why there’s beer!”

[...]
https://ink19.com/1999/12/magazine/interviews/zakk-wylde

Rough Edge, 1999 [unknown exact date]:
Zakk Wylde: What's in a Name?

By R. Scott Bolton

[...]

Rough Edge: Your previous albums are being re-released on Spitfire records. "Book of Shadows" seemed a bit of a stretch for you.

Zakk Wylde: The thing is that I had all these tunes from the "Ozmosis" record, you know. Aside from writing all the fuckin' heavy shit because at the time we were doing "My Jekyll Doesn't Hide" and the "Perry Mason" stuff. And then "Thunder Underground," just like fuckin' pure riff fuckin' music. So aside from doing that I always had acoustic around because it's just great for your chops. You know, you sit down and jam on an acoustic when you pick up an fuckin' electric guitar it's like fuckin' lightning.

Rough Edge: It's like a batter in baseball...

Zakk Wylde: Yeah, you put the fuckin' doughnuts on the end there, man. Hell, yeah, man. And the action's a bit higher. So I'd be jammin' on an acoustic all the time and I'd have all these ... I'd just be dickin' around writing songs all the time. So whether I'm writing riffs all the time or I'm writing regular flat-out songs, I just had all these tunes and I was like, man, it's like fuckin' beer-drinking music at the end of the night, you know? I had all these tunes lying around and that's when Geffen - they asked me to do another album. I tried to get out of it, because I owed them like three records when I signed with them so we did the P&G thing and then Kalodner left and went to Sony and it was just like fuckin', I didn't know what the fuck was going on. Let's put it this way: They wanted me there about as much the Pope wanted to have lunch with fuckin' Anton Levay, man. Which was basically not gonna ever fuckin' happen. The whole thing was like, "We gotta get outta here, man." So we did the "Book of Shadows" thing - I tried to get off the label but it was more cost effective for them to have me go in an do another fuckin' record - so we ended up doing the record and after that Ozzy called and said, "Dude, you wanna do this 'Ozmosis' record?" so I was jammin' with ... actually, I got it backwards here, fuckin' "Book of Shadows" was after the "Ozmosis" record. In between jammin', we'd go back to trackin' the stuff and I'd go back to this bar that was right next to the hotel and I'd be in there until, like, six in the morning drinking with everybody. They'd be like, "Dude, go get your fiddle and play us a fuckin' tune." So I'd be jammin' for 'em - I'd be playing all this new shit for 'em. You know, that's pretty much how that record came about. In between all that stuff that's when Axl (Rose) called me up and he's like, "Dude, you wanna do some jammin'?" and all this shit. So I'd be writing and doin' demos over at Duff's house - basically, the stuff I was writing was pretty much Black Label. Then Ozzy was like, "Zakk, you gonna do the tour?" and I said, "Oz, I don't know the fuck's going on with the Guns guys." And I told Axl, "Dude, can't be dickin' Ozzy around. You guys gotta let me know what the fuck's goin' on?" Then, you know, once you get fuckin' lawyers and managers fuckin' involved, suddenly everybody's on the clock and everything takes fucking five trillion fucking years to get done. You know what I mean? So I finally told Ozzy, "Oz, I don't know what the fuck is going on with these guys" and he said, "Zakk, I gotta get somebody else" and I was "All right, dude, I understand" but after that, you know, the Guns thing kinda ... nothing, nothing really ... it didn't end ... nothing. I said, fuck this, I got all these fuckin' tunes lying around, you know what, fuck it! I'm just gonna do 'em. And that's pretty much how Black Label was born.

Rough Edge: Good for you. So the Guns'n'Roses thing's kind of in limbo. [...]
http://www.roughedge.com/features/zakkwyldeint.htm

L.A. Weekly, August 30, 2000:
Zakk Wylde interview

by Greg Burk

[...]

Wylde’s penchant for violence linked him temporarily with Axl Rose’s appetite for destruction a few years back; a Wylde-Rose intertwining was supposed to be the axis for a new Guns N’ Roses. So what happened? Wasn’t Axl vicious enough?

“No — Axl, he likes the violence, that’s for sure. I think what happened was you got all the lawyers and all those motherfuckers working together, and all that bullshit. I just saw him not too long ago in the studio when we were doin’ our BLS record, and Axl’s like, ‘Well, Zakk, I heard you wanted $5 million upfront and your own tour bus.’ And I go, ‘Fuck me, what do you think, I’m some kind of fuckin’ whore?’ I said, ‘At least $9 million, motherfucker!’ No, we’re still buds, and I hope everything works out with what he’s doin’.”

[...]
https://www.metaljazz.com/2006/01/zakk_wylde_interview_2000.php

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Post by Blackstar on Sun Mar 22, 2020 3:45 pm

Based on the Zakk Wylde interviews above, mainly the first two, it can be concluded that he remained involved with GnR (with his status being uncertain) for another few months after the jam with the whole band in January 1995 - and, in the meantime, he lost the Ozzy gig because of that - until he understood he wouldn't be part of the band (probably sometime in mid to late '95). Then he went to do his Black Label Society project, and that was when the conversation with Axl mentioned in the third interview took place.

The Rolling Stone piece from May 1995 2000 is vague as to the time period Zakk Wylde was involved, but t doesn't seem that he had any involvement after 1995.


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Post by Soulmonster on Mon Mar 23, 2020 8:45 am

@Blackstar wrote:Based on the Zakk Wylde interviews above, mainly the first two, it can be concluded that he remained involved with GnR (with his status being uncertain) for another few months after the jam with the whole band in January 1995 - and, in the meantime, he lost the Ozzy gig because of that - until he understood he wouldn't be part of the band (probably sometime in mid to late '95). Then he went to do his Black Label Society project, and that was when the conversation with Axl mentioned in the third interview took place.

The Rolling Stone piece from May 1995 is vague as to the time period Zakk Wylde was involved, but t doesn't seem that he had any involvement after 1995.

Yes, sound right. I update the corresponding chapter with hese new quotes.
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Post by Blackstar on Mon Mar 23, 2020 2:59 pm

@Soulmonster wrote:
@Blackstar wrote:Based on the Zakk Wylde interviews above, mainly the first two, it can be concluded that he remained involved with GnR (with his status being uncertain) for another few months after the jam with the whole band in January 1995 - and, in the meantime, he lost the Ozzy gig because of that - until he understood he wouldn't be part of the band (probably sometime in mid to late '95). Then he went to do his Black Label Society project, and that was when the conversation with Axl mentioned in the third interview took place.

The Rolling Stone piece from May 1995 2000 is vague as to the time period Zakk Wylde was involved, but t doesn't seem that he had any involvement after 1995.
Yes, sound right. I update the corresponding chapter with hese new quotes.
I think Slash's fax to Zakk could have been when Slash returned from the Snakepit tour.

I found another interview where Zakk Wylde says he was involved with GnR for six months:

Classic Rock, April 2002:

https://web.archive.org/web/20110828144119/http://archive.classicrockmagazine.com/view/april-2002/41/zaldi-wylde
Is it true you that there was a time when you were going to join Guns N' Roses?

Yeah, I was jamming with them for about six months. I saw Axl about a year and a half ago, when I was working on 'Stronger Than Death'. He was in the next studio . We were drinking beers all night, and Del James asked why it never worked out between us. Axl says: "Well, Zakk, I heard you wanted two million up front and your own tour bus." And I said: "Do you think I'm some dishrag whore, you motherfucker? I want nine million and two tour buses!" We were all laughing about it.

But it didn't happen because once you get lawyers involved, and managers and agents and all that bullshit going on... I looked at Axl and asked: "Who tells you this shit? If I get two songs on a Guns N' Roses record I make a million bucks. Are you out of your mind?"

Why didn't Axl just ask you?

Because once money is involved and all these jackasses start getting involved, everybody just fucks the whole thing up.

Is Axl a barking-mad loon?

Nah. I'm friends with the guy, so I think he's fucking awesome. Like I said, Ozzy, Bon Scott and him are the three best frontmen that ever lived. I just hope he gets it together, as he's such a fucking talent it's ridiculous. I'm definitely on his side.

I ran into Duff a couple of nights ago in Tokyo and said: "Why don't you guys just make a phone call and get it on?" He said: "Zakk, I gotta be honest with you, we ain't exactly calling him, either." Ah, whatever.

What is it about notorious frontmen that attracts you to them?

Because they kick fucking ass, that's why. Flat out, bottom line.
I see Chinese Whispers has used another source, a supposed Ozzy diary from 1995-96:

http://www.gnrevolution.com/viewtopic.php?pid=54628#p54628

I looked for the original source of it, as well as information about it, and the only thing I found is this page on an Ozzy fan site:

http://www.ozzyhead.com/articles/ozdiary.htm

There is only one quote/entry though from the ones used in Chinese Whispers, so I don't know where the other quotes (in one of which Doug Goldstein is mentioned) came from. The entry dates from May 1995 and says that the 5th of May was Zakk's last day of recording with Ozzy and then he would be free to be with GnR:
May 5th 1995

OZMOSIS Update... Zakk is now finishing up the guitars on the track "The Whole World's Falling Down" which will be the bonus track for Japan. The mood at the studio has now grown even sadder as this will be Zakk's last day working on OZMOSIS and working for Ozzy. As you all know, Ozzy has given Zakk his freedom so that he can try to pursue his dream gig with Guns N Roses. So there's lots of good-byes happening all around today. I hope you'll all join us in wishing Zakk good luck with his pursuit of the second guitarist slot in Guns N' Roses.
However, I couldn't find any proof on whether this supposed Ozzy diary is real or official, so I don't think it should be used as a source.
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Post by Soulmonster on Tue Mar 24, 2020 1:33 pm

I agree, I won't use such sources for the history section.

And great on the 6 month quote. Clear about a few things.
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Post by Blackstar on Tue Mar 24, 2020 7:43 pm

@Soulmonster wrote:And great on the 6 month quote. Clear about a few things.
I don't think, though, that Axl ever considered Zakk Wylde as a replacement for Slash - or that he was considering replacing Slash at all at that point. Probably the "rumour" was mere and arbitrary speculation by the magazine (Kerrang?) that wrote about it, based just on the fact that Wylde was a lead guitarist.

I guess that as Slash left the Wylde issue open for discussion after he would return from the Snakepit tour (probably because he wanted to avoid another fight with Axl before he started his tour), Wylde continued to jam sporadically, not with the whole band sans Slash, but with band members separately (most likely with Duff, as he mentions that he rehearsed at Duff's house) for the next six months or so.
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Post by Blackstar on Sat Mar 28, 2020 6:28 pm

Related to the latest chapter of the History section
https://www.a-4-d.com/t4046p420-the-history-in-their-own-words#18013

It seems that formal or informal NDAs were in place for both former and current members of the CD project and for the people associated with it in general.

I think this short interview with Tommy from February 1999, where he says he can't talk about the album, is also an indication:
https://www.a-4-d.com/t4528-1999-02-26-star-tribune-everythings-coming-up-guns-n-roses-for-replacements-stinson

Also this from Josh Freese in March 2000:

As for any comment on GNR, Freese, as many who are (and were) involved with the project are tight-lipped.

https://www.a-4-d.com/t4584-2000-03-28-knac-com-a-perfect-circle-takes-shape-josh
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Post by Soulmonster on Sat Mar 28, 2020 6:56 pm

@Blackstar wrote:Related to the latest chapter of the History section
https://www.a-4-d.com/t4046p420-the-history-in-their-own-words#18013

It seems that formal or informal NDAs were in place for both former and current members of the CD project and for the people associated with it in general.

I think this short interview with Tommy from February 1999, where he says he can't talk about the album, is also an indication:
https://www.a-4-d.com/t4528-1999-02-26-star-tribune-everythings-coming-up-guns-n-roses-for-replacements-stinson

Also this from Josh Freese in March 2000:


As for any comment on GNR, Freese, as many who are (and were) involved with the project are tight-lipped.

Thanks, that was helpful!


https://www.a-4-d.com/t4584-2000-03-28-knac-com-a-perfect-circle-takes-shape-josh
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Post by Blackstar on Sun Mar 29, 2020 3:10 pm

This was posted on www.steviesalas.com (official website for guitarist Stevie Salas) on December 6, 1999:
Salas News

Jammin' with the New GNR

Stevie jammed with the new Guns N' Roses line-up at a recording studio in Los Angeles. They played such classic songs as "Welcome To the Jungle," "Its So Easy, "Sweet Child O' Mine," "Paradise City" and "You Could Be Mine." The jam session went on for about 5 hours and reportedly they really rocked!
https://web.archive.org/web/20000528233649/http://www.steviesalas.com/news12_2.html

And this from an interview with Salas in RockReunion (German online magazine), September 24, 2000:
[...]
I spent an evening jammin with a band that was called Guns N' Roses, five hours at 300db. It was loud!!! But it wasn't the real Guns. There can't be a Guns without Slash! Keith and Mick (Rolling Stones) Steven and Joe (Aerosmith), Axl and Slash... That's the way it is! But Axl's new music was taking chances and I have to respect that.
https://web.archive.org/web/20010220164841/http://rockreunion.com/

From an interview with Zim Zum (Marilyn Manson guitarist), Chart Attack, November 2000:
"At the end of Zim Zum's tour of duty as guitarist in Marilyn Manson he entered into self-imposed exile for a year in his Chicago home.He turned down offers to join a band which he describes as having "an appetite for destruction," along with record label offers before he even recorded a note."
http://www.heretodaygonetohell.com/news/shownews.php?newsid=302

Apparently Stevie Salas and Zim Zum were among the guitarists who were considered as replacements for Robin Finck.
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