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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.


2012.02.DD - Metal Sludge - Interview with Alan Niven

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2012.02.DD - Metal Sludge - Interview with Alan Niven Empty 2012.02.DD - Metal Sludge - Interview with Alan Niven

Post by Blackstar Wed Nov 28, 2018 4:24 am


By Gerry Gittelson
Metal Sludge contributor

PHOENIX — Behind every great success in Rock is a great manager, a behind-the-scenes maestro who never gets to enjoy all the applause and adulation but whose dealings and ability to traverse through back-door politics is secretly as important as any shit-hot guitarist or mesmerizing lead singer.
The Beatles had Brian Epstein. Led Zeppelin had Peter Grant. The Eagles had Irving Azoff. Ozzy had Sharon Osbourne (cough, cough).
And Guns N’ Roses had Alan Niven, who signed on in 1986 when hardly anyone in the world knew who Guns N’ Roses were, then five years later the Los Angeles rock band was the biggest in the world before Niven was shockingly fired just days before the release of “Use Your Illusion I” and “Use Your Illusion II.”
Niven, who says it took years to recover (physically, mentally and spiritually) after parting ways with the mega-successful band he helped build from scratch, has rarely uttered a word in the press about Guns N’ Roses over the past 20 years. But with Axl Rose, Slash, Duff McKagan and Co. set to be inducted into the Rock N’ Roll Hall of Fame this coming April, Metal Sludge caught up with Alan Niven, and  he was willing to totally open his heart in this utterly compelling interview.
If you’re a Guns N’ Roses fan, or a rock fan at all, this stuff is mesmerizing. So much so that Metal Sludge is dividing the Niven exclusive into three parts – it gets better and better and better – so ready, set, go.

METAL SLUDGE:  OK, take us back. How did you first become involved with Guns N’ Roses?

I had met the band through Tom Zutaut at Geffen, who had originally signed them. I had been managing Great White at the time, and my wife was Zutaut’s assistant. Tom asked me to take at look at Guns N’ Roses, and at the time I didn’t want to do it. I had just got Great White signed despite the band’s abysmal relationships with a lot people in Los Angeles, particularly at Capitol Records, and I thought by managing Guns N’ Roses, it would divert attention from what I was doing with Great White.

METAL SLUDGE: So this was in 1986, after Guns N’ Roses was signed but before they had done anything, right?

Yeah, no one wanted to manage Guns N’ Roses at the time, and Zutaut was getting desperate.  A lot of managers had turned them down. They looked at Cliff Burnstein, they looked at Peter Mensch, they looked Tim Collins, who was Aerosmith’s manager. They looked at a guy who was managing Rod Stewart at the time, I think. I think they guy who was managing Rod Stewart was managing them but had let them go.
Tom came to me and said they just could not find a manager, and he kept asking me.
By then, I had done some research on Guns N’ Roses, and no surprise, they were a disaster. I knew what I was getting into: Half the band were smack addicts, and they had already gone through $75,000 in cash with no releasable master recordings. They should have had money but they were dead broke. Eddie Rosenblatt, the president of Geffen at the time, was going to drop the band.
Tom asked me a second time, and I said no. Then a third time. Tom said: “Look, as a friend, Alan, I am going to have egg on my face. This will end my career at Geffen. I’m desperate for help.” So at this point, as a friend, I said OK, I would take a look.
I remember Rod Stewart’s management, at the time, couldn’t wait to get rid of Guns N’ Roses. The band had rented a house up in the Hollywood hills, and they had devastated that place.

METAL SLUDGE: Do you remember your first meeting with the band?

Yes. I went up to this house. I don’t quite remember which street it was on, not Coldwater or Laurel but a little more east. The first thing I saw when I was coming up, a well-known stripper was just leaving. She passed right by me, and as I approached the front door, there was a broken toilet, a shitter, right by the front door. It was all in pieces.

[Notes: A Sludge Insider says the following about that house:

“The house mentioned was on the top of Normandie in a nice area of Los Feliz, and they made the place unlivable within 2 months. There were a couple management companies that handled them between Vicki Hamilton and Niven.”]

METAL SLUDGE: Backing up for a second, how successful were you at this point? Were you a millionaire?

No, I wasn’t a millionaire. Let’s bare in mind, a lot of times success is a figment of an envious mind. To some people, I guess I was doing quite well. I had basically taken Great White, which had been dropped from EMI, and I had financed and promoted and put out a new record all by myself, the band was in heavy rotation on KLOS and KMET, which was something that was not common for a band like that, and Hollywood noticed. They noticed how I had managed to get that done. If you have quality, quality always works. I’m referring to music and performance.
I had had a certain amount of success. I handled Motley Crue for a company called Greenworld, and we put the first record out as an indy.

METAL SLUDGE: Oh my god, I love that first record.

It’s a delightful trainwreck.

METAL SLUDGE: Are you kidding? Every song is good.

Well, I will say this: The one song, “Piece of Your Action,” that was enough for me to commit. Everyone thought they were the biggest joke in town, but I thought Motley Crue was a rather nifty rock and roll band.
I had signed and managed Berlin, with their first record, then I managed Great White. I had learned with all three that’s a good idea to do an indy release prior to major-label release, to set up a platform.

METAL SLUDGE: OK, so you’re walking through the front door to meet Guns N’ Roses for the first time. Take it from there, Alan.

It was actually a really nice house, but it wasn’t being treated well. But first of all, for my first meeting, I had scheduled a meeting with the whole band, and all of two of them were there.

METAL SLUDGE: Which two? Was Axl there?

No, Izzy and Slash. Izzy proceeded to nod out, and Slash spent the afternoon trying to entertain me by feeding little white rabbits to this big snake. I think he sensed I have a pathological fear of snakes. Slash was fucking with me.

METAL SLUDGE: So you really are scared of snakes?

I am. Anyway, we all ended up spending a little time together right away because they were in the studio working on demos, so I went over there and ended up helping them mix them. These were the tracks for the “Live Like a Suicide” record. They were signed to Geffen, but it hadn’t come out yet.
METAL SLUDGE: So how did all the success eventually start. What was the course you took?
Well, obviously we were doing preproduction on the material for “Appetite For Destruction”. But you’ve got remember, doing an indy release first, that creates a platform for the major-label release. Once the band got signed, they could have just made an LP, but that way, the label has to spend time trying to market you from a standing start. I always liked to do as much as possible before relying on the good graces of a major label, so hence the strategy of “Live Like a Suicide.”
I sold the entire pressing of that record. I took the check, it was $42,000, and went back to Geffen Records, and I put the check in the hand of Eddie Rosenblatt. I said: “Here, I’m giving you this check. Let’s use every penny  to go to the UK.
I wanted to start generating a relationship with the press and an audience in England.

METAL SLUDGE: No commission?

I didn’t see my first commission check for a year and a half. Everything went into the band and the strategy. In those days, the English press was very influential. They had free weeklies like Melody Maker, Sounds and New Music Express, and magazines like Kerrang were very influential. I wanted to connect with the English press and the English audiences to raise the band’s profile as quick as possible. That’s a start a lot of bands had. When I was growing up in England, I saw Jimi Hendrix, J.J. Cale, all of them got their career started in Europe. So that was my conviction with Guns N’ Roses, and we definitely got a response in Europe. I proved to be right on that one.

METAL SLUDGE: What were your thoughts. How good did you think Guns N’ Roses was going to be?

My initial impression of the band was they were very powerful, a very impressive underground rock and roll band. I had doubts about radio airplay because they were so powerful and raw. You’ve got to remember, things like Bad Company, that was on the airwaves. I mean, Great White in those days looked edgy. So with Guns N’ Roses, to make this work we needed to do so through touring and press. I didn’t think we’d get much help from radio, and again, that proved accurate.

METAL SLUDGE: What about the band’s personalities?

I think their personalities are well known and evident. The only comment I can make on that is that money and success magnify your personal traits. Axl was always Axl. The only one whose personality changed was Duff. When I first got to know him, he was very much a fan of punk, but he is actually very soft once you know him. But Duff was one of those guys, if I ever got into trouble with a guy at a bar, I would want him at my shoulder.

Guns N’ Roses X-Manager Alan Niven Tell All-Part 2

“Axl actually wanted to cancel that (Aerosmith) tour. It was very evident he had a form of stage fright.” Niven

PHOENIX — With Guns N’ Roses closing in on a Hall of Fame induction, Metal Sludge is doing a special series looking back at the legendary Los Angeles band. We really got off to a bang in our exclusive interview with former manager Alan Niven, who so far is holding no punches with his memoirs – the good, the bad, the ugly.
We left off in Part One with Guns N’ Roses on the brink of stardom – especially dramatic considering the hard-living, talented but troubled fivesome was such a long shot.
Here’s part TWO of our three-part series with Niven, and if you think the first part was gnarly, hold onto your seat. Like a guitar amplifier, we’re just gettin’ warmed up.

METAL SLUDGE: You mentioned Izzy was nodding out at the first band meeting. Never a good sign, Alan.  You didn’t consider turning your back on Guns N’ Roses because of drug use?

Let’s take a look at Eric Clapton. He lost years to alcohol, he almost killed himself on heroin. Does that make him any less of a talent? He got through it. Gerry, I could tell Guns N’ Roses was a real rock and roll band. I thought if I could just institute a minimal sense of professionalism …. I don’t know. My wife watches Steven Adler on “Celebrity Rehab” and asks me, “Was Steven like that at the time?” Yeah, but guess what? Jack Russell was worse than all of them.
I mean, look at the Rolling Stones.

METAL SLUDGE: They survived.

Absolutely.  I grew up in a time when artificial euphoria was taken in the interest of consciousness expansion. I can see where that has a place, being an artist. My rule is this: Never let anything own you.

METAL SLUDGE: All right, so we left off last time. The band was just trying to make it, and you took them to England.

We went over there, and it was a three-step process. We went over there to play the Marquee three nights as headliners over two weekends, waiting for the press cycle to report on the first show. Then we did two shows the following weekend, and everyone turned out to see what the journalists were writing about, so it worked out well. Then a bit later, we got a tour opening in England for Aerosmith, and that’s when it got interesting.


Yes, because Aerosmith pulled out of doing the tour, not the first time they’ve done that by the way, and that left my strategy high and dry. A very sharp agent, John Jackson, I got a late-night phone call from him, and he had a preposterous idea: Why not come back to England and headline? That was totally ridiculous because I think we’d sold 5,000 copies of (Appetite For Destruction).
We had come to England for the first time in the spring of ’87, the album was released in July of 87, and we were supposed to support Aerosmith in October. So like I said, I thought about it overnight, and I called him back and said, “You know what? If you think we can do a short headline tour, you tell me,” and he came up with a five-date tour with a final date at Hammersmith Odeon, 3300 seats. On the back of selling 5,000 to 7,000 units of the record, we went for this headline tour — and we pulled it off. Hammersmith had 3,300 tickets, and we came within 100 tickets. We sold 3,200 tickets.

METAL SLUDGE: Do you remember how much you got paid that night? Metal Sludge is interested  in stuff like that.

A reasonable amount for a venue that size. Off the top of my head, I couldn’t tell you. I know the finances are critical, but my focus was always on career development.

METAL SLUDGE: So tell me when Guns N’ Roses really started to take off.

Well, the first thing, we book our first national tour in America opening for the Cult. Everyone in Los Angeles said we wouldn’t last 10 days on the road, that they’d be back home with their tails between their  legs, looking for their drug dealers. Surprise, surprise.

METAL SLUDGE: So you were out on the road with them or working from L.A.?

I would do both. As much as possible I’d be on the road, then I’d get back to office. I split my time between the road and the office.

METAL SLUDGE: Did you feel like a babysitter?

That was the responsibility of the tour manager, but I was always aware of the conditions. In the past, I’ve hired a lot of people to watch over them.

METAL SLUDGE: Did their behavior freak you out?

I would say it might have freaked a few people out, but me? Nah. I grew up when the Rolling Stones would piss on the wall of a gas station and they would go, “Hey you can’t do that.” And the Stones would say: “Yes, we can, because we’re the Rolling Stones.We piss where we want to.”

METAL-SLUDGE: Well, looking back now, 20 years later, would you say you had a good time? I mean, you were the manager of Guns N’ Roses, the biggest rock band in the world.

That’s an interesting question. I guess it has been 20 years. It was an incredible privilege to get to the top of your profession, the top of the mountain. But I found out the mountain is actually a myth, an illusion. I mean, being No. 1 in Billboard, what is that going to do for you spiritually or emotionally?

METAL SLUDGE: Did you have peace? Did you have serenity?

I was delighted to be as active as I was, but activity of this kind brings considerable levels of stress. I know moments back in the day, I was very, very stressed. You care for the people you work with. It’s not cut and dry like a typical (business) relationship. It’s more emotional than that. You care about what you’re doing and who you’re doing it with.


We toured with the Cult, we toured with Motley Crue, we toured with Alice Cooper. At the end of 1987, we actually had sold more than 200,000 units, and that’s when Eddie Rosenbatt, the president of Geffen, called me up and took me to lunch. He said thank you for a job well done, Alan. He said he thought it was going to be a disaster, but Geffen was in black ink, and then he said it was time to bring the band home to record a second record.
That was going to be it.
I was fucking stunned. I told him, “You mean we’ve sold almost a quarter of a million LPs with no airplay and no MTV, and now you want to throw in the towel on ‘Appetite For Destruction’?” He eventually agreed to keep working on it, and it took all of us to get on MTV. Me, Eddie, David Geffen himself. We took another run at trying to get on MTV. I went to the people at MTV, and I was like, “What the fuck? The band is obviously connecting with people. Why keep doing the easy Euro pop and why not give these guys a chance?”
So MTV put the band on overnight, when you had to use an alarm clock to see the videos. But even in overnight, “Welcome to the Jungle” got a reaction, so MTV started moving it up. By March of ’88, it had gone gold. Then on April 7, 1988, it went platinum. Ironically, that same day, Great White went platinum, and they were playing the Forum that night with Whitesnake. It was my birthday, as well, and that makes that day easy to remember. It was a good day.
Eventually, I had managed Guns N’ Roses from Ground Zero to selling out Wembley Stadium. But don’t forget there were a lot others at Geffen who did great work. We had a really good agent in Europe and in the United States, a really good agent.

METAL SLUDGE: I thought I remember Guns N’ Roses touring with Aerosmith, that tour was a key turning point for the band. That’s when they really got big.

Axl actually wanted to cancel that tour. He did not want to do it. By that time, it was very evident he had a form of stage fright. He’s a singer, and singers who have to go out there three, four or five times a week, they invest their spirit in what they’re singing. The guitar players have something in their hands. They’re not naked. The singer is out there naked, and sometimes that’s hard to do. Obviously, Axl still has problems with it because he’s still late.

METAL SLUDGE: So what happened?

Well, I empathized with him, but I told Axl, “Look, I signed five individuals collectively as Guns N’ Roses. My responsibility is to the entity, not the individual,” but he called back again and said he just could not do it.
Now, even though there were some days when Axl would scream at me, that kind of stuff would usually just go in one ear and out the other. But this time, he was very quiet and reasoned. I always listened carefully when he was low-key and soft. He said he just couldn’t do it.
So this is what I did: I had been in Vegas for a Great White show the previous weekend, and I brought some dice home from the Aladdin. You know, the big red and white dice. I had been reading this novel, and the main character had this neurosis about making decisions, and the way he surrendered to the decision was to literally throw the dice. So I remembered that book, and I pulled out the dice, and I gathered everyone in the office together, and I said, “Look, I’m going to throw these dice. I’m going to weight it in Axl’s favor, so a one-through-10, he does not do the tour and we cancel.
I threw an 11.
So the next thing I did, I had the rest of the band fly out to Detroit for the first date, all our gear, everything. Axl had no choice, he had to do it. He was really mad at me. He didn’t talk to me for a long time after that.

“Live and Let Die”: Former Guns N’ Roses Manager Tells All – Part 3

METAL SLUDGE: OK, here we are with part three. Backing up just a bit, we were talking about the Aerosmith/Guns N’ Roses tour, the one that Axl didn’t want to do but you kind of forced him into it, and that caused a rift. Looking back now, when you consider “Appetite For Destruction” really took off following the momentum of that tour, was that the turning point? Was that the key to Guns N’ Roses success?

I don’t know if anything was a turning point. What you have is a progression of history, and what happened is what created the history.

METAL SLUDGE: There was a lot of success ahead, but some tough times ahead, too – the deaths at the Donnington concert, the ex-Jetboy guy Todd Crew OD’ing in New York City, the firing of Steven Adler, the firing of yourself. Can I ask you about some of these things?

Of course.

METAL SLUDGE: Let’s start with Steven Adler. When you and the band fired him, how tough a decision was that?

Losing Steven was frustrating and painful. But we tried and tried to pull him through. The problem was, he just could not connect to the more intricate material Axl was writing for the Illusion albums. Time and again, Slash and the others would bemoan that he just couldn’t get it, and that he would play the same section the same way twice instead of fixing it.
The bullshit that he was fired for his addiction is just that – bullshit. It was a performance matter. There were other issues between Steven and Axl that certainly didn’t help, and may have been sufficient within themselves to see him go. I will say the band never quite felt the same after Steven Adler was gone. He may not be the best drummer in the world, but he had a great exuberance to his playing when he was “on.”

METAL SLUDGE: The deaths at the English rock festival at Donnington, when two fans were accidentally crushed to death. Your thoughts?

Slash put it best when he said that the sense of freewheeling carefreedom dissipated after that moment. It was a heartbreaking day. You don’t go play rock shows for this to happen. Rock and roll is the highest means of celebrating the significance, relevance and vitality of every soul. You don’t want to come home grieving for ones lost.

METAL SLUDGE: What about Axl’s chronic lateness. What were some of the methods you used to try to coax him to show up on time?

Well, like I said, I understand stage fright, and the difficulty of a singer’s consistent commitment to excellent performance. But being late is just plain ill-mannered and rude — to your paying audience. In some situations, it is actually and genuinely dangerous to their safety and well-being at the paid party you are throwing for them.

METAL SLUDGE: What about your general comments about Axl’s professionalism?

Would you want to be on his crew, and have to break down a stage, at 3.30 a.m. and pack it and drive it 200 miles to rebuild it for the next night’s show? I worry that one day some sad accident will occur because of crew fatigue. It’s one thing to reserve the right not to be high-profile, to not pander to the insatiable appetite of superficial media, to be aloof. It’s quite another to put your own people at risk and not appreciate their contribution. Some people have little sense of appreciation and a high sense of entitlement.
But one thing I will say about Axl Rose. He was interesting. He was frustrating and beguiling, but he was never boring.

METAL SLUDGE: Oh, one thing I was wondering about: Was there ever a time when Guns N’ Roses almost broke up before all the success?

Yes, in Phoenix. There was a riot. I sat the band down and said, “Look, I made a commitment to this band, but if you decide on another singer, I’ll stand by you.” They thought about it, too.

METAL SLUDGE: What about a crazy Guns N’ Roses moment that’s never been talked about. Give us something that no one has ever heard about, Alan.

Well, OK. There was this one time, we’re at the airport, at LAX, and Izzy is showing me how he has hidden his smack in a small boom box in the battery compartment. I tell him to get rid of it now! He does. He comes back, he’s standing next to me, and we’re watching the swirl of passengers below – we were in a reserved area up top in the international building – and Izzy collapses. Yeah, he got rid of his shit – he swallowed it. He was “out” the whole flight, according to our tour manager, Doug Goldstein. I had to wait for Axl who did not show up for the flight. When Izzy woke up, he didn’t even know he was in Tokyo. He thought he was still in the Valley. Steven had to nudge him and say, “Does that look like the San Fernando Valley?”

METAL SLUDGE: So go through your last day with the Guns N’ Roses, the day you were fired. What happened?

I was in the Meadowlands, in New Jersey, in 1991. I got a phone call in the production office. It was Axl. He very quietly said, “I can’t work with you anymore.” I said, “Sorry to hear that. I’ll be back in Los Angeles in two days, let’s go out and have dinner together and talk about it.” That was the last time I ever spoke to him. To this day, we’ve never spoken a word to each other.

METAL SLUDGE: The others went along with it?

They had to. My understanding of the situation was that Axl stated to the band he would not go on tour if I remained as manager. Didn’t give the others much of a choice there, did he?… By this point, Axl was kind of taking over. Let’s look at the first thing he did once I left: He had everyone else in the band sign the name over to him. It was a control move between Axl and Doug Goldstein. They both knew I would never stand for anything like that. Axl never even brought it up when I was the manager because he knew what I would tell him to do with it.

METAL SLUDGE: So what are you saying? Axl and Doug Goldstein had a secret alliance?

That sounds very accurate.


All the prep work for “Illusions” and its tour, all the renegotiations, everything had been done. So I was then dispensable. Simple really. … I effectively sold my rights to all pipeline and future earnings for a fraction of their worth back in 1991. Such was my emotional condition at the time that all I desired was to be rid of all future dealings with Axl and Goldstein.
I did not get contrary or better advice from those whose responsibility it was to make such effort – like my attorney at the time, my accountant at the time. I am probably more disappointed in them in the longterm than members of Guns N’ Roses. Overall though, it was my own decision and thus my own responsibility, and I made it for reasons of emotional and spiritual health. I have not been paid any further monies by GNR since 1991.
I think that both Axl and Goldstein were, at that time, both controlling and greedy. Axl complained all the time that Steven Adler got a percentage of composing royalties. I had recommended that the band have a share-and-share-alike approach to such income — as did Van Halen, Great White, and others – because my observation was that the primary factors that destroyed bands were women and arguing over differential splits of income, especially mechanical royalties. Hence, I would recommend equal sharing of royalties — and not women!
In any case with GNR, Axl got more than anyone else, and Adler got less. The other three got the same: less than Axl and more than Adler. Ultimately, the fracture between Axl and Adler was exacerbated by the two factors that always rupture bands — money and a woman.

METAL SLUDGE: You settled for $3.5 million. How did you come up with that number, and was there a lot of bargaining. Did you start at $5 million or anything like that?

I was emotionally ground and feeling down at that point. My attitude was just give me the check so I don’t have to deal with any of you again. It sounds like a lot, but $3.5 million was much less than I was already due in sales of records, certainly way less. I had an awful lot more money due to me compared to that amount. And by the time you get through with the IRS and with my silent partners, it was not a lot of money, though I never got into it for the money.
I guess I just came up with a number to sell my rights back to the band so I wouldn’t have to chase anyone for commissions. The $3.5 million, I literally just pulled that number out of the air, and it was agreed. We didn’t bother by doing due diligence and doing a forensic accounting. Let’s just say I had more than that in the pipeline, plus there was no sunset clause in our contract, so Guns N’ Roses was getting a bargain, and I was getting a clean break. I didn’t want to chase money and be fighting with people. I didn’t really care.

METAL SLUDGE: Looking back, between Guns N’ Roses and Great White, you were managing two multi-platinum bands at the same time. Did you have a bunch of assistants?

Not at first. I knew there was a problem when I was catching a plane at LAX and passed myself catching another plane. (laughs) Looking back now, I don’t know how I did it. I was entirely on my own till the end of 1987, and by November, Great White had gone gold, and by December, Guns N’ Roses had sold a quarter of a million records. That’s doing pretty well for a one-man operation.

METAL SLUDGE: Do you ever remember another manager trying to steal away Guns N’ Roses?

No, but one time Axl asked Cliff Burnstein and Peter Mensch to be their manager, they’re at Q Prime, and they were managing Metallica. But Peter had the grace and ethics to say no. Cliff and Peter are good people. In my experience, they’re really good people, and they’re good at what they do.

METAL SLUDGE: Who in the band have you stayed most close with?

Izzy Stradlin. I think it’s self-evident what he thought about me leaving by the fact he left three months after I did. Later, he was involved in The Project that would become Velvet Revolver. I actually had dinner with Slash and Duff one night, and they asked me to get involved as the manager of the project, but for a number of reasons, I thought it was a bad idea. The level of expectations was just too high.

METAL SLUDGE: Oh, one last thing before I forget: Did you ever get in a fight or a physical confrontation with anyone in Guns N’ Roses?

Well, I popped Jack Russell once, and I don’t care who knows that!

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