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Post by Soulmonster on Tue Aug 27, 2019 9:04 am


As the band grew so did their professional retinue. For the tour in support of the 'Use Your Illusion" albums the crew was substantial.

Slash, being asked to talk about their entourage and how many are travelling with them:

Fuck, I don’t know (laughs). 50 of us, huh? There’s a bunch of us. It’s like the Guns N’ Roses gang.

Gilby would throw praise on the professionality of the crew:

You know the people that are with the band now (road crew, assistants) are the people who were with the band in the beginning and the organization is incredible, they’re so professional. This band didn’t get successful and then can everybody, and what’s awesome is at the beginning of the tour I sat down (with the guitar tech) and said ‘This is what I like’ and I never have to say it again. When I’m playing a show I can change guitars every song and it’s always perfectly in tune, the equipment works right, you don’t have to settle for less like you do when you’re playing clubs. ‘The monitors aren’t going to work tonight’ — ‘Oh ...’ It means you can just concentrate on playing good. We still have our days when something blows up, but shit happens.

And it definitely had become a large crew. In the official tour program for 1992 [Use Your Illusion Tour program, 1992], the following crew was listed:

Doug Goldstein: Personal Manager; John Reese: Tour Manager  [MTV, June 1992]; Jerry Gendron: Tour Accountant; Earl Gabiddon: Security [Rolling Stone, April 2, 1992]; Jon Zucker: Security; Ron Stalnaker: Security; Bill Greer: Director of Security; Dale "Opie" Skjerseth: Production Mgr/Stage Mgr [Canal 33 Sputnik, June 1992]; Phil Ealy: Lighting & Set Designer; David Kehrer: Sound Engineer; Adam Day: Guitar Tech [Guitar Player, December 1991]; Tom Mayhue: Vocal Tech; Mike Mayhue: Bass Tech; Will Jennings: Keyboard Tech; Elwood Francis: Guitar Tech; Tim Doyle: Drum Tech; Art Freund: Carpenter and Joni Veage: Wardrobe; Robert John: Tour Photographer; Alex Kochan: Tour Consultant; Kirt Klingermann: Management Assistant; Craig Duswalt: Band Assistant; Amy Bailey: Press Coordinator; Steve Thaxton: Chiropractor; Sabrina Okamoto: Masseuse; Lori Perkins: Production Assistant; Michael Graphix: Monitor Engineer; Beth Turnbull: Wardrobe; Pat Ryan: Rigger; Mike Tierney: Ground Rigger & Camera Operator; Kurt Wagner: Carpenter; Chris Deters: Carpenter; Nick Passiglia: Carpenter; George Barnes: Sound Crew Chief; Jim Stanforth: Sound Crew; Doug Pope: Sound Crew; Brian Doyle: Sound Crew; Courtney Jones: Sound Crew; Paul Becher: Director; Terry Brennan: Camera; Jay Strasser: Camera; George Elizondo: Camera; Kenn Moynihan: Projectionist; Jim Perry: Show Power; Erik Dismuke: Varilite Op; Bob Jarvis: Varilite Tech; Doug Brent: Lighting Crew Chief; JR Edington: Lighting Crew; Mike Lamb: Lighting Crew; Rob Mackenzie: Lighting Crew; Dave Grayson: Lighting Crew; Charles Cochran: Lighting Crew; John Adam: Lead Truck Driver; Gary Passanis: Truck Driver; Dan Cole: Truck Driver; Tom Burrington: Truck Driver; John Bonta: Truck Driver; Kevin Collings: Truck Driver; Lindsay Davis: Truck Driver; Randy Dowell: Truck Driver; Robert Kruzscewski: Truck Driver; Max Shaeffer: Truck Driver; Dennis Mallatt: Bus Driver; Bennie Johnson: Bus Driver; Harold Russel: Bus Driver; Jerry Burnside: Bus Driver; Jeff Condon: Merchandiser and Steve Noonan: Merchandiser.

As can be seen from this list above, Axl's sister, Amy Bailey, was working as Press Coordinator for the band. Axl also mentions working with his sister in Rolling Stone in April 1992. In addition, also had a personal assistant called Blake [RIP, September 1992].

Tim Doyle is listed as drum tech. After the tour, Doyle moved to Austin and became a father, this resulted in the hiring of Mike "Sacks" Fasano as Matt's new drum tech [GN'R Newsletter Volume 1 Issue 3, May 9, 1996]. Sacks's employment was originally intended to just be a two-day thing in the studio, but turned into a week and then a permanent position [GN'R Newsletter Volume 1 Issue 3, May 9, 1996].

The wider crew was listed as:

Management: BIG FD Entertainment (Doug Goldstein, Chris Jones, Tom Maher); Tour Consultant: Alex Kochan; Publicity: Geffen Records (Bryn Bridenthal); Legal: Manatt, Phelps & Phillips (Lee Phillips); Financial Control: Siegel & Feldstein (Shelley Goldberg); Merchandising: BROCKUM: Toronto, New York, London, Sydney, Tokyo (Michael Rotondo, Gerry Barad, Jeff Condon, Carl Gibbs); Record Company: Geffen Records (Tom Zutaut); Travel Agency: Mark Allan Travel (Shelby Glick); Lighting: Light & Sound Design Inc (Tim Murch); Sound: Electrotec Inc (Rikki Farr); Moving Lights: Vari-lites (John Wiseman); Stage & Set: Showstaging/Showfab (Eric Eastland); Passes: Otto Printing (Mark Alger); Itineraries: Smart Art (Alan Mitchko, Sharon James); Freight: Rock-It Cargo (Duane Wood); Video: Nocturne Inc (Pat Morrow); Air Transportation: MGM Grand Air (Bob Lyons); Buses: Senator's Coach (John Aikin); Crew Travel Agency: Air Apparent (Kathleen Botting); Trucks: Roadshow Inc (Dave Kiley); Insurance: General Insurance Consultants (Bev Beilen, Ann Leiderman); Booking Agency: ICM/FAIRWARNING (John Jackson); Paintings front and back of program: Kostabi; Photography: Robert John, George Chin, Gene Kirkland; Illustration on pages 10 & 11: R K Sloane; Tour Program:  Satori  Art Coordinator (Michael Rotondo), and Additional Design: Ellen Meiselman.

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Post by Soulmonster on Tue Aug 27, 2019 9:11 am


The 'Appetite' lineup had been a tight unit and had protected their rights through a recording agreement already signed on August 25, 1986 [Partnership agreement, October 1992].

But in 1990 the band lineup started to change. First Dizzy Reed joined and the band started to distinguish between "employers" and "full-time members":

Dizzy is keyboard player who is being employed to be a Gunner – he may become a full-time member.

With incoming musicians who didn't have the same back history with the rest of the band members, it was important to Slash to try to retain that particular cameraderie the band had enjoyed from the beginning:

The most important thing is – I’m glad that you asked that, because that’s a good question. One of the most important things for us in finding people to replace Steven and to replace Izzy was finding somebody that we could hang out with and feel like family still. Because Guns N’ Roses is one of those things that we were real tight, you know? And we don’t let any kind of outside people influence us, and we don’t take on any kind of, like, what you’d call session players or anything like that. So it’s got to be a really cool hangout situation. And it was sort of a godsend for Matt and Gilby, because they fit in so quickly, and it was such a stressful period for Duff and Axl and I to have to deal with. So, you know, for it to come down the way it did, and for us to feel so comfortable and finish this record, really said a lot about the whole organization as it was. And so, yeah, it’s an important thing; and no, we don’t take on any so-called business partners. Yeah.

Then when Steven was in the process of leaving the band, the band members signed a new agreement, March 28, 1990, in-which Steven was transformed from being a member of the previous partnership (a partner) to an "employee" [Partnership agreement, October 1992].

In July 1991 Slash would be asked if Dizzy and Matt were fully-fledged members:

I wouldn’t go as far as to say that about Dizzy. He hasn’t been with us long enough. Matt, I would call a fully-fledged member, cos he is the foundation that we play off, and he came into a very heavy situation and fitted in right away. […] Dizzy’s more - and Axl might disagree with me here - but Dizzy’s an old friend, somebody that we’ve known for a long time, since Guns started, and he was the kind of player that Axl wanted. His style was what Axl wanted for the piano stuff.

But I wouldn’t call him a full-fledged member yet because he hasn’t been on the road with us long enough - although when we played Rio he really pulled it off... Yeah.

Yet, when considering how well he had done at Rock In Rio in January 1992, Slash would admit he was a member:

So he is a member of the band, and though he hasn’t been fully initiated yet he’s been great...

In March 1992, Axl would be asked about the difference between "playing with guys you've hired, as opposed to guys you slept on floors with"?

In some ways it's not a whole lot different because in the beginning we were putting a band together to achieve something. It was always kind of a triad between Slash, Izzy, and me. And when Izzy wasn't so much being a part of that triad, Doug Goldstein, our manager, kind of took his place. As far as keeping Guns N' Roses going and figuring out what we're doing, Izzy really wasn't that much involved anymore. He wrote songs, but those songs were on the record because I wanted them on the record and because the band agreed to learn them and liked them and we all worked on them. I really believed in Izzy. I was an Izzy fan for 15 years and I wanted his songs to be a part of this project. But it was like pulling teeth to make that happen. A lot of people might have liked the way Izzy was standing there onstage and it was kind of cool, but the truth of the matter was that Izzy wasn't handling any of the weight.

Then when Izzy left the band, in September 9, 1991, he also left the previous partnership resulting in Axl, Slash and Duff signing a new partnership agreement which was signed by the Slash and Duff in October 1992 (the copy we have has not been dated by Axl), although the effective date of the agreement was set to September 10, 1991 [Partnership agreement, October 1992]. The purpose of this partnership agreement, which was likely the purpose of previous partnership agreements, was defined as "utilizing and commercially exploiting their collective talents and personalities in the areas of recording of audio and video tapes, live personal appearances, publishing of musical compositions, and sales and merchandise" [Partnership agreement, October 1992].

Additionally, the agreement contained provisions for division of income, stating that from the effective date until the date of the agreement (September 10, 1991 to October/November 1992) all income had been dividing equally between the partners, but that from now any "new" profit (from new music etc) should be divided with 36.3 % to Axl, 33.3 % to Slash and 30.3 % to Duff, while all "old" profit should be divided equally (20 % each) among the members of the Appetite lineup [Partnership agreement, October 1992]. This would mean that Steven and Izzy would continue receiving royalties on the sale of 'Live Like A Suicide', 'Appetite', 'Lies' etc, but that only Axl, Slash and Duff would receive royalties on the sale of the 'Illusion' records and any future records. The partnership agreement also opened up for an revenues arising from solo records being solely entitled to that partner [Partnership agreement, October 1992]. The latter basically means that the partners have the right to have a solo career outside of Guns N' Roses.

Interestingly, the partnership contract from October 1992 also set forth provisions on governance, stating that Axl and Slash should make all "partnership decisions" and that if they couldn't come to an agreement the the majority of Axl, Slash and Duff should select a person to decide on the matter [Partnership agreement, October 1992].

The agreement also contained a clause on how partners could leave the agreement, both freely but also by being voted out by the other two partners (expulsion) [Partnership agreement, October 1992]. Any terminated partner (through leaving or being expulsed) would lose the right to use the name "Guns N' Roses" [Partnership agreement, October 1992]. Additionally, any terminated partner shall sell any stocks he controls in any corporations held by the partnership [Partnership agreement, October 1992]. If two members withdraw, the partnershop is dissolved [Partnership agreement, October 1992].

On August 20, 1992, Gilby would be asked if he was a "permanent member" of the band:

I'm a member right now — you know, as permanent as anybody in this band. It's like a day to day, month to month, year to year thing. I'm not going anywhere right now. When I first joined it was kind of like they only had two weeks to finish up the tour. At first I was just doing it for the tour, but, as time went on, it definitely became different.

And in the October 1992 issue of RIP Axl would be asked if Gilby was a "member" of the band:

This "member" thing is quite interesting, I read in an interview where Matt [Sorum, drummer] said that if he didn't get made a member, he wasn't going to be in Guns N' Roses. The truth of the matter is, Matt's a member of GN'R, but it doesn't really mean anything. It's kind of like a clubhouse/gang thing. We're all members of this gang. What it boils down to is, whose yard is the tree house in? Matt's a member of GN'R, and his opinions are taken into consideration. As far as that's concerned, Gilby is a member too, Dizzy is a member of the band. With all the background singers, horn players, keyboardists - we look at it like we're all Guns N' Roses. But the bottom line is, the business is basically run by Slash and myself. Then we run whatever it is we're discussing by Duff and see if he's cool with it. Guns N' Roses is basically Slash, Duff, Doug Goldstein and myself, but there's a lot of other people involved that are a part of our lives and a part of our family.

And when asked if he thought Matt would be pissed after reading this, Axl responded:

It would be nice if he wasn't. I love everybody in this band. It's kicking ass and feels really warm and really cool onstage. At this point it's the 12 of us that get onstage and f?!king go all out. […] There's Teddy, there's Dizzy, there's Roberta, Tracy, Lisa, CeCe, Anne, Gilby, Matt, Duff, Slash and me. Slash put this new band together, did all of the groundwork. He did such an amazing job that I just can't believe it really happened. I'm glad to be a part of it. It's a pretty huge thing, and we might even add some dancers, like we used to have back in the old Troubadour days. It's something we've considered.

In the tour program for 1992 [Use Your Illusion Tour program, 1992], the band was listed as being comprised of Axl, Slash, Duff, Matt, Gilby and Dizzy, while Andreadis, Maxwell, Worall, King, Amos and Freeman were listed separately. In early 1993, Gilby would also be said to have been "accepted as a full member of the band" "appearing in all the band's subsequent videos" [Hartford Courant, March 4, 1992]. And in March 1994 when asked if GN'R now was a six-piece band, Slash confirmed [Q Magazine, March 1994].

In 1994 Gilby would shed some light on the relationship between himself, Matt and Dizzy and Axl, Slash and Duff:

I have no contract with Geffen but a contract with the band (Guns N' Roses). It's the same thing with Dizzy and Matt who also has been contracted by the three original members of Guns N' Roses. […] Axl, Slash and Duff is what remains of Guns N' Roses and the rest of us is just hired members. They have a hundred dollars and we ask "can we also have a hundred dollars?" and they give us a hundred dollars when they feel like it [laughs].

This provide a clear hierarchy between the various band members where some where partners and others were hired guns. As for the three partners, Gilby was clear that they weren't entirely equal either:

Axl and Slash call most of the shots. The rest of us just kinda go with the flow. You just never know, cos it's not our call. You're relying on Axl, and he changes his mind quite a bit.

[…] Axl is of course the leader and after that comes Slash.

I’m really a small part of Guns N’ Roses. G N’ R is really the vision of Axl Rose, Slash and Duff. I’m there to complement them.

In 1994, Axl would retell Gilby joking about his status in the band:

Did you hear about Gilby getting asked - the talent scouts found him in some biker bar. Gilby was in a biker bar, and they were like, “You guys would be great for extras in the Guns N’ Roses video.” And he was like, “I think I already got asked about that.”

In 1995 Axl would do an interview together with Eddie Van Halen when they would be asked about whether a band needed to be a cohesive unit. Van Halen would respond with "not necessarily" to which Slash would exclaim, "Don’t say that — that’s the way Axl thinks too" [Musician Magazine, March 1995]. This was of course after Gilby's contract hadn't been extended and the band was considering new guitar players to fill his role.

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Post by Soulmonster on Tue Aug 27, 2019 9:12 am

MAY 3, 1992

At the New Orleans Jazz and Heritage Festival, on May 3, 1992, Slash jammed with Carole King [Melody Maker, May 30, 1992]:

I played on Carole King’s new, what she’s working on, and I did the jazz festival with her.

[The jazz festival] was fun. A hell of a lot of fun. A very different crowd. I've never played, I swear to God, it looked like springbreak. Everybody had like fluorescent orange and pink and blue caps on, shorts. It was wild. I've never played in front of a crowd like that. The crowd was really responsive and I went up and played three songs. And of them was the one I recorded with [Carole King] and "Chains," which is an old song, and "Locomotion" with Aaron Neville singing. So I was like: "Wow." I was up there with no shoes, no shirt, leather pants, sunglasses. Like: "It's summertime, we're in New Orleans." It was fun. I didn't rehearse anything. Just went up there and winged it, as they say.

I jammed with Carole King once. Just to get on stage with her was a highpoint in my career. She knows my mom and we got to be friends. I talked to her about playing on something when she gets back to the studio.

The jam made Slash want to collaborate more with King:

I’ve got some plan about playing with Carole King on one of her songs. I love what she does. In fact, one of the calls I’ve got to make after we finishing talking is about that. I hope it happens.

And his wishes would come through because on March 16, 1993, King released 'Color of Your Dreams' which featured Slash. He would talk about the collaboration:

The last song that I did where I can really remember sitting down and working with the melody was with Carole King because she's that kind of a songwriter. She taught me a lot working with her. I did a song on her latest album – it has my name on there. I just went in to this little studio where she was working and the song was more or less laid out and I just did guitar answers to vocals. But she has a very great sense of arrangement. I've been friends with her for a long time but this is the first time I've worked with her.

The one date that was the most involved in terms of taking direction was a session I did with songwriter Carole King. She really kept after me to stay true to the melody, and that was really good for me. I learned a lot from her. It was the first time I really had to write a solo. Most of the time I’m just there for the afternoon. But we were in her bass player's home studio—actually, I think it was in his garage— and she was right next to me saying, “Now do this here, and do that there." She was on my case the whole time. I'm not used to that, but man, it was good. Most of the time I just cruise along and we mix together the solos afterward.[…] But she really made me think like a songwriter. That’s one of the great things about working the way I do: I get to walk into a lot of different environments and I [have to] he able to pull it off. And if you don’t do that, you never know what you're truly capable of.

Later, Slash would describe working with Carole King and contrasting it with working with Michael Jackson:

The Michael Jackson thing was a little different [than my other collaborations], probably more business-like than with Lenny Kravitz or Iggy Pop, where we just went into the studio, Duff and me, and ripped out four songs in one day and had a great time doing it. And I just did something with Carole King; she’s doing a new record and that was just a case of going to her home studio and putting a solo on a particular song. It’s usually just, have a couple of drinks, hang out, no real deadline or schedule...

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Post by Soulmonster on Tue Aug 27, 2019 9:12 am


We were called "anti-feminist"... and I'm the most, like, anti-anti-feminist person in the world when it comes down to it - bring 'em on, you know!


The band had been accused of sexism since the release of 'Appetite' with its original rape-scene artwork and lyrics, especially to 'It's So Easy'.

Comments from band members in the media did also not help:

[…] there are things that make me sick, like many of the girls who come to see us during the tours. Some of them have obviously listened to the album, but others haven’t; because if they had listened to it, they would’ve known that we don’t conform to anything. We can behave like the sweetest and most pleasant people in the world, but as soon as we fuck them, we show them the way out and to the nearest bus stop. I'm surprised that some of these girls really think you’re stupid. As Lemmy puts it, "Don’t judge a book by its cover;" that is, when a chick comes to you thinking that she’s gonna have her way with you, you have to put her in her place and make it clear who is who, and if she doesn’t accept it, then... out of the door. That’s why it's impossible to get enough of sex – it may happen when you’re older, but not now.
Popular 1, April 1988; translated from Spanish

With the release of 'Lies', the lyrics to 'Used To Love Her' added fuel to the accusations.

It's just a song. It was done very tongue-in-cheek, we never meant for anyone to take it seriously. It is just a fucking song.

Band members would vehemently defend themselves, but not always very efficiently:

Well if the average person had to deal with the same kind of members of the fuckin' opposite sex that we have to deal with all the time, they'd probably think the same. Well, 75 per cent of the girls that hang out at the gigs, you can't tell me that most of them aren't sluts. […] They are very, very cheap. We're around it 24 hours a day. What the fuck do they want? […] Its very true. We never said anything bad against women in general and I mean everybody in the band has had girlfriends and shit that they cared about. Its nothing against women its just those occasional fuckin' tramps that hang out at every gig. They're the people were exposed to and so we write songs about that. And if the other people don't understand that then tell them not to buy the fuckin' record.

There was a picture of a young woman lying on the ground obviously about to get raped by a robot. And just above, there's a hand which is about to crunch the robot up. That doesn't mean anything special. We liked the picture, that's all. But everyone came down on us and accused us of glorifying rape. […] We're an easy target for people who like to see the good guys on one side and the bad guys on the other. We look so much like the image they like to have of bad guys. We're not sexist, but that's no reason for the groupies who hang around backstage to start wanting respect. We treat them like shit because that's what they are. [Being accused of that statement being sexist] No, it's not. We're talking about groupies. not women in general. Anyway, one day one of those tramps is gonna catch AIDS from screwing some faggot and end up giving it to every group in town. That'll be the end of the rock scene in LA.

And later Slash would indicate that the 'Use Your Illusion' albums are a bit anti-feministic:

Y'know, I detect a little bit of anti-feminism shit going on too, because the songs that are about women that are negative are like really f***ing hard. I can see girls going, 'What assholes!' But then, y'know, our angle is just like, ‘This is true you f***ing c***'. This is the way it was and we put it down on paper. But you know, these feminist groups will be like... d'you know what I'm saying?

Another things that drew criticism for the band was the practice of filming girls before shows and encouraging them to show their tits. The band would stop this after complaints from fans, and publicist Bryn Bridenthal would explain the decision:

The key thing to them (stopping the practice) was that it wasn't parents complaining, but their own fans.

Yet, during the US leg of the tour in December 1991 and January 1992, the crew would again film girls in the audience as reported in many shows reviews. Although Gilby would provide a different explanation as to why they filmed the audience and imply it was entirely innocent:

I'll tell 'ya... during the down time before our show — which, depending on our tardiness, is about an hour and fifteen minutes - we have these video screens on during that time, and the cameras are aimed at the audience for them to entertain themselves with, and we watch our fans via this before the show. And, you know, for the wildest people we see we get our security people to go out and get them — even if they're at the farthest seat away - and put them right up front. We can only see so far, so when we look down we want to see people who are totally into it, and not someone who got a free ticket from a record company. By the end of the show we feel out the crowd, and pick out the wildest people having the best time from the front, and they're the ones who are going to be the ones backstage. It's cool! It's something I didn't know they did before I got in the band, and I really respect them for it.

Am I sexist? The answer is no.

After the release of 'Use Your Illusion', Axl was asked if he was a misogynist:

[…]'Back Off Bitch' is a ten-year-old song. I've been doing a lot of work and found out I've had a lot of hatred for women. Basically, I've been rejected by my mother since I was a baby. She's picked my stepfather over me ever since he was around and watched me get beaten by him. She stood back most of the time. Unless it got too bad, and then she'd come and hold you afterward. She wasn't there for me. My grandmother had a problem with men. I've gone back and done the work and found out I overheard my grandma going off on men when I was four. And I've had problems with my own masculinity because of that. I was pissed off at my grandmother for her problem with men and how it made me feel about being a man. So I wrote about my feelings in the songs. […] I've been hell on the women in my life, and the women in my life have been hell on me. And it really breaks me down to tears a lot of times when I think about how terribly we've treated each other. Erin (Everly, Rose's former wife) and I treated each other like shit. Sometimes we treated each other great, because the children in us were best friends. But then there were other times when we just fucked each other's lives completely up. And so you write about that in your frustration. The anger and the emotions and stuff scare people, and it's good that people recognize these things as dangerous. I don't think our music promotes that you should feel this way, and if people are getting that, that's not right. We're saying you're allowed to feel certain ways. Now, if you want to hold on to something that you know is bad, that's your problem. I don't want to. I've already left most of the lyrics behind. I'd already grown past a lot of the things by the time I started working on my therapy in February. […] But ... I love women. I remember the last time in ROLLING STONE, saying that I liked seeing two women together, and there were letters from lesbian organizations saying, "How disgusting." I can be as disgusting as the next person, but it wasn't meant to be disgusting. I think women are beautiful. I don't like to see people used. If I'm looking at a men's magazine and I just look at the surface, I might be able to enjoy it. But if I know that this person is really messed up and that person's messed up and they're being used by the person who set up the photo session, then it'll turn my stomach.

Axl would also argue that his attitude towards women was shaped by experiences he had in his childhood when his father had been abusive towards his mother:

I got a lot of violent, abusive thoughts toward women out of watching my mom with this man. I was two years old, very impressionable, and saw this. I figured that's how you treat a woman. And I basically put thoughts together about how sex is power and sex leaves you powerless, and picked up a lot of distorted views that I've had to live my life with. No matter what I was trying to be, there was this other thing telling me how it was, because of what I'd seen.

In May 1992, Slash would agree to have been a womaniser but that it was all in the past [Melody Maker, May 30, 1992]. He would also look back at the 'Illusions':

Y'know I detect a little bit of anti-feminism shit going on too, because the songs are about women who are negative and really fucking hard. I can see girls going 'What assholes!' But then, y'know our angle is just, 'This is true you fucking cunt'. This is the way it was and we put it down on paper. But you know, these feminist groups will be like... d'you know what I'm saying? People assume we're advocating what the songs say, and they go for the throat. We're not trying to get some truth tho. We're not trying to send out any fucking messages. This is just our experiences.

In early 1993 Gilby would be asked if the band was sexist:

I don’t think so, but I’m not a female. To me women are sexist in their own ways, too.

And Slash would again argue that their lyrics were just describing bad relationships and that they are descriptive of what their world is (or has been), and not normative:

And then, as for us being anti-feminism. It's like, you write songs about relationships, everybody knows that somewhere along the way, they all have their moments when they're fucked. Being guys and having relationships with women and being pissed off at them for whatever reason.

In July 1996, Slash would participate on Bill Maher's "Politically Incorrect", a talkshow that focused on various topics and, as inferred from its name, would debate things that were controversial and outside of the mainstream. Slash was visibly intoxicated. Early on, Slash would talk in general about equality between the sexes:

I think it should be... I think women are really... one of those things that where...  they've been put in a place where... I don't think they get enough respect, for one, and they've been fighting this and so on for you know [laughter from other panelists] don't laugh! […]  Because as far as the way that they're accepted from an international point of view as far as their their involvement in politics, their involvement in government. Period. You know, it's like, I really think that women are, like, infinitely more intelligent than men are. [applause from the audience].

Maher would respond that that was a crowd-pleasing thing to say but imply that the band's videos and lyrics told another tale, to which Slash basically blamed Axl:

Those weren't mine [laughter]. Those were not mine.

When Maher pointed out that every band members must take responsibility for the band's lyrics, Slash responded:

We work as a group and that's how that goes. And however anybody feels that's how it goes, you know. What I'm saying is what I personal, as an individual, I always found that that women were, you know, if it weren't for women it's... it's the only thing that sustains our existence, not just in humans but just in nature all together.

Later on in the debate, when discussing whether it would be too tough for women to serve in the military and be subjected to emotional distress, Slash would point out that was a decision for women to make, and not men to take for them.

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Post by Soulmonster on Tue Aug 27, 2019 9:15 am

MAY 16-JUNE 3, 1992

We’re gonna be playing some places that we never played before, like Prague, Czechoslovakia and Hungary. Then we’re going to Spain, Portugal... And it’s the first time for Guns N’ Roses in Italy, I believe. I played there with the Cult, when I was with the Cult. So for the Italian fans that’ll be good, because when we played Wembley in England by ourselves last summer, a lot of people came over from Spain and Italy that couldn’t see Guns N’ Roses in either one of those countries, so it’s nice now that we’re going to see them, you know.

Slash, talking about the unpredictability of their sets:

We pick what song we’re gonna start with, like right when we’re all walking up to the stage, “What do you want to start with?” “Okay.” And then we know that the second song is gonna be Brownstone, but then, after that, it could be anything, in any order (laughs). […] Oh, it’s a circus (chuckles). You know, [the lighting guys are] all sitting there with their hands on the faders and stuff, going (whispers), “Okay...” (laughs). It’s fun. When the tour started, we said, “Look” – you know the girls, right? The 976 Horn Section and the two backup singers, Roberta and Tracey. We go, “Don’t leave the stage whatever you do, because we have no idea when we’re gonna pull this song out of the hat.”

For the 1992 European leg of the tour they added Faith No More as an opener:

[Talking about bands that have the "what?" factor]: And I love Faith No More - their guitarist, Big Jim [Martin], he’s a “what?” all right. And their singer [Mike Patten], he’s a “what?”, too!
Mick Wall, GUNS N' ROSES: The Most Dangerous Band in the World, Sidgwick & Jackson, U.K. 1991, 1993; interview from January  1990

They're the only band I'm jealous of.

Faith No More was some band that we got turned on to a while back when they put their first record – not their first record, their third record came out and we loved it. So that was one. Soundgarden we got turned on to at some point. I don’t remember when, but we just thought they were great. So when it came to support bands, we like to play with people that we like and...

We always pick the support bands. You know, bands that we think are cool. Soundgarden and Faith No More, you know, two bands that we always listen to, so... It’s our tour, basically (laughs).

While touring, Slash would give his thoughts on playing large stadiums:

You have to approach the production a bit differently, because, as far as sound goes, it's really important to us to sound right onstage, in order for us to do the show the way we wanna do. We have to hear things correctly, so we have to anticipate the difference between a stadium and an arena, you have to prepare for that. Otherwise you, attitude-wise and show-wise is the same. It's more stage to fill. So it's great for us, 'cause we're into it. […] I'm very aware of everybody and where they are and where I'm gonna go. Like if I'm gonna jump off this, if he's gonna move then I'm gonna land on him, you know, it's pretty complicated. […] It's very unpredictable what we're gonna do, but at the same time there's a chemistry, where, since we've been on the road for so long, like Axl knows I'm gonna be in a certain place 'cause I know the guitar sounds good there. It's a sweet-spot, we call it. It's just certain places in certain songs when you know you need to be somewhere and you fall into sort of a regiment. Knowing that I have to switch guitars or I'm gonna have to get feedback or something. The rest of the time is just aimless wandering [laughs]. […] The only things that you really concentrate on are musical integrity, like it's not a joke when you're playing. That's the first and foremost priority. Then, the other thing is making sure you don't hurt somebody else in the band [laughs]. The rest of the time we can do whatever. But, you do have to concentrate and it's weird because you have to concentrate within the confines of, like having a great time. So, it's like a constant tug-of-war. You lose it all together, but then you sort of keeps your feet on the ground, just by knowing you have to pay attention to these things. Because if you fuck that up, you're gonna fuck the show up.

This leg of the tour would take the band to new countries in the eastern parts of Europe:

Aside from the crowd, everything is entirely different. I mean, it’s - I don’t even think it’s worth explaining. I mean, the United States and Europe, the culture is so - it’s so diverse in Europe, for one. And we’ve only been to London and Germany. So a European tour, for one, is all these places we haven’t even been to. So it is different. As far as the States, I mean we played Texas 15 million times. I mean, I’m just... (laughs). […]I mean, we’ve been to England. We played England, like, five, six, seven or eight times in the span of - in the time the band has been together. We’ve gone back and forth to London, and we’ve played Germany twice. So that was cool, we’re used to that. But, I mean, that doesn’t necessarily constitute any kind of idea what the rest of Europe is all about. It’s not like going from, like, Las Vegas to Kansas, where the transition isn’t really all that harsh. In Europe, it’s like, you go from one country to the next and it’s some major cultural difference, yeah.

The first show was at Slane Castle in Slane, Ireland on May 16, 1992, a place Slash would refer to as "gorgeous" [MTV Headbanger's Ball, May 1992].

It was the first show of the European leg, and we’ve been off for a month. I’d been out jamming around, like doing the Motorhead thing and all this other stuff. But we hadn’t, as a band, played together for a month. So, as a matter of getting that chemistry in order – I think the first couple of songs probably sounded like mud (laughs) and it tightened up towards the end. Then they gave us three days off, and so we have to do it all over again today in Prague, you know?

According to a later review, the band took the stage two hours after the appointed time after Axl was helicoptered in from Dublin [Irish Times, May 27, 2017], having allegedly refused to leave his hotel [The Irish Independent, May 18, 1992].

Slash would comment on Axl's lateness and claim he was only 20 minutes late:

Just about 20 minutes. It isn’t that big a deal. I mean, come on, they had us on 6:45. It’s just stretching the imagination, as far as I’m concerned.

After the show at Slane Castle the band travelled to Prague, Czechoslovakia, on May 20:

Prague, it was – the crowd was great. And the people were very interested in the American culture and talking to us. They spoke English very well.

Although Duff would later struggle to remember having even been in Czechoslovakia due to his heavy partying in this period:

We were playing huge gigs, I don't even remember playing Czechoslovakia; it says it on my passport..

I don't even remember playing Czechoslovakia; we played a stadium show in one of the most beautiful cities in East Europe not long after the fall of the Berlin wall, and the only way I knew I'd even been in the country was because of the stamp I found in my passport.
Duff's autobiography, "It' So Easy", 2011, p 201

Then they played shows in Budapest in Hungary on May 22, in Vienna in Austria on May 23, in Berlin in Germany on May 26, in Stuttgart in Germany on May 28, in Cologne in Germany on May 30, and in Hannover in Germany on June 3. They would then travel to Paris for their first pay-per-view show.

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Post by Soulmonster on Tue Aug 27, 2019 9:36 am


Axl had become a huge fan of U2 and in an interview with Musician that was done in March 1992 (but published in June), he said the following:

I look at U2 that way [=someone with a career he would like to emulate]. They're my favorite band right now. I'm finally getting certain songs that I never understood before or couldn't relate to. I've always listened to them, but the only song I really got into was "With or Without You." I couldn't relate to their other songs because I was like, "That's great, but I don't see that part of the world." Things were a little too dark for me. Now I can see more of the things he's talking about. […] I bought Achtung Baby and the third song, "One" - I actually wanted to do a cover of that song. I want to play it on tour this summer. I think "One" is one of the greatest songs that has ever been written. I put the song on and jut broke down crying. It was such a release. It was really good for me. I was really upset that my ex-wife and I never had a chance because of the damage in our lives. We didn't have a chance and I hadn't fully accepted that. That song helped me see it. I wanted to write Bono a letter just saying, "Your record's done a lot for me" [Musician, June 1992].
One of my favorite bands is U2. They used to not be, but they are now. I used not to get it. I didn't see the world they were singing about. Love and pain and caring? Only in a few instances, like "With or Without You," could I relate or understand. That was the song I saw right before I OD'd because my relationship [with his ex-wife] was so f?!ked up. I could barely see the things they were singing about in a few of my friends, and I could believe it in theory, but my true expression didn't see it at all. I can see a different thing in U2's music now, and it has nothing to do with how it's performed or what the people are wearing. There's just a different feel in the music. I think their song "One" is one of the greatest songs ever written. Now I can see and understand why people were into U2 years ago [RIP, November 1992].
Not long after the two band's would cross path in Vienna, Austra, while being on their respective tours, and on May 24, 1992, Axl would join U2 on stage for a cover of 'Knockin' on Heaven's Door'. Back in Hollywood, when U2 was visiting on their 'Achtung Baby tour' on April 12 and 13, 1992, Axl would attend parties with the band [Details Magazine, September 1, 1992].

Edge, the guitarist of U2, would be asked about Axl and his relationship with U2 and their music:

I personally don't trust press profiles of people, so it's not big surprise to find out how different the guy we met was from The Demon With the Notorious Reputation. I was surprised that he liked the album and the show so much, though [Details Magazine, September 1, 1992].

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Post by Soulmonster on Tue Aug 27, 2019 9:45 am

JUNE 6, 1992

As part of their European leg in 1992, the band would do their first pay-per-view show. Axl and Izzy had been part of a pay-per-view back in December 1989 when they joined the Rolling Stones for a song a song during the Stone's own cable special [MTV, June 1992].

The concert took place at the Hippodrome de Vincennes in Paris, France, on June 6, 1992, before an audience of 40,000 and an estimated 200,000 watching on the TV [MTV, June 1992].

Following the tremendous success of the releases Use Your Illusion I & II as well as completing a sold out tour, GUNS N’ ROSES felt this worldwide television event would enable them to reach millions of their fans who would otherwise not be able to see them in a live show.

The only reason we’re doing this is because it’s a vehicle for us to get our show out to a bunch of people that don’t have the opportunity to see it. So that’s that.

And also, I might want to add, it’s not, like, a profit motivated thing for us to make money. It’s just for kids. Cuz we’re only playing certain towns and certain places, and kids that don’t get to see us, and can’t afford it, and just can’t make it, it gives them the opportunity to see us. So I hope it all works out great.

I think it’s a great thing for people in countries and, like, states that they don’t have the opportunity to see us. Like, let’s say, a kid lives in Montana or Idaho, which we’ll never play; I mean, maybe someday, but not this week. Or somebody in Russia, because they have MTV in Russia, right? And there’s pay-per-view all over the world. So people can see us that don’t get an opportunity to come to the concert.

We’re not really paying attention or letting it get to us that there’s millions of people watching us (chuckles). Well, you know, we’re just gonna play a regular gig. We’re a rock ‘n’ roll band, you know.

I have to admit that the amount of pressure going into this pay-per-view thing is a little bit more than the average show. But all you can do is just, like, walk out there and, you know, start playing (laughs).

For the show the band had invited some of their friends to participate, Jeff Beck to play on 'Locomotive', Lenny Kravitz to play his song 'Always on the Run' which features Slash, and Steven Tyler and Joe Perry from Aerosmith for the songs 'Train Kept A-Rollin' and 'Mama Kin'.

Slash was looking forward to playing with Beck, a guitar player he had previously stated he liked [Guitar for the Practising Musician, April 1992] and wanted to jam with [WNEW 102.7, September 1991].

Beck would explain how it came about:

Well, I just got a phone call from my manager saying, “Guns N’ Roses called. Would you care to step on stage and do a number of them?” And I said, “Where?” “In Paris.” I said, “Yep, let’s go.” They told me Locomotive was the song. And it’s pretty – there’s a lot of changes in it. I guess they thought that I’d be alright for that, for a guest spot.

The band would talk about being with Beck:

The phone rings, I pick it up and I’m like, “What!” And he goes, “Is that Slash? This is Jeff.” And I’m like, “Oh, Jeff... Jeff who?” (laughs). And he was Jeff Beck and I was floored. I was like, okay, this is my all-time favorite guitar player calling me up to ask me about the song and what the schedule was gonna be. And I was like, “Well, you can play whatever you want. I don’t even care if you don’t even learn it. Just come out, that would be great” (laughs).

It was really cool because, you know, Jeff Beck was here last night, in the bar downstairs in the hotel, and we said, “Hey, do you wanna come upstairs and learn the song?” You know, he’d never really listened to it. And he came upstairs, and Duff, after a couple of cocktails, was teaching him how to play it on the guitar. And he was, like, teaching Jeff Beck how to play a Guns N’ Roses song. That was something new and different.

I just thought to myself: 15 years ago, 10 years ago, a year ago, if I would have seen myself showing Jeff Beck a song on the guitar, you know, people would have thought I was nuts.

Jeff Beck, Duff and I are in the room and Duff’s soloing (laughs). Perfect. “Duff! Let him do it,” you know?

Gilby takes everything - you know, he’s so mellow about everything. And he’s such a good player, and he’s very confident. So Gilby... What does Gilby think about this whole thing? He’s, like, “Cool, can I have a sandwich?” (laughs) You know?  “Hi Jeff. See ya.”

Beck is amazing. We were sitting around and talking at soundcheck and he was playing at the same time and Joe Perry comes up and goes, "You've been practising," and I just gave him a look and said, "It's Jeff Beck, man." Jeff is great though, I really like him a lot. I would actually at some point like to do a record with him. I was doing a photo shoot three or four days ago and I put on Guitar Shop and there's songs on there I wish I wrote.

Unfortunately on the day of the show Beck had to cancel due to tinnitus.

[Beck] was rehearsing with us all day yesterday and he had - he has tinnitus in his ear and he was having a real problem sleeping last night with this huge ringing in his ear. So he called and he said that, you know, he talked to his doctor, and they thought that it’d be a better idea if he didn’t play, cuz it could cause, you know, damage. So we thought it’d be best for him, and he thought it’d be better if sat out of this one. But it was great to meet him and play with him in the rehearsal anyway, you know.

I finally got to jam with Jeff Beck and we blew his ears out - literally! He was going to do that show with us in Paris, but for some reason his rig wasn't working, so he plugged into my system, Later that night we woke up with this insane screaming in his ears; he had to go to a hospital and everything. He called me up, and I was thinking, "Wow, Jeff Beck is calling me on the phone." But he was calling to say he was pissed, and that he might not be able to play live anymore because my amp gave him tinnitus [an ailment that creates a ringing or buzzing sound in the ear]. He was freaked. I guess doctors are working to make him a custom hearing aid that cancels out the frequencies that are bothering him. I mean, that's mind-blowing. If someone was to tell me that tomorrow, I'd be destroyed. Man, I hope he's okay. […] I know he can do studio work, because he played on Duff's new record. But I'm not sure about live performance. I don't think it was really my fault, but my rig was the straw that broke the camel's back. His tinnitus was probably brought on by years of abuse. But I still feel bad, because Jeff is truly one of the greats. I was in a jam session with him, Joe Perry, Lenny Kravitz and Gilby, and Jeff was playing all this amazing shit while simultaneously talking to me. I wanted to pack it up that day, send the amps home and find a nice, little job selling life insurance or something. I was thinking, "Hmmm, real estate - there could be a future in that [laughs].

The best memory from the Paris show was definitely Jeff Beck flying out and at least participating in soundcheck. But he blew his ears out at that rehearsal, and so he didn’t do the actual show the next day, which was a drag. But it was amazing watching him play. I was completely stunned, you know? I wanted to just pack it up at that point. Let’s see... And then, just it was the first time that we played in Paris, so that was cool. As far as the show is concerned, I can’t remember any particular highlights, other than the crowd and Jeff Beck being at soundcheck.

[Beck] was due to play Locomotive so we got up on the big stage to soundcheck and rehearse it with him. But he already had this thing called tinnitus in one ear and, when we had finished the song lots of times, his head was swirling and he’d hurt the other ear. It was really horrible to see him. I guess it’s like this constant whooshing in your head; I mean, one ear is bad enough but in both. […] There’s actually no cure for it. I haven’t spoken to him for some while but I saw that he played the Apollo Theatre and he’s put out another record so he must be a bit better.

Lenny Kravitz, who had collaborated with Slash in 1991 [see earlier section] had been waiting for the opportunity to play with GN'R:

I’ve been waiting a long time to get to actually play live with them. And so they called me a week or so ago and said, “Come to Paris and play.”

It’s always fun to play with other people, you know, and do something different from what you normally do. Especially when you’re on tour and you’re doing the same thing every night.

It was a riff [on Always on the Run] that I wrote. Initially, I mean, I write everything for Guns, you know. And, sometimes, especially when Steve was in the band, some stuff was definitely too funky. And so we just didn’t use it. So now, having Guns play it, I was like, you guys don’t even realize how funny this is (laughs).

Well, yeah. I mean, it’s gonna be Lenny singing, of course, but it’s gonna... Yeah, it’s a good way to put it. It’s gonna have the Guns N’ Roses attack on it.

Lenny came out and we did Always on the Run or – yeah, Always on the Run, which was great. We did a good version of it, which was cool.

Well, it’s more that we’re just a big jam now, everybody’s playing. We’ve got two keyboard players, three of us on guitar, you know, bass, drums, horns, background singers... It’s kind of a big jam on the tune.

As for Aerosmith, the guys knew each other well after having toured together in 1988.

We toured with Aerosmith, so we’re already like family with them. You know, they’re pals, and so it’s like Old Home Week or something.

[Talking about Mama Kin]: […]we were in Paris a while back for the pay-per-view thing and we did a nice little number with the boys from Aerosmith and it turned out great. They’re great guys, good friends of ours. The song was a song we’ve been covering for years, so we knew it. We knew it better than they did, cuz they hadn’t played it for a long time. But I think it turned out really cool.

Well, I think that when we first went out with them, that was, like, their first big tour or something, you know? So it’s pretty cool to see them doing what they’re doing. At the end of the tour we gave them all Halliburton luggage, you know, the metal stuff, and we said, “Man, you’re in for a ride. Dig it.” So it was cool. It’s great to see them doing what they’re doing. We haven’t really played together that much, but, you know, we can play a song like Mama Kin and it seems to mesh pretty well. And we did Train-Kept-A-Rolling too yesterday. It was pretty good. It was fun.

So they just showed up to watch Jeff play, you know, and then we just got and went out there. And we had never really rehearsed it or anything, but it sounded cool.

It’s kind of a great position to be in, to be able to ask, you know, people like that, and they go, “Yeah!” And they’re into it, you know. They did it because they want to jam, you know.

During the show Axl would rant against Warren Beatty who had been dating Stephanie Seymour previously [People Magazine, June 22, 1992].

Izzy paid $25 to see this show on TV, the first GN'R show he had seen since quitting the band in November 1991.

It was really bizarre, like an out-of-body experience. I didn't really recognize them all together. They had horn players and harmonicas and girl singers. Of course, I was Gilby for the night (a reference to his replacement, guitarist Gilby Clarke). It was weird, you know? […] I was happy to see that they carried on without me. That's all I would hope.

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Post by Soulmonster on Tue Aug 27, 2019 9:46 am

JUNE 13-JULY 2, 1992

After the televised show in Paris on June 6, the band was supposed to play in Manchester, UK, on June 9 but this show was rescheduled to June 14 due to Axl being exhausted, according to band spokesman Bernard Doherty [The Springfield News Leader, June 10, 1992]. The band pulled out of the show just hours before the band was due on stage [The Liverpool Echo, June 9, 1992].

For this leg of the tour the band would again use Soundgarden and Faith No More. When asked about why these bands were picked, Slash and Duff answered:

They’re just cool bands, you know.

Yeah, it’s like, if you can’t do something for somebody else, and people have done things for us, you know – if you can’t do things for other people - it’s like, if you’re gonna get, like, Warrant or somebody to open for you, you know, give it up (laughs).

I think they were the only two bands that would actually tour with us, or something?

I think they were forced to [laughter].

The first show took place at Wembley, England, on June 13. The band would be joined on stage by Brian May from Queen for covers of 'Tie Your Mother Down' and 'We Will Rock You' [The Guardian, June 15, 1992].

After Wembley the band travelled to Manchester, England, for a show on June 14. This was the show that originally was planned for June 9 but had been postponed. The show started two hours late [The Liverpool Echo, June 15, 1992], but the band blamed it on technical difficulties and avoided a fine of "tens of thousands of pounds" [The Evening Chronicle, June 16, 1992].

The next show was at Gateshead in England on June 16. During the show Duff was heckled by a fan resulting in Axl stepping in and exclaiming "I wouldn’t mess with Duff he hasn’t had a drink in two weeks!" [RAW, September 1993]:

It was just some asshole that kept throwing stuff at me. I get that a lot ‘cos like you were saying, people picture me as the Punk of the band so they figure it’s cool to throw shit at me or spit at me or whatever! But no, no, I don’t like it! But this guy kept throwing shit and I was about to jump in. it’s such a wimpy thing to do ‘cos I’m a tall guy and an easy target.

The band then travelled to Germany for a show in Würzburg on June 20. Here they experienced a colossal thunderstorm, and it is likely it is this show Gilby talks about here although the anecdote about Dizzy pouring a beer over his head is also connected to their previous show in Budapest on May 22:

In Germany one time we had to play in a thunderstorm, like the worst thunderstorm we had in 20 years in Germany. And we are all sitting there watching all the fans (?), they’re soaked and everything and we’re dry cuz we have a roof. So Axl takes one look at them, steps out, gets soaked, made all of us step out and get soaked. Matt came out from his drum stage, got soaked, Dizzy poured a beer over his head, of course, got soaked... Yeah, every day is an adventure, something new.

On June 19 the band flew to Basel, Switzerland, for a show on June 21. But while going through security, Axl is detained by customs agents resulting in him threatening to never play in Europe again [The Akron Beacon Journal, August 23, 1992].

One June 21, 1992, Guns N' Roses had to pay to keep the public-transport system open late in Basel, Switzerland[/i].[i] The only way back into town from the soccer stadium was a tram line that normally closed long before we finished - maybe before we even started.
Duff's autobiography, "It's So Easy", 2011, p. 204

The next show was in Rotterdam, the Netherlands, on June 23.

On Tuesday, June 23, in Rotterdam, I stewed backstage after the Dutch police told us power would be cut at 11:30 p.m. - fans had already waited two hours since opener Faith No More finished playing, and our set would not be finished by 11.30 p.m. I feared another riot. Onstage, Axl told the crowd about the police threat, and basically invited the audience to tear the place down if the show was stopped. The power stayed on.
Duff's autobiography, "It's So Easy", 2011, p. 204

According to The St. Louis Post-Dispatch, Duff got sick from the poor weather conditions on their show on June 20 in Würzburg, and after the show in Rotterdam, he was ordered to rest for 48 hours resulting in a planned show in Brussels, Belgium, on June 24, having to be cancelled [St. Louis Post-Dispatch, June 25, 1992].

The band also played overtime at the show in Rotterdam. Axl expected being fined because of this and when that didn't happen he donated $30,000 to the city of Rotterdam [European Stars and Stripes, July 10, 1992]. When asked why they didn't fine the band for the overtime, Rotterdam spokesperson, Anja de Jong said:

Why should we make any claims? It was only a delay of 1 hour and 15 minutes not three or four ours.

They then travelled to Turin, Italy for June 27, Seville, Spain, for June 30, and to the last show of this leg in Lisbon, Portugal, on July 2. Originally they were supposed to end this tour in Madrid, Spain, but according to Much Music, the facilities in Madrid were "poor" preventing the show from happening [Much Music, August 9, 1992]. An contemporary article in a Spanish newspaper would shed more light on the situation and say that the stadium was "closed for critical security reasons, as there is danger of collapse due to aluminosis" [ABC, July 2, 1992].

For the last show in Lisbon "things just got a little stupid, with a little help from the crew" [Much Music, August 9, 1992], and it is likely this alludes to some prank performed by Guns N' Roses on Soundgarden, like they had done before [insert reference to earlier show where they pranked Soundgarden].

During the show Axl was worried about unruly elements in the crowd:

But I don’t like seeing people in the crowd get hurt. And that’s when I’m a little concerned about that, we’re gonna try to monitor it the best we can. And if I see anything going on onstage, I stop the show to try to stop it. I don’t care if it’s all the way in the back. When we played Portugal, in Lisbon, they were throwing (?) and throwing candles at each other. We kept stopping the show to try to stop it. By the end of the show we had it about 90% under control. But, I mean, we do the best we can; I’m worried about that though.

Slash would later talk about touring with Soundgarden:

Of all the bands we played with during the '...Illusion' tour, Soundgarden were one of the coolest, just personable and down to earth.


The cancellation of the Madrid show on July 4 resulted in a legal aftermath. In April 1995, Spain-based concert promoter Gamerco SA sued band’s Los Angeles-based company, Missouri Storm Inc., through which the booking was made, for return of advance payments totaling more than $412,000 [Billboard, April 8, 1995].

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Post by Soulmonster on Tue Aug 27, 2019 9:46 am


I must say that Axl has fucking balls. I couldn’t do shit like that. I do the shit on my bass but I don’t have the gift of the fuckin’ gab like he has. Axl always knows what to fuckin’ say.’

[…] I couldn’t imagine saying some of the shit he does. It comes straight off the top of his head, too. If it was me I’d go up there and say, “This is another fuckin’ song, it’s called blah blah blah...” But Axl gets up there and he’s like, “I woke up this morning, man, and I really wasn’t feeling too good, and I thought back to something that happened to me once...” And he just goes on and comes up with something brilliant! Like a brilliant thing that he really means. It’s never a story, either, it’s always true. I just look over at him some nights and go, “What the fuck?” you know? He’s a one of a kind man, all right. There’s only a few people can do that. And it takes a lot of balls. He could have been killed at any time or got his ass fuckin' beat, 'cos of the way he is. But he takes that chance, he does not care. He really does not care.
Mick Wall, GUNS N' ROSES: The Most Dangerous Band in the World, Sidgwick & Jackson, U.K. 1991, 1993; interview from January 1990


Axl's perfectionism may also be related to his stage nerves and anxieties regarding their live shows:

[After shows], I usually need to sit down for an hour and just get my head together. I can't eat, my stomach's in knots, not in a bad way but I gotta come down from where I was on stage. Most of the time I'm usually so concerned about the show the next day even if I want to run around I won't let myself. I want to give the people my best.

I'm very stressed about the shows, which are the most important thing to me. Nothing ever really works right for this band.

In September 1991, Spin reported that Axl was suffering from stage fright and that this caused the two hour late start at the Deer Creek Music Center show in Noblesville, Indiana [Spin, September 1991]. According to "sources back stage" Axl was "extremely nervous" to play for friends and family from his hometown of Lafayette, Indiana [Spin, September 1991].

When interviewed by Kim Neely for Rolling Stone in early 1992, Neely would mentioned that Axl had previously told him he "hate performing". When confronted with this statement Axl would say:

I just think it's a really weird job. I'm not saying it's a bad job, I'm not saying it's a great job. But you know, it's just the work that goes into being that athletic. I mean, do you want to go out every night and jump off, like, your car? And have to do that? It's like it becomes your job. That doesn't take away the sincerity or the honesty of it, but it is a job. And sometimes I'd rather be doing something else.

Axl's alleged stage fright could only be understood by the experiences he went through when performing and trying to work with the audiences. During the touring of 'Illusions' he would repeatedly talk about struggling to control the shows and the crowds:

Yeah, that's like a gladiator thing. That's a morbid part of human nature and it can be tough to deal with. Especially if you feel it from a crowd. It's very disguised. It's not like, "Aw, you suck!" They're screaming and they're happy but they want to see blood. To figure out how to rise above that and still satiate the crowd is a tough job. I've done shows where to the naked eye it looked really positive, but onstage, being sensitive to it, it was a draining thing. These people were out for every last drop they could get. If they're giving something back, you can give more.

Stage fright was not only an issue to Axl, though, later Slash would claim to be a victim of it:

I get stage fright before every show. That's why I play on stage so much, so as to combat it.

As the tour went on, Axl would often stop the show to confront concert goers who angered him or caused problems for the show. In April 1992 he would discuss this:

Like having somebody thrown out who is causing a commotion and basically obstructing the show. Most performers would go to a security person in their organization, and it would just be done very quietly. I'll confront the person, stop the song: "Guess what: You wasted your money, you get to leave." If a person is trying to egg me on, like "Come on out here, motherfucker, I'm gonna kick your ass," it's like "No, you're not going to kick my ass, you're going to go home. We're doing a show, there's 20,000 other people here, and you're not going to ruin it. You're leaving." Because if I jump in and get in a fight and then there's no show, the crowd's gonna love that [Rolling Stone, April 2, 1992].
When asked why he takes it upon himself to interfere:

Why shouldn't I deal with it? And why shouldn't I deal with it publicly? It's a distraction. I don't go see a band just because they suck. And if someone comes to a G n' R show for that, it's like "Go home, we don't want you here." I mean, if you throw a party at your house and somebody comes to your party just to tell you you suck all night, you are going to ask them to leave your house. And while we're onstage, that's our house and those are our guests. I've been accused of thinking my shit doesn't stink. And it does, and maybe sometimes it stinks a lot worse than other people's. But I'm not gonna say I'm wrong until I'm shown I'm wrong. Just because someone else believes they're right doesn't mean that they've shown me I'm wrong [Rolling Stone, April 2, 1992].
When asked how he deals with negative energy from the crowd, Axl would reply:

It's been different at different stages of my career. It used to be more of a punk rock thing where a band would take that negative attitude and turn it on themselves. "You want to see blood? I'll give you more than you planned on, I'll even take my own life." I've tried that avenue until finally… it was too hard. You just go down the tubes too fast giving in to that kind of anger. […] But it's really hard to stay positive when there's that kind of taking and that kind of anger in the crowd. There's places where we have played where we have turned it around. I think that's part of the job. Sometimes it's hard to stay focused when you're getting beat up by the energy. You can physically feel that you're getting beat up rather than getting inspired. It feels like a nightmare and to try to get above that is very difficult.

I do go off on the crowd, but there is a big difference between General Admission where the people who really care are right in front of you, and the situation where you've got people in the front row who are sitting there with their arms crossed and a "show me something" look on their faces. It's annoying. Especially when you know the people sitting way up in the sky could be having a lot more fun down front. I don't need people to sit there and "test" me. I'm up there, I know what I'm doing. I know how much effort we're putting into it. I don't need someone sitting there saying "impress me." I feel like saying, "no, you impress me." […] We did a show with Skid Row in Utah, and there were people sitting there like they were bored off of their asses. Finally, we left. Why should we play the encore? But what we didn't know was that people had been killed at an AC/DC concert there, and the press and local officials had gone off on the kids so much that by the time they got to the show they were just fed up. Security just kept them from getting into the show at all-and we didn't know that. We didn't know what was up. We just wanted to get out of there. My attitude was "Man, I only have a few bands that really get me off at a show. What do you want? What do you have to do tonight that's better than this?" There were 17 year-old kids there who seemed bored, and I just didn't understand why. Maybe they wanted to go home and listen to something else.

And when asked if the band members respond similarly to negative energy:

I think it's pretty much on my shoulders and I don't mind that at all. The band works the stage and gets off on the crowd, but I'm kind of a shield. If I'm gone they don't really know how to get on top of it. If I'm out there and not handling it, no one can really rescue me. It's just very hard sometimes. We've done shows where I could feel that it was a very taking thing and I turn around and Slash is doing handstands because he's still getting off on the chaos of it. And I'm having the shit beat out of me. This happened in Vegas. My jaw was hurting, my back was hurting, my leg was hurting. I call it shadow boxing because it comes down to between me and the audience. And for Guns N' Roses to be successful, I have to win. And if I win, everyone wins. If the crowd wins then a lot of people lose, including the crowd. They didn't get to be satiated, they get to go home pissed off because we crumbled under it. […] I'm such a Victory or Death type of person. I realized at one point that going onstage and just smashing everything around and singing "Jungle" wasn't getting me anywhere in my own life. It wasn't enough for me. And taking it farther and hurting myself or taking my life onstage wasn't going to do me any good. And if people are benefiting from the music it wasn't going to do them any good if I was gone. So I had to start working on other ways of dealing with it and other ways of working with the crowd. We still haven't risen above a lot of things but we've risen above some. And we're continually thriving.

In August 1991, Slash was asked why the band was so volatile and would talk about Axl and what he was going through:

Axl – Axl's got all this pent-up stuff. Like he's really into doing everything perfect, so he's been working so fucking hard. I spend a lot of time with Axl and I can't even get into all the things that he's doing, but he's going through a lot of shit right now with his past personal life and stuff, and even though we're on tour and supposedly hugely successful, these 'rock stars', we're all deafeningly human, to the point where it's like, Jesus! You've got to try and maintain some semblance of security in your personal situation while at the same time you're being completely thrown to the sharks […].

I'm less sensitive to [people throwing things] than Axl. He takes it very personally; I just duck.

The only thing I can say about it is I understand it. I understand how rough it is. And I spend so much time with Axl – to realise what he goes through to do that and to be able to sing every night. He's given me analogies – like, say, 'If you only had one guitar and you broke all the strings, how are you going to finish the show? Or when the monitors go out I'm fucked!' he's telling me. You know, we're playing Instruments, I've got replacement guitars, more strings. It's not as harsh for me to go through my personal situations onstage as it is for him. I've got something to hide behind. Him – if the entire system falls or he loses his contact lens or gets dizzy whatever – and being out there you're bigger than life. They don't want to see any fucking faults at all! And Axl's a very sensitive guy, and a lot of shit does go down onstage. There's always a bottle flying here, a bomb going off there. The other night I hear this crash, I'm like, 'What the fuck was that!' And somebody threw an M80 into the crowd!

Slash would also discuss how the band in general responded to "dead crowds" like during the Metallica tour when fans were often exhausted by the time GN'R started their set:

We interact with the crowd a hell of a lot. That’s one major thing, if the crowd happens to be particularly hostile (laughs) for some strange reason, you know, or, sort of like, dead in the front row. But then we react on that; you know, it’s just natural. […] we fuck with them a little bit and see if we can get them going or, you know – you usually blame yourself, like you’re not playing hard enough. And that’s where some of us are, like, jumping off ramps and all that stuff. I think it initially came from so much adrenaline and then the crowd would just go nuts, and so that would make us just get, you know, more into it, and the next thing you know, it’s like, we’re one and the same. It’s like, a stadium full of people, and basically the six of us on stage plus, you know, the extra people, but all getting off on material that we wrote and there’s a great vibe going on, you know? So it’s worth really getting into it every single night, because that’s the only reason you’re there.

Duff would also shed some light on how hard it could be some times:

There's a lot that goes into the two hours that we play, and I'm not just talking about the production. I'm talking about mentally, as far as the bandmembers getting to play the show. Sometimes you have to forget that you just had a knock-down, drag-out fight with your old lady, or that one of your friends is junked out, or that you don't feel happy about yourself. You're up there onstage, and you have to block all that out. Our lives get very surreal at times. I've had anxiety attacks onstage where I couldn't breath, but I still played.

In September 1992 Slash would say that Axl had become better at dealing with technical difficulties during shows:

[Axl]’s just been a lot more positive and a lot more willing to deal with the sort of the possible technical pitfalls, instead of, like, shying away from it and just getting pissed off and making it worse. He actually is into making everything better.

Despite this, when looking back at the tour, Gilby would say the following:

I'd say every one out of four shows, something happened where [Axl] would walk off stage and leave the five of us out there to fend for ourselves.

Later Slash would also talk about how attuned Axl was to the audiences mood:

[Axl]'s probably 10 times more aware of [his capacity for provoking audience response] than I am. I can hide behind the guitar because that's my thing. But I'll be sitting around with Axl after the show, and he'll alert me to particular things that happened during any given concert that I was oblivious to. He'll talk about how he used a particular hand movement to express an idea. I'll just be going, "Huh?" He's very aware of what he's doing, and of the whole sensational aspect of his persona. The only thing I think about is, "Okay, the wah-wah pedal is here, my amp is there..." I'm aware of the energy and the interaction with the crowd, but I don't really see anyone because my head is usually down. The people I look out for are the people on stage running around like madmen. I just try not to hit anyone.

Axl himself would describe how he tried to connect to the emotions of the songs he was singing:

[…] I do put myself wholly into the song, into whatever line I'm singing. Whatever the line makes me think of, I go there. If it's a tear-jerker thing, maybe that situation was written, and I'm thinking about being in a park or something. Or I think about the emotions I had as a child that those lines relate to and I go there while I'm singing it. That way I can get the best out of me because it's getting in touch with the base emotion, the base feeling and the base environment inside my head.

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Post by Soulmonster on Tue Aug 27, 2019 9:46 am


The band members enjoyed the easy access to free sex that came with being rocks stars.

[…] there are things that make me sick, like many of the girls who come to see us during the tours. Some of them have obviously listened to the album, but others haven’t; because if they had listened to it, they would’ve known that we don’t conform to anything. We can behave like the sweetest and most pleasant people in the world, but as soon as we fuck them, we show them the way out and to the nearest bus stop. I'm surprised that some of these girls really think you’re stupid. As Lemmy puts it, "Don’t judge a book by its cover;" that is, when a chick comes to you thinking that she’s gonna have her way with you, you have to put her in her place and make it clear who is who, and if she doesn’t accept it, then... out of the door. That’s why it's impossible to get enough of sex – it may happen when you’re older, but not now.
Popular 1, April 1988; translated from Spanish

[…] it’s hard for me to go and pick up chicks sometimes, ’cos I resent the fact that I’m getting laid ’cos I’m in a band. […]  I shouldn’t really say this but I have a tendency to get really drunk and then I get to the hotel and I’ll pick the first chick up that I can get. You’d be surprised at some of the chicks I’ve picked up. […] Sometimes you get to the hotel at six in the morning and there’s all this ...’ [pursing lips in disapproval]. So what you do is you go up to the room and just drink till they look good...
Mick Wall, GUNS N' ROSES: The Most Dangerous Band in the World, Sidgwick & Jackson, U.K. 1991, 1993; interview fro June 1988

There’s a certain crowd that hangs out at the Rainbow in L.A — that’s where most of the porno chicks that I used to do, that’s where I met Savannah — that’s a scene. The thing about porno chicks — how do you explain it? It’s something that my better half would never understand — is that that whole boyish playful kind of thing, if that’s something that you happen to be and, like me, you’re just infatuated with women, and you’re surrounded by these girls at the ready and it’s all going on — Obviously porno chicks are a treat.

When asked about the threat of AIDS:

Yeah, that’s a fucked thing - because of the way that I was brought up, or the way that I brought myself up, ’cos it was at a time when I was figuring it out for myself. My whole philosophy was one way and now it’s like I’ve got a stupid thing tugging at me all the time saying, “Slash, you’ve got to watch out, you’re playing with death.” It’s fucked up because... I’m having problems with my girlfriend, right? I split up with her. I can’t handle having a girlfriend. I can get laid any time. Except for... It’s just a fucking drag.

I really can’t start wearing rubbers. I haven’t used one since I was thirteen - and then it split. What can I do? I guess it’s just part of the whole thing - if drinking doesn’t get me, AIDS will. […] [AIDS is] a ghost sent to haunt us. I have this underlying fear all the time. If anything - anything - goes wrong with me then I think, shit, this is it!

There was a point when we were in London, and I got sick one day.

I don’t get sick ever, for some reason. But what happened was I hadn’t been in London in ages, so I got to the hotel straight from the plane and I just kept drinking and drinking for four or five days. Plus the time difference and all that, that hit me and I got really sick. I was in bed. Then I went out to some pubs with some people and I couldn’t drink, I couldn’t talk, I couldn’t hang out, I had to take a cab back to the hotel. And I was in bed for the next couple of days - this was right before the first gig. I thought, this is it. I’m dying.

AIDS is just like this constant thing that’s on my mind now. Welcome to the eighties, you know? I mean, nobody has said this. I’ve never heard anyone say this, like, in a magazine. But I think that everyone should realise that as soon as David Lee Roth or Gene Simmons or me, or any of us goes down with it, then we all go. It’s gonna be like clockwork! What rock star do you know of that has died of AIDS? Nobody - yet. But as soon as one of us goes then ... ’cos Dave Roth fucked some chick that I fucked that... I think that it’s gonna take out a whole legion of people. It’s gonna be like, 1989, 1990 - the year all the rock stars died.
Mick Wall, GUNS N' ROSES: The Most Dangerous Band in the World, Sidgwick & Jackson, U.K. 1991, 1993; interview fro June 1988

And on whether he had ever tested himself for AIDS:

No. But, oh, man, I went out with a porno star for a while... I went to a party with the Metallica guys and got so drunk it got to the point where they were carrying me around, and I woke up the next morning in this chick’s apartment. It was just after John Rawls, the porno star, died of AIDS. But I was like in hell, and she had a flat tire and no phone. I was stranded with no money and it was just way fucked up. She used to do these things called lodes, which are the equivalent of heroin but they’re pills. So she was out of it the whole time and impossible to talk to. My first question to her the next morning was, “You haven’t fucked good old John have you?” I mean, no, she never fucked him. I found out so it was OK. But at first I was freaking...
Mick Wall, GUNS N' ROSES: The Most Dangerous Band in the World, Sidgwick & Jackson, U.K. 1991, 1993; interview fro June 1988

In August 1991, Melody Maker who was interviewing the band backstage, would describe 21 girls, "hand-picked by the Guns crew from the Tacoma crowd" "panting, preening and eager to fuck a Gunner" [Melody Maker, August 10, 1991].

Every night's a fuckin' party, man. Chicks, beer, you name it. Take any chick you want, man. It's just like being in a candy store.

In September 1991, Slash would express boredom with the groupie scene:

[…] the novelty of just getting laid all the time wears off really quick. […] The only time that ever happens [=to go out with rock chicks] is when you go out just to have a good time and you have a few drinks somewhere and a good looking chick comes up. Basically, if they're gonna do that then you take advantage of it and it's more like a selfish kind of thing to get involved with, it's like 'okay, fine, if you're going to put yourself in that position I'm going to ...' what's the expression, you know […]

And in 1992 Slash would argue that they had cooled down due to the threat of AIDS:

The world tried to lay it on homos and needle users but it turned out that was just not the case. Now we've all changed our attitudes to sex. Although Aids hasn't cramped my lifestyle, it has taken that option away. […] We had to realise it's silly. I have to admit we have all had to see our doctors — we have physicals.

[…] I got burned out on the whole drug thing and the groupie scene. […] I had spent so much time chasing around and after a while it was like going to strip clubs. You start looking at women like pieces of furniture, something you admire for their lines. And you realize you either keep going on like that forever or you commit to someone you love--and that's what happened to me. I realized the other stuff is a sort of waste of time anyway.

After getting engaged, Slash still had problems changing his lifestyle:

I did so much sleeping around for so long that it just got boring. I still think women are exquisite but getting involved and sleeping with them just takes so much fucking effort. And it was all I did. When I met Renee, it was someone that I actually fell for. It took four years of balancing the random sex and this one girl and we had some major incidents in our relationship which had to do with my lifestyle and what she expected from me. Once she found out how bad I was, she was like, I don't want to be with you. And we broke up for a while and I was sleeping with a bunch of other girls but finally, I dropped the others for her.

But after marriage Slash cooled down:

Before I was married, I just wanted to get laid. I'd see a pretty girl and think, She's cute, I'd love to go down on her. So if she's got some money on her and I can crash at her apartment and she's got a full refrigerator and she likes me and hasn't, as far as I'm concerned, said anything about commitment, then I was there. You sort of put yourself into a certain category by what it is you do for a living. Rock stars are notorious for fucking models, foreign girls and strippers. And that's all I could think of doing. With the exception of four girlfriends and Renee, that's all I've ever fucked. Like, attorneys fuck anything. I mean, could you see me with a librarian?! Actually, that's probably a huge turn on. That whole image of the glasses coming off and the hair coming down and all the lingerie underneath that unsuspecting outfit that she's wearing… oh, man, I just love women.

Duff, too, stayed faithful after marriage:

Road temptations, like groupies, that ain't no thing. I got my wife.

In 1995, Slash would talk about groupies:

It’s just easy for a guy. Just from my own personal experience and most of the guys that I know, when you’re in a band, all of a sudden the chicks come out of the woodwork. There’s no responsibility whatsoever, they’re just there. And some of them can be really great friends, but there’s no obligation. So you just give a call, you hang out, you score... (laughs).

I've been faithful since we got married and, you know what, it hasn't been too hard. Sometimes I'll look up a girl's skirt. I'm like a divining rod. But I wouldn't go any further than that. […] Now you can see how fucking evil women are. They want to fuck you just because you are married. Just to fuck the chick up. They want to see if they can conquer you. But I'm not stupid. […] In LA there are these professional groupies who just live to provide a sexual service for musicians. They're so fascinated with the freedom of rock'n'roll. Good rock'n'roll bands are usually pretty anti-establishment and they have a different social view from what society is supposed to adhere to. And some chicks get turned on by that. The struggling artist syndrome. Like, I'm sure there are a lot of girls who would have taken Kurt Cobain and made him lunch and sucked his dick just to keep him from killing himself.

[AIDS] changed a lot of stuff. I grew up in a generation where I managed to take full advantage of that. I did it for so long that I just got bored. I spend more time playing now than anything else, plus I'm married.

And when asked if he had ever had any venereal diseases due to his rock n' roll lifestyle:

You know what? Knock on fucking wood, I've only ever caught two things. And one thing I caught was from fucking Steven Adler.

Being asked if he fucked Steven:

No! But I let him borrow a fucking pair of leather pants and he fucking gave me crabs. I didn't even know what crabs were. I'm over at Duff's house sitting in his bathroom on the toilet, scratching furiously and I'm picking these things out of me and it's like, Aaargh! I was horrified. So, of course I wore the pants and let Steve borrow them again so he would catch them right back. And the only other thing I ever caught was something that I picked up from a porn girl. It was nothing major and I got rid of it but I've been really fucking lucky.

Later, Duff would indicate that he, at least during parts of the tour, hadn't taken part in the groupie scene:

I met some really interesting people because of Guns. But for the most part it was people coming to kiss your ass just so they can sit next to you. It becomes something lonely and false. They were just excited that you were there.

But it's a weird place to be. What am I going to do? Sleep with a girl because she just saw me on this huge [video screen at one of the band's concerts]? That's not going to make me feel very good, and it's probably not going to make her feel very good. Those parties just made me lonelier.

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Post by Soulmonster on Tue Aug 27, 2019 9:47 am



As discussed previously, Slash had been trying out different guitar before joining GN'R and in his first period in the band, with a B.C. Rich Mockingbird being a favorite show guitar.

Before the recording of Appetite, Slash pawned the Mockingbird for drug money [source?]:

I wish I had never pawned my BC Rich guitar; it was one of my first good guitars. Now I have like 80 or 90, but my whole career started on that guitar. It's out there somewhere. Some snotty kid's probably got it sitting in his closet behind his Erector set. It's really got some history; I'd give anything to get it back.

Then, before the release of Appetite, when he got a Les Paul copy from Alan Niven, a "handmade yellow flame-top with zebra [Seymour Duncan] Alnico II pickups" [Guitar Player, December 1991]:

I started with a BC Rich Mockingbird because I saw a poster of Joe Perry with that guitar. It took me a while before I could afford it and it was my only instrument for a long time. After that I stayed loyal to the brand, but I played on a Warlock, the guitar I had in the early days of Guns. Then I endorsed Jackson and I got a Firebird with my tattoo on the horn; but it didn't really suit me, I couldn't find my identity. And then, just before the recording of Appetite For Destruction, really at the last minute, our manager brought me this Les Paul flametop 59 with these Seymour Duncan Alnico II microphones, and it excited me. It was a gift from God. It changed my life.

I got a handmade '59 Les Paul copy, built by a guy who makes awesome guitars, better than anything the company produces now—nothing against Gibson. I think that's when I turned into a Gibson freak—Gibson and Marshall. That's been my standard until this album.

And over the course of time, I went through lots of different guitars, but I ended up back with the Les Paul style guitar. And then when Guns was doing "Appetite For Destruction", I didn't have any set guitar that I was really comfortable with, and I was going to go in and do all the guitar overdubs, Alan Niven, he was Guns 'n Roses manager back then, he brought me this Les Paul, and it was a handmade one, it wasn't an original one, it was hand made, and it sounded great, and that's what I used on "Appetite For Destruction", and I've played a Les Paul ever since.

This guitar would be Slash's primary instrument for recording 'Appetite':

Right now, I have two acoustics right here in front of me that I've been playing. And then when I was out on the road [in 1987/1988] I picked up, besides the two Les Pauls that I played when I was in England, which are the old ones, I got some new ones from Gibson and I bought like a '56 Gold Top, and I got a couple '68 Les Paul customs, and stuff. Just for different sounds and stuff. Nothing that I won't use. It's gotta be something that I will use, you know.

Slash would sporadically talk about his relationship with Gibson Guitars and his Gibson guitars:

I have a few of them [=Gibson guitars] now. I used to play two 59s, but I put those away. Now I’ve got new ones that I completely doctor up and make so that none is a year.

I'm very loyal to Gibson, and I'm really particular about what guitars I use to go out and play live. I only need one guitar to do a whole show. I don't need six guitars-I can't do the [Cheap Trick's] "Rick Nielsen thing" [e.g., different guitar for every song]. I have to have one guitar, and a backup. And in the studio I'm the same way. Gibson built me some "Slash" models. They would give me a guitar-they'd go, "Here, try this out." And I'm real particular about guitars, so I'm going, "No, man. I don't like it." And we went through a whole bunch of them before I found a signature model one that I was comfortable with.

And discussing what changes are made to them:

I put my own pickups in them, I have the necks adjusted, I change the frets I haven’t refinished... you know, whatever.

And talking about his two 59s:

59s, that two. Yeah, those are fine. I’m not into vintage guitars for vintage’s sake. It just so happens that Gibson produced the best stuff back then. You know, they’ve given me some choice stuff now, but this isn’t off the showroom floral stuff.

In late 1988, Slash would talk about his recent acquisitions:

For the first record, I must have gone through 10 guitars trying to find one I liked. And I couldn't afford to buy some ridiculously expensive Les Paul. When our former manager showed up with this one, it became my main studio guitar. […] [I used it] for almost everything on Appetite and then for most of the heavier songs on Use Your Illusion.

Later, Slash would discuss what Gibson guitars meant to him and compare with Telecasters:

Yeah, [Gibson]'s the most versatile guitar for me, but it's a matter of taste. Some kids just think it looks cool – which is why I got it, because it was the cool-looking guitar. I guess you force yourself to understand the nature of the guitar because it looks good. Some people maybe like Strats because of the bar and it's also a very versatile guitar, but it's different. There's a certain rock'n'roll element you can get out of a Strat that I'd have to use a wah-wah pedal to get on a Las Paul. But at the same time Strats are so fuckin' unpredictable. It's hard to find a good one.

I guess I got off the subject a little... I had a poster of Jimmy Page and one of Joe Perry and they were playing Les Pauls – that's what got me into Gibsons. In fact, I have the guitar that Perry is playing in that very poster. I thought that was the coolest-looking guitar and I have it, years later. It's so weird! Plus, tone-wise it's something thick and something mentally I have control of; more so than I have with Jacksons and all the Eddie Van Halen-type stuff, I just didn't feel they had any real body. But Les Pauls I'm very particular about as well; I like Standards, I don't like Customs that much.

I did play a Telecaster on 'Since I Don't Have You' and there's a song called 'Dead Horse' that I played the lead on a Strat. If it calls for a certain sound, I'll pull out a guitar because I know I have it.

You know, with the home-made Strat style thing that was going on, and the Jacksons and all that, to this day the only guitar that’s remotely like that that I can deal with is a BC Rich, and then only the old ones. Otherwise, nothing has that kind of weight to it. And even the copy Strats didn’t sound like Strats. I don’t think anybody was paying attention to the textures of necks and all that, and of course a lot of your feel - your bends and stuff - come from the neck. So it’s really nice to have a solid guitar that, instead of it playing for you, you have to actually get into it, something like a woman, otherwise it’s not going to perform. And I like that feeling in a guitar. The Les Paul has its flaws, but you work together.

On the 'Illusions' Slash would use many different guitars:

Some fucking great guitars—a '58 V and a '58 Explorer. There's a certain nasal sound that you can hear on "Heaven's Door," "Locomotive," and a couple of other songs—it's almost [Michael] Schenker-sounding. That's just the tone control on the V, no wah pedal. There were a couple of other guitars that people aren't used to hearing me play: I used one of those small-scale Music Mans like Keith Richards has. There's a Travis Bean that I use for slide on "Bad Obsession" [Illusion I]. When I first got into slide, I went to a Joe Perry Project show; he had a Travis Bean, and it sounded killer. So when I saw one in the paper, I bought It. It has a gorgeous mahogany body with this real subtle rainbow in the finish—it's almost airbrushed. I played maybe 20 different guitars on Use Your Illusion: a Strat, a Dobro, a 6-string bass, a banjo, some acoustics. But the sound that I'm recognized for is my Les Paul through a Marshall half-stack. […] I have several Guilds—a nice 12-string and a couple of great big dreadnoughts. I used a Gibson I-100 too.

This last record was a stretch of the imagination as far as guitars go, because I had the financial means to experiment, whereas on ‘Appetite For Destruction’ I used pretty much one guitar for the whole record. Then when we did the ‘Lies’ EP I used different acoustics and a Telecaster and stuff like that. If you give me the choice to go through different guitars I’m really into it, but I went through something like twenty guitars before I found the one that I used for ‘Appetite’, none of which I owned - all borrowed. But I finally got this one Les Paul which I used for all the hard rock stuff on the two albums that we’ve just come out with; I used that same guitar for the chord stuff and anything real chunky.

Talking about old versus new Gibson guitars:

Well, see, in a studio old guitars are great, because there my ear is real keen. I can hear, because of an element in the wood or maybe in the amp, that there’s no way we’re going to achieve any kind of sound with it; it’s just not going to happen. But when we’re playing live I don’t lake any of those guitars out any more because they’re too precious. Gibson build me guitars all the time, but they’ve only come up with so many that are actually usable; I send the other ones back. I’ve got a new double-neck that I’ve been using because I put my old one away. I’ve also got one Les Paul Standard that’s my main guitar and I’ve had that ever since I signed my deal with Gibson six years ago - they haven’t been able to duplicate it since. I have one that’s like the B version of that, and I’ve got a goldtop which I also use. I recently got a black Standard which they never lacquered, so it’s completely matt black, it’s really great looking and on the back it’s got ‘Hold this for Slash’ etched in it. I got it before it was finished and I said, ‘It’s great, leave it.

In 1989 there were talk about a Slash signature Gibson guitar:

Any­way, Gibson are doing a limited edition Slash Les Paul. This one's sort of what it will look like, only I’m gonna make it more of a blood red with more of the black hardware and stuff. It’s gonna be a really good looking Les Paul...
[url=Mick Wall, GUNS N' ROSES: The Most Dangerous Band in the World, Sidgwick & Jackson, U.K. 1991, 1993; interview from March 1989

[Quick quip from Izzy]: Yeah, and it's gonna have an Afro on top.
[url=Mick Wall, GUNS N' ROSES: The Most Dangerous Band in the World, Sidgwick & Jackson, U.K. 1991, 1993; interview from March 1989

But in the end nothing came out of it:

At one point they had an idea for a Slash Les Paul. I gave them my best live guitar; they had it for six months, trying to get the weight and density and everything right. God bless the guys who worked on it, 'cause they're really cool, but they sent me four instruments and none of them sounded anywhere close to it. I'm sort of pissed off at Gibson, because in the six-odd years that I've been with them, I've only gotten three gold-tops that I can use live. And I've spent hundreds of thousands of dollars on old Gibsons. We just cannot seem to get a sound that I'm happy with from the new ones.

In 1991, Slash got a new B.C. Rich:

But a while ago I bought another [B.C. Rich] from this guy I met at the Cathouse [an L.A. club] one night. I used it in the video for "You Could Be Mine." B.C. Rich saw the video and were ecstatic.

I didn't play a Rich for a long time after that. But one night I was down at the Cathouse and a friend of mine told me he had a Mockingbird for sale for $150. I bought it from him and started using it. B.C. Rich heard that I was using one of their instruments, and was stoked, so they made me four different models. I ended up keeping only one, because I'm a real stickler for tone and general guitar sounds. If there's one thing wrong with one I won't use it. But I really like the one that I kept. I'm using it a lot now. I haven't done an endorsement deal with them, but they seem happy enough that I'm using one of their instruments.

After 'The Spaghetti Incident?' was released Slash would talk about the equipment he had used:

I used a Marshall half-stack, the one that I used for most of Use Your Illusions. For the first half of the punk record I had one half-stack, but towards the end I had two half-stacks in series.

As for guitars, I used whatever was around. I played Gilby's Tele on "Since I Don't Have You" because I had rented a Les Paul that was a piece of shit. For the rest of the stuff, it's either a Melody Maker or Les Paul. I was just looking at my appraisal sheets for the guitars that I own - I've got 81. At this point I just think of a particular type of guitar that will work for the song and grab whatever happens to be in the front of storage. I try to make any guitar do what I want it to.

I've got a red '63 and a white '65 [melody maker], which I use more often. I still play my Max Les Paul copy with zebra pickups a lot. I used that for Appetite. It's my main guitar, and it holds a special place in my heart. Recently I've been using my main live guitar, an '84 or '85 Les Paul Standard reissue, because it's the closest by. It's been my main live guitar since we started because Gibson unfortunately doesn't produce many good-sounding new guitars. It's pretty beat up. It looks like it's 25 years old at this point.

Slash would also discuss his relationship with guitar technology:

Well, it’s gotten to a point where everything’s almost computerised, and I have no knowledge of computers and no patience for the technical side. You know, Steve Lukather’s a friend of mine and he’s got a rack that’s this high and a pedal-board that’s a mile long, and if I go and jam with him at a club or something it scares me, because it’s like a space station. When I started, all I knew how to do was take the guitar, tune it and plug it into a Fender amp, and I never took it much further than that. When I tried something like a BOSS pedal-board, something new and different, I never settled with it. But now my tech’s got my amps worked out in a way that I don’t even know how to turn them on!

We have to use a wireless on stage because of the amount of movement, and that’s about as complicated as I’ll get. A lot the of the class and appreciation for the instrument is gone now. A lot of the kids don’t come up with that feeling; they’re not into really appreciating the instruments at all. It’s all speed and finesse, and if you can play fast and bring some feeling out, fine, but you should appreciate it because of the guitar and the amp you’re going into as opposed to the fact that it’s technically clever. It’s the same as the music business itself; it’s like they’re putting out records just for the sake of it, and so the whole thing goes hand-in-hand.

I had to try tons of [amplifiers] before our first album. But my guitar in this f**in’ amp, that's all I need. Mainly no effect, except for a Cry Baby wah wah and a Dean Markley voice box. That's enough to make me happy.

And in 1997 he would sum up his relationship with Gibson Les Pauls:

And over the course of time, I went through lots of different guitars, but I ended up back with the Les Paul style guitar. And then when Guns was doing "Appetite For Destruction", I didn't have any set guitar that I was really comfortable with, and I was going to go in and do all the guitar overdubs, Alan Niven, he was Guns 'n Roses manager back then, he brought me this Les Paul, and it was a handmade one, it wasn't an original one, it was hand made, and it sounded great, and that's what I used on "Appetite For Destruction", and I've played a Les Paul ever since. So you have that learning period, trying different things out to find something that's a vehicle for, one, how you play, and also something that connects with your Marshall, you know, how you sound. If all three of you work together, then... you find some sort of a marriage, and then like the old saying goes, "If it ain't broke, don't fix it", so... I mean, I'm not lazy, but I don't like to fuss about with the shit. If I have a problem with it, it's like with women, you know - just sort of tweak it a little bit, it'll be all right. You don't necessarily have to get a new one right away... ! (Laughs)

In late 1997, the Les Paul he got in 1986 had broke:

The one I take on tour with me? The one I snapped, the broken one? That was the first guitar from Gibson that I got, I think it was 1986 I bought it, and I've had it ever since. I had it refinished - I had it as my main guitar pretty much until the last few months, but then I snapped the neck on it, and I thought, oh-oh, because this guitar has been a mainstay for a long time. If I pull a couple more of those tricks with it, it'll be no more. So I went to Gibson in Nashville and went through about twenty guitars, and found two new replacements, so that I can take those on the road and beat the shit out of those... (laughs) But it's just a Les Paul Standard, a 1985.

Talking about his vintage guitars:

I've got like four 59's, I have one 58 V and two 58 Explorers, a couple of old SG's, a couple of Melody Makers - let's see, I have a doubleneck SG that's relatively old, but not way back. Then when we get into acoustics, I have a couple of old Martins. I've got some old Strats and Telecasters, too.

As for Fender's:

Hands down - I think this is a diluted quote from Jeff Beck - hands down, a Strat is probably one of the best rock'n'roll guitars, but you gotta find a good one, man! But that's more of a pain in the ass than what it's worth, sometimes. So I will pull a Strat out, especially one with a bar on it, it's a 63 or a 65, somewhere around there, and use it for something when I really need a good whammy bar. But I won't take one on the road, cause it's too unpredictable. If I need a whammy guitar sound I'll take one B.C. Rich guitar on the road with a tremolo bar on it. And if the worst comes to the worst, I'll just keep bending the neck on the Les Paul... (laughs).

And talking about old versus new guitars:

You know, we were talking at the press conference yesterday, there was a thing about, "Do you collect guitars?". And guitars aren't really what I would consider for collecting. All the ones that I have are ones that I have used at some particular time, because I'm a pack rat like that, I keep them. If it worked for me once, it'll work for me again if I ever need it. So I keep them. You know, if I have something that looks great, and doesn't sound for shit, then I have no use for it - I'm not all that attractive myself, let alone - I mean, a guitar's not going to help me out any better, you know what I'm saying? (Laughs) So I don't keep guitars around just because they're vintage, but I have to admit, some of the sounds of the older guitars that I have are very organic compared to some of the newer ones. And I think that has a lot to do with the amount of craftsmanship that they had to do hands-on, building the guitars, as opposed to the factories. I don't have that much experience, technically, but I can tell the difference.

But at the same time, when you're thinking about that subject, it really is the player, too. I did a gig in India recently, and I was using whatever they had, and it wasn't what I would consider the optimum product to be using, but you just work with it, it's all you have to go on. So you know, you can have favourites, and things that you like to deal with, but when it comes down to it, as a player, you have to work with what you have. If you're lucky you can sell a couple of records, and then you can have whatever you want, and then you carry that around. But if something happens and your plane goes down and you happen to be the sole survivor, and your guitar's broken and you have a gig the next day, you use whatever you can get.

At some point he also got a Marshall signature amp:

Sure. It doesn't say "Snakepit" on the amp, it just says "Slash Model," but it's got the Snakepit logo on it and a snakeskin cover. And they sound really good. I'd been using Marshall Jubilee Series amps, the silver ones, for years. They're 50-watt and 100-watt; you can switch them back and forth. But then we had this riot in St. Louis [at the infamous Guns N' Roses show on July 2, 1991] and all our shit got busted up. And I was like, "What am I gonna do?" And that's when Marshall came to me and said, "You'll be the first person we ever endorsed. We want to make you an amp, and we want to design it to your specs, around the Marshall amps that you've been using." And when they gave me my first one I was so nervous. I thought, "If this doesn't sound good, what am I gonna do? I have no backups!" But it came out sounding great; I was really proud of it. And those amps sold out immediately. Now I've got different amps stationed all over the place-I've got some in Japan, some in Europe, some in New York, and some in LA-so that, no matter what happens, I've got those [laughs].


Duff would tell that when he got his first advance payment from Geffen in 1987, Duff went to Guitar Center in Los Angeles and bought what thought was a stock Jazz Bass Special. Once Guns N’ Roses began to tour, he needed another instrument as a back up:

I told my tech I wanted one exactly like mine, so he got me one, but the neck was completely different. It turns out someone had filed the neck on my original bass, and it was more egg shaped than round. So I removed it ad sent it to the Fender Custom Shop; they measured it, and now the necks they make for me are the only ones like’em - just because I was so used to that first neck.

The basses that I use, the Fender Jazz Specials, are slightly different. My basses are made an RCH longer, to allow for the strings flapping. My particular model was only made for a year or two. It's got sort of a Jazz neck and Precision body. It has a Precision pickup and a Jazz pickup in the back. The first bass I bought, the white Fender Jazz special, that I bought at the Guitar Center, had inadvertently been screwed up when they made it. As opposed to the neck being perfectly conical, mine is half eggshaped. Somebody in the shop filed it too much. I was so used to that bass, that when I went to try other basses, something wasn't right. It's like, wait a minute, something's different with these other Jazz Specials. I went down to the custom shop, and sure enough, they spun it through this graphic computer and found what was wrong-or, for me, right-with the bass. So now I have all my necks custom-made exactly like that one.

I just retired my original white bass. It's at home. But, like I said, I had to get the other basses made exactly like it. Me and John Paige at Fender worked together. It took a long time. I didn't know it was gonna be this difficult.

When Duff released his solo album in September 1993, he would again discuss his gear:

Ok, I use the exact same thing on both [recording and touring]. Uuh, SPX 90 is all I use. You know... chorus set to... uuh, it's called "the Duff sound". 'Cause, you know, you can program the name across what certain sound you want. And I just play through a GK 800 RB and one... 15... uuh... ED 400 watt speakers, what I record through and... I really don't use that much gear, bass-wise.

Duff: "My bass really is a pretty unique sound. It’s too abrasive for some people but I really dig it. I’ve always been into funk and stuff like that, so I try to keep a bright, round sound like that. I use a pick when I play but I pull off with my picky finger - that’s my version of slapping because I cannot slap. White men can’t slap!

But to get that sound on Right Next Door To Hell and You Could Be Mine is simple. For recording I use GK 800RB heads but I won’t say how exactly I set up because I don’t know! I haven’t done it for so long because in the band you get roadies and bass techs. I don’t even know how to turn it on anymore!

But for recording I use just one GK 800RB head; I use the old cabinet that I’ve always had: it’s got two 15 EV 400 watt speakers. I mic one of them and then I just run an SPX 90. I just use a simple box chorus pedal, I set the speed and the depth to where I want it - I’m not going to say where! - and then I use the old Fender Jazz Special, my first bass which I always use for recording. I mic one speaker then go direct also so I’m on two channels.

For that coarsy sound you were talking about from You Could Be Mine, that’s when I turn the chorus pedal on and I mix the DI and the one live speaker, EQ the live bright then EQ the DI to a more middley sound and the mixer really comes out with a nice sound. I use the Rotosound twin bass strings and it’s really just a great sound. I couldn’t play on anything else recordingwise because it’s what I’m used to" [Guitarists Magazine, November 1993].

In 1997 it would be described that Duff plays "Fender Precision and Jazz basses through four Gallien-Krueger 800RB amplifiers" and that he "toggles between them with two splitters- a Whirlwind and a custom Bradshaw -and adds a dash of chorus with a Yamaha SPX90" [Bass Player Magazine, January 1997.


Gilby: "I use all nine Vox AC-30's reissues. They're all new, because vintage amps are too unreliable to take out on the road. When I got this gig, I made a promise to myself that I was going to take advantage of the opportunity, equipment-wise, and get everything I ever wanted. The first thing I bought was a new Marshall stack. But my tone was so close to Slash's that we ended up something like one big wall of mush.

So I took the opportunity to start carving my own identity. I've always liked Voxes, though in a club they were always too loud. But they turned out to be perfect on stage. The Voxes have a really great, natural tone, so I basically turn them up to 10 and play completely dry.

My two main guitars are a Zemaitis that I just had custom-built and a clear, lucite Dan Armstrong. The Armstrong is really loud and it sustains forever. I was using a Les Paul during the early parts of the tour, but for some reason, it just didn't sound good running through the Vox amps. I think it's because Voxes are mid-rangy by nature and so are Les Pauls, so the sound is muddy when they're used in tandem" [Guitar Player, November 1992].

Gilby: Talking about his Dan Armstrong clear plexi-guitar: "It's a '71 and this is a strange story: my mom took me into a music store in Cleveland, where I'm from, and my parents said, Well, if you're serious about it, we're not buying you a guitar until you take guitar lessons.' And the teacher said I had to start on acoustic and not electric and when I walked in, the very first electric guitars I saw in a music store was the Dan Armstrongs and they were clear and ever since then, I always wanted one of those. What I didn't come to realize over the years was they were only made for two years, '71 and '72. And I used this guitar on the GNR tour; I had it in open G so we'd play like Bad Obsession' and any other songs we had in open G, I'd play it. It's a great open G slide guitar" [UG Rock Chronicles, June 13, 1994].

Gilby: "[…] the main guitar [for recording 'Spaghetti Incident?'] was the burnt Les Paul, the Telly, and the Zemaitis. And for the most part, through my little Fender Deluxe. People go, You're in this big heavy metal band with Marshalls,' and I use this one 12 fuckin' old Fender amp. And on Spaghetti Incident Slash and I are out there playing the parts live and I'd say 98% of my guitar tracks were the live track that I put down. And it's easy to tell because once again, I'm left, he's right. And then he always fills in the middle; I don't get to fill, I get one track and that's it. Some of the songs were already recorded and I went in and took Izzy's (Stradlin, original rhythm guitarist) track off and put my tracks on and a lot of stuff we re-cut live. We'd learn three songs in a day, then go in and almost record it the same way. We don't spend that months in the studio thing; we play it to get the magic of me, Duff, Slash, and Matt in the room together and if there's keyboards, Dizzy (Reed) would be with us. And we'd cut it live and like I said, whatever was bad would be replaced later. But me and Duff are really good about keeping our tracks that we actually lay down. They don't give me much time; if I spend more time than the others, they'll find somebody else" [UG Rock Chronicles, June 13, 1994].

Gilby: Talking about not sounding the same as Slash since they both play Les Pauls: "It used to be a problem when I first started with the band, I used to use Marshalls. And we almost sounded the same. I mean, I'm a little more percussive of a player than he is but it just sounded like one big fuckin' wall, one guitar. So, what I did was, I said, I can't do this anymore' and so I got the Voxes and I had a Vox years and years ago but it was too loud to play clubs in because there's only one thing you can do you have to turn em on 10 and they're fuckin' louder than shit. So, I talked to the Vox people, before Korg bought them out, and they sent me down 9 of them, the AC-30s with top boost and no mods, and I was trying to get a guitar sound out of it and I was having a really hard time because I didn't remember what I used to do years ago. And Brian May was rehearsing with us, this was in England, because he was going to jam with us and he goes, The key to the sound is this little box.' He had this little, it's called a treble booster box, right, and I hooked it up and I went, Wow, that's it.' So I couldn't take Brian May's box, let alone he wouldn't let me do it, so I kinda figured out how to do it with the amp and what I never thought of and the last thing you think of is turning a knob to zero and not using a knob. These amps have tone, bass, and treble; I took the bass all the way off and I fuckin' found my sound. And what's great about the Voxes is they're very midrange-sounding and now I can play a Les Paul, Slash can play a Les Paul through his Marshalls, and they sound completely different. And it really was just a matter of finding what would blend well with him without sticking out too much. So, what I do live is, I have 9 Voxes, the bottom row are just Vox cabinets; everything is loaded with Celestions and what I'll do is pump my Marshalls through the bottom ones for live and they're not miked. But on stage, in a stadium thing, sometimes you really lose your sound, so I'll pump up the Marshalls to give it a little more punch but we only mike the Voxes.

I have a wireless and a rack-mount Cry Baby so I can have more than one pedal on stage; I can have three pedals out there so I don't have to be in one spot to use it. Just a Hush to keep the noise down and that's it. If I want a boost box, if I'm soloing and stuff, I use one of those MXR Micro-Amps, the little white guys? I just pop it on and I get a little more fuzz. We're very old fashioned.

I've always just plugged right in and it's just my preference you can make it do it yourself. Even for me to use the 59 Seymours? They're very low output pickups and I love just driving the shit out of the amp" [UG Rock Chronicles, June 13, 1994].

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Post by Soulmonster on Tue Aug 27, 2019 9:47 am


Band members in Guns N' Roses were big fans of Metallica. When GN'R won the MTV Music Award for best heavy metal act in 1989, Axl said he thought Metallica should have won [Dixon Telegraph, September 7, 1989].

Metallica is a great band - if you know these guys, because when I started out, I hated them. I hated anything to do with speed metal, and so the first Metallica album that came out I didn’t even ever bother listening to, but when Master of Puppets came out, I was amazed; it was, like, great. They turned into my favorite people, my best friends and the best band. I’m going to fly to New York next week to go see them. […]  Actually, those guys – we’re totally different kinds of musicians. But they’re just great players and really – I jammed a few times with Lars and stuff like that. They really changed things around, because those guys have – I mean, if you listen to their albums, they’re perfect, and have some amazing chord changes and this and that and the other, and very heavy-duty vocals.

That whole James Hetfield attitude, I like, though. I spent a wild night with him and Jim Martin from Faith No More, driving out to the Valley just to get drunk. James was in this car throwing beer cans out on the freeway. James always plays at being this manly fuckin’... He always reminds me of a Ranger... Like, “Goin’ out to the mountains.” But he’s a really sweet guy. Basically, he’s not anywhere as mean as he makes himself out. He’s just great to hang out with, he’s got a great fuckin’ attitude. And Lars [Ulrich] is just a sweetheart, too. Those guys are genuinely cool.
Mick Wall, GUNS N' ROSES: The Most Dangerous Band in the World, Sidgwick & Jackson, U.K. 1991, 1993; interview from June 1988

There's an element in Metallica that's the same with us. We couldn't really go out and do gigs with Slayer, but with Metallica it's not so much the style of music we play, it's more an attitude of going out and generating a lotta energy. Although, we're a helluva lot sloppier than Metallica!

We've thinking about tours, like, our favorite new bands out, like Metallica. We're friends with those guys and stuff and we're trying to work out something with those guys. But it's like, you know, they're going like we are, [?] we think that might be a monster show.

I really like Metallica. They're like the best band doing anything in rock 'n' roll in the past ten years. They're just like the greatest.

[Talking about bands that have the "what?" factor]: 'Metallica.’ They are definitely a big "What?”, you know what I mean? I love Metallica.
Mick Wall, GUNS N' ROSES: The Most Dangerous Band in the World, Sidgwick & Jackson, U.K. 1991, 1993; interview from January  1990

Lars Ulrich would also describe hearing Guns N' Roses for the first time:

Well, the first time I heard [Guns N' Roses] was, we were in L.A., making the "Garage Days Revisited" EP in August of '87. And I just remember everybody was talking about this fucking band, Guns N' Roses, and that they were like the next big thing or whatever. So I had a flight from New York over to England, and so I'm sitting there going through a bunch of cassettes that I'd finagled up at the record company. And one of 'em was Guns. I'd never heard anything with that kinda attitude. It was not just what was said, it was the way Axl said it. And it was like so fuckin' real, and so fuckin' potent. Do you know what I mean?

And meeting Slash for the first time and becoming friends with the band:

It was probably October '87, and we went down to -- (laughs) -- incredible. We went down to a Motley Crue video shoot 'cause we'd heard Slash was gonna be down there. So we went down there, and there was Slash and his fuckin' top hat, and his fuckin' smelly leather jacket -- and it was just like-- But the minute that I met him, it was sorta like: This guy's totally real, and I -- as soon as I met him, I felt like I'd known him like all my life. […] But over the course of making that "And Justice for All" record, we became like real good friends, supertight -- and just like saw them a lot and hung out, and got up to a lot of no good ... a lot of no good. […] You know, women, drugs. I mean, you know, you can pretty much imagine. I mean, we weren't doing a lot of charity works for the homeless together.

The band had attempted to do some shows with Metallica in Europe in March 1988 [Popular 1, April 1988]. This might have been the Monster of Rock tour with Metallica, which they hoped to join, but ultimately were rejected [Spin, May 1988]. They later had a European tour in the autumn of 1988 planned together with Metallica, but this was shelved when they needed a break after the Aerosmith tour [Sounds Magazine, August 1988; Kerrang! July 1988].

According to Blast Magazine, the interest in doing something together was mutual: "Metallica's new album is tentatively called And Justice For All. The band is planning a world tour and hopes to take Guns N' Roses with them for at least some European dates" [Blast! May 1988].

As far as guitar, well, James Hetfield is awesome.

Just before Christmas 1991, Guns N' Roses made a call to Metallica's management, asking if the band would co-bill a US stadium tour in 1992 [Detroit Free Press, July 19, 1992]. Metallica's management relayed the request to Metallica who, according to Lars Ulrich, responded with a resounding, "Hell yeah!" [Detroit Free Press, July 19, 1992]. Soon rumors were spreading again that Metallica and Guns N' Roses would tour together [Dayton Daily News, January 10, 1992], and at the Grammys in February 1992 Metallica mentioned it backstage [Star Tribune, August 4, 1992]. The tour was confirmed in May and dates would be set with the first show on July 19, 1992 [Star Tribune, August 4, 1992].

An important meeting between the bands took place in February at Le Dome restaurant in West Hollywood [Los Angeles Times, August 9, 1992]. Attending this meeting were Axl, Slash and Doug Goldstein on one side with Lars Ulrich, James Hetfield and the management team of Cliff Burnstein and Peter Mensch on the other side [Los Angeles Times, August 9, 1992].

Burnstein would recall the meeting:

We were so in sync on everything down to the point that I was wearing a Naughty by Nature T-shirt and Axl was wearing a Naughty by Nature cap.

And Ulrich would talk about the feeling afterwards:

So, it was great after the (Le Dome) meeting . . . me and Axl were standing outside the restaurant, talking about how surprised people were going to be once the tour was announced . . . and how everyone would be saying, 'I can't believe it . . . it'll never happen'.

Slash and Ulrich did an interview on Rockline together and during this interview Lars would say the friendship between Guns N' Roses and Metallica went back to before the release of 'Appetite' and that they were set up by their common lawyer, Peter Paterno, who suggested that Metallica should hang out with GN'R because of a "shared attitude" [Rockline, July 13, 1992].

Slash and Ulrich would again discuss how it came about:

We'd sit there and say, 'We should play together.'

It continued over numerous late-night gatherings all over the country. I had these conversations with Axl and Slash, and it was always 'One day we've got to go out and do gigs together.' So now -- here we are.

Like you sit there at 5 in the morning, and it's sort of like: Okay -- well, you know, hey, we should really work together one day. And it was sort of like -- you know, it got to the point where it was just like we talked about it so much that it was just like: Fuck, we gotta actually see if we could make this happen. And, you know, how cool it would be for the kids to get a chance to see two bands together, and stuff like that. It just seemed like a really cool idea, heh, at the time. (Laughs)

Jason Newstead, the bassist of Metallica, had a slightly less romantic argument for why they wanted to do the tour:

When it comes right down to it. If we worked for the same amount of time on our own, we wouldn't play to as many people and we wouldn’t earn as much money. We would have made plenty of money on our own and everybody gets taken care of real well in our organization. But if we’re looking at the big picture and we have a chance to make a few more million dollars over a six-week period, then we’re going to do it.

But there was a great deal of skepticism to the tour stemming from obvious differences between the bands and their organizations and how they operated, as described in Detroit Free Press:

It's a tour that's been regarded with great skepticism since rumors began circulating about it late last year. The organizations were too different, naysayers chimed: Metallica is known for its precise, businesslike manner, while Slash acknowledges that Guns N' Roses prides itself in "going against the system entirely." Metallica will adhere to a relatively tight schedule; Guns N' Roses could go onstage in the wee hours and play 'til dawn, depending on the whims of its members.

And planning such a massive tour was complicated. Lars would say that when the managers and lawyers got into problems negotiating the details they would call up Slash and him and they would sort things out [MTV, July 14, 1992]. Slash would confirm their good relationship was important in getting the tour organized:

It was really complicated, but we dealt with each other as friends.

It was really all the bands’ that did it. I mean, when it came down to it, it was the bands that made all the decisions, you know? And it just got kind of legislated through the management and all that. So it’s a band tour. It’s like, you know, it’s not a corporate tour or nothing like that. It’s set up by the bands.

Both of our bands have different ways of approaching things in terms of how we run our band on a day-to- day basis. It was 'Look, let's sit down and check our egos at the door.' We all had to make sacrifices to make this happen. […] But we have a lot of mutual respect for each other, so it wasn't a problem. The real reason this is happening is a genuine desire between the main guys of both bands to make this happen. That makes it stronger than what the lawyers or booking agents or managers would throw our way.

When asked why it took so long from the Metallica first said the tour was going to happen before tour dates were announced, Hetfield would say:

We were still working out logistics and seeing if this thing could even be pulled off. There were a lot of meetings trying to figure out what cities we were going to play, how many shows in a row, whose voice could hold out, who was going on last, who was playing the longest, guest lists — a bunch of political crap. The actual stage set had to be compatible.

Slash would say that the band came together as often as possible to discuss and plan, including a dinner meeting on April 19, 1992, the day before the Freddie Mercury tribute concert in London where both bands participated [Detroit Free Press, July 19, 1992]:

You really have to feel each other out on it -- what's their trip, and what's ours? It's really simple when you actually sit down and talk about it amongst friends. When you let management deal with it, all of a sudden it becomes corporate.

Some compromises had to be made. According to Detroit Free Press, both bands agreed to play 2-3 shows per week which meant that GN'R had to play more frequently than they were used to and Metallica had to play fewer shows than what they were used to [Detroit Free Press, July 19, 1992]. It was also decided that GN'R would close every show:

[…] because [Metallica] don't want to take the risk of having us go on late and making them perform at some crazy past-midnight time [chuckle].

We’ve been on tour for so long. We're in tour mode big-time, so for us to open for somebody wouldn't make any sense at this point. It was kind of a given that we'd go like this. It's not like we’re headlining; we're coheadlining. The kids realize that. There’s no big deal there.

We knew we didn't want to follow that and we'd be on at 5 in the morning. This is a prime spot for us. There's daylight and there's nighttime. We get the best of both. During the day, you get to see faces in the crowd a lot better, which really matters to us as far as getting going. Then we get to play with the lights and get the whole other vibe. By 10:30, we're done and we get to go hang out. We beat ’em [the audience] up, and then they [Guns] have to deal with it.

Booking stadiums became a problem, too, as described by Detroit Free Press:

Venue management and city politics have actually been the biggest obstacle to getting into the stadiums," Kochan [Alex, GN'R's booking agent] says, describing curfew restrictions and other barriers to booking the tour in many cities. The 24 sites on the itinerary, he says, represent "just about every place that would have us," and a Sept. 5 show in Dallas is still up in the air.

Gilby would later state that many cities couldn't take a show including both Guns N' Roses and Metallica, and mentioned Cleveland, Atlanta and Chicago as examples [M.E.A.T., September 1992].

In June 1992 tour dates were being set up and it was reported that a planned show in Minneapolis on August 5, 1992, was cancelled. The media would speculate that Axl's psychic had told him to avoid playing gigs in places that started with the letter "M", which, according to Star Tribune, would explain why the band did no shows in Milwaukee, Memphis, Miami or Minneapolis [Star Tribune, June 26, 1992]. This rumor would be mentioned on a Rockline interview with Slash and Lars Ulrich in July 1992, just prior to the start of the tour, and Lars would emphasize they would be playing other cities starting with "M" and that if they didn't get to play in a specific large city that was because the cities weren't interested:

I think it was some kind of... I think that somebody somewhere got hold of some very long-winded story that was floating around...[…] There was a story going around about cities that began with “M” that we were omitting, but obviously we’re playing Minneapolis, we’re playing Montreal and, you know, if... I think the misunderstanding that if places like – I think the biggest problem of this tour, and this is actually the truth, is that most of the bigger cities that we aren’t playing on this tour, we’re not playing them because we didn’t want to go there, we’re not playing them because they didn’t want to have us. Places like Philadelphia, and Cleveland, and Kansas City, and Milwaukee, Chicago, Atlanta, places like that. You know, we tried when we sat down in April and put all the final details on this tour. We wanted it to go to the 30 biggest cities in the country and take the show everywhere we could, so all the fans across the country could get a chance to see this once-in-the-lifetime thing. But, you know, places, like I said, Philly, and all these other cities, the stadiums there, they just weren’t interested. They “Oh, Guns N’ Roses and Metallica will come and mess up the stadium” and blah blah blah. You know, just a lot of bad vibes from a lot of people. And it’s just like, we tried, believe me, we sat there and tormented our managers, and our booking agents and everything. “Find us a race track, find us a field,” you know, “Find us a yard... We’ll play in a sewer…” […] ”We’ll be there.” There’s like, I mean, Philadelphia is the fourth biggest market in the country and it’s like a joke that this tour isn’t going there. So believe me that we tried, so this whole thing about, well, Milwaukee, you know, that we didn’t wanna go to Milwaukee because it begins with “M,” that’s just a crock of ... beep. […] I mean, believe me, believe me, we sat down, we tried to take the city, so every big – this tour, every big city in the country that we could. And, like, I don’t wanna grovel here or apologize, but, you know, to all the kids in the cities that we’re not going to, believe me that we tried.

In a later interview Hetfield would also be asked about this rumor and would go far in saying it could have been true:

They have a lot of people out with them, and who knows who tells who what to do? That's basically their business. But when it comes down to ‘We can't play this city because...' now you're stepping into our territory, and we'd like to know why. We had backup plans, no doubt, in case [things] like this came up. I couldn't confirm it, but I think it did have something to do with his psychic, or his psychic’s assistant.

Duff, on the other hand, would vehemently deny the rumor:

That [rumor] is a complete joke. Someone told me that yesterday; that’s the first time I'd heard it. I don't know where that rumor came from. That's a blatant lie.

Ulrich would talk more about picking cities:

We sat down and , like, basically picked the 30 biggest cities in the country. And we it came down to, like, Cleveland, Philly, Atlanta, Kansas City, places like that, they just said, “Stay away.” And, like, we tried...[…] Well, [St. Louis] was one of the cities that was picked. Believe me. But, like, the stadiums there, we tried, you know, race tracks. I mean, “If you have a field, we will show up and play in a field,” you know, “find us a sewer system and we’re there.” But I just want to tell all the kids in those cities that it’s not because we didn’t – you know, not for lack of trying, all you guys in Atlanta, and Cleveland... So you guys are gonna have to do a little driving, but, hey, we tried.

Some shows into the tour the newspaper Star Tribune did interviews with Duff and James Hetfield where they separately were asked the same questions. One of the questions was why the tour didn't have a proper name and it is obvious the bands couldn't come to an agreement:

Who's to say what the name of this would be? Monsters of Rock is such a ridiculous name for a tour. It’s so sophomoric. Obviously, they were peddling to the 12-year-old kids who read comic books. I’m not into that commercialism type of thing. Lollapalooza, on the other hand, is cool. That's not just a tour; it's kind of an event type of thing. Clash of the Titans is catering to the comic book readers. We're rock 'n' roll bands. It's Guns Ν' Roses, Metallica and Faith No More. Need you really say more?

That was another little thing that we were trying to work out. They wanted something, we wanted something. They wanted this circus kind of vibe — Rock 'n' Roll Circus something. The words 'rock 'n' roll’ make me cringe for some reason, 'circus' as well. I don't think a name really matters. We have a T-shirt out there with both of our names on it.

In early 1992 it was rumored that Skid Row would be the opener of the tour, Slash would deny this and suggest it might be Nirvana:

Well, I don’t think the Skids are gonna be on it. We’re talking about doing it with Nirvana but we need to see where those guys are at. Metallica, Nirvana and us sounds pretty good to me.

In the end it would be Faith No More that would get to open the show with a 45 minute set [Rockline, July 13, 1992; MTV, July 14, 1992].

In the first half of 1992, Slash and Duff would talk more about the upcoming tour with Metallica:

Oh, it’s gonna be great! It’s one of the things that we were talking about that was really important, that was trying to bring back that great stadium tour from the 70s, where they had all these great bands. Because, after a while, it was just, like, the headlining band and the opening band, it didn’t really matter. Now it’s, like, co-headlining. It’s two really heavy bands and Faith No More is opening, so it’s gonna be a big event. It’s gonna be an all-day thing, so bring, I don’t know, a sac lunch; and a blanket[…] I think, musically, there isn’t any kind of similarities [between GN'R and Metallica]. But, attitude-wise, there is a lot. It’s one of the reasons we wanted to do it together, because we’ve gotten really far away from conforming to the industry, and doing things our own way we’ve been successful at it. And I think we opened a lot of doors – both bands will open a lot of doors for other bands, and open up the attitude of some of these, you know, very stiff white-collar executive types over the record companies and let them know that this commercial attitude that they’ve got isn’t necessarily the way to go; there is other things happening and it definitely works. So we have that similarity and, plus, we’re just good friends. […] It’s Faith No More, Metallica and us. Metallica plays for, like, three hours. We play for, like, three hours. Faith probably play for an hour – maybe 1-1/2 hour, I’m not really sure. So, it’s definitely something to get there early for.

We’re good friends with those guys and stuff, and we’ve got it worked out, so it’s gonna be a cool thing for everybody. It’s not gonna be, like, Guns N’ Roses is headlining and Metallica is opening. It’s gonna be, you know, Metallica and Guns N’ Roses. And, you know, they’re gonna do their full set, we’re going to do our full set. And then, you know, what will happen after the end of that, it will be probably something cool.

Well, I mean, as you know, both bands are good friends. We hang out in Hollywood and stuff together when they are there and we were there. And we just, like – I mean, literally, at bars and stuff we talked about why we should tour together. And it finally came together after a lot of, you know, bolt.

[Why they wanted to do this tour]: Just because we’ve been buddies for a long time. […] It was real - we’d go out, we’d get drunk and we’d go, “We should do a tour”.

When asked if the bands would be co-headlining, Slash would confirm it [MTV Headbanger's Ball, May 1992]:

Yeah, that’s one thing, it’s a co-tour, right? So it’s Metallica and Guns, Guns and Metallica. That’s that. […] So, it’s not like anybody is trying to pull some sort of star trip. It’s really just a summer concert that's gonna be cool.

As for the layout of the stage:

We’ve come to an agreement as far as the stage goes, which is a little bit of a secret at this point. We’re trying to keep some things secret, yeah? (chuckles).

This is a good one, actually. Cuz we went through, like, logistics on our own, like, “Okay, what are we gonna do?” And so we figured it out, basically. You know, we have Metallica’s stage, and then, when Metallica is done – and they play forever, you know (Laughter) […] And then we go on and we do our own stage. It’s really one of those things where it’s sort of refreshing, cuz we just go out and we do our own trip and there’s no sort of, I don’t know, commercial kind of – you know, you go out and you have to this kind of production kind of thing. We go out and we do our own thing. And so everybody who’s gonna be at the show, just goes, “Oh." You know, "there it is." (chuckles).

We both incorporate a lot of the different things. You know, these guys have been out playing stadiums for a while in Europe and stuff, and they got their whole trip, like Slash is saying. And we’ve got our whole thing. We’ve got some ideas with the snake pit that we’ve had indoors, we’re kind of taking that along, and we’ve got some different things. So both our bands are basically gonna have to complete, you know, basically the normal surroundings that we’re used to playing in. And, you know, we’ll each play for forever, basically, so pack your lunch and don’t make any plans for the rest of the week.

And when discussing whether the tour would also continue into Europe:

I don’t know, because we’re doing our European thing now and Metallica, if they haven’t done it already - you know, it’s gotten to that point where we’re just gonna probably do it in the States and leave it at that; cuz we still got other stuff to do after the States.

For the tour the band would invite charities and activists to set up booths at the stadiums, allowing them to hand out information material, accept donations, recruit volunteers, etc. Initially, the idea started with Axl wanting to help child abuse centers but it grew into encompassing other organizations, too. Represented were child abuse prevention and counseling organizations, local chiropractic education groups, The Children’s Survival Project, Inc., Rock The Vote, Rock Out Censorship, Surfrider Foundation, Amnesty International, Green Corps, The National Coalition for the Homeless, The National Organization for the Reform of Marijuana Laws, People for the Ethical Treatment of Animals, The Animal Alliance of Canada, Rainforest Action Network, and the American Civil Liberties Union. [Press Release, June 1992].

As the bands were planning their tour together, Axl was still dealing with the fallout of the St. Louis riot. In May 1992, Slash would comment on the ongoing tribulations:

[Axl]’s going through what we call celebrity prosecution. […] And I swear to God, if it screws with our tour with Metallica, I’m gonna be really –

Just before the tour Axl, Stephanie and Dylan had a vacation in Paris, France. As they returned to USA in July, just a few days before the first show on July 17, Axl was arrested when they landed in New York and then travelled to St. Louis to stand before the court. A court date was set for October and Axl was free to do the tour with Metallica. See previous chapter for more information on the St. Louis riot and its aftermath. When asked if this lead-up to the tour with Metallica would be a problem, Axl responded:

Once the music is there, it’s kind of like getting in a car and driving it when the car is completely tuned and it’s running well. And you know how to drive – drive the car. It’s like, when the band’s got the song down, I know the song.

During the Rockline interview Slash would be asked if Axl's legal problems would cause a problem for the tour:

[The tour] will start as scheduled. And Axl was really cool with the whole thing. He just went in and went, “You know, look. You can’t expedite [extradite] me” – because, you know, they can, obviously. And this situation is, he’s in the public eye to this point where he had a little sense of humor about it, and it was just like, “Alright, cool.” He’s gonna be fine. So, everything is great. […]  I can’t give you a better answer than that, just cuz he’ll be fine, and the tour is fine.

Peter Mensch from Metallica's management team would also comment on Axl's issues:

Promoters were calling us all the time asking about the Axl and St. Louis matter. And we kept saying, 'Don't worry. We'll sort it out before the tour starts.' Doug had been assuring us that things would be OK and he delivered.

Both Slash and Ulrich would admit that the legal problems meant that many fans were hesitant to believe the tour would actually happen. Slash would use Detroit as an example:

For example, Detroit is flipping out, cuz they don’t know if we’re gonna play or not. Cuz we canceled there three times. And it’s not like we don’t wanna play Detroit. It’s just because we’ve had all these - you know, circumstances we’ll call them, which have prevented us from being able to get there. So we are playing, you know? (laughs) So if you got anybody in Detroit, that’s where, you know – we are coming.

Despite the many issues some promoters were optimistic about the tour and its effect on the industry, like Gregg Perloff from Bill Graham Presents, a San Francisco-based concert production firm:

I think this tour will have a huge effect. You have two major headliners playing together in a historic package. Other acts who normally tour alone are going to look at what is happening here and think it makes sense for them, too. […] This tour is a return to the spirit of the '60s and '70s, when you had lots of bands playing together . . . a time when you could see the Who and the Grateful Dead together. […] I'm also excited about the 'Lollapalooza' concept, which mixes music with other elements, from performance art to crafts, and allows greater socialization . . . something you can do every year, like going to the state fair.

During the tour, Duff and Slash would talk about how it came to be:

Well, I think, how it got started is, 1) We’re both good friends, you know. It’s like, when you hang out in L.A., and hang out, like, in the music scene, the only friends you really can keep is guys in other bands; because other people try to, you know, use you or whatever. So, it’s like, the only people you can trust are people in other bands. So, many drunken nights we talked of going out and doing a tour, and it finally came together, basically. That’s about it.

One of the cool things about it, is that Metallica and Guns N’ Roses, as much as I hate to put a label on it, we’re probably the most against-the-grain bands that have become successful and gotten this big. And, for us, to get together and, sort of, just show the fact that we managed to pull it off, it opens doors for other bands. It makes it so that the rules aren’t as restricting as they seem to be to people trying to make it, or trying to get the foot in the door. It’s like, “just go for it,” which is a good feeling, cuz we really went against all odds and managed to get here, which is cool.

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Post by Soulmonster on Tue Aug 27, 2019 9:48 am

JULY 12, 1992

In March 1992 the charges against Axl were still pending and Axl was "still at large" [St. Louis Post-Dispatch, March 1992]. To avoid being arrested the band would cancel a show in Chicago on April 3, 1992 and two shows in Auburn Hills, MI, on April 6 and 7, 1992.

Robert McCulloch, the St. Louis County prosecuting attorney would respond that Axl "is easy to find. Wherever he goes, we’ll be waiting for him. If he wants to cancel his whole schedule, fine. If he leaves the country, we’ll notify Customs to get him when he comes back."

Bryn Bridenthal, spokeswoman for Geffen Records, said Chicago police had told Rose "they were coming to arrest him, so the band acted accordingly. Axl has always been where he had to, and this seemed extreme. Why arrest and extradite someone on a misdemeanor charge?" [St. Louis Post-Dispatch, April 1992]. According to Bridenthal, canceling the concerts was "humongous-ly costly" and that Axl “felt he should retreat to a neutral corner” [St. Louis Post-Dispatch, April 1992].

Slash would comment on it all:

I don’t know [what s going to happen], to tell you the truth. I mean, this guy, we made an ass out of St. Louis and he’s pissed off, this prosecutor is pissed off. So he’s trying his hardest to make things difficult for us. But I don’t think he’s gonna win in the long run, you know. He’s sort of pathetic, actually (chuckles).

[…] I want to get Axl through this thing that he’s going through. He’s pissed off about it, because it’s really constricting, you know.

Finally, on July 12, 1992, Axl was arrested on John F. Kennedy airport on the request of prosecutors as he flew in from Paris together with Stephanie Seymour, her child and a nanny [St. Louis Post-Dispatch, July 1992; Associated Press, July 13, 1992]. That Axl was about to surrender had been reported in the media [St. Louis-Post Dispatch, July 10, 1992].

Axl spent 11 hours in arrest before being released on a $100,000 bail [Associated Press, July 13, 1992]. The time in arrest was spent leisurely:

[…] I basically spent my time writing autographs for cops and talking with them about rock ‘n’ roll. I met all these cool cops that were telling me all about when they went to Woodstock and everything. It was great. New York cops are the best.

Axl then travelled to St. Louis with his lawyer, to avoid being extradited, and on July 14 he appeared before Associate Circuit Judge Ellis Gregory in St. Louis and denied his guilt. The trial was set for October 13, 1992 [St. Louis Post-Dispatch, July 15 1992].

Slash would comment on Axl and the case:

Axl’s fine. I talked to him yesterday. He’s dealing with the logistics of this guy in St. Louis and... I don’t want to say anything that’s gonna put the band in a weird position, but I think the guy is an asshole (laughs). […] So he’s dealing with him and he’s got a good attitude about it.

After having appeared before the court in St. Louis, Axl was in a fighting mood:

Now, I’ve been advised not to say anything - or anything derogatory- about St. Louis... Well, St. Louis can suck my dick. You saw the news; I was arrested... “by some unexpected guest”. It wasn’t unexpected! I knew that the motherfucker [=prosecutor] lied and was gonna have me arrested. And the only way we would be here tonight to do this tour was to let that asshole have his fucking way and shove it back down his motherfucking throat (?)!

Now the son of the bitch, after they dropped the deal and we’ll do the tour and I plead not guilty, he doesn’t “want to go to court now with Mr. Rose, I want to work it out with his lawyers.” Too late, little fuck! Because... I’m not fighting just for my own shit. I’m fighting for what I believe in or what I feel it’s the truth. And I’m fighting for (?) 60 fuckin’ people whose lives were threatened in that fucking riot, because that place doesn’t know how to have a rock concert. ... I mean, what... we played some place the last show they had was Jimmy fuckin’ Buffet. Give me a break!

So now, it will come down in October to one of two things: either his career or my career. And fuck him! (?) You don’t wanna another St. Louis (?)? Stop doing shit.

So (?) there’s a certain attitude required; I think it’s called “Live and Let Die”!

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Post by Soulmonster on Tue Aug 27, 2019 2:50 pm

JULY 17-29, 1992

Finally in July 1992 the long-awaited summer tour with Metallica and Faith No More started. The band had been touring for over a year now and  Matt would say the band had gotten better:

After touring Europe twice and going around the United States a couple of times, we’re much more of a unit than we were. We’re definitely a serious band now. Then. I think we were feeling out what songs were working. When you come out this time, you’ll see the difference.


Slash was awed by the band's new production:

I mean, all things considered, walking into a production of that size after being off the road for two weeks, not really knowing how it was gonna feel like or look like, walking into the building and just having that, sort of like, slow perspective of how big it got as you’re walking down the halls all opening up and you finally get outside to where the actual stage is, seeing 100 and, God knows, how many people putting up this fortress so that you can go out and play, it was a little overwhelming. And considering we didn’t plan ahead for any kind of show - you know, same way we’ve always done it. […] We just went in and we rehearsed some tunes that we haven’t played in a while in case they came up. And that was basically it, and then we just started the first show in Washington, and just said, okay, click, click, click and you’re on. And we just – you know, what we’re gonna play first....

Going into this thing, none of us really knew what it was going to be like. We just sort of went in blind. But there’s a certain kind of feeling when you’re walking down the hallway from outside the venue and then the whole stadium opens up to you as you get farther down the hall. The actual doorway opens to this huge stadium and there’s this stage that’s set up — I mean the scaffolding alone is amazing — and it’s a little overwhelming because a hundred some-odd people are putting this together and all of a sudden you feel really humbled by the size of the event. As an individual, as a band member, you feel really puny. It’s hard to see that you’re that significant and this amount of work should be going on in your honor

The new element to the live shows was the inclusion of pyro:

If anything, [the stage show] just got bigger. The stage is just a little bit different and it’s a little bit more dynamic, you know. There’s some pyro stuff, some explosions that go off, and we’ve been having a good time with it. And we can just throw in any song whenever we feel like it.


Before the first show of the tour the band rehearsed for one day:

We stayed on the road, we had two weeks off and we had one day of rehearsal in Washington before the show in Washington. That was basically it. And we don’t even get soundchecks anymore, you know? So we all have our own ways of warming up before every gig. We’ve been playing the songs long enough, to the point where I don’t think we necessarily have to rehearse on, you know – except for the old stuff that we haven’t played.

When being asked if Axl participated in rehearsals, Slash responded:

Well, ever since the band started we’ve never really rehearsed with vocals, cuz we were too loud. […] Well, I mean, obviously there would be a preference if we could all play together. I mean, we all feel that way, Axl included. But because we won’t sacrifice the band’s actual sound - we have to play that loud - there’s no rehearsal PA that can handle it. So we rehearse sometimes, like, you know, at Axl’s place or my place or Duff’s place if we want to get parts together, and then we just go and wing it at the shows. […] [Axl] couldn’t hear himself [if he rehearsed with them using the rehearsal PA], which is worse than anything because it’s bad on his vocals, his vocal cords.


The first show took place at RKF Stadium in Washington DC on July 17, 1992.

At some point after their first show, Kirk Hammett, lead guitarist of Metallica, was asked about Guns N' Roses:

We get along. I mean, there’s no rivalry. Any sort of competition would be friendly. It’s been a long time since we’ve toured with another band, so, you know, this just sort of gives us a big kick to have another act out there on the same stage. And we have to squeeze 150 percent out just to make sure that we leave the right impression on people. We’re going to be playing in front of their fans and they’re going to be playing in front of our fans.

The second show was at Giants stadium in East Rutherford on July 18. Apparently this was a particularly good show:

[Being asked if this was a great show because the audience went nuts]: They weren’t nuts. There was just more energy coming off of them. And I think a lot of it had to do with Bas [Sebastian Bach] and Mike Monroe were standing on the side of the stage and that made me really happy. It was just like, you know, go off. I was really happy that they were there. […]  And that just made me, like, work harder. I really liked that.

Slash would claim they tried to reduce the late starts but that the stage change after the Metallica set made it hard:

We’re trying to be a little bit more considerate about [the late starts], especially because of the heat. You know, the day is long enough for the people who are going. It starts, like – the doors open at 2:00. […] You know, Faith No More goes on for 45 minutes to an hour, Metallica’s on for 2 h and, sometimes, 2 h 15 minutes. And then, you know, the set change between us and Metallica is 1 hour 15 min, because they’re both big productions and so, turning the stage around like most bands do, we have to take down Metallica’s stuff and put our stuff up, and it takes a long time. So by the time we get on, unfortunately most of the kids are burnt out (laughs). But then, you know, we play for 2.5 hours, 2 h 45, something like that. So we try and get on as soon as possible. For the first time at Giants Stadium we were actually ready to go and the stage wasn’t up yet. [...] All of us were standing around. You know, it was an unprecedented event.

After this they travelled to Pontiac for a show at the Pontiac Silverdome on July 21. This was close to Detroit and Axl apologized to the audience for having cancelled two previous shows in Detroit [The Detroit Free Press, July 22, 1992]. Backstage the band had a beach party with a "champagne fountain, pinball machines and a pool table" [The Detroit Free Press, July 22, 1992].

The next show was at the Hoosier Dome in Indianapolis on July 22. After the show, music critic Marc D. Allan, writing for the Indianapolis Star, criticized Axl for wasting the time on stage with rants that displayed an "arrogance and petulance that may be cute on the gossip pages but have no place in a concert setting" [The Indianapolis Star, July 22, 1992]. In response, Axl penned a letter to Allan which Allan would later make public:


You don't get it... Wait that's too easy... Maybe you don't want to get it - or you'd have to face yourself and oh my God that's just too scary. Maybe It's impossible and it's too late for you - you know, have someone stick a fork in your ass and turn you over you're done. Indiana needs to wake up and hey if that takes a little taunting and 2 and half hours of music + a fireworks show + cartoon for a total of 2 hours and 50 minutes to wake up maybe 5% of a 48,000 plus crowd then so be it. I can also suffer your redneck, blind, narrow minded refuse about ranting - you nor anyone will ever dictate my actions, attitudes, comments, oratation, and musical performances on stage. Don't kid yourself and act above, better than, or even comparable to me or G N' R. If that were true there'd be no reason to censor my language in your basic Indiana attempt at journalism.

I came here to enrage... Thank you, you have helped me know I succeeded. I've made my inquires. I am your Rock N' Roll nightmare. And you... You're just gonna sit on your wanna be ass and watch me. born a Hoosier, grow larger than you could ever imagine or ever be able to stop. That's not to say I didn't appreciate your anger, hostility and general ignorance. It shows me my so called "RANTS" are a much needed, missing piece in our puzzle of society.

stay away from microwaves-

Love Axl

P.S, Oh, and it was never a battle O' the bands. I imagined this thing, and everyone wins, as long as I show up to my own dream, that is!!!.
Letter to Marc D. Allan, July 24, 1992

Some shows into the tour the newspaper Star Tribune did interviews with Duff and James Hetfield where they separately were asked the same questions. One of the questions was how the tour was going:

Excellent. Everybody is getting along great. Everything is running really smoothly. All the bands are going on [stage] on time, believe it or not. I'm waiting for something to happen. I'm used to it not running smoothly.

Hetfield's answer was slightly more reserved:

Not bad. It started a little rough, but it's getting better as far as working out the stage (starting) times and all the piddly crap that certain bands like to blow out of proportion — little things like ego ramps [used by GNR] and stuff we don’t care about. We're there to play music.

They were also asked  to say something nice about the other band:

I like their integrity and how they relate with the crowd. When they did Monsters of Rock two years ago, they blew away every other band just because they relate to the kids so well. Of course, I love their music and the guys. It's really cool because it's like a big family on the road.

I'm still trying to figure out how many people are in the band. At different points of the set, there's different people up there. I like the fact they're really loose and they just play any song at any time. […] They get loose onstage guitarwise and just kind of jam, which I really like. I like Slash's guitar playing. Matt is a great drummer. I'm into that [Lynyrd] Skynyrd vibe, and it kind of reminds me of that a little bit. The fact that they do have other instruments up there — piano, harmonica, horn section — is really cool. They've got no limits on what they're doing musically, which I like. Oh, I like Axl's shorts; they're really cute.

After Indianapolis the next show was at Rich Stadium in Orchard Park on July 25. Life Magazine would describe the band preparing to go on stage:

Before their show, while Faith No More and Metallica play in the hot sun, the G NR guys spend their day at the hotel, getting mentally prepared for their performance. Slash drinks Jack Daniel's and watches cartoons. Bass player Duff McKagan talks to his wife on the telephone; his heart has been aching a lot lately. Some of the other guys sleep; they often don't get to bed until seven a.m. Axl works out on his amazing state-of-the-art exercise machine, chats with his brother and sister, who are accompanying him on the tour, then has his back cracked and his ankles taped, gets a massage and stretches his throat muscles with operatic warm-ups. When they finally get to the stadium, all the guys except Axl convene in one large dressing room where they hold their breath, squinch up their faces and work their skinny legs into impossibly skinny leather jeans. They laugh, tease one another about their latest softball-playing antics, drink, flip through Penthouse, Raw Sex, Hot Split, Big Boobs and other magazines that have been fanned out for them just so, like literature in a doctor's office. There is a genuine camaraderie here, although Axl sets himself apart from the rest and is generally regarded as a thoroughbred racehorse, a Buddha, the Wizard of Oz or some other being upon whom otherworldly powers have been bestowed.

Then followed Three Rivers Stadium in Pittsburgh on July 26, before returning to Giants Stadium in East Rutherford on July 29.

Before the concert Slash would be asked whether there was a "battle of the bands" competition and if he felt the pressure of touring with Metallica:

No, and I mean that. I just want the fans to think that it was a great day--like going to the circus or the zoo, where you remember loving the day and not just one thing about it. It's not like we are out there to kick Metallica's ass or vice versa. […] There is pressure, but the way I deal with it is just having our band be as good as we can be every single night. I don't even go to the gig until right before we go on. I haven't seen Metallica since we started touring because I don't want to be intimidated or influenced even subconsciously.

The night before the show at Giants Stadium, Guns N' Roses and Faith No More, with their crews, totaling 160 people had dinner at Old Homestead in New York, Axl's favorite NY restaurant [New York Daily News, July 30, 1992]. One of their waiters revealed to Axl he would miss class next day due to the long party, to which Axl wrote a note to his teacher:

"Dear Mr. Sacco,

I’m so sorry Randy was absent from school as he was working hard to feed starving heathens. Please excuse him, as with any luck it will happen again.

Sincerely. W. Axl Rose"


Close to the ending of the set at Giants Stadium, with about 2 songs or 10 minutes left to play, during 'Knockin' On Heaven's Door', Axl "stormed off" the stage [Los Angeles Times, August 1, 1992]. The band continued playing for another five minutes before Duff announced that Axl had left after being hit in the groin by a lighter and that the show was over [Los Angeles Times, August 1, 1992; Hartford Courant, July 31, 1992].

Life Magazine would recount the episode:

At a concert in New Jersey's Giants Stadium last July [Axl] was swaying back and forth in his white spandex shorts, white funged jacket, white cowboy hat, doing a moving rendition of "Knockin' on Heaven's Door," when all of a sudden - zzzing!-some kid in the audience threw a lighter and hit him in the crotch. Axl stopped singing. He turned his back to the crowd, threw his microphone into the air, tore off his hat. And he left. Soon the crowd started chanting, "Axl, Axl, Axl," until the house lights came on and the fans stood there looking incredulous and dejected and empty.

A band spokesperson would claim the in addition to being hit, Axl suffered from a sore throat and because of this the next three shows would be cancelled [Los Angeles Times, August 1, 1992]. Axl's bad throat would be confirmed by Slash in his autobiography:

At the Giants Stadium show at the end of July, Axl barely made it through the set due to the state of his voice. He was adviced by his doctor to rest it for a week, so we cancelled the next three dates.
Slash's autobiography, "Slash", 2007, p. 358

Axl would recount what happened:

And the second night in Giant Stadium was, you know, I got hit with a couple of things a couple of different times, once when I was, like, thanking the crowd and then I got hit later, and we just kind of like – you know, I’m not gonna allow this.

The three cancelled shows, to be rescheduled, were in Minneapolis, Foxboro near Boston and Columbia, S.C. [St. Cloud Times, July 31, 1992].

Gilby would later look back at having to cancel shows:

We were so bummed because we had to take a little more than a week off because of Axl's throat. We had done two solid months of touring, and then went right into the Metallica tour. We changed PA systems and everything when we got back to America, and it killed Axl — man, we did two weeks and he was gone! We had to take time off and fix him, and the PA.

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Post by Soulmonster on Tue Aug 27, 2019 2:50 pm


I know that it'll follow me for a long time. Guns N' Roses are just that big. Wherever I go I bump into the band. If I put the TV on there's Axl on screen, if I go into a supermarket you can bet on the way there I'll see posters for their tours. If I put the radio on some Guns N' Roses track will be playing. We had a lot of fun together. I like remembering all the times we had together. Of course there were times when it wasn't all fun, but the good times far outweighed the bad times. Guns N' Roses was an experience that I just had to be part of.


After leaving Guns N' Roses, Izzy went on a road trip, trying to figure out what to do next:

The morning after I’d decided to leave, I felt like a huge burden had just disappeared from my life. That’s the best way to describe it. I loaded up a van and went on a two-week road trip to the Grand Canyon, New Orleans, the Florida Keys and a bunch of other places. It was great to get back to everyday life, where you pump your own gas and change your own tires. It was a long overdue vacation, and I loved it.

I went on a trip across the States. I went to Grand Canyon, and New Orleans, and Florida, and I surfed and... Just, you know, I went around going, 'What will I do now?'


While travelling he found out he was rumoured to replace Jett Cease, the guitarist of the Black Crowes:

When I left LA after I split from GN'R, I went on a road trip to New Orleans. From there I called my brother and he told me I'd got a fax from Rich [Robinson] in The Black Crowes. I had no idea their guitar player had split. [...] I stopped by Rich's home and he said, 'Maybe we should get together and write some songs'. I said, 'Let me take my stuff back to Indiana and get my house in order'. I love The Black Crowes, but because it was immediately after GN'R, I don't think I was ready to make any quick moves. I thought I'd just go and ride trials for a while.

We were gonna hook up and do some jammin', but it never happened, because...some other things I had to take care of, you know?

The thing is that once you've been in Guns N' Roses, probably the world's biggest band, you can't just join another band, even the Black Crowes. And if you've played with a singer like Axl Rose then it's really difficult to get used to another vocalist. I just couldn't do it.

Basically, Izzy was tired of playing guitar:

I just wasn't interested in playing guitar at that time. I don't think I touched a guitar for about a month. I was getting off on riding, but, it got cold, winter came, and I was sitting in a room with a guitar in the corner and it's like, 'C'mon, play me'! Once I started playing again I thought, this is the one thing that seems to make sense.


Around December 1991 Izzy would start writing music again [Kerrang! September 5, 1992].

From January [1992], the only thing I've really been doing is playing guitar. I put the bikes away because I found myself getting into music probably more than I ever have.

I started putting a band and the material together in January. I was sitting in Indiana thinking, man, how do I find musicians? I couldn't just run an ad in a local trade paper. You wanna find somebody you can relate to, and the guys I got are all seasoned, proven. […] I hooked up with Jimmy [Ashurst] in LA. I'd known him for years, when he was in The Broken Homes. Once we'd got a drummer, Charlie Quintana, we'd recorded these basic tracks, so I asked Jimmy what Rick Richards from the Georgia Satellites was doing. Jimmy told me the Satellites broke up. This is how outta touch I am!

And in the summer of 1992 it was rumored that Izzy had a new band and was working on a record to be released and a following clubs and smaller concert halls tour [Kerrang! June 6, 1992: Journal and Courier, July 21, 1992]. In August it was reported he was putting the "finishing touches" on his "first solo album" [The Akron Beacon Journal, August 23, 1992], and this he did in Copenhagen, Denmark [Kerrang! September 5, 1992].

The solo record was to be called 'Ju Ju Hounds' and was scheduled for release in October 1992, preceded by an EP that would be our in September [Kerrang! September 5, 1992].

Describing the record:

Basically, I just wanted to get back to what really gets me off, just a basic rock 'n' roll band, a coupla guitars, drums and bass. Simple. […] The album's better, I would think, it's more mixed. The EP's just got three slammers on it, and a reggae song. The album's got a couple of acoustic songs, a coupla slammers, some basic rock tunes and one reggae song too.

He also took a dig at GN'R:

Listen, to sum it up, at a moment, I felt like scraping it all down to the bone. Do some rock n' roll. Stop complicating the thing with a six-piece brass band, three back up singers, the harpist and the pianist... Dizzy plays great, that's not the problem, but that's not rock n' roll... What Guns did well, and that I will always defend, is our eruption on the scene.

[The recording process] was disciplined, but relaxed. We set ourselves times when we'd start and when we'd finish. It worked really well. No stress, no chaos and nice and quiet. When I think about how we worked when I was with Guns N' Roses it was the complete opposite. It was impossible to get organised, there was always stress. It was pure chaos. The simplest conversations or situations would get turned into massive problems. It's only now that I've learnt what a little self-discipline can do. That's how we worked in the studio, we concentrated, we worked quietly and thought everything through first. Everyone knew what they wanted and what they ought to do. It was incredibly creative, friendly and kinda exciting. Nothing could be more different to the way it was in Guns N' Roses. When I look at Guns N' Roses now nothing's changed, they still stumble along on that treadmill. So what? I wish them all the best, I really mean it, but it's just not my kind of thing anymore.

Izzy would explain the name of the record: "The title of the LP came by accident in the studio. I was singing a backing track to something, and when I played it back it sounded like I said, `Ju ju hound'. It doesn't mean much really" [Kerrang! September 12, 1992]. In fact, there had been a band called "Ju Ju Hounds" playing in Hollywood in the early 80s.

After the release he planned a European club tour with most of the musicians from the album and EP: guitarist Rick Richards (ex-Georgia Satellites), bassist Jimmy Ashurst (ex-Broken Homes) and drummer Charlie Quintana [Kerrang! September 5, 1992].

Alan Niven, who was no managing Izzy, took a dig at GN'R who had claimed Izzy had been tired of the touring:

Statements to the effect that he's 'not into touring and videos' are completely false. Everyone knows Izzy lives to play music and travel.

Slash would be asked about Izzy's music in July:

I haven’t heard any of his new material. I know he does have a band and he’s got a record that’s gonna come out in November.

Talking about his plans:

To put out a good record and go out and do road work and keep writing and keep travelling around and that kind of thing. Oh yeah, and actually find a place to live in between all the touring. Maybe in the States or in Europe. I like both.

Being asked why the songs he wrote in GN'R sounds different to the songs on 'Juju Hounds':

Yeah, it was more of an evolution. And... ah, it's a lot to do with the... players, you know? It's a little bit different approach, I think... different sounds... you know. It's more basic I suppose.

And when asked if he did anything different guitar-wise:

When he started touring they considered playing some Guns N' Roses songs, and even rehearsed some, but decided that it didn't sound right:

It didn’t feel right at all, so we ended up leaving it behind. […] I know some people want to hear it. Guns N’ Roses is touring America this year so if they really want to see it, they should see it with Axl singing it.

In 1995, Slash would imply that Izzy had abandoned his band:

Izzy, obviously, is doing doughnuts in Indiana somewhere. His own band doesn't even know where he is.


Izzy was also keeping sober:

Yeah , basically, the only thing that seemed to give me major problems in my life were drugs and alcohol. But now I've been clean for two-and-a-half years.


After the last Ju Ju Hounds tour [=which ended in September 1993], I put away my guitars and, for a year, I drove cars and rally motorcycles in races in Indiana. When I go back, I don’t miss a single race and, even on TV, I watch it religiously. Music is cool, but…
Rock & Folk, April 1998; translated from French

From 1985 to 1991 I traveled constantly, spending most of my time in hotels. Then we went all over the U.S., Europe, Japan and Australia with the Ju Ju Hounds. It becomes a lifestyle. You feel this forward movement, and you gotta keep it going.

In 1998 it would be reported that Izzy had lived in different places around the world: "England, Trinidad, Costa Rica, Spain, Denmark and Sweden" [Los Angeles Daily News, March 20, 1998].

I went back to Indiana. At that point I was absolutely fed up with the whole music thing. I was just bored. I had to do something else. So I went over to Madrid and started looking for a place.

The place he found in Madrid was a house without a phone:

That was a little tough. It got to where I had this uncontrollable urge to send a fax or something.

One day Rolling Stones played in Indiana and I was backstage with Keith Richards. I told Keith that I was homeless. He thought it was funny and laughed: 'Ah, a man without a home'.
Expressen Fredag, March 20, 1998; translated from Swedish

Despite this nomad existence, he would claim Indiana had been his home base since 1988 when he moved back there [BAM, 1998]


Izzy didn't think Keith Richards comment was particularly funny so he and his wife Annika (whom he married in 1991), after a few months in Spain [Press Kit for 117 Degrees, January 1998] moved into a house in his old hometown of Lafayette, Indiana [Expressen Fredag, March 20, 1998].

My adolescence was just like Beavis & Butthead. In the town, a t-shirt with the text 'Lafayette - the all American city' is being sold. A friend usually says that it ought to say 'Lafayette - the all American city, bring your own fun'. There's absolutely nothing to do there.
Expressen Fredag, March 20, 1998; translated from Swedish

There Izzy would take up racing:

We started out racing bikes, these specialized models. But then we moved onto cars - old BMW 2002s and Alfa Romeo GTVs from the '70s. You can pick them up pretty cheaply and they run real well. Racing is a great tension release.

I'm crazy about driving fast, shouts Izzy. Next year I'm going to start driving amateur rally and hopefully follow the Paris-Dakhar in place.
Expressen Fredag, March 20, 1998; translated from Swedish

We bought this old road grader over the phone - sight unseen. It had no brakes and leaked, but it had the big blade and we just went around in circles and made the track. We started out racing bikes, theses specialezed models. But then we moved on to cars. It was a generally a 'run what ya brung' setup. I started getting into the old BMW 2002s and Alfa Romeo GTVs. They're from the 70s. You can pick 'em up pretty cheaply, maybe $1,500 for the beaters, and they run real well. They were endurance races, just for fun. I've always been into anything motorized. Racing is a great tension release.

And motor cycles:

As soon as I became sober I bought a Harley and I have been addicted ever since. I don't drive for escaping something, but because it's fun. I love the movement and the freedom.
Expressen Fredag, March 20, 1998; translated from Swedish

In 1996, when asked what Izzy was up to, Duff would answer:

Izzy is racing Porches up in the desert. He's cool.

In 1998, Izzy would describe what success meant to him:

A day off to ride my motorcycle. That's as simple as it gets. That's my idea of fun: being successful enough so I can have a day off to ride my motorcycle.


At some point after the first Ju Ju Hounds tour that ended in 1993, Izzy started working on a follow-up album. Parts of the album was recorded while Izzy was on extended stays in England and Trinidad [Press Kit for 117 Degrees, January 1998]. But for unknown reasons this record was never released. Some of the songs did end up on 117 Degrees.

MARCH 1998 - 117 DEGREES

Some time in 1995, Izzy reconnected with Duff and started writing music again:

We recorded 10 songs in eight days. It got me excited about music again. I realized how easy the whole process could be. Those sessions were fun and painless. We just had a great time.

This led to him establish a solo band with guitarist Rick Richards, Duff and drummer Taz Bentley [Los Angeles Daily News, March 20, 1998]. Prominent on the record would be guitarist Rick Richards who also played in JuJu Hounds [Guitar, September 1998], drummer Patrick Taz Bentley from Reverend Horton Heat [Rock & Folk, April 1998], and Duff [Press Kit, January 1998]. The original bassist had been a friend of Izzy's, but Duff was drafted in to re-record his parts [Press Kit, January 1998].

I never have to tell [Richards] anything. He plays what I would play if I could. It's like having an extra pair of hands.
Guitar, September 1998; original source unknown

The record would be titled "117 degrees" and was released om March 10, 1998 [Press Kit, January 1998; Guitar, September 1998].

The record would contain songs from the Ju Ju Hounds sessions, including 'Gotta Say' (recorded in England) and 'Good Enough' (recorded in Trinidad) [Press Kit, January 1998].

Talking about the new record:

We went to the Complex, in Santa Monica [Calif.], and recorded this really aggro stuff, all thrashers. Then Duff came in and re-recorded all the bass parts. The songs sounded amazing.

In the beginning, I'd really wanted to put out a screamin'-fast, 100-mile-an-hour record. But after Duff got involved, we decided to work on some slower stuff to give the album more depth and variety. So we went to Rumbo [Recorders, in Canoga Park, Calif.], where Guns did Appetite for Destruction, and cut a few more tracks.

Last year I had delivered to my record company an album with ten songs of pure rock and two instrumentals. But they didn’t like it, so I had to start writing ballads like “Gotta Say” or “Bleedin’", but I kept them simple, no keyboards or anything like that.
Rock & Folk, April 1998; translated from French

The album is totally random. It's just about situations I've been in over the past few years, mostly in Lafayette. That's always how I approach songwriting - no big statement, just telling it like it is. Otherwise, you take all the fun out of it.

We started it in like '93, '94. There were no slow songs on it, it was all thrashers like [the instrumental] 'Grunt'; real hard rock, fast stuff. The label said no go. I said, 'Okay, fine.' They wanted some old, slow stuff from the earlier sessions, so it was a compromise, this record, to get everything out and on it, so... it worked out okay. […] Yeah, I was pissed [about the label not accepting the first track list]. Just for like five minutes. It's like... I don't know what to say about it. At the end of the day, it all worked out.
Guitar, September 1998; original source unknown

Being forced to go back into the studio to record new songs pissed Izzy off, and resulted partly in the lyrics to the song 'Ain't it a Bitch' [Rock & Folk, April 1998].

But although he had been inspired to create music again with Duff in 1995, by 1998 he was tired of it again:

The music has no attraction, it feels like a job.
Expressen Fredag, March 20, 1998; translated from Swedish

Izzy ended up doing only a few interviews to promote '117 degrees', didn't tour at all, and "didn't care a shit" how the album did [Expressen Fredag, March 20, 1998].

1999 - RIDE ON

Despite seemingly gone tired of music last year, in 1999 he would release a new solo album called 'Ride On':

Also Izzy is releasing a brand new record on his brand web page very very soon.

In April 2000, Izzy would do a four-show tour in japan to support 'Ride On' with Duff joining the band [Japanese Radio, April 19, 2000]. When asked if they had played any Guns N' Roses songs during this mini-tour, Duff responded:

We played 'Attitude', which is not a Guns N' Roses song, but we made it popular. "Made popular by Guns N' Roses" [says in a joking tone].

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Post by Soulmonster on Tue Aug 27, 2019 2:51 pm

AUGUST 8, 1992

In Montreal it was just really creepy. Nothing against the people in Montreal, we had a great time hanging out there. I think it was the building itself.


On August 8, in Montreal, disaster struck again.


It started during Metallica's set when James Hetfield accidentally walked in front of pyrotechnics and suffered severe burns.

Metallica was halfway through that Montreal set when the flash pot blew up on him.

Come Montreal we were all set — [Axl] was back in full voice [after cancelling three gigs to rest his voice]. We go to do our first show and we're at our hotel, just about to leave, and we get the call — James from Metallica had an accident. He burnt himself very badly, he's in the hospital […].

Metallica went on, and midway through their set, James Hetfield caught on fire when a pyrotechnic malfunctioned. He sustained serious injuries to his arm and shoulder, and the band was forced to end their set immediately.
Slash's autobiography, "Slash", 2007, p. 358

Metallica front man James Hetfield inadvertently stepped into the plume of one of his band's pyrotechnics pots at the show and had to be rushed to the hospital with extensive burns. The other members of Metallica came back onstage after James had been whisked away, explained what had happened, and apologized for suspending the show.
Duff's autobiography, "It's So Easy", 2011, p. 206-207


With Metallica having to cut their set short, Guns N' Roses was asked to step in early.

We were still back at the hotel, and they called us and told us that the fans would have to wait four hours if we came on at the time scheduled.

That thing happened so fast. I mean, you're probably gonna get the same story from  absolutely everyone. We had gotten word -- you know, we were all just hanging out at the hotel -- and somebody said that there was a big accident. James had burned his arm, and their set got cut short. The audience is, you know, going a little crazy. It would be really great if we could go on early today. (Laughs).

[…] [Metallica's] set was cut short, we have to hurry up and get there so like nothing's gonna happen. We have to prepare to go on stage early.

We were still at our hotel when it happened, and we were asked to go on early - it was a noissue; of course we agreed to do so.
Slash's autobiography, "Slash", 2007, p. 358

We could have saved the day by going right on and playing a long set. It would have been a great gesture to the fans and to the guys in Metallica. It would have been the professional thing to do, the right thing to do. And we were capable of an epic set.
Duff's autobiography, "It's So Easy", 2011, p. 206-207


In his biography Slash would claim it took the band four hours to start their set after Metallica had to cut their set early:

The band headed to the venue right away and discussed what we'd play to fill up the remainder of Metallica's slot and ours as well. We had plenty of time to go over our options but it couldn't happen because Axl did not show up. Not only did we not go on early enough to fill the void left by Metallica, we went on three hours later than our own scheduled stage time. In the end, there was something like four hours between the time Metallica were forced to stop the show and the moment we took the stage.
Slash's autobiography, "Slash", 2007, p. 358

This is unlikely not true. Contemporary reviews said it took about 2 hours [The Montreal Gazette, August 9, 1992: The Vancouver Sun, August 10, 1992]. Duff and Matt also disagrees with Slash:

When I left the hotel and they said James was burnt, I just felt it, it just felt wrong. So we hustled on as soon as we could – it was a couple of hours people were waiting. So already they were like, “uhh”, you know. And when we got up there it was just really dead. The people were sitting down....

The same shit happened in Montreal as elsewhere, us going on late - more than two hours after Hetfield was rushed to the hospital - playing to pissed-off fans. Our own fans, pissed off at us. I sat backstage monitoring the sounds drifting in from the arena, drink in hand, and could feel the crowd's mood change. The rumble of tens of thousands of people beginning to get angry is a deep, low sound that penetrates walls and vibrates the fundaments of buildings, where dressing rooms are located. It's a horrible sound, and the panic and embarrassment and frustration in my own head was compounded by that rumble. After letting the crowd reach its boiling point, we finally went out and started playing.
Duff's autobiography, "It's So Easy", 2011, p. 206-207


So we rushed around, threw everything together and raced over to the stadium, only to find out that the whole P.A. system was screwed up. [...] We all tried, and Axl - whose voice had been bothering him - really tried, but the sound couldn't salvaged. The fans were getting this half Metallica set, a Guns N' Roses set they couldn't hear - they weren't getting their money's worth.

We had just stopped the tour because I had a throat problem. I came back and I realized: “I’m gonna hurt myself.” I told Slash, “Two more songs; if we can’t get it fixed, I gotta go,” you know? And then we did more than two more songs, and finally I was just kind of like, I don’t know what to do, and I looked over, and Gilby was like, “Dude, I can’t hear.” […] And Duff was like, “I can’t hear either.” We had a little huddle, kind of, and it was like, “we’re out of here.”

So, basically, I was happening to, like, sing over 50 kilowatts of sound or something. I didn’t do major damage to my vocal cords, but I did enough that if I sang anymore under those conditions, I wouldn’t be singing. In order to hear myself, to see if I’m on key and tell how loud or how hard I need to push to sing a song properly, I have to try to sing all over the PA, which was impossible.

We got out, the PA fed back the entire time, the monitors fed back the entire time, the crowd was, like, non-existent.

So we get on stage the first show from not playing in a while, and our whole PA and monitoring system was changed — everything. I don't know whether it was they didn't have time to set up, or what, but we get up on stage and Axl just could not do it, you know, as the PA was fucking up. It's like every song, it was getting progressively worse, and it wasn't just him — he was looking at each one of us and he could see it in our faces, 'We can't hear anything!’ It was to the point where we almost looked at each other and said, 'This night is jinxed! (laughs) It's like whatever happened to James happened; their set got cut short, and we can't play anymore. Axl, if he'd finished the night, we'd be done for the rest of the tour. And the rest of the band — we were having a terrible time because we couldn't play the way we're normally accustomed to playing, and so it was just a jinxed night […]. We only played like six songs and the problem was like the minute we walked on. It was like, ‘What the Hell is going on here?' We still don't know what happened — we still don't know if it was the rush because, you know, there was going to be such a long delay that they didn't get everything set up in time. We just don't know what it was, but it wasn't Axl's voice — he was in full voice... he was fine. It's just that as each song was going by, [the PA] was progressively getting worse — he couldn't sing anymore.

So we all got ready, and we got there, and we did. But the problem is, is because of all the frantic stuff that happened -- from, you know, Metallica's crew, our crew, all the things of, you know, everybody trying to do the right thing -- by the time we got onstage -- which was early -- it wasn't together. You know, the sound was just like -- it wasn't just bad, it was like almost unplayable. And I just remember Axl coming up to me and just going: You know, I can't hear myself -- I can't hear anything. What do we do? (Laughs).
Spin, June 1999


Axl had obviously been agitated during the show and at one time said, "In case anybody here is interested this will be our last show for a long time" [The Montreal Gazette, August 9, 1992]. And not only that, Axl ended the show early after only 9 songs. Contemporary accounts said Axl left after 55 minutes [The Montreal Gazette, August 9, 1992: The Vancouver Sun, August 10, 1992].

So we announced they'd get their money back and we'd play the date again.

[…] and [Axl] just said, you know, ‘Your money will be refunded — we really apologize.’ You know what happened — it was out of our control. […]

You know, and the next thing you know, he left. And that was the end of it.
Spin, June 1999

Then, forty-five minutes into our set, a microphone stand hit Axl in the mouth. He threw down the mic and left.
Duff's autobiography, "It's So Easy", 2011, p. 206-207

In his biography, Slash would imply he was unaware of the sound issues and Axl's problems and basically put the blame on Axl:

And once we did [take the stage], Axl ended it early, after we'd done just ninety minutes out of a scheduled two hours. I am sure he had his reasons, but neither I nor the crowd, as far as I know, knew quite what they were. I can't say I was surprised when the audience started rioting.
Slash's autobiography, "Slash", 2007, p. 358


This time the riot didn't start near the stage. We didn't even see it. The crowd blew up back at the concession areas and merchandise stands, and then spread outside into the streets. In fact, our crew did their normal teardown of the set, oblivious to the riot already raging out of view. Only when our buses pulled out of the parking enclosure did we see the full extent of the situation - cop cars turned over, vehicles on fire, lots of broken windows. Once again there looked to be lots of injuries. Once again I felt anguished and heartbroken. This time I also felt deeply embarrassed, a feeling that managed inexorably to worm its way into my vodka-numbed psyche. It didn't have to be like this.
Duff's autobiography, "It's So Easy", 2011, p. 206-207

I saw the aftermath. I actually took a walk around because we were backstage — we were trying to like iron out problems, and maybe like go back on, and like we heard what was going on and stuff, and we kind of like stayed in an area. Afterwards, I like walked around the place and saw the damage and everything.

The riot resulted in minor injuries to eight police officers and twelve arrests [Associated Press, August 1992].


After the riot a class action lawsuit was filed against Guns N' Roses, allegedly resulting in a $220,000 settlement out of court [MTV, April 18, 1997].


Shortly after the show band members would complain about being blamed for the riot:

The poor guy [=James Hetfield] got fried, but the audience didn’t know that. They speak French. They couldn’t understand what we were saying. They were all drunk, and they got French in them to begin with. It just escalated. […] But we get blamed for it.

It's ironic, since we were trying to save the day. Oh, well.

My responsibility is to myself, then the band, and then to the fans. We would never do anything that would hurt our fans, but we've got to do things for ourselves. And we have to do things in our best position not to have things like Montreal happen. We really do try, but this thing is so unique that there really is no control at certain points. I think the fans know that going into it — I think they know they're not going to get a planned out stage show every time we play. They come for the excitement of what can happen. […] I know the whole story [about the St. Louis riot] and believe me, with that on our side, it's like we know the worst can happen – but Montreal! We had no idea! We went backstage and it was like we were - Axl was thinking what with Metallica not playing a full set, and we didn't get to play a full set, it's like the only thing we could do was to do a full refund and you know, we'd schedule another show. I mean it kind of sucks 'cause the people that came out came a long way, but it's like one of those nights!

Although I wasn't there for St. Louis, we have to share in the responsibility — the same way that anyone who was at the concert has to share that responsibility for what happened. Whether it was in our control, or not, we have to share responsibility because we were there. But, you know, we wouldn't have handled it that way — if I was in the audience, I wouldn't have done something like that. It's the same old thing — it's like a few bad eggs spoil the whole bunch. Like what can you do? I never would have expected it to happen in Canada! (laughs) Never, never, would we have expected it to happen there! I mean, you gotta understand that we tried to do everything possible not to make that happen 'cause we have the St. Louis thing right behind us. We know what fans are capable of, so it's like we really did try — it wasn't like we didn't remember what was possible. We take those precautions going into every show when we hire security you know, trying to get the best people in every city. So you know, that was just one of those things, beyond our control.

[Being asked if they would avoid playing in Canada after the Montreal riot]: Oh, no, not at all, because that was a few fans in Montreal you know — I don't think things like that happen every day. I've been on tour almost a year, and they've been on tour almost two years, and these things don't happen all the time. We didn't stop playing in America ‘cause of the same thing. I mean, we do give our fans credit — they're not all like that. And we certainly hope something like that isn't going to happen again.

[On returning to Montreal]: I don't know at this point. I mean, you know, we're gonna have legal problems and stuff first of all. […] I... you know what, uhm, being the new guy in the band and stuff, I don't do any business. I really don't know what's up with that. We have so much trouble just trying find out what's going to happen. I don't think it's going to be a problem. I haven't heard any bad news about it, yet.

In Montreal? That thing happened so fast. I mean, you're probably gonna get the same story from absolutely everyone. We had gotten word -- you know, we were all just hanging out at the hotel -- and somebody said that there was a big accident. James had burned his arm, and their set got cut short. The audience is, you know, going a little crazy. It would be really great if we could go on early today. (Laughs)

So we all got ready, and we got there, and we did. But the problem is, is because of all the frantic stuff that happened -- from, you know, Metallica's crew, our crew, all the things of, you know, everybody trying to do the right thing -- by the time we got onstage -- which was early -- it wasn't together. You know, the sound was just like -- it wasn't just bad, it was like almost unplayable. And I just remember Axl coming up to me and just going: You know, I can't hear myself -- I can't hear anything. What do we do? (Laughs) You know, and the next thing you know, he left. And that was the end of it.

Lars Ulrich would be gracious in describing what went down:

You know, Axl Rose is one of the most real people I've ever met. Okay, probably like one of the truest and more real people that I've ever met. When Axl is in the right mood and the right frame of mind, I mean, there's nobody that touches him as an artist and as a performer. But he's also the kind of person that it's sort of like if the monitors aren't 110%, then he can't deal with it. And then he just, instead of trying to find a way to deal with it, he chooses to walk off. And I'm sort of in a situation where I can sort of relate to both sides, because I think that there's a kind of purity in what he does. [...] It just so happens that that night, when James blew up onstage, and Guns N' Roses needed to come out and save the day, you know, Axl had one of his nights where he just wasn't really feeling it, and couldn't really pull it off. And that was the night where it really needed to happen -- do you know what I mean?


I gotta be honest with you. I've always had a weakness for Axl. I think he's really fuckin' intriguing. And, you know, people that know me well know that, oh, I've always found him incredibly fascinating. And I've found that he is one of the last few real rock stars on this planet.

And Dizzy would trivialize the event and be protective of Axl:

That was a bummer, obviously. [...] The way all went down, it wasn't really cool. I just remember that we were, you know, we wanted to come back in it and give them the full show and their money's worth because obviously Metallica couldn't finish their set [...] But some people didn't like that and eh, I am not sure exactly, I know that in a lot of cases, not all cases, but the press sort of blows up, blows out of proportion and likes to call it a riot. I know there was some bad things happening there... […] I do remember that we had full attention and just wanted to come back on for the full show.
One on One with Mitch Lafon, July 2014

In 2000, when Axl and Slash had had a fall-out, Slash would blame Axl for the riot:

It’s really one of the only regrets I have: any time fans have been disappointed. It’s not my fault, and it wasn’t a lot of other people’s fault.

I'm not going to name names, but there’s definitely somebody responsible for that.

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Post by Soulmonster on Tue Aug 27, 2019 2:52 pm


The separation of band members and fractionation of the band itself continued as the band started the UYI touring in 1991. As discussed previously, Izzy was keeping to himself and would eventually departure [see previous chapters] and Axl was also reported to arrive to shows separately and seldom saw the rest of the band members [Melody Maker, August 10, 1991].

Slash would explain Axl's solitude on the press, saying, "it’s like everyone hates him and wants to dig the dirt on the poor guy" [The Liverpool Echo, June 8, 1992].


In July 1991 Duff and Slash would be asked about the relationship between the band members and would confirm that Izzy and Axl were distant from the rest of the guys:

Slash and I, we hang. We always have. Izzy hangs out by himself, with his girlfriend and his dog and his brother... Axl hangs out with whomever, whenever. Matt and I hang out all the time. Matt rents my old house from me, so when there’s a party, we have it there!

Yet Slash would be quick to emphasize that it was like before, just that they aren't together as much:

Just so there’s not a lack of understanding here, the band’s basically the same as it ever was. The only thing is that before, we were all in the same room. […] We’re still real tight.

In August 1991, before Izzy had left, Slash would describe the overall situation but again emphasize that the bond between the band members was still strong:

F***, we don't live in the same building anymore or anything like that, but I only have so many friends and five of them are Guns. It's like family but, y'know, we have separate things — someone sleeps, someone's up, someone's drinking, someone's not... it's that kind of thing.

In 1992, the horn player Lisa Maxwell was asked about the band:

Nobody really has contact with [Axl] other than his close friends, his assistant, his chiropractor. He’s always been totally great with us, never dissed us in any way, gives us a lot of respect and jokes around when we pass him in the hall.


This quotes hides the underlying structural problems in the band at the time. Izzy was just about to leave (rumours of his departure would start swirling in September) and it would later be claimed that both Duff and Matt were unhappy with how things were done, and imply they could be the next to leave the band [Kerrang! September 21, 1991]. In Matt's case, his departure had at a point been expected to be "imminent" [RAW, December 1991]. The rumours about Matt's possible departure started being spread in August. Allegedly, if Axl "continued to be difficult to work with", Matt would quit the band [Music Life, November 17, 1991]. Matt's showdown with Axl in Mannheim on August 24 [see separate section] likely fueled his frustration.

In November 1991, when Axl hosted the rock show Rockline, he was confronted with the rumors that Matt would leave the band because of "arguments and that he can’t deal with the hysteria on the tour":

It got emotionally high and the tensions got high with everybody at different points. But, you know, Matt is working his ass off and he’s great. […] As Matt puts it, it’s like, you know, now and then you get the road blues. […] Matt is amazing, you know. And it’s a real pleasure to introduce him to the world in the way he deserves.


Despite the rumours of Duff leaving, in 1992 it seems that Izzy's leaving had helped consolidate the friendship and union between Duff, Slash and Axl.

[The relationships between Axl, Slash and I have] strengthened, if anything. You know, we’ve been through hell and high water together. You pointed the three of us out, of course, because we’re the original members. We’ve been through a lot together. We’ve grown mentally, we have to go through business stuff and a lot of shit, a lot of stuff, and we’ve been through all this together. So we know each other like the back of our hands.

On our nights off, we still hang around together. We’ll call and say, ‘You wanna go to a strip club’ or a bar or whatever. It’s a lot more fun to tour with guys you get along with.

Talking about how Izzy's departure affected the band:

It made us all closer. I had always been close to Duff, but the changes made me and Axl a lot closer than we had been. We had always been friends, but there is really a bond there now.

I think it makes it a little bit rougher around the edges to keep it all together and to keep focused. But because there’s been so much hype and so much hysteria around the band, it’s made us a lot closer as a group, which means the materials have a lot more integrity. And we’re, sort of like, really striving to be what we originally started out to be, just because there’s so much stuff going on in the outside; and so much – I don’t know the best way to put it – so much conflict with us and the media, and so on. So it makes us bond together as a family, and I think that’s really important for us. So, I think, it’s been - for the band it’s been sort of a plus as far as really going where we’re coming from.

After [the fight in late 1989], when we started working again, there was so much other shit going on with the other guys - Izzy and Steven - that in order to focus on our primary goal, which was to continue as a band, Axl, Duff and I got really tight. And it continued from there.


From the stage in Montreal on August 8, 1992, a show that Axl would end early, Axl said, "In case anybody here is interested, this will be our last show for a long time" [The Montreal Gazette, August 8, 1992], implying things not being well in the band, but this could as much be Axl's own personal issues more than the band splitting apart. Still, later that same month it was reported about conflicts within the band. Axl was said to consider doing other things after the touring, including starring in movies and doing a solo record, after being "unhappy with his band mates" and being "disillusioned" [The Akron Beacon Journal, August 23, 1992].

Despite the band members being stoic about it to the media, according to Goldstein in 2016, the late starts had been causing significant friction in the band which was manifesting itself in early 1993:

I kept them, kind of, separate. Probably the best thing I ever did for that band was not let Axl know how the other band (members) couldn't stand him because the positions that he'd put them in. He'd leave the stage and they'd have to stand on stage and continue to play.
9 News, September 7, 2016

This animosity between Axl and the rest of the band members, according to Goldstein, meant that they not only spent much time together outside of concerts, but that Axl traveled on a "separate helicopter to the rest, stayed in a different hotel and entered the stage from the opposite side" when the band played at Calder Park, Melbourne, on February 1, 1993.

In mid 1993 Dizzy would claim the band fought at times, but that it was nothing serious:

We’re six people in the band, and disagreements are inevitable. It’s like in a marriage; when a guy and a woman live together, it’s impossible that there are no fights. Same with us, we go everywhere together. Nine or ten months a year we’re on tour! We argue sometimes, but nothing serious. […] Everyone knows what his role is and keeps to it. We don’t have ego issues.
Pop & Rock, June 1993; translated from Greek

Duff would also talk about the internal fighting, including physical fights, but that they always squared up:

On the last leg Matt and I got into a fist fight. It wasn't the first time that's happened, but he called me, and we talked, and he knows I'm there for him, and I know he's there for me. I try to get along with everybody, but who knows what'll happen tomorrow. Maybe by the time this article comes out, Guns N' Roses will self-destruct. I doubt it. We're not that volatile. We've been doing this long enough. The Illusion tour is the longest in history, but we have no intention of killing ourselves over it. We know how to control the anarchy. Shit, we survived the anarchy. We survived St. Louis, we survived Montreal. Three of us got married. A war started and ended. We've seen a lot more than most people see in a whole lifetime through a completely different point of view. I've seen it in two states too - a drunken state and a sober one. I could write a book about emotions that most people haven't ever dreamed of having.

Izzy got a close-up view of how the band was operating in May/June 1993 when he returned to replace Gilby for 5 shows. He would later comment that nothing had changed and that Axl and Slash were living isolated lives:

It was cool in a way to be able to step back into something I'd left behind and to judge whether anything had improved, but I just found that it hadn't. It made me realise why I was glad to get out in the first place.

The band's egos are way out of control. Axl and Slash had the same attitude towards me as they did before I left, and there is a feeling of unreality about them. They lead isolated lives and don't seem to be in touch anymore with the real world. I spent all my time hanging out with the roadies. You know how many times i saw any of the band offstage? Once, that was Slash in London!

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Post by Soulmonster on Tue Aug 27, 2019 2:53 pm


Band members quickly realized that they had musical ambitions that went beyond the confinements of "Guns N' Roses".

In 1988, Axl would say a solo record was unlikely, but that if he wasn't satisfied after the release he might explore, like movies:

I hope I'll be really satisfied after [releasing the follow-up to Appetite]. I don't want to go solo, but there are areas I'd like to explore - maybe movies - where I might not be able to stay in the band to do it.

But in 1989 the tune had changed:

I want to do five records in two years.

And those five records were, as written by Raw Magazine:

[…] the next studio one (possibly a double), the live one, his own solo LP plus two EPs, firstly a Punk covers record and, secondly, another acoustic set, this time with X-rated versions. And then there's the films...

Axl would further elaborate on a solo record in 1990:

I can imagine finding people that play really good that I want to do songs with and see about possibly putting a solo project together at some point, but not getting the same effect. But I can't really see trying to duplicate what Guns N’ Roses is, because Guns N’ Roses is so much more than we ever thought it really would be.

In mid-1992 sources from the camp of Guns N' Roses allegedly said that Axl wanted to star in a movie and that they were "looking at a script a week" [The Akron Beacon Journal, August 23, 1992]. Allegedly, Axl had gotten a taste of acting after the November rain and Don't Cry music videos.

In addition it was reported that Axl had "been saving songs since at least the Use Your Illusion recording session" and wanted to release a solo record after the Illusion touring [The Akron Beacon Journal, August 23, 1992].

Axl would shed more light on what direction a solo record would go in:

I want to do some stuff on my own, but not as a means of trying to prove my own sense of identity. You know the song My World on UYI II? I want to do a whole project like that by myself and with whoever else might want to be on it. But right now it's just me and a computer engineer. It's just raw expression-just putting ideas together. We just go in, say "what do we want do do" and get to work. We completed My World in three hours. It's something that I need to get out of my system, but it's not something I want to base my career and future on.
Hit Parader, June 1993; interview from December 1992

To help him out with this solo project he would like outside collaboration, mentioning Trent Reznor from the band Nine Inch Nails, who had opened for GN'R on two shows in 1991:

Trent Reznor from NIN is one, and Dave Navarro from Jane's Addiction is another guy I want to work with. I've talked to Trent about working with me on an industrial synth project, at least on one song, and I definitely want to work with Dave on something. I've always been curious what he would sound like working with Slash on something.
Hit Parader, June 1993; interview from December 1992

At some point in early 1994 or 1995, Axl reached out to Reznor to discuss such a side project:

I heard from [Axl] right before we started this tour. That was kind of when the downfall of Guns N' Roses was just reaching bottom. He was just kind of freaked out and was talking about maybe working on some other kind of project. I said, "Let me know. I'm into at least listening to ideas." I haven't had any other contact. […] I feel a certain degree of compassion [for Axl], just because he was thrust into something that was larger than anything else and then a lot of weight was placed on him to carry the torch. If I had to pick something that I think was wrong with how they were treated it was that no one had the balls to say "No." As in, "No, it's not a good idea to put out two double albums of mediocre material." But if you said that you got fired. I think that's inherently the problem. I think the guy is talented at what he is doing.
Juice Magazine, July 1995

And Axl talking more about Navarro:

But the idea of working with [Navarro] excites me to no end because I still put on Jane's Addiction and it always seems brand new, no matter how many times I hear it. I'd like to try to achieve a fusion of what they were trying and what GNR is doing. I think that blend, if taken seriously and patiently, could be amazing. It could be a fuller thing than anyone's done before. Dave and Slash together could be incredible-two guys very "out there" on their own, working together.
Hit Parader, June 1993; interview from December 1992

In December 1993 Duff would also talk about Axl doing a solo record:

I think one day, what [Axl] will do – what I’d really want him to do, because I think I’d be killer – is do a kind of like Nine Inch Nails type of record, a real industrial type of record. I think that’s what he’ll do – one day.

And in January 1994, Axl would talk more about hoping to make a solo record:

I'm hoping to… I'm trying to put a project together that is kind of a top-secret weapon right now.

Eventually, Axl did not make a solo record and according to Slash [insert sources] instead wanted to evolve Guns N' Roses to incorporate new musical influences, to Slash's dismay. Slash would comment on this in late 1995:

I wanted him to. You have to know Axl to understand what I'm getting at. Axl's the kind of guy who over-thinks everything. Sometimes it's fucking classic, and sometimes it's just...whatever. And that's cool. But there was a point there where Axl goes: "I'm gonna do a solo record, and I'm gonna get Trent Reznor and Dave Navarro, and the drummer from Nirvana..." and so on. And it's like, he doesn't even know half of these people. He's just pulling them out of the sky. And I was like, "Cool! Do your thing. That way you'll get it out of your system, and when you get back we'll just be Guns N' Roses."

I wished he had done it, because then it would have really fucking taken some of the air out of the bullshit that we've been going through.

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Post by Soulmonster on Tue Aug 27, 2019 2:54 pm


As discussed previously, the band had started thinking about a documentary already back in the band's the early days. As the touring for 'Use Your Illusion' commenced the band would film every show [Fully Illustrated Book & Interview Disc, June 6, 1992; Journal and Courier, July 31, 1992; RAW, June 23, 1993].

Because we’re gonna do a documentary and so it’s just footage of what goes on. It’s gonna be like Christmas at the end of this whole thing, going through and try to edit all this stuff together, and remembering some of the stuff that has gone on, cuz it’s been pretty wild. […] I think a lot of stuff is gonna stay in the vault (laughs).

We’re making a movie. I can’t really tell you too much about it because we’re kind of sworn to secrecy a little bit, but it’s a documentary, also videos will be intertwined. Okay... If you’ve noticed, some of our videos don’t really make sense. They will. For me to really tell you everything would really kind of spoil the fun of the anticipation.

Yeah, I just see the cameras all over and stuff, and, you know, after a while you just forget about them. I don’t know if it’s gonna be like the Madonna thing or anything (laughs). I hope not.

I pray for the guys that have to edit it, because there’s a lot of stuff to take out, you know? (laughs). […] You know, stuff that we don’t want to have. Nothing bad, you know. Nothing as far as you know. Basically right now we’re just trying to do the shows. And then when it’s all said and done, we’ll get together and start going through the video stuff, and putting out the punk record and, you know, getting all that out of the way, and then concentrating on the next album.

Like, our videos might not make sense right away, because they’re all part of one long story and only part has unfolded so far. That’s just how we wanted to do it.

In mid-1992, Geffen records would claim the label isn’t involved with any video project and that they aren't allowed to talk about a possible band-produced video [Journal and Courier, July 31, 1992] and that it would become a feature-film release [The Akron Beacon Journal, August 23, 1992].

Axl would briefly mention that it was unfortunate that the incident when he pushed a piano out his window and staying in the recording studio in December 1991, never was caught on film:

Those were two major things that didn't get on film that should've. John Lennon wasn't nearly as selfconscious as I am. He could keep a camera rolling at all times.

Gilby would talk more about what was happening:

[…] supposedly we're doing a movie in which a lot of the questions from the other videos and stuff are gonna be answered. Ever since I've been in the group we've been filming and, at the end of this tour, we’re gonna put it together — basically, we're going to make it up later (laughs). […] Yeah, the movie’s going to be awesome! Right now we're calling it a documentary. In the end, basically, what we're going to do is tape a lot of shows, and we have a film crew that deals with us backstage; in the hotel; in the plane — and we're just going to put it all together and make something out of it when it's all done.

It is hard to say whether the band wanted to both release a video with live recordings and a documentary with footage from their lives, or whether it was one project. It is also not clear how the elaborate music videos fitted into the plans. Axl himself was not sure what would be the result:

Then, we've had a documentary crew out with us the whole time we've been out on the road, and they've been filming everything. We're just having our director go through all the footage and we're putting a movie together that will be a combination of reality and fiction tied in with the three videos, November Rain, Don't Cry and Estranged. That story will tie in with the reality of Guns N' Roses, yet there'll be a fictional story going on as well going on between me and my girlfriend Stephanie. We're working on it, but we can't guarantee exactly what it'll be until we get it done.
Hit Parader, June 1993; interview from December 1992

In June 1993 it would be reported that director Annie Moorhan was "sorting through the footage for a film of the tour, which will incorporate live and video footage, plus candid off-stage material" [RAW, June 23, 1993]. In June 1993, the band would also release the first two out of three videos (The Making of) that in addition to being documentaries behind the band's making of the epic music videos for 'November Rain', 'Don't Cry'' and 'Estranged' used lots of the footage described before.

Axl would again talk about the documentary in early 1994:

We'd like to make a movie. We filmed everything that we did on the road for the last few years, and we'd like to make a documentary movie and put out a soundtrack to that.

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Post by Soulmonster on Tue Aug 27, 2019 4:07 pm


In the first half of 1992, Slash did "two songs" with Motorhead[MTV Headbanger's Ball, May 1992; The Akron Beacon Journal, August 23, 1992]:

[…]we’ve been off for a month. I’d been out jamming around, like doing the Motorhead thing and all this other stuff. […] I haven’t listened to them in a while. I forgot the name of the first one, but the second one I did was called “I ain’t no nice guy” and it’s a classic song. It gave me chills - you know, it’s sort of rare to go into somebody else’s session and get chills from their song. So I think it’s gonna be on their new record. That’s as much as I can really say about it[MTV Headbanger's Ball, May 1992].
'I Ain't No Nice Guy' and 'You Better Run' (the song Slash forgot the name of) would be released in August 14, 1992, on Motorhead's 'March or Die' album.

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Post by Soulmonster on Tue Aug 27, 2019 4:08 pm


Axl: "Before we had to figure out where to live, now we have to figure out how to deal with whatever legal things are going on" [Metallix, December 5, 1992].


Slash: "You know, as far the business side of things go we have to be able to get up in the morning and do shit, otherwise it just flies over your head and it’s too late. I’m constantly on top of it and Axl is too on a daily basis. It never stops. It’s cool because I’m in my element and I enjoy it. […] normally we wouldn’t talk about it, but since we’re getting picked apart so much we might as well tell people what goes on. It’s a huge contrast to when we’re on stage. It has nothing to do with music. I’ve always done business for the band ever since we started. It’s just the way I am. I dig the challenge of doing the business as much as I like to Rock out. I’ll take the latter over the former any day, but someone has to do. If you want something to be done you have to do it yourself. Our manager (Doug Goldstein) is great but you have to communicate what you want because his final decision may not be the right decision for what we do as a group. Financially it may be, but not as far as what you believe in as a Rock band" [Raw Magazine, March 4, 1992].

Slash: "The last tour we did cost us two million dollars and we didn’t make a penny off the tour except for maybe the ‘T’-shirts that we sold. The truth is that I’m still watching my money. We put so much back into the group that we won’t really see anything until a long time down the line when we’ve sold records consistently. We haven’t even re-negotiated our contract so that might never happen. To me that means I still feel the same as I always have. I’m happy though, but it’s like that old Jimi Hendrix quote which goes ‘The more money have, the more Blues you can sing’. People like to see the glamour that surrounds bands. They like to think that that’s what it’s all about and it isn’t" [Raw Magazine, March 4, 1992].

Slash: "One of the few indulgences is getting drunk. Otherwise we’re always working. I get up in the morning, and I know this is gonna sound terrible, but I get on the fuckin’ phone to take care of business and get more dates, dealing with promoters and shit. Being on stage is great, the travelling is fine, but doing what we do is far from glamourous and I think people probably wouldn’t last five minutes doing what we do. I don’t mean that to sound bitter because it isn’t, but there’s times when we’re slaving away and we can’t even get jet-lag anymore because we just don’t sleep. At the same time people have paid to come and see us and they don’t give a shit and you’ve got to be able and deliver every night, whether you’re sick or not. There’s no work compensation in this business. I’m not knocking people who lead regular lives because that’s their choice and they probably complain in the same way as anyone else, but we ain’t just out here living an easy life" [Raw Magazine, March 4, 1992].

Slash: "I was real fortunate that I grew up in this business, so I watched a lot of people fuck up before I even started, you know (laughs)" [Videomusic, June 27, 1992].

Gilby would comment that the band would have integrity:

"What surprised me was the integrity of the band. Just watching how they do their business and the way they run the band. It’s never like: ‘We can make a lot of money on this; let’s do it.’ It’s like, I watched Slash sit down and go over the designs of the T-shirts and stuff, and it’s like, ‘I wouldn’t wear that, why would I let someone who likes the band wear that?’ It really impressed me, because from where I come from, it’s so hard to be successful in the music business, so you would do a lot of things you normally wouldn’t think is right. And for some reason, the band did everything they wanted to do. And it worked" [Hartford Courant, March 4, 1993].

In early 1994 Slash would say he enjoyed the business side of the band: "It's more or less my constant function with this band. I love the fight; I love to get into it, get our point across and make decisions people can't argue with. So that's fun" [Kerrang! January 8, 1994].

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Post by Soulmonster on Tue Aug 27, 2019 4:09 pm


In late August 1992, El Paso Times did an assement of the Metallica/Guns N' Roses/Faith No More tour so far and concluded that since mid-July only 9 out of 19 scheduled shows had taken place due to band member injuries [El Paso Times, August 27, 1992].

Things happen. All three bands are really disappointed, but it’s really nobody’s fault.
[El Paso Times, August 27, 1992].
Axl would try to stay fit:

If I notice that I’m getting run down, if I notice I have a show where I’m really tired, then I get back into a workout program. And I have, like, this special machine called the ROM, that you can do a half-hour workout in four minutes, you know. It’s like this thing some scientists built in UCLA. And I have that on the road and I use that, and we work with a chiropractor who, little by little, helps keep all the muscles in tune and everything. I’m on a vitamin program and stuff like that, basically general health, but something I’ve never concentrated on, and this show, the way we perform demands it.
[MTV, September 1992].
After the riot in Montreal on August 8 and James Hetfield's burns form the pyro accident, the tour started again with a show in Phoenix, AZ, USA, on August 25. This show was held on Phoenix International Raceway since it was to happen during a school night and there was curfew in the city [Arizona Republic, May 24, 1992; July 7, 1992]. Unfortunately, due to extensive flooding a fan was swept away while attempting to wade a swollen river and lost his life after the show [Arizona Daily Star, August 27, 1992; August 29, 1992].

Before their next show on August 27 in La Cruces, reverend Jim Franklin would warn against the concert: "There is definitely a link with violence, sexism and an overwhelming link to Satanism, the occult" [The Santa Fe New Mexican, August 27, 1992].

Then followed shows in New Orleans on August 29. Axl was not happy with the exhausted crowd:

O.K.? How much did you pay for this show? I'll tell you what I'll do I'll pay you back because this just isn't going to work. It's hard to be up here giving like this with all you people sitting there taking a f---ing nap. Yeah,yeah, I know, there he goes begging for attention again. My therapist always says, 'You crave attention.' And I go, 'No shit'.
[Live onstage as recounted in Life Magazine, December 1992].
Their next show was in Orlando in September 2 where the band would be criticised for having camera crew who zoomed in on women in the audience and encouraged them to strip, feeding the live stream displayed on the giant screens [The Orlando Sentinel, September 4, 1992]. A fan would say: "There were guys ripping off girls' shirts and rubbing their hands all over their breasts for the camera" [The Orlando Sentinel, September 4, 1992].

The band then travelled to Houston for a show in September 4, to Irving, September 5 and to Columbia, September 7 where the band would again be criticized for showing bare breasts on the screens [The Greenville News, July 31, 1992].

The band then took a short break in touring to attend MTV Video Music Awards in Los Angeles on September 9. During the awards the band would play 'November Rain' together with Elton John. Slash would comment on his performance:

[…] I’m doing a guitar solo and I’m, like, 20 feet in front of the stage. I can’t hear the band and I’m, like, half a note under key, and I’m playing the solo like I’m cool (laughs). And I talk to a friend of mine, Kirk Hammett from Metallica, and he goes, “I’ve heard you play better.” And then I finally got to see it and I was like, “God, I’m half-step (?)”.
[The Howard Stern Show, February 1, 1995].
While in L.A., Axl would talk to MTV and discuss the tour:

One of the big things I learned was that everybody had wanted this tour so bad and worked so hard to make it – to be able to do this tour. You know, Metallica through their touring and through our touring, to be able to do a stadium tour together, that we thought that when we got here it would just be “perfect!”, that it would be so cool. Well, it kind of turned out to be that, 'Wait a minute, this is so cool, that why shouldn’t it be the hardest thing we’ve ever done?'
[MTV, September 9, 1992].
Then the band continued the tour in Foxboro on September 11. At this show the concert area contained informational booths "including one for the Massachusetts Prevention of Cruelty to Children" [The Boston Globe, July 27, 1992] which was an important issue to Axl. The Foxboro show was apparently good, and Axl would state, "I wish every night could be this good" [The Boston Globe, September 12, 1992].

The next show was in Toronto, Canada on September 13 before coming to Minneapolis on September 15. The show in Minneapolis had been rescheduled after first been cancelled due to unknown reasons, although rumours claimed it was his physic who had warned Axl against playing in cities that started with the letter M [Star Tribune, June 26, 1992; July 8, 1992]. Then it was postponed when Axl had to rest his voice [St. Cloud Times, July 31, 1992].

The next show took place in Kansas City on September 17 before the band headed for Denver.

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Post by Soulmonster on Tue Aug 27, 2019 4:22 pm


The feud between Guns N' Roses and Nirvana took an ugly turn at the MTV Video Music Awards on September 9, 1992:

Tensions at the awards peaked when Love mockingly invited Rose to become godfather to her month-old baby, Frances. Rose snapped to Cobain, 'If you don’t shut your woman up, I’m going to take you down to the pavement.' Then Rose’s pal, model Stephanie Seymour, asked Love, ”Are you a model?” ”Yeah, are you a brain surgeon?” Love shot back.

Craig Duswalt, Axl's personal assistant at the time, would describe what happened and say it had been exaggerated in the press:

Stephanie Seymour and Axl wanted to take a walk around the backstage area to just relax, and maybe visit some industry friends. As always, Earl and I tagged along. The four of us arrived at the hospitality tent, and as we walked by we saw Kurt Cobain and Courtney Love, sitting at a table, eating, with their new baby, Frances Bean. This is where the story starts to vary. And this is where the media and/or secondhand accounts have blown this “meeting of the minds” way out of proportion. No matter what was said, it never really escalated into anything. As we walked by, Courtney sarcastically asked Axl, “Do you want to be godfather to our daughter?” Stephanie said something about being a model. Courtney said something about being a brain surgeon. Silly fun. Axl then told Courtney to shut up … blah, blah, blah … And that was it. It was quick; it was said in passing; it was really nothing. Yet, there are so many different accounts on what was said, and how it was said, that it makes us all laugh, because it was nothing. It was so nothing that Earl and I did nothing, except smile. And the four of us went on our merry way.
Craig Duswalt, Welcome To My Jungle, BenBella Books, May 2014

Doug Goldstein would also recount the episode

Look, Axl loved Kurt and wasn’t necessarily a big fan of Courtney. So me, Axl, and Stephanie Seymour are walking across the area where everybody is sitting and eating, and [what] you hear is, ‘Oh look it’s Asshole Rose and his supermodel girlfriend!’ It was Courtney. Axl just went over and told Kurt, ‘Look, shut up your girlfriend or I’ll knock you out.’ None of the band members of Nirvana said anything until they walked out onstage, and Krist Novoselic is trying to make himself look like a tough guy. Really Kurt, where were you? You never came to our dressing room? If you have that much of a problem dude, bring it up.
GN'R Central podcast, December 23, 2018; transcribed by Alternative Nation

And so would Kurt Cobain:

They actually tried to beat us up. Courtney and I were with the baby in the eating area backstage, and Axl walked by. So Courtney yelled, "Axl! Axl, come over here!" We just wanted to say hi to him--we think he's a joke, but we just wanted to say something to him. So I said, "Will you be the godfather of our child?" I don't know what had happened before that to piss him off, but he took his aggressions out on us and began screaming bloody murder. […] These were his words: "You shut your bitch up, or I'm taking you down to the pavement." [laughs] Everyone around us just burst out into tears of laughter. She wasn't even saying anything mean, you know? So I turned to Courtney and said, "Shut up, bitch!" And everyone laughed and he left. So I guess I did what he wanted me to do--be a man [laughs].
The Advocate Magazine, February 1993

Well, apparently Axl was in a really bad mood. Something set him off, probably just minutes before our encounter with him. We were in the food tent and I was holding my daughter, Frances, and he came strutting by five of his huge bodyguards and a person with a movie camera. Courtney jokingly screamed out at him, "Axl, will you be the godfather of our child?". Everyone laughed. We had a few friends around us, and he just stopped dead in his tracks and started screaming all these abusive words at us. He told me to shit my bitch up, so I looked over at Courtney and said, "Shut up, bitch, heh!". Everybody started howling with laughter and Axl just kind of blushed and went away.
The Observer, August 15, 1993

But the encounter between Axl and Kurt Cobain and Courtney Hole wasn't the end to the day's drama:

We finally got back to the GNR trailer, and we could immediately see that something was brewing. A potential fistfight between Guns N’ Roses and Nirvana. Earl and I looked at each other and I said, “Damn, news travels fast.” I assumed that this potential fight was because of the “discussion” Axl and Kurt had minutes prior in the hospitality tent. But it wasn’t. This was a whole new fight. Since I wasn’t there I won’t pretend I know exactly what happened, but when we got back Duff was pissed and he kept trying to get all of us to go over to Nirvana’s trailer to kick some ass. He even tried to get the Nirvana guys to come out of their trailer by yelling obscenities at the closed trailer. Luckily Doug stepped in, and the rest of our entourage calmed the band members down, so nothing happened.
Craig Duswalt, Welcome To My Jungle, BenBella Books, May 2014

Later, after we played our show and were walking back to our trailer, the Guns N' Roses entourage came walking toward us. They have at least 50 bodyguards apiece: huge, gigantic, brain-dead oafs ready to kill for Axl at all times. [Laughs] They didn't see me, but they surrounded Chris, and Duff wanted to beat Chris up, and the bodyguards started pushing Chris around. He finally escaped, but throughout the rest of the evening, there was a big threat of either Guns N' Roses themselves or their goons beating us up. We had to hide out.
The Advocate Magazine, February 1993

Years later, in his biography, Duff would explain what happened and be embarrassed by his behavior at the awards show:

[...] gotten into a scrap with Krist backstage at the MTV awards, where Guns and Nirvana both performed. I lost my shit when I thought I heard a slight of my band from the Nirvana camp. In my drunken haze I went after Krist. My means of dealing with any sort of conflict had been reduced to barroom brawling by then. Kim Warnick from the Fastbacks—the first real band I played with as a kid in Seattle—had called me the day after the awards show and scolded me. I had felt so low.
It's So Easy (and other lies): The Autobiography, Orion, 2011

Cobain would also try to get back at Axl:

I spat on Axl's keyboard when we were sitting on the stage. It was either that or beat him up. We're down on this platform that brought us up hydraulically, you know? I saw this piano there, and I just had to take this opportunity and spit big goobers all over his keyboards. I hope he didn't get it off in time.
The Observer, August 15, 1993

After the MTV Video Music Awards Axl would continue to slam Nirvana and especially Cobain from stage:

I’d like to take this time to acknowledge all the great rock ‘n’ roll that comes out of Seattle. To thank Soundgarden who went out to tour with us and ended being the coolest fuckin’ people we’ve ever worked with. And just to make it public that your homeboys Nirvana were just too fuckin’ good to play with us or Metallica. That’s okay. I guess if you wanna sit home, and fuck an ugly bitch and do heroin instead of playing rock ‘n’ roll, that’s okay.[...].

Again, Cobain would comment on it:

Since then, every time Axl has played a show he's said some comment about me and Courtney. When he was in Seattle, he said "Nirvana would rather stay home and shoot drugs with their bitch wives than tour with us." [Laughs] That's why there's this big feud in most of the high schools. It's hilarious. He is insane, though.
The Advocate Magazine, February 1993

In February 1993, Matt would talk about Cobain:

That little punk. We did nothing but treat those guys fucking good. We asked them to tour with us, we talked good stuff about them in the press. Axl even fucking wore their hat. […] But they basically slag us everywhere they go, including the MTV awards. We had a little row backstage haw haw! And Duff almost kicked the bass player’s (Chris Novoselic) ass! And I was ready to help him. […] I mean, they have some good songs – though they’re not a great band – but it’s as if they don’t want the fame. I don’t understand, man....

And Cobain would be asked if there was anything about GN'R's music he likes:

I can't think of a damn thing. I can't even waste my time on that band, because they're so obviously pathetic and untalented. I used to think that everything in the mainstream pop world was crap, but now that some underground bands have been signed with majors, I take Guns N' Roses as more of an offense. I have to look into it more: They're really talentless people, and they write crap music, and they're the most popular rock band on the earth right now. I can't believe it.
The Advocate Magazine, February 1993

And on how different the two bands were:

[…]when we played that No on 9 benefit in Portland, I said something about Guns N' Roses. Nothing nasty-I think I said, "And now, for our next song, 'Sweet Child o' Mine.'" But some kid jumped onstage and said, "Hey, man, Guns N' Roses plays awesome music, and Nirvana plays awesome music. Let's just get along and work things out, man!" […] And I just couldn't help but say, "No, kid, you're really wrong. Those people are total sexist jerks, and the reason we're playing this show is to fight homophobia in a real small way. The guy is a fucking sexist and a racist and a homophobe, and you can't be on his side and be on our side. I’m sorry that I have to divide this up like this, but it's something you can't ignore. And besides they can't write good music" [Laughs].
The Advocate Magazine, February 1993

Later in 1993, Krist Novoselic would summarize the whole feud:

I think Axl started talking some nonsense onstage in Florida, he said some mean things and then, uh… we were at the MTV Video Music Awards and Kurt & Courtney said something to him… like, Kurt was holding their baby and Courtney said, like, "Axl, will you be the Godfather? You can be the Godfather!" He got mad and told them to shut up. One thing led to another, it was really silly and then, uh… we said some nasty things about him at a show in Portland, Oregon. It was a benefit show for the No On 9 - this measure that was gonna discriminate against homosexuals in Oregon - some fascist law, you know what I mean? Franco would've been proud! And then what happened? And then he said some bad stuff about us onstage in Seattle, but he got booed, because he couldn't get away with that in our town! And we haven't heard anything else from him. It's basically really silly stuff, y'know? I think it's kinda funny and if I can instigate more stuff, I will, just for heck of it! I'd like to meet him, I met him once briefly, y'know "Hi, how are you?" and that's it, but I'd like to meet with him and maybe discuss things, resolve a few things, maybe engage in some sort of dialogue. Maybe we can have some negotiations mediated by David Geffen in his office, y'know? We'll have our list of demands and they'll have their list of demands, and through the process of elimination we'll find common ground and… it'll probably hold some Sarajevo ceasefire, but it'll be worth a try [Laughs].
Canal+, rec, August 11, 1993

And Dave Grohl would talk about the future of Nirvana and make a few digs on Axl:

For me, Nirvana doesn't have to become bigger. I'm afraid our music won't have the same effect in stadiums with 60,000 people anyway. It's deadly for the intimacy and the energy. I would have no problem with us standing in clubs like Paradiso [a pretty big disco in the Netherlands]. And as for the lack of privacy, you get used to that. As soon as Americans have a hunch that they can make money off you, they will start digging. Or write books on you. At a given moment, you KNOW all that sudden interest in your band has only got to do with one thing: money. Especially with those manager types and 'sudden' friends. But if you pay too much attention to it, and get concerned about it, you will go nuts. Look at someone like Axl Rose. Although, he probably wanted to be a rock star all his life, so now he is one, he plays his part okay. He has a model for a wife, many cars, a couple of villa's… […] How's Axl Rose in ten years? He's already a parody of himself.
OOR Magazine, September 4, 1993


On April 5, 1994, Kurt Cobain tragically committed suicide. The members of GN'R would over the years comment on this tragedy and how it affected them:

Wow, that was rough, man. You know, it’ really hard for me to say what I think about it. I think that he was very, very talented and he was a great songwriter. He was really talented. But he’s got problems. You know, he does a lot of drugs; and when you do drugs like that, it affects your thinking, and I don’t think he was in his right mind when he did what he did.

Well, I just thought the whole thing was sad. I don’t know him, so I don’t judge him at all. I thought the whole thing was sort of – it’s just a cop-out, as far as I’m concerned, you know?

I think Kurt Cobain's suicide was unfortunate but its what he wanted...RIP.

I thought Nirvana was brilliant. I thought Kurt Cobain was brilliant as well. It was sad to see him go. I also think Foo Fighters are great too.

I knew him, I knew a lot of junkies, most of them are dead. I don't know of any junkies that I see and say, 'man, he's going to snap out of it'.

On Slash's first Snakepit record the song 'Lower' would be inspired by Cobain and Savannah's suicides:

I haven’t dedicated [the song] to him. What happened was that Kurt killed himself a few days before Eric and I sat down to write the lyrics. And my ex-girlfriend, if you want to call her that, the porn star Savannah, also killed herself... When you write songs, you reflect what is around you, what’s happening, and we wrote about that. There’s a line in this song that goes, ‘How to keep the knife from inside of you’ that is about trying to prevent someone from doing this thing, because it’s very ridiculous. It’s not a song dedicated to them, but influenced by what happened. That's how we felt when we heard the news, and we reflected it in the song. All the songs on the album are very spontaneous, like something happened in the afternoon and we wrote about it at night.
Popular 1, February 1995; translated from Spanish

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Post by Soulmonster on Tue Aug 27, 2019 4:25 pm


Guns N' Roses would invite Faith No More to be one of the openers for the European leg of the tour that started in May 1992. FNM would again be asked to be the opener for the joint Guns N' Roses/Metallica tour that started in July 1992. GN'R knew FNM from way back. On June 19, 1989, Duff and Slash had jammed with FNM on 'War Pigs' at the Roxy [L.A Weekly, June 30, 1989].


FNM was a very different band than Guns N' Roses and belonged to the alternative scene of the early 90s. The band would be vocally opposed to many aspects of big bands and how they operated, including the headlining act, something that would become increasingly clear as the touring went on.

As the tour was progressing, Gilby would be asked about their decision to include FNM when they obviously didn't appreciate GN'R:

They're not too crazy about our band. The reason we got Faith No More on the bill was this: When this whole thing originally came together, the idea was to have us, Metallica, and Nirvana all together on the same bill. It was going to be our way of bringing a really broad spectrum of music together that we still had something in common with. I feel that our audiences are very close — people who have our record have Metallica and Faith No More records. It was just something that was the right bill. But if they're not crazy about the band then that's up to them, but we're not going to kick them off the bill just because they don't like the band. I can’t slag someone for having their own opinion about something 'cause I'll tell you if I like or don't like someone too. I don't know how it affects the concert, but it certainly doesn't affect us.

Already before the tour started the band members of FNM would express some consternation and wonder about what they would take part in:

I don't really know what to expect. Big shows and a lot of people, sorrow and agony, soap opera acting. I've never heard them to tell you the truth.
Raw Magazine, May 27, 1992

We haven't really experienced anything like that yet. This is our first time going out on the road with a band like that. We did do the Billy Idol tour and we were a little bit uncomfortable with that. It'll be interesting to see exactly how many Bodyguards Axl Rose has, I want the inside story. More than anything it's just something to poke fun at. Not to say that's what we're going to do, but...
Raw Magazine, May 27, 1992

We're the reporters and were going to get our scoop. We don't do any of those glamour things like flying first class and riding in limos I guess we're just dumb.
Raw Magazine, May 27, 1992


When the touring started they would struggle to reconcile their worldviews with being part of the tour. Patton would admit to being a "whore" [NME, June 20, 1992] and that they did it for the money and exposure:

We said: we may not like GNR, we may not like playing in open air stadiums in broad daylight, where we sound like shit and look like shit on a much too large stage that wasn't built for us, and we may not like the fact that people are paying too much money for a ticket...that's all true. But the fact is: it's a very good opportunity to reach a large audience that otherwise wouldn't have come to see us. And that's good.
OOR Magazine, August 8, 1992

While Gould would amusingly describe the circus that was GN'R:

GNR and their management are like a small government. Axl's the president, and his manager's a personal advisor. A couple of the other more visible band members are vice-presidents. Then there's the little guys who come underneath, to make sure only the right information is leaked out. They're dependent on the band for their living, so they will police themselves. Support bands are like other countries with whom they maintain a diplomatic front. Like, keep your mouth shut, enjoy the ride and everything will be cool. Open your mouth, and jeopardize your own position. It's an interesting thing to experience first hand.
NME, June 20, 1992

We're not the kind of band that's made for this kind of stadium show. It's just not what Faith No More is about. It may be good from a business point of view because our record has just come out, and what better way to promote it than to get on a big tour like this? But if we had our way we wouldn't be doing this; I'd rather do ten nights at the Newcastle Mayfair than one at Gateshead Stadium. […] I mean, it's cool to be out there in front of a lot of people, but man, the sound is shit, the place is too big, the crowd is a fuckin' mile away... It just lends itself to more of a cabaret act, the kind of band who want to indulge in all that theatrical bullshit, with costume changes every other song. I mean, we do change our clothes too, but usually only once a month.
Select Magazine, August 1992

Early on, Patton would start to badmouth GN'R and especially Axl to the media:

We never have any contact at all [with GN'R]. They seem to live in a whole different world so I can't relate to them. I can tell you funny stories and that's all. […] A juicy tit bit I heard the other day was that Warren Beatty was fucking Axel's girlfriend. I think he knows because we had a show cancelled the other day and maybe - just maybe - that had something to do with it.
Rip It Up, July 1992

They were playing one night and Duff walks up to Axl and pats him on the head like a loving comrade-type thing and Axl Rose immediately brings the show to a halt, this is in front of 80,000 people, and be screams, 'Don't you ever touch my head again, motherfucker!' Duff just walked away, wounded. We found out later that it was cos he's going bald and he's worried that, if you touch his hair, it will fall out. Every follicle counts.
Melody Maker, August 8, 1992

[Axl] came up to me the other night and said, 'Hey, man, your song really helped me through some really heavy shit in my life'. I said, 'Really? What song is that?' He said, 'Midlife Crisis'. 'What kind of shit?' l asked, He looked at the ground for about an hour then shook his head and said, 'Mmm, just a lot of shit, man'. I tell you, I was biting my lip so hard trying not to loose it. 'We've given up trying to be quiet about their stupid games. It's gotta come out somewhere. For a while we were a little cautious of saying anything, but we were uncomfortable with that.
Melody Maker, August 8, 1992

It's more like you see so many thing that are fucked up that you wanna say something - and we're already pushing it. The amazing thing is that everybody knows something is going to happen. By the time we get to the States, I'm sure something will have happened!
Hot Metal, August 1992

When asked what makes him laugh:

I saw two people in a bar recently, really drunk and flirting with each other. My first instinct was "Oh my God!" 'cause I knew one of them. They were sitting on high bar stools and they were learning forwards, just about to kiss, when they fell off and crashed to the ground. Justice! [They were] Axl Rose and Warren Beatty. [When the interviewer ask whether they could print that but that Axl likely wouldn't read it] Oh yes he will. He has Axl policemen checking things like that for him.
The Face, August 1992

Patton would also shed light on why he was being so vocally critical and abusive towards their headliner:

I always feel a need to provoke, especially if we're supporting some band like Guns N' Roses and people aren't really listening. By insulting them, you make them at least look: it's the lowest common denominator.
The Face, August 1992

Three weeks into the tour and we're already pushing it. We're going to spend the summer with these guys. To me there's nothing... no real reason why we're doing this tour. I mean, it makes real business sense, but on a personal level we have to provoke. To me, that's our duty.
Details Magazine, September 1992

Gould would explain:

We’ve got big mouths. We had big mouths when we were in school and we have big mouths now. It’s just that now when you have a big mouth, everybody reads what you have to say like it’s a valid opinion or something.
St. Louis Post-Dispatch, September 11, 1992

And Patton wasn't the only member of FNM who would be critical about the tour

When is this interview going to be printed? [nervous laugh] You see, I have to watch what I say...but hey, fuck that, just print this: I hate the whole circus thing, we all hate it. But at the moment we don't have the power to do what we want to do, so we still have to eat a little bit of shit. […] We almost have the power to control what we do, but not quite, so we're just gritting our teeth and getting through it best we can. […] Every band in the world might think they want to open for Guns N' Roses, but lemme tell you, it's been a real ugly personal experience, having to deal with all the shit that surrounds this fuckin circus. I've always hated that aspect of rock music and I've never wanted to be part of it, so to find myself being associated with a tour this big kinda sucks.
Select Magazine, August 1992

Besides, I'm getting more and more confused about who's who in Guns N' Roses, and it's blowing my mind. There's Dizzy and Iggy and Lizzy and Tizzy and Gilby and Giddy... Shit man, onstage now there's a horn section, two chick back-up singers, two keyboard players, an airline pilot, a basketball coach, a coupla car mechanics...
Select Magazine, August 1992

Not everybody in FNM was as critical. Mike Bordin, the drummer, would be enthusiastic and defend GN'R:

All these guys are implying that they hate Guns N' Roses, but they actually admire Slash as a guitar player.
Melody Maker, August 8, 1992

It’s an incredible opportunity that they’ve given us - just like this tour was fantastic. They’ve been super good to us. I mean, people say what they want, you know, about any band. There’s always controversy, especially with Guns N’ Roses, turbulence and turmoil that people don’t know. You know, they don’t talk to the press a lot, so people make up their own goddamn bullshit stories - and I’m not gonna do that. But the point is, it’s fantastic we’re getting in front of a lot of people. We’re getting respect from those bands, which means a lot, I think, to the people that like those bands. They realize, I think, that we’re getting respect from those bands that they like; and I think that’s really important.
Much Music, August 9, 1992

And Gould would also occasionally express gratitude:

It's fucking amazing that we even got on the tour, one of the biggest tours in the world. I don't know... I mean, aesthetically we're different! […] I think it's good though. I've gotta give Guns 'N" Roses credit, and give Metallica credit, too. Right now it's really responsible of them to pick bands that are different because they didn't have to do that. They could pretty much tour with anybody.
Hot Metal, August 1992


At some point in the tour Axl decided to confront the band with their constant bad-mouthing.

[Axl] read all the bad press we said about him and asked us about it! We actually talked to him for a while, and y'know what? He was pretty cool! One day we came to the concert, and Axl was there waiting for us. Like, 'What's the deal?'. And we just said we tried to stir up as much trouble as we could. We told him we felt like that was our job, and he just laughed. He just sat and explained his position to us a little bit. He's an easy guy to take pot-shots at, and we definitely went for the easy thing. He was cool about it. He likes to see the system shook up as much as anyone, but he's in an awkward position. We left the tour friendly. It was like making friends with the Devil. I thought all hell was gonna come down, and he let us off with, 'Aw, right, you f"kin' idiots'. That was a cool response. Most people in his position would have been real uptight dicks. I can think of 100 other bands we've done a lot less to that have freaked out 10 times as bad!
Kerrang! November 28, 1992

We said a lot of shit, and didn't realize how bad it was until we got caught. Axl was real straight with us, but it was an ugly scene. He said: 'It's like I went away and came back home to find you guys fucked my wife.' We were thrown off the tour for five hours, but we apologized. It was like being in the principal's office. He said, 'I only like you guys, Nirvana, Jane's Addiction, and two other bands, and all of you hate me. Why do you hate me?'
Sky Magazine, December 1992

That was humiliating, that whole thing. I don't know the guy [=Axl] that well, but he seemed genuinely hurt, just this honest guy, saying, 'Hey, there's only two bands I really like, and I took one of them out with me - and then you bad-mouth me in the press'.
Kerrang! February 20, 1993

We'd been talking shit in the press about Axl, and he got wind of it. So one night, we had to stick around and have a meeting with him after the concert. He was really upset and talked to us for an hour. At the end of it, one of his people came into Axl's trailer and said, 'Axl, come on, I want to show you something'. So Axl gets up, all serious, and says to us, 'Come on' - we'd just been raked over the coals and felt obliged to play along - so we all had to follow him. We went into this other trailer. It was filled with guys but dead silent, no one's saying a thing. Everyone was looking at something going on in the back. We're following Axl like idiots, but as we all get closer to the back we see what everyone's looking at - lying on a bench are these two really out-of-it women, stark naked. One was eating the other out, but it was anything but sexy. The girl who was being eaten out... she looked like she was dead - just lying there. It was so creepy. And absolutely silent. All you could hear was the whirr of the video camera. Axl walked right up in front and we freaked out. Mike (Patton) started yelling, 'Oh my God! I cannot believe you people would do this!' Everyone just shushed us, and we all just left immediately.
Kerrang! May 22, 1993

According to Slash's biography, he was also present at this meeting, although it could have been a different meeting since only Patton and Martin was present from FNM's side:

We had a much more antagonistic situation on our hands with our other support band, Faith No More, once their front man, Mike Patton, started talking shit about us onstage. We let it go once, twice, but after that, that was it. We had to have a talk with him. Axl came in with me, as did their guitarist Jim Martin, because Jim was as fed up with Mike as we were. “Listen, man,” I said. “If you don’t like it here, just fucking leave. It can’t be like this. Either let’s do this thing and make it great, or forget it, go home.” They ended up finishing the tour and that was the last outburst we heard from Mike during their set.
[Slash's autobiography, 2007


After the touring, Faith No More would look back at it:

We're still hoping [Axl] hasn't read some of [what we said]. We were just being honest, and that felt great, but it can also get you killed. As far as the press was concerned, we were like caged animals. They'd throw us a little bit of meat and we'd attack. And we realized that we were the ones who were getting screwed. The interviews that we did belonged in the National Enquirer. We were like a gossip column rather than a band.
Sky Magazine, December 1992

[The tour] was really good for the band. But it wasn't really good for our heads. Things happen when our minds are given the space to degenerate. […] The good thing was playing in front of 80,000 people a night, when on our own we'd bring maybe 3,000 people to a show. So we'd have to play 200 shows to make up for one Guns N' Roses' show's worth of people. […] Unfortunately, we're used to much more relaxed situations, just being able to hang out after the show and not having to worry about our fans shooting us or anything. Getting thrown into that atmosphere was really uncomfortable. Plus, with the security so intense, what can you do backstage? Get drunk and look at strippers? Oh yeah, that's real exciting. […] Being able to talk shit in the press and have a lot of people read it! That was really fun. That was how we got our amusement. We like to create dissension. It was this gigantic body of people that travel just like some big circus, where no one ever really communicates with each other. We thought that if we could stir it up just enough to where we wouldn't get in trouble, it might make it more interesting! After all, it's kind of uncool when a band invites you on tour and you diss 'em a little bit just to have some fun.
Kerrang! November 28, 1992

I hate rock music. I've always hated it. Like Led Zeppelin and stuff like that. I mean, my dad used to listen to that shit. It's the least interesting thing in the world, the excess and all that stuff, it's so boring. The world has gone through its period of exploration in that area. A stadium gig is fun to do once in a while, but that Guns N' Roses thing really got me down because it's as rock as it gets. It's the mentality I don't understand. I think it's disgusting. It's not natural, it's all role-playing. Complete bullshit and I hate it when our band reflects things like that.
NME, January 23, 1993

It wasn't that bad on the road for the first couple of months, but after four months, there were lots of little things...
NME, January 23, 1993

They did us a huge favour, and then for us to turn around and say that stuff in the press was pretty shitty...
Kerrang! February 20, 1993

Knowing their beliefs and the sexist, racist, homophobic things they've said in the press, the fact that they were touring with us - a band with someone gay in it kind of tickled me. But talk about crass sexism... the actual experience was disgusting. On the road. the band would send their video crew out to roam around in the audience during intermissions. They'd corner pretty girls in the audience, and everyone would scream and yell at her until she lifted up her blouse and showed her tits. [And if she refused] the whole audience would boo her. It was awful. And it happened every night. And at each stop on the tour, before Guns N' Roses would come to a town, they would have their crew arrive a day early and find the local club, where they'd give strippers backstage passes. Every night, the whole scenario was like millions of stripper chicks just hanging out waiting to do one of the band, or a roadie or whoever. […] It was so sleazy. We left every night right after we played. The only time I ever talked to Axl was the night our band had to stay after Guns N' Roses' set to get a tongue-lashing from him.
Kerrang! May 22, 1993

Opening for them was an absurd situation for a band like Faith No More. Their scene was about excess, excess, excess. There were more strippers than road crew. We weren't into that type of male bonding. The only time I saw their show was when we were reprimanded for laughing about the absurdity of the touring environment in the press and told that we'd have to apologize to Axl or leave the tour. We made an attempt to explain where we were coming from, but I think it went over his head because as a sort of peace offering he brought us to a trailer backstage where two naked women strippers were having sex.

Last edited by Soulmonster on Mon Mar 09, 2020 12:35 pm; edited 12 times in total
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Post by Soulmonster on Tue Aug 27, 2019 4:25 pm


At the show in Denver on September 19, 1992, the band started with 'Welcome to the Jungle' but Axl then left the stage leaving Duff to sing on 'So Fine' and 'Attitude'. This was then followed by a "slow blues instrumental" before Slash started on a guitar solo only to be interrupted by Axl coming onstage again and saying "shut the fuck up" to the booing crowds who were fed up with the performance so far [Rocky Mountain News, September 1992; 101.9 King, December 5, 2016].

Apparently, Axl had been on his way back to the hotel after 'Jungle' but concert promoter Barry Fey, claims to have ordered to limo to return to the concert out of fear of a riot [101.9 King, December 5, 2016].

In an article in Westworld, Fey would describe how it went down:

I'm walking backstage, and this guy comes running out and says, "Barry, Axl just left." I said, "'The fuck are you talking about, 'Axl left'?" So I ran backstage, and I found out that he had come down off the stage, got into the limousine and left the site. So I said to... I went up to - his name was Big John; he was the guy who ran the limo company - and I said, 'You don't work for him; you work for me.' I said, 'You ever want to see another fucking dime of this company's money, you get that car back here.' And he said, "What?" I said, "Yeah. The only way he gets out of that car is if he jumps out. And if he jumps out, you leave him in the street. But you get that car back here." So he gets on his little telephone. People are getting a little pissed by this time. Guns is up there just jamming, right? They played "Welcome to the Jungle," and then they didn't do anything; they were just jamming, and people were getting a little pissed off. In fact, I found out that they were taking their Guns N' Roses T-shirts back to the concession stand and throwing them at them and saying, "Give me a Metallica shirt." So I went into the Guns and Metallica dressing room. So Guns sends down an emissary -- and this I know for sure because I was standing there within three feet - and he tells Lars, "Would you guys consider coming back up and jamming with us, because the crowd's going to get out of line?" So Lars tells him, word for word, "You bozos don't have enough money in your collective bank accounts for me to get back on that stage." So at that point, I left the dressing room, went back out to the parking lot and got my .357 out of my glove box and put it in my back pocket. So I go out there, and I don't know what I'm going to do, because, you know, he had caused a riot in Montreal, I believe, by leaving and not coming back. Well, a few minutes later, the car comes back, and Axl gets out and talks to his manager - his name was Doug Goldstein; he was a glorified security guy; he use to do their security, and he took over their management. But how do you manage, manic depressive heroin addicts? That's a pretty good trick. I don't know how you do that. So he [Axl] comes and talks to his manager and goes right up on the stage and gets back into it. So I put three of my, what do you want to call 'em, security, goons, thugs -- the toughest ones I have - at the top of the stairs and three Denver cops at the bottom. My instructions are: "The only way he gets out, if he leaves again, is that way," and I point to the crowd. Doug Goldstein says, "Barry, you can't do that. Axl will get so pissed." I said, "I don't give a fuck about him, and I don't give the same about you. I care about them," and I pointed to the people. So that, basically, is what happened. But Lars tends to tell a different story, and Lars has far more credibility out in the industry than I have. He swears I put the gun up to Axl's temple and said, "Get on that fucking stage or you're going to die." It [his .357] never left my pocket. But every time he sees me today, he says, "Barry, are you packing today?" So that was that story. […] Of course, that also was Slash's bachelor party that night. It was downtown at the Embassy Suites, which is no longer there. They were handing out little tickets - a blue ticket, like if you wanted a blow job, a yellow ticket if you wanted to get laid, a red ticket if you wanted to do both. It was a crazy night. And it turns out, I found out later, the reason Axl left was because he had a fight with Slash on the stage. But you know, I didn't really care. I just... I wasn't going to let him get away with that. And Lars says to me, "Don't tell me you wouldn't have shot him." I said, 'Oh if he's not going to go on, he's going to get shot." But it didn't have to happen. So that's a great story, but it's true. That's the way it is. If you hang up with me and call Lars, he'll tell you the story, "Yeah, Barry put this fucking gun to his head." Didn't happen[Westworld, November 18, 2011].

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Post by Soulmonster on Tue Aug 27, 2019 4:26 pm

SEPTEMBER 23, 1992

In an interview in early 1995 Slash would for the first time mention an OD that happened "a couple of years ago:"

I was like dead for eight minutes. It wasn't recently, okay? There was an incident that happened, but it was a couple of years ago.

The reason the media hadn't caught on to this story earlier was that the band and crew had decided to keep it a secret, as Craig Duswalt would describe it in his book:

That night we had a team meeting—the band and some key members of the entourage, me included. We figured out what we were going to say to everyone else on tour, and we were all sworn to secrecy about what happened that day. The band didn’t want the public to know, and this story was buried.
Craig Duswalt, Welcome To My Jungle, BenBella Books, 2014

Slash would forget he had told about it to Metal Hammer in early 1995, and be surprised when another interviewer subsequently asked about it:

Wow. Where did you hear that? I don't remember ever talking publicly about that. Uh, but, yeah, I've had a couple of close calls. I don't know what you'd call it though. They told me that I was out for a while but I really don't remember anything about it. I didn't see any fucking bright lights. But even if it did happen, I was too fucking high to have seen anything.

Before a show in San Francisco with his side-project Slash's Snakepit, he would talk more about the incident:

They found me unconscious by my hotel elevator. I ended up in the hospital and woke up with all these tubes sticking out of me. They told me I'd been dead for 8 minutes. […] I had stopped doing the hard stuff six or seven years ago, and that’s the only time I screwed it up. I had to quit; I was doing everything extremely over the top to the point where I shouldn’t even be alive. I just fell in with the wrong people up there in the Bay Area. […] No one knew about it. It was kept pretty quiet. I’m clean now, although I still have a few vices: cigarettes and my Jack Daniel’s.

Much later, Slash would describe the incident in his biography:

When we got to the Bay Area to play the Oakland Stadium on September 24, 1992, I got into a bit of trouble. We were staying in a hotel in San Francisco, and before I went to the venue that afternoon to sound-check, I got into a huge argument with Renee over the issue of our prenuptial agreement. It descended into a screaming match and a fight so abrasive that I was beside myself pissed. I went to the gig so angry that I was determined to do what I do when I want to act out: get some smack. I hadn’t done any in so long because, as unhappy as I was with the band, I was not about to cripple my professionalism. But this gave me a worthwhile excuse as far as I was concerned.

I got to the show and I ran into an old friend, a porn star we’ll call “Lucky,” who I’d known some years before. She was a friend of an ex-girlfriend of mine, the porn star Savannah, whom I’d dated for a few months when I had downtime in L.A. during my time off from Renee. Savannah was intense. I had no idea that she was a junkie. The clue I should have picked up on was that she only liked to fuck after she’d fixed; I didn’t know it at the time. We got into a huge fight one night when she spontaneously decided to give me a blow job in the middle of some bar in New York City.

I first met Lucky when she came over to hang out with us at the Mondrian. She and Savannah got stripped down, and when we ordered some champagne they invited the room service guy into the room to watch them go at it, and before long the only thing holding this guy’s eyes in their sockets were a few little tiny veins.

Anyway, I ran into Lucky at the show and we got to talking. I gave Lucky passes and about seven hundred bucks in cash to get me as much heroin as she could find. We did the show—it was great—then I went straight back to my hotel room and waited. I kept drinking the whole time, maybe did some blow, but when she showed up at five a.m., I was pretty much ready to pass out.

Lucky and her boyfriend came rolling in with all of this crack and smack and I’m sitting on the floor watching them spread out all of the drugs across the coffee table. They’ve got rigs, points, shooters, tools, hardware, whatever you choose to call them—they’ve got brand-new needles. We get it all going, the three of us, and we are all fiending hard. It was intended to be a fun illicit thing—momentary, as far as I was concerned—but this is getting intense. We all do a hit, but the shit isn’t strong, so I do a few more. They are sending the crack pipe around.

The hours go by and we are really loaded. Matt calls me sometime in the early morning he invites me to his room to do some blow.

“Okay …yeah …I’ll be right there.”

I get up, weak-kneed, reeling from my last crack hit, and I look over at Lucky and her boyfriend; they are having the time of their lives—they have never had a motherload of drugs like this for free. I make my way across the carpet to the door, dragging my feet, realizing that I’m dizzy and I can’t speak. I open the door; I don’t have my wits about me at all. I see a maid in the hallway pushing her housekeeping cart and I ask her which way to the elevator. That is what I try to say. I remember it all in slow motion; I remember hearing my voice speak far away.

I collapsed like a rag doll in the hallway …I blacked out, and my heart stopped for eight minutes, or so I was told. I don’t know who called 911. My security guard, Ronnie, was there and so was Earl, Axl’s guy, and they took care of me and got the paramedics. I woke up when the defibrillators sent an electric shock through my chest and stunned my heart into beating again. It was like being slapped in the face hard enough to wake you from a deep sleep. I remember the bright lights in my eyes and a circle of people leaning in over me: Ronnie, Earl, and the paramedics. I had no idea what was going on; it wasn’t an easy wake-up call.

I was put in an ambulance and taken to a hospital, where I was given the once-over. I was told to remain overnight for observation, but I wasn’t having that. After a couple of hours I signed myself out and went back to the hotel, Ronnie in tow. I had no remorse whatsoever about my over-dose—but I was pissed off at myself for having died. The whole hospital excursion really ate into my day off. I was hoping to make it through without a hitch and was kicking myself for not being able to maintain my balance and just stay awake through the whole thing as planned.

Back at the hotel, the vibe was pretty somber. Apparently, my halfway swan dive didn’t look so good. Everyone thought that I was a goner and was acting appropriately serious, which is something that I could never understand. My attitude at the time was, “Hey, everybody, I made it! Let’s go!” When I got back, my highest priority was finding Lucky and her boyfriend. From what I was told, Earl had scared them off. I completely understood that because Earl was terrifying: He was a big black guy, over six feet tall, with a football player’s build and an oddly sweet face. That feature actually made him more disturbing because when he was pissed, you really knew about it.

I’m sure the mention of prison and me dying was enough to drive Lucky and her man to vacate quickly. It wasn’t their fault that I couldn’t hold my shit together. I don’t know for sure, but Earl probably threw the dope away in the course of kicking them out. At least that’s what I told myself because they hadn’t left me anything …and that bummed me out most of all. I cooled down in my room for a few hours, with both security guards posted in the hallway outside of my door to ensure that I didn’t go anywhere.

Eventually Doug Goldstein came in and launched into one of the most pathetic displays of bullshit concern that mankind has ever known. He gave me a long speech at the top of his lungs about what I’d just done, about how people love me and this, that, and the other. It was very aggressive, very dramatic, and very fake. To illustrate his “seriousness” he threw a bottle of Jack Daniel’s through the television. When he left, I retrieved that bottle, which hadn’t broken, and poured myself a stiff drink to get over his intervention.

Shortly afterward, Doug called a band meeting in Axl’s room. We all gathered around, and I was still nodding out at this point. Everyone voiced their concern for my well-being, but Axl’s comment stood out most of all. It snapped me out of my haze, actually.

“You gave us a scare,” he said slowly, looking right at me. “We thought you were dead…. I thought I’d have to look for a new guitar player.”

The next morning we boarded helicopters and flew to Oakland for the gig, and the whole time Ronnie and Earl monitored me like two hawks tracking a mouse. From there we did the L.A. Coliseum, then San Diego, which was killer: Motörhead, Body Count, Metallica, and us. We did the Rose Bowl in Pasadena after that, which was just huge, and then we ended the tour in Seattle. And after a few days, everyone realized that what I’d done was a onetime thing.
[Slash's autobiography, 2007

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Post by Soulmonster on Tue Aug 27, 2019 4:27 pm



While the tour was on hiatus due to James Hetfield injuries, Slash was interviewed by Guitar Player and talked about the tour:

I feel bad for James Hetfield. I know he's bummed out because Metallica never cancels gigs. It figures that as soon as they get on tour with us, all hell breaks loose! All these cancelled shows aren't his fault, but he feels responsible. He's trying desperately to heal, and everyone is still committed to finishing the tour.

And on the decision to let GN'R end the shows:

There's a certain kind of unpredictability about GN'R, as opposed to the rigidity of Metallica's whole trip. We could've never been the middle band, because it would've thrown Metallica way out of whack. […] We are aware the audience is pretty tired by the end of the night, but we've fought through that. But even though the crowd is tired, we've felt that the response has been warm and appreciative. Any other way would've been a disaster. We're trying to be a little more responsible with how we do things, because we know other people are involved; but still, with us, it's a firecracker situation.

Slash would also talk about his solo spots:

It's pretty off-the-cuff. In the first several shows of the Illusion tour, I would play solos to fill in the gaps while Axl figured out which song to play next. As the tour continued and the set began to solidify more, we ended up just keeping a few spots open. For example, I never expected my rendition of "The Godfather Theme" to become a permanent part of the set - it just happened, and people came to expect it. Everything just evolved naturally. […] I don't like to play unaccompanied all that much, so over the last few shows Dizzy and I have started working out a blues duet that I think works really well. It's a 12-bar thing in a minor key, and I love doing it. But so many things factor into whether I'm going to play an extended, unaccompanied solo. A lot depends on how well I can hear myself in the room. I can't stand directly in front of my cabinets, because they're too dry, so I depend on the house mix. Because we don't do soundchecks, the first thing I do after I hit the stage is find different sweet spots on the stage. If I can't find a good spot, then I'm sunk for the rest of the show. If I do find a good-sounding area on stage, I can wail my ass off, and I'll play more or longer.


The next shows in the Guns N' Roses/Metallica tour took place in Oakland on September 24, 1992 and at the Los Angeles Coliseum in Los Angeles on September 27. The rapper Ice-T's band Body Count had been opening at recent shows since Faith No More had other commitments, but at the Coliseum and for the upcoming October 3 show at Rose Bowl, show promoter Brian Murphy decided to cut Ice-T due to their controversial song 'Cop Killer' and the recent massive riots in Los Angeles [Los Angeles Times, September 24, 1992]. Body Count manager Jorge Hinojosa didn't criticize Murphy for his actions. "We're glad to be doing the dates we are on the tour," he said [Los Angeles Times, September 24, 1992]. Axl, on the other hand, was critical:

Both Ice and myself are tired of all the racial crap. This was our chance to play together and show people that we're about artistic expression, not violence or prejudice. It comes down to this--freedom of speech is OK, as long as it doesn't piss off some public official.

Apparently, the LA gig was not very good due to a lackluster crowd who had caused both Lemmy from opening band Motorhead and James Hetfield to complain about them [Los Angeles Times, September 29, 1992]. During the show Axl would address the crowd, going "a large number of you seem to be the most boring . . . crowd that we've played for so far on the face of the . . . Earth" […] Now, we can work together here, and we can continue to stay up here and try to kick some ass. But, if you're t-i-r-e-d and it's been a long night and tomorrow is going to be a hard day and you're not really into it . . . well, we don't have to be either. . . . 'cause I'm gonna give what I receive" [Los Angeles Times, September 29, 1992].

Axl would also talk about the show from stage in Rose Bowl a few days later:

We didn't have such a great experience when we just played the Coliseum. This (expletive) makes up for the whole thing.

And Slash in early 1994 when talking about how poor US audiences can be:

Ask the guys in Metallica about one show in LA at The Coliseum which had to be the deadest 60,000 people I've ever seen! They've got the beet to get drunk and have a good time, but they don't even get drunk enough for that - they just stand there!

The next shows were in San Diego on September 30 and Rose Bowl in Los Angeles on October 3. Matt had been looking forward to playing the Rose Bowl, especially since there had been local opposition towards the concert [Los Angeles Times, April 26, 1992; April 29, 1992; April 30, 1992]

[Talking about playing at the Rose Bowl before the tour started]: It’s pretty wild. I don’t think anyone... Not that many people play there, you know, because the people in Pasadena are pretty old and they like to keep the volume down, I think. […] So I think we had a hard time getting it, you know, the facility to play. But I’m glad that we did, because we can get, like, I don’t know how many, 220,000 or something.

And the show was a success:

We didn't have such a great experience when we just played the Coliseum. This (expletive) makes up for the whole thing. [...] They might even allow us back again. You've been a (expletive) excellent crowd. They've got nothing to complain about.

That was probably the best show too. I mean, they were all great, but that was the funniest.

When we did the Rose Bowl (in Pasadena), that was the dream concert of the whole summer tour, but it didn't feel like that peak moment we thought it would because there was a whole lot more to do.

Craig Duswalt, personal assistant to Axl at the time, would mention this show in his biography:

Saturday, October 3, 1992. Guns N’ Roses performed at the Rose Bowl in Pasadena, California. I remember that show very well, and I remember Axl saying after the show, “Now, I feel like I’ve made it.” His goal was always to play at the Rose Bowl. Maybe because of his name, or probably because it is one of the biggest venues we ever played. I vividly remember thinking that day that Axl Rose, for the first time I noticed, seemed extremely proud of his accomplishments. It was the only time I ever saw that in him. We ended up leaving the venue at about 7 a.m. Long night. Great night.
Craig Duswalt, Welcome To My Jungle, BenBella Books, May 2014

Lemmy would also look back at opening for Guns N' Roses in this period:

We were on the Ozzy Osbourne tour with Ugly Kid Joe and we got fired off that so we went to play with Guns N' Roses. We played a couple of shows with them at the Rose Bowl. They were already sort of fragmenting then. The Illusion songs weren't as good as the ones on the first record. Axl was on his own. It didn't feel like they were thinking as a band anymore. I think when Steve (Adler) got messed up it really fucked them all in the head. It always happens when an original goes. Fans don't really give a shit if the (replacement) is better. It's still not that guy.

The final show of the tour took place on October 6 in Seattle.


We stuck in there and made our points. That was a great achievement as far as I’m concerned. It was definitely the hardest tour at least - for Guns N’ Roses, that we’ve ever done.

We had a blast, man. It was one giant party, very fun. It was great doing shows with Metallica.

To be honest, the American tour was really hard because with Metallica playing a full set, and the crowd being really tired by the time they got to us, and so many spectators who really weren't into the music-people who were there just because they wanted to see what everything was about-it was difficult for us. […] With that many people on the American tour just standing around and not giving us energy back, it was really hard for us to keep up our energy level.

Then we went out with Metallica, and it was the workhorse tour. Two major acts, two major ego-maniacal conglomerations - it was hard work! So e stuck together in true Guns N' Roses fashion, which mean that it was us against everybody! As glad as I was when that tour was over, I will never have any regrets over doing it. I'm glad we did it, and I'm happy for the kids because it was so volatile; the whole thing was so f**king honest. This is the real shit, guys! All 50,000 kids - this is what it's like! I'm sure people will talk in years to come of having been to that show, more than something like the US Monsters Of Rock, which was so stale.

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Post by Soulmonster on Tue Aug 27, 2019 4:32 pm

OCTOBER 10, 1992

In July and August 1992 Slash would say he was soon to marry his long-time girlfriend Renee Suran. The decision seems to have come as a surprise to Slash:

It's a stretch of the imagination for me to get married in the first place. I've been the most intense womanizer for so long -- I like women! I finally had to weigh them out -- stay with this girl or go out with all these girls? So I'm getting married and, honestly, I feel good about it.

I had spent so much time chasing around and after a while it was like going to strip clubs. You start looking at women like pieces of furniture, something you admire for their lines. And you realize you either keep going on like that forever or you commit to someone you love--and that's what happened to me. I realized the other stuff is a sort of waste of time anyway. […] I met my fiancee three years ago and I've never been happier. The funny thing is a friend was going out with her roommate, and my fiancee said she didn't even want to meet me. We finally met by chance and she found out that I wasn't this beast that she had heard about.

Slash and Renee married on October 10, 1992 [People Magazine, October 26, 1992].

I tried anything to avoid tying the knot because I was scared to death of it, and there became a situation where it was one or the other, and I opted for getting married and staying with her. And once I did that, it changed me completely.

In early 1995, Slash would be asked if he and Renee had a pre-nuptial agreement, to which he would reply:

Actually she and I made a deal together, and so that’s very private.

And talk about having kids:

I don't have any children. I'm not interested. I really wouldn't be into bringing a kid into this world at this point, the way things are, and I'm too ambitious to take the time.

If one of the cats starts to grow up and all of a sudden doesn't give the baby reaction Renee was used to when it was a kitten, she gets really pissed off - like `Fffk you!, I raised you.'

I can't imagine her raising another Slash.

In February 1995, Slash would talk about being married, and mention that he had "bolted" before the marriage. This was likely the trip he took to Hawaii which is mentioned in a previous chapter.

Amazingly enough, the last of the Mohicans--the least likely candidate for marriage. We were together for five years before we were married, but when it got close to the pressure of marriage, I bolted but eventually came back. I shy away from stability usually and like chaos, but because she's so stable it makes the chaotic moments all the more perfect.

He would also talk about how marriage had curbed his promiscuity:

[Touring is] still as much fun. The only thing Is. there's certain shit l can't do and there's certain shit I have to do. One is check in and say 'Hi honey,' and that's fine. Things I can't do that I'm used to doing is that whole chick thing that happens on the road when there's girls around. I made a commitment when I got married. It was like, now I won't be fucking around on you. So I made a promise. I don't go back on my promises, so I maintain that as a rule. And that's sort of difficult, because there's girls everywhere, and I love women. It's rough."

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Post by Soulmonster on Tue Aug 27, 2019 4:32 pm


After the court date had been postponed from October to November 1992, Axl and his attorney would negotiate a plea agreement with the St. Louis public prosecutor regarding the misdemeanor charges against Axl after the St. Louis riot in 1991.

Included in the plea agreement was a donation of $50,000 to charities. Axl had suggested a preference for programs for abused children. His attorneys then suggested each of these charities would get $10,000 each: The Child Abuse Detection and Prevention Program, an agency that teaches professionals how to detect child abuse; Court-Appointed Special Advocates, they provide legal counsel to juveniles; Backstoppers, a group that provides services to families of police officers and firefighters killed in the line of duty; Youth Emergency Services, an agency that provides a suicide prevention hot line and counseling for teenagers; and Marian Hall, a Catholic Charities shelter for young women [St. Louis Post-Dispatch, November 1992].

In addition to the $50,000 in charities, Axl would be on probation for two years. There were two special conditions: Axl can travel outside of USA and he can associate with two band members who are felons [St. Louis Post-Dispatch, November 1992].

But additional civil suits, including the one from Bill Stephenson ("Stump") still had to wait until October 1993 to be solved.

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Post by Soulmonster on Tue Aug 27, 2019 4:33 pm



Axl grew up in a very religious home and later in life he would reflect on his relationship with God and religion:

That experience with religion lasted for 10 years and I went to church 3, 2, 7 times a week, you know. And I had to study the Bible regularly for that 10 years. But, you know, the church was pretty hypocritical and they ended up helping to destroy each other’s lives. And it really distorted my view on God, and peace, and all kinds of things for a very long time. And it took a long time to get over, you know. And now I’m just, like, things are cool with God, I guess. "Jesus is just alright with me" (laughs) [Reference to a 60s gospel song that became known from its versions by the Byrds and the Doobie Brothers].

I was brainwashed in a Pentecostal church. I'm not against churches or religion, but I do believe, like I said in "Garden of Eden," that most organized religions make a mockery of humanity. My particular church was filled with self-righteous hypocrites who were child abusers and child molesters. These were people who'd been damaged in their own childhoods and in their lives. These were people who were finding God but still living with their damage and inflicting it upon their children. I had to go to church anywhere from three to eight times a week. I even taught Bible school while I was being beaten and my sister was being molested.

The Bible was shoved down my throat, and it really distorted my point of view. Dad's bringing home the fatted calf, but I was just hoping for two hamburgers from McDonald's. We were taught "You must fear God." I don't think that's healthy at all. I'll tell you, I don't know what God is or isn't, but I don't fear him or it.


In May 1992 it was reported that Axl was into homeopathy [Czechoslovakia TV, May 20, 1992].

Some of Axl's forays into alternative medicine was spurred on by AIDS and Freddie Mercury's death:

I want to learn more and start helping people. Freddie Mercury's death is a marker in my life that says there's no turning back, and I'm going to do whatever I can to inform the public about certain things. We can't sit idly and hope someone will change things and hope things will be alright. There are alternative forms of medicine that are having high success rates in treating AIDS victims. There's things like vibrational medicine, oxygen-ozone therapy, there's homeopathic medicines, there are Chinese medicines and different forms of vitamins. The government is denying the public this information. That's because the government, the FDA and the pharmaceutical companies are making billions of dollars off of people dying. The FDA invests money in companies they've supposed to be regulating - that makes no sense. Over the last 50 years there have been different cures for different illnesses that have been kept from us. Freddie Mercury's death made me want to fight for people to have the right to know about these alternative treatments. Everyone has got a God-given right to health, and it's being denied by power-hungry, greedy people who want control.

It would also be claimed he took up to 60 vitamins per day [Life Magazine, December 1992]. Assumingly what was meant was either 60 different vitamin pills or in total 60 different vitamins, although there are only 13 different kinds.

[…] I'm on very specific, high-tuned vitamins. My body needs these vitamins. I'm also involved in extensive emotional work to reach certain heights with myself that doing hard drugs would interfere with. I'm doing several detoxing programs to release trapped toxins that are there because of trauma. Doing a lot of coke would get in the way of my work. Doing dope would definitely get in the way of what I'm trying to accomplish. Some pot doesn't really get in the way too much. It gets in the way of the work for, like, the next day, but sometimes it's a grounding thing. If I'm flipping out in the middle of Idaho, then a little bit of pot helps me be sedate. Also, coming off stage, going from such high energy into a very sedate world, is heavy - I don't care how many strippers you have. It's like going off a cliff in a car, and that's when I can use some smoke.

I've learned that when certain traumas happen to you, your brain releases chemicals that get trapped in the muscles where the trauma occurred. They stay there for your whole life. Then, when you're 50 years old, you've got bad legs or a bent back. When you're old, it's too hard to carry the weight of the world that you've kept trapped inside your body. I've been working on releasing this stuff, but as soon as we release one thing and that damage is gone, some new muscle hurts. That's not a new injury, it's very old injury that, in order to survive, I've buried. When I get a massage, it's not a relaxing thing; it's like a football player getting worked on. I've had work done on me - muscle therapy, kinesiology, acupuncture - almost every day that we've been on the road.

During the touring in 1992 he would talk more about what he was doing:

It's, like, I was always accused of being a hypochondriac, and I'm not. It's, like, I have a pit crew. And it's, like, I'm a car. We do muscle testing and kinesiology. We do chiropractic work and acupuncture. We do cranial adjusting. Oh, yeah. On a daily basis. I'm putting my life back together, and I'm using everything I can.

Axl's personal assistant Colleen Combs, would also talk about Axl's obsession with his looks:

Axl became vain, worrying about dyeing his eyebrows and eyelashes and going on prescription drugs for his hair and skin. He had his teeth fixed. He went on all-sushi diets.


In 1991, according to his personal assistant Colleen Combs, Axl stated visiting a "past-life regression" therapist named Suzie London [Spin, July 1999]. According to Combs:

I only went twice. [Suzie London] told me that I didn't have any past lives and later told Axl that I was a fifty-thousand-year-old being that put a hex on him.

According to Rolling Stone, London (named as Suzzy London) would also accompany Guns N' Rose son tour and have an area backstage for herself and Axl [Rolling Stone, May 11, 2000]. She would also be cast for the music video to 'Don't Cry' where she played Axl's therapist [Rolling Stone, May 11, 2000]

Erin Everly would indicate that Axl's belief in the supernatural started already when they were together:

Axl's beliefs were different than mine.... [After my dogs died] Axl believed that he had the dogs' souls transferred [into new dogs].... He said that I wasn't appreciative that he had given me the opportunity to have [our dogs] Torque and Geneva back, and that I should call [the new dogs] Torque and Geneva.; from Erin's sworn deposition in connection with her lawsuit

During the trial, Erin would also claim that Axl had told her he believed she and Stephanie Seymour had been sisters in a previous life and were not trying to kill him, and that Axl thought he was possessed by John Bonham [Rolling Stone, May 11, 2000]. She also said:

Axl had told met that in a past life we were Indians and that I killed our children, and that's why he was so mean to me in this life.
Rolling Stone, May 11, 2000; from the court hearing

Allegedly, at some point during Axl's relationship with Erin, Axl paid 72,000 for an exorcism:

Mainly it involved getting some kind of herbal wrap. […] I ended up getting ripped off for a lot of money in the long run.
Rolling Stone, May 11, 2000; from the court hearing


In the 1990s, Axl seems to have spent money on something in Sedona, Arizona:

Axl got metaphysical and started spending a lot of time in Sedona, Arizona. These people were taking advantage of a guy with millions to blow on lunacy.

In May 2000, Rolling Stone would publish a long article where they would discuss Axl and quote an alleged friend of him:

Axl is looking for anything that'll give him happiness.

In the same article, Rolling Stone would claim that Axl's trips to Sedona was to visit a psychic there, who people in the Guns N' Roses camp derisively referred to as "Yoda" [Rolling Stone, May 11, 2000]. Her real name is Sharon Maynard and she was running a not-for-profit business in Sedona called Arcos Cielos Corp., where she was living with her husband, Elliott [Rolling Stone, May 11, 2000]. "Dr. Elliott and Sharon Maynard" are thanked in the liner notes of Use Your Illusions, indicating that Axl was familiar with them already in the first half of 1991. According to various anonymous sources interviewed by Rolling Stone, Maynard would study photographs of people in Axl's world [Rolling Stone, May 11, 2000].

Regarding Maynard's possible  influence on Axl's life, an "associate" of Axl would be stated as saying:

[Axl] wasn't turning his life over to somebody with a candle and a crystal. I say that with every confidence. It's just not consistent with who he is. He makes his own decisions.

Maynard had also been travelling with the band on the Use Your Illusion tour [Rolling Stone, May 11, 2000]. In June 1992 it was rumored that Guns N' Roses would not play Minneapolis on the upcoming tour with Metallica because Axl had been advised by his psychic, to avoid playing in cities that started with the letter "M" [Star Tribune, June 26, 1992]. Lars Ulrich, Chris Jones [from the band's management team], and Duff would deny these rumors [Star Tribune, June 26, 1992; Star Tribune August 4, 1992]. James Hetfield, on the other hand, would say he thought "it did have something to do with [Axl's] psychic, or his psychic’s assistant and he would mention that there were rumors about what "his psychic said" [Star Tribune, August 4, 1992].

Mike Patton, the singer in Faith No More, who opened for Guns N' Roses in 1992, would confirm that Axl travelled with a "psychic":

Then, for the last show of the European tour [July 2, 1992, Lisbon, Portugal], Axl's psychic (who has her own bodyguard) went out and blessed his microphone and blessed the stage.
Melody Maker, August 8, 1992

A crew member would describe Maynard and her circle of friends who travelled with the band:

She came with some of her pals. Funny dudes: Southwestern people with funny shoes. Their look didn't fit in: they were like aliens.

According to Rolling Stone' sources, one of the jobs of the psychic was to consider "the magnetic forces that exist in the universe and where those things are in comparison to where Axl would be spending his time", and this could affect where the band would play on the tour [Rolling Stone, May 11, 2000].

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