Welcome to Appetite for Discussion -- a Guns N' Roses fan forum!

Please feel free to look around the forum as a guest, I hope you will find something of interest. If you want to join the discussions or contribute in other ways then you need to become a member. We especially welcome anyone who wants to share documents for our archive or would be interested in translating or transcribing articles and interviews.

Registering is free and easy.

Welcome to Appetite for Discussion -- a Guns N' Roses fan forum!

Please feel free to look around the forum as a guest, I hope you will find something of interest. If you want to join the discussions or contribute in other ways then you need to become a member. We especially welcome anyone who wants to share documents for our archive or would be interested in translating or transcribing articles and interviews.

Registering is free and easy.



Page 2 of 2 Previous  1, 2

Go down


Post by Soulmonster Fri Aug 07, 2020 8:26 am

JULY 1996

Things were not working for Slash with Guns N' Roses after his return from touring with Snakepit, so he filled his time with other projects [see other chapters]. One of these were blues music. In February 1996, it would be reported that he had jammed blues tunes with Bon Jovi's Richie Sambora and actor Steven Seagal at the Sunset Strip’s House of Blues [New York Daily News, February 5, 1996; Kenosha News, February 7, 1996].

In July 1996, Slash would announce that he would going away to play in a new blues band:

Gun has been trying to get the next record together and in the meantime, i've been working on soundtracks and just jamming arount town. i'm playing in Budapest on the 14th of Aug with a Los Angeles based blues band.

Well I'm on my way, actually this evening, well tomorrow morning, it is a three o'clock in the morning - I have to get ready and fly out to Budapest. So I'm doing this sort of band that I threw together to do like a whole bunch of old blues covers and we're just playing a festival.

Talking about hos the band was founded:

I didn't have a band together at the time, so I went down to this club called the Baked Potato, where I jam on Tuesdays, I put the band together […].

This blues band was originally called Slash's Blues Balls or Slash's Blue Balls, but it would be changed for later shows [WAAF, May 28, 1997]. One of the members of the band was Teddy "Zigzag" Andreadis, and the first gig would be in Budapest, Hungary, on August 14, 1996 [Netscape Online Chat, July, 1996].

Then I got a phone call to play a gig in Hungary; our manager Tom [Maher] goes, "We got this offer for headlining this festival in Hungary, and it's a big, seven-day event in a stadium." And I was like: "I don't have a band! How am I gonna do that?" I had to put a band together, but they had to be the right players-people who would consider Snakepit a permanent "day job." So I got Teddy "Zigzag" Andreadis, who played keyboards and harmonica in Guns, and we hooked up with musicians that he knew. That's how I hooked up with Johnny [Griparic, bass]. So we put a band together and called it Slash's Blue Balls-it was a joke, because in Hungary they'd think it was funny, but we changed it to "Blues Ball" later-and we went out and headlined the last day of this festival. We played some really cool old stuff, and the whole place went nuts, so we just kept booking gigs after that. And I kept changing drummers, changing rhythm guitar players, and this and that until Blues Ball became a permanent entity.

Talking about the gig in Hungary:

It was like a throw-together bar band in front of 23,000 people [laughter]. We had a great time.

[…] we flew to Hungary and played in front of 20,000 people. It went over well and was a lot of fun, so we decided to take it on the road.
Stage manager

Admin & Founder
Posts : 12755
Plectra : 64871
Reputation : 820
Join date : 2010-07-06

Back to top Go down


Post by Soulmonster Fri Aug 07, 2020 8:27 am


In August 1996, it would be reported that Slash had sold his house in the Hollywood Hills, and this was likely the house that was totaled in the earthquake, and bought a "Spanish-style house built in 1929" in the Beverly Hills [Los Angeles Times, August 25, 1996].

As for their marriage, they had their ups and downs:

[Renee is] wonderful, she's pursuing her acting career. She's done commercials but she's trying to get a good movie part. I drive her crazy. It's just the way I am. We've been married for two years and been together I guess five years. We've had our ups and downs. I told her we're gonna be on a tour bus. She'll come in and out, she's not into f.ckin' gigs and all that. She's not from that side of the fence, which is probably why I married her. I knew a lot of girls from my side of the fence. They're trouble.
Metal Edge, April 1995; interview from December 1994

[Renee]'s pissed off at me now because this is all I do, and then I go out with my friends. She doesn't keep the same kind of crowd that I do, so we usually don't go out together. I'm hanging out with Matt. We're fine, but she's pissed off at me because I didn't come home until 6:30 yesterday morning! It's no big deal. She knows who she married and she deals with it.

You obviously learn from previous mistakes. Unless you're a complete fucking idiot. But having gotten married has changed me. But within reason. […] She hasn't tried to change me too much. There are certain limitations to what I can get away with.

[Renee] pops in and out — which is cool! She’s turned into one of the guys! The only thing is we go into a bunk, we do our thing, and then she kicks me out and she sleeps on the bunk and I sleep on the couch at the back! I get to stay in the bed at home — unless she’s pissed off at me!

Getting married has been great, cuz I love my wife very much. But, at the same time, I don’t change very easily, and so there’s a lot of, like, checks and balances in the relationship, where I have to adhere to certain needs she has, and she has to deal with me, basically (laughs). So we’ve been pretty harmonious. You know, it’s been almost three years, so we’re doing pretty good.

I love my wife dearly, but it's hard for me to measure this all out. She's my first and only wife. If anything should ever happen in this marriage. I'll never get married again.

After marriage, Slash claims to have become faithful:

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.

And whether Renee trusted him:

Yeah, she does now but it took a long time.

One issue that might have caused a bit of friction between Slash and Renee was a rumour published in New York Times that Slash had had to be rescued from his hotel room after having been handcuffed to his bed [The Philadelphia Inquirer, May 29, 1996]. Slash would mention this rumour in an interview with MTV [MTV, August 1996], and again in 1997:

That I was handcuffed to a bed that didn't even have a bedpost. It was in the New York Times. I had to call my wife to tell her,  "Look, don't believe this, it was not... didn't happen." They said they had to get a rescue team to come get me from a room that does not have a bedpost. How could I possibly be handcuffed to it? And that's what people read.

As for having kids:

No. We have enough animals. The biological clock has stopped at this point. We have cats and dogs.
Metal Edge, April 1995; interview from December 1994

I'm not exactly the marrying kind, so we have our ups and downs. She doesn't come on tour all the time. She's no fuckin' Yoko. We have an agreement not to have kids. We’re too busy. That's why if she tells me she’s forgotten to take her pill, I say, 'Well, get up an' take the fuckin’ pill.'

Not now but maybe someday.

Slash would also mention that they considered moving to "the outskirts of London or Ireland" [Kerrang! July 1995].

After returning to Los Angeles after the tour with Snakepit, Slash involved himself in numerous projects, including an appearance at Florida Guitar Show on February 24, 1996 [The Tampa Tribune, February 21, 1996].

Sometime in late 1994 or early 1995, Slash would have a cameo in Tales From the Crypt:

One of the actors in the series, Miguel Ferrara, is a very good friend of mine. He has acted in great films but never in leading roles. Another friend of mine, Steve Lukather, the guitarist of Toto, has also worked in the show. So they asked me to play a rock DJ. ‘Tales From the Crypt’ is my favourite TV show, so I agreed to do it in a heartbeat. I was supposed to wear leather and have my top hat on and stuff. I only uttered three sentences, and then I had to wait all day in the trailer... The studio people had hired a guy to watch me and make sure that I wouldn’t leave, so I had that guy looking at me and I couldn’t go anywhere (laughs). It was fun.
Popular 1, February 1995; translated from Spanish

In 1996, Slash would also have a cameo in Howard Stern's movie Private Parts [The Howard Stern Show, September 30, 1996] that would premier on February 27, 1997.

The scene in Howard Stern's movie was a reconstruction of my appearance at the MTV Music Video Awards, so I just have a cameo as myself.

In 1999, Slash also had a short role in "The Underground Comedy Movie" directed by Vince Offer:

Me and Rod went up to my bedroom and we both said, “Let’s watch” and we watched, like, the Stones’ Cocksucker Blues and we watched something else, and I said, “I got this tape of this movie I was in and I’ve never seen it.” So we watch it - it’s the worst movie- [...] I was in it because this guy wouldn’t leave me alone for, like, four or five months. So I finally said, “Okay,” and I play a judge for a homeless person beauty pageant. I just play myself and it was like, if you ever see it, I look like I’m completely drunk. I have a bottle of Jack Daniels… But I wasn’t drunk, you know? The first day I got there, there’s all these homeless people running around naked. [...] I guess he somehow managed to talk them into doing this thing. So when I got there, the cops were there and they said, “No, there’s no more shooting today,” and there’s all these (?) running around with no clothes on. I said, “What the fuck I got myself into?” (laughs). So I said, “Listen, my part is only about 30 seconds long. Let me just shoot this one thing. I’m in Pasadena, for Christ’s sake. I just want to get the fuck out of here.” And they said, “No. No more shooting today,” so I said, “Okay Mr. “ossifer.” I gotta go.” (laughs).

Last edited by Soulmonster on Tue Apr 13, 2021 10:23 am; edited 2 times in total
Stage manager

Admin & Founder
Posts : 12755
Plectra : 64871
Reputation : 820
Join date : 2010-07-06

Back to top Go down


Post by Soulmonster Fri Aug 07, 2020 8:27 am


In early August Slash would indicate Paul Huge was still in the picture but that Slash had another guitar player in mind that he hoped could be brought into the band:

Axl’s playing guitar now, so I have to deal with that. There’s also another guitarist, who I don’t want to work with. This whole thing started because of him. But there’s someone I do wanna work with.

When asked who this guitar player was, Slash wouldn't say but mention he had been in Alice Cooper's band:

[…] Izzy was an idea, but there’s a guitar player I worked with who was in Alice Cooper's band. He’s really good.

This would likely have been Ryan Roxie who would later he recruited by Slash's for the second Snakepit album.

[…] I got introduced to Ryan [Roxie, guitar] through Alice Cooper. When I first played with Ryan I was like, "This guy is great!" He was like a better version of Gilby, and also had some of Izzy [Stradlin] in him-that "other" style that I've never really been able to do myself, but I relate to it because of playing with Izzy for so long.

Ryan Roxie

Last edited by Soulmonster on Wed Aug 12, 2020 7:56 am; edited 1 time in total
Stage manager

Admin & Founder
Posts : 12755
Plectra : 64871
Reputation : 820
Join date : 2010-07-06

Back to top Go down


Post by Soulmonster Fri Aug 07, 2020 8:27 am


In August Axl and Slash met to talk things out and Slash agreed to come to rehearsals:

Well at this point now that Axl and I are really civil. We went out to dinner recently and had a bottle of wine together and like sat and talked about what we were interested in and so on and so forth. You know, more complicated I guess than it normally would be, but Axl is a very complicated guy. He does like to talk about the stuff, I like to just plug in and jam and that's sort of the thing that's the difference between guitar players and he is sort of a visionary - and it sounds like Spinal Tap - and I just like to play my guitar. But we did sit down a couple times and have a really good meeting and so at this point I start rehearsal in a week and a half or so and we just take it from there. That's the way I see it. If you were to talk to him it'd probably be like a little bit more... yeah, I don't know, planned out than that but I'll just show up and we'll go from there. It'll work out, though.

And at the same day as the quote above, Slash would talk about their differences:

[…] the only thing that really draws us together is once we get in synch as players. Then you get to that earthy, 'all for one, one for all' thing, where you start hanging out together. I don't care what Axl might say - this band was formed on the camaraderie between a little gang, against all odds.
Kerrang! September 21, 1996; interview from early August 1996

In September 1996, to Howard Stern, Slash said that he and Axl had just got reacquainted and that they hadn't seen each other in "like three years" [The Howard Stern Show, September 30, 1996]. In the same interview Slash would describe his conflict with Axl as a "conflict of interests" and "not having a meeting of minds" [The Howard Stern Show, September 30, 1996].

And emphasize the importance of communication:

For any younger bands reading this, you’ve got to watch the beast in this business that stops you from talking to each other.

Nowadays, when the tail-end of my generation gets confronted with it, they either die or disappear into drug-dom. That’s not where we come from. So we will fight and struggle through it.
Kerrang! September 14, 1996; interview from early August 1996

When Kerrang! pointed out that they clearly were not a gang anymore, Slash responded:

Well, we have to re-establish that. We have to say, 'We're gonna do this, because nobody else is'. It's almost like starting over again. "Guns is like a family thing, but we've gone through so many changes - just going through the monstrosities of the business. Contracts, legal stuff, management... This whole huge conglomeration dealing with a stupid bunch of punk kids. It gets over the top.
Kerrang! September 21, 1996; interview from early August 1996

The plan is for Duff and Matt to take off their band, Neurotic Outsiders, for a while, leaving me and Axl to write stuff. If that spark gets rolling, then great. If it doesn't and we get into a fight, I'll just carry on playing gigs and jamming -with Snakepit or whatever. It's not complicated. At least, I don't see it that way. Axl and I could've done this sooner, if we'd just made a few compromises. But I guess that when bands get so big indecision becomes everything. There's no sense of, like, finite reality with Guns. It's just a matter of everybody coming together and the magic happens. I hate to sound silly about it, but I've found it's the same with a lot of the older bands I've got to know over the years. I talked to (Rolling Stones guitarist) Keith Richards, and he said he'd had more drastic but similar problems with Mick Jagger.
Kerrang! September 21, 1996; interview from early August 1996

From the quote below it can seem like they formalized the planned worked in an agreement:

You know and then as far as Guns N' Roses is concerned, as of yesterday we've actually - I don't know - we've sort of concealed our contract so we're in working order as they say. […] contrast to everything that's been going on in the press, which I've been hearing a lot of, it's like "Guns is in the studio" or "Guns is this" or "Guns is that" or "I'm hanging up by handcuffs in a hotel room" [chuckling]. I mean, basically we've all been working and so now at this point we're actually going to formate [?] ourselves and get to work.

One major issue for Slash was the continuous presence of Paul Huge:

So now, I’ve come back and Paul’s still there. Now, I’m dealing with this.
Kerrang! September 14, 1996; interview from early August 1996

[Whether he was willing to compromise regarding Paul]: No, I’m going to confront it. Either Paul goes, or he... Well, this is personal, I don’t want to get into this. But during this whole period, Axl’s been geared to get up and do it.
Kerrang! September 14, 1996; interview from early August 1996

But like Slash, Duff was also not confident their problems had been sorted out, and would admit there were tensions but that they were "little things":

There's a certain tension with this band and there always has been, and there's some issues that haven't quite been cleared. Just little things. We've been together 10 years. We're not unlike brothers. So there's tensions, but that's how we thrive.

It’s rockin’. The problem’s never been the material; it’s getting us in the same room. There’s tension - good stuff.

Later, in September, it could seem like it had worked and the guys were on "civil terms":

Axl and I are on civil terms. At this point, we’re partially sober.
Stage manager

Admin & Founder
Posts : 12755
Plectra : 64871
Reputation : 820
Join date : 2010-07-06

Back to top Go down


Post by Soulmonster Fri Aug 07, 2020 8:28 am



In early August Slash had not been part of any earlier sessions by the band but they had been trading tapes amongst themselves [Kerrang! September 21, 1996; but interview from early August 1996]. At the time they were "working towards working":

The reason I’m talking to you now is that Guns are working towards working. We’re looking for a rehearsal situation that’s compatible. But who f**king cares anyway? People just want the record.

In the last three months, Duff and Matt have started rehearsing every night, and I’m coming in when I get back from Hungary. We all have tons of material, and we have a lot to work out.

I just want us to make a simple, kick-ass hard rock record.

We're definitely getting geared up to do another record. […] It sounds like the band again. Everybody's in good shape and Duff's looking really good and healthy. It was good that we took the time off, because at the end of the tour Duff was one foot in the grave. I mean it was like we were all drugged out. We just all stepped back out of the whole rock and roll debauchery for a while and just sort of mellowed.

Yeah, like always, we’ve been swapping tapes. We always do that; then if everything clicks when we’re together, we turn each individual’s songs into something heavy. If it doesn’t happen -I don’t mean to disappoint anybody -but it’s just a bunch of human beings making a version of everyday life.
Total Guitar, November 1996; interview done earlier

This quote from Duff is likely from either August before they started working or in September when they did work together:

We’re back in. We’re writing new stuff, and we’re going to make a record and tour next summer. The two years apart actually took the edges off some of the issues, and we’ve handled the other issues flat out - maybe not in the best way, but they were handled. Now the amount of tension in the band is perfect for creating what we do.

As for how it would work out when they started playing again together, Slash was unsure:

We'll see where it goes. I haven't rehearsed with them, or even been in the same room with them, since before the Snakepit record came out [February 1995].
Kerrang! September 21, 1996; interview from early August 1996

The records that Guns have left behind are great. But we haven't blown our f**king wad yet.
Kerrang! September 21, 1996; interview from early August 1996

The same day when asked by MTV if they had any songs ready already, Slash would mentioned they had about 80 songs between themselves:

We have tons of songs. Between the three existing members, you know, like Duff and Axl and I, we've got probably about 80 songs, you know.

Describing the songs on the tapes they had shared:

It's amazing stuff. The songs are really good, and I have a good vibe about it. I wouldn't want to go out and do a bad Guns N' Roses record.

And what the record would be like:

Well, I think everyone's so pissed off and frustrated at this point that it's inevitable [the new record will be a modern equivalent to Appetite for Destruction]. It's gonna be an angry record, but that's what we were built on.
Kerrang! September 21, 1996; interview from early August 1996


Then, likely not long after Slash returned from his festival show in Budapest on August 14, the band started playing together with Slash finally being part of it:

[Being asked if they are all together recording]: Absolutely. Slash, myself, Axl, Matt and Dizzy. [...] We have 16 songs and they rock! I'd love to say before Christmas. For sure there's going to be an album before spring. [...] You know, we spent about a month and a half in this place in West LA and went down every night. There's one thing about Guns, once we're in the same room, the chemistry is there. The problem is getting us all in the same room.

[Being asked who Axl is writing music with]: He has a friend whose name is Paul. We're all writing together like we always did.

We've been in for two weeks as a full band with Slash and Axl and me, and we go from midnight to five in the morning. With Guns, there's no problems with material. The problem has always been getting us in the same room. So now that we're in there, it's rockin'.

After all this starting and then stopping again, there’s finally been real rehearsals, which started two weeks ago. We’ve been rehearsing ungodly hours and there’s a real air of excitement. We’re not playing any of the old stuff — not even playing ‘Brownstone’ or something to warm up — we’re just going in and doing new stuff. It’s moving fast.

Oh, we're back together! We've been working for about two months, no, a month and a half. We've got a lot of songs. Our problem's never been material. (I laugh) We're actually trying to get it down to 12 songs. We might be going in and start recording, probably in October. [...] We work long hours, but we always have when we actually get down and get shit done. And it's a different energy, man. We work late at night. Start at midnight and go to five or six in the morning.

We started up again two weeks ago – you know, we started the record. And it’s a big deal, you know? It’s in the newspapers, everybody wants to ask me about it. And it’s like, “Wow, just let us go play,” you know? But we can’t [because of the media interest]. […] You know, we’ve been apart for two years. […] That’s really going great, you know. It’s really fuckin’ rocking and it’s really loud. We are the loudest band in the world. Yeah, it’s great, man. I mean, I can – I just can really tell you my life is going really good right now (chuckles).[…]  What can I say? Guns N’ Roses is really rocking. I’m really happy. I’m very satisfied with what we’re doing. And the chemistry with Guns, I mean, you know, it’s electricity.
Rock & Pop Argentina, September 1996; translated from Spanish

I must agree with [Axl], because he's a visionary. He knows what GNR should be 2 or 3 years in advance. When we got out of the plane [in 1993], he said: "Guys, we'll see us again in 96". It was 3 years ago. And now, we work together and an album will be released in 97.
Hard Rock, September 1996; translated from French

It was cool when Slash joined for a week.

Duff would also talk about the efforts to WYSP-FM (94.1) and state that although they were working, a new record was not likely before the middle of 1997 [Courier Post, August 8, 1996].

Last edited by Soulmonster on Mon Apr 12, 2021 5:26 pm; edited 4 times in total
Stage manager

Admin & Founder
Posts : 12755
Plectra : 64871
Reputation : 820
Join date : 2010-07-06

Back to top Go down


Post by Soulmonster Fri Aug 07, 2020 8:28 am



Slash would offer an explanation of why it had taken so long to finally start working together, by pointing to "political crap":

We just haven't sat down and actually done it because there's been so much political crap going on and I know that kids don't want to know about it but it does go on in this business and sometimes you have to deal with it directly because you can't, there's no other way around it and so, you know, we finally, you know, took the bull by the horns and just said, "look, we don't want to around anymore, let's just do it."

When asked if this political crap came from inside or outside of the band:

They come from everywhere [laughing]. They really do. You know, anybody that's young and starting a band at this point, because when I when I first started, I don't know if anybody cares, but when I first started people used to say, like, "how do you get about doing all this stuff?" and, like, I don't know, it's no big deal. But when it comes down to it eventually down the line it becomes something that you weren't expecting and it comes out of the blue and it's just like, and you have to deal with it. If you're gonna function as a working band you have to, you know, confront it.

Duff would also talk about outside pressure:

There's a lot of BS that went down. The media had built up this pressure. Some people know how to deal with it, some start believing their hype. But now we've grown up a little bit. ... There’s a natural angst now at rehearsal, but it’s great. Just try to put yourself in the shoes. It's like you’re brothers, and all of a sudden it’s like you’re married to each other, too, and you’ve gotta deal with life together. You can get a divorce, but it doesn’t make much sense, because there’s a lot of people out there who want to hear another record.


Around the same time Matt would explain that the reason it takes so long time comes down to Axl's personality:

I had very difficult moments with Axl, but he's extremely intelligent, he's a very emotive guy who writes great songs. Sometimes, I have the feeling he's a genius. Right now, he's playing guitar and it's like he plays that instrument for 10 years. He had very difficult moments, when we toured in stadiums, sold millions of albums, when everybody wanted to tell us how great we were. Axl, as the leader of the band, had a lot of responsibilities. I told him many times: "Relax Axl, don't take things to heart like that". But he can't. You can feel those difficulties in his music. What he's doing is eating him, he's living it too intensively. That's why the new album is not done yet, he doesn't want to make a shitty record.
Hard Rock, September 1996; translated from French
Stage manager

Admin & Founder
Posts : 12755
Plectra : 64871
Reputation : 820
Join date : 2010-07-06

Back to top Go down


Post by Soulmonster Fri Aug 07, 2020 8:28 am


Duff would state that Dizzy was part of the August/September sessions in addition to Slash [Addicted to Noise, August 30, 1996] and that Axl would still be the rhythm guitarist [The Michigan Daily, September 12, 1996].

[Being asked who Axl is writing music with]: He has a friend whose name is Paul. We're all writing together like we always did.

[Axl] plays guitar now, by the way. [...] Yeah, he's rocking!

And Axl's playing rhythm guitar, it's fuckin' awesome. Who better? We solved our own problem. Who better knows what should be there than one of the guys in the band, so he's been playing. I mean, he plays guitar a little bit, and it's great because he plays so innocently! He doesn't even know -- he'll say, 'What note is this?' 'It's an A.' (I laugh) 'OK. So I go to the A and I go to the... what note is it?' 'F sharp.' '...and I go to the F sharp.' And it's cool! He knows what it should sound like, so it's real cool. It's a lot of hard work right now.

Yet, Matt would claim Axl would not be the new rhythm guitarist and that they were working with another unknown rhythm guitarist:

[Being asked if Axl would replace Gilby on rhythm guitar]: No, there's someone, but I can't tell you his name. […] He's unknown. But I can't tell you his name because I don't know if he will tour with us.
Hard Rock, September 1996; translated from French

Matt would also say that the record would likely feature many guitarists:

There will probably be several guitarists on this album, a lot of guests.
Hard Rock, September 1996; translated from French

In 2001, Slash would say that during these sessions he had worked with "various guitar players", implying that there were more guitarists involved than just Paul:

When the tour ended I was supposed to commence work on the next Guns n' Roses project, which I sort of hesitantly did, even though I knew that Axl wasn't ready. I did about 10 rehearsals with various guitar players - people I didn't like.

Later, in an article released in November, it would be implied that Paul was still part of the rehearsals [Metal Edge, November 1996], so it was likely Paul that Matt had been referring to.

Curiously, Matt would also talk about a "friend of a friend of a friend":

[…] there are so many people in this project. There's the friend of the friend of the friend. 3 years ago, I had a real role to play. Now it's between Axl and Slash. It' working well, so it's cool.
Hard Rock, September 1996; translated from French

Later, after Duff had quit, he would indicate that Axl had insisted upon Paul being part of the band:

I told Axl this was his band, he had ignored everyone and had hired his best friend for the band. I couldn't play with him. Paul Huge, that was the guy! He's a friend of Axl, he's a 'yes man'. […] Man, you can't be in Guns N' Roses just like that. That was a real band. […]  imagine you and I grow up together and you're my best friend. OK, I'm in Guns N' Roses and I tell the rest you're going to join the band. "OK, Slash, Axl, Matt, guys, this guy is in the band". "Duff, you got a minute?" "No, he's in the band" "Well, no. Everyone in the band has to vote it, Duff, so no way!" "Fuck you, this guy is in the band! I'm not doing anything unless this guy is in the band" "OK, you know what? We'll try and play with him, since you're that much interested in it. Hey Duff, the guy can't play" "I don't care" "Well that's not very reasonable." "I don't care" At that point, what would you do? I came to a point where I couldn't even look at him [Paul]. If I were in such a situation, if I were the friend joining the band, I'd say "Hey guys, you've done very good yourselves alone, I'm not going any further. Hey, Duff, thanks for the offer, but I'm breaking your band." But he didn't say it.

Last edited by Soulmonster on Mon Apr 12, 2021 5:28 pm; edited 2 times in total
Stage manager

Admin & Founder
Posts : 12755
Plectra : 64871
Reputation : 820
Join date : 2010-07-06

Back to top Go down


Post by Soulmonster Fri Aug 07, 2020 8:28 am


At some point, likely in August, Duff would describe what was happening:

[We are working on] 15 different things, some just riffs, some bodies. But it’s moving quickly, the spirit’s hot and there’s an excitement there that I haven’t felt in, God, I don’t know how long. It was getting to be like, ‘do I have a band?’. I was actually starting to forget.

The plan was to release the album in the spring of 1997 consisting of 12 songs with no ballads [Addicted to Noise, August 30, 1996] and then do a tour in early 1997:

We're already starting to make tour plans. We've got a possible tour starting in South America in January and then we're going to stop and finish the record and probably tour next summer.

We are working on rock songs that last only 4 minutes (laugh). We already did 7 songs and we will write 7 others.
Hard Rock, September 1996; translated from French

[The album] will be a single album with 10 or 12 songs.
Hard Rock, September 1996; translated from French

Despite the band diligently working on the next record, Slash took time to travel to Arizona's Blockbuster Desert Sky show on August 25 to play with Foreigner [Arizona Republic, August 28, 1996].

In August and September, Duff would describe the music they were working on:

Some songs are almost finished. […] It's only work titles, it's very stupid. I don't want to mention them to have bad luck!
Hard Rock, August 1996; translated from French

[Being asked if the new material is more like Appetite ot Use Your Illusions]: Appetite. It's normal. We haven't played together in a long time and our collaboration in fresh, just like in the beginning.
Hard Rock, August 1996; translated from French

[Being asked if the music was like Appetite or the Illusions]: I would say that it's in between. This is not as sophisticated as Illusion, but not as wild as Appetite. It's in the middle. Maybe more groovy. Musically, we are all better. I never heard Duff play like that.
Hard Rock, September 1996; translated from French

It rocks; it's heavy. With Guns, with what the chemistry of the band is, you're going to be able to tell it's Guns -- even if we're playing a polka, you would be able to tell it's Guns.

I really feel like we've just started. The last 10 years was [?] used to it, learning the tricks, and now it's time to apply 'em.

We’re making a 12-song record — no ballads, nothing slow. We’ve got to crush on this record. And there’s no better judges of our music than ourselves, so we really cut ourselves apart: We’re basically taking 40 songs and finding 12. But you’ve gotta watch each other’s feelings, so we never use the term ‘that sucks.'

And as for when it would be out:

[It] shouldn't be out any later than next spring.

Just a few weeks later, a staffer at the band's Los Angeles management company would be less optimistic:

[…] we’re hoping to have an album out by the end of ’97. But then, we’ve been waiting awhile. What people should know, though, is this is the first time they’ve rehearsed together in quite some time. Everybody’s finally showing up. So it is important.

At the same time these sessions were happening, Duff and Matt would be busy with their side-project, The Neurotic Outsiders [see previous chapter]:

On this [Neurotic Outsiders] tour we're doing, Matt and I fly back from Toronto and then we do four days with Guns (recording) and then we go back out, so Matt and I are playing every single night with one or the other (bands) in September.

Matt would also suggest that it was the activity in Neurotic Outsiders that had spurred Axl into action:

"I think Neurotic Outsiders is single-handedly responsible for Guns N' Roses being reunited. It seems like every time something good starts happening, I get a phone call from Axl, `We're going to start rehearsing tomorrow.' But seriously, when Axl heard that me and Duff had gone out and gotten this multi-million-dollar record deal and we're going to go out on the road, he started getting a little nervous.

And now that we got this band together, GN'R decides: "Ok, we're gonna do a record". So, hopefully, you know, we're gonna come out with a GN'R record soon as well. It's kinda thrown a little bit of a quality problem in the Neurotic Outsiders because, you know, we got a lot going on, me and Duff.

Getting Guns back together again has been an ongoing process for a while, but it might have had a little bit to do with the Neurotic Outsiders! Because it seems like every time we all try to run off to do something on our own, because we’re just sitting around waiting, it all happens. When it rains, it pours! I really think a lot of the reason we’re getting back together as a band is because he heard we were so good, huh Duff?

In September 1996, Slash would be asked about the new record and say he had been in the studio working on it for the last three and a half weeks:

You know what, we're working on it. […]  I've been [in the studio] for the last three and a half weeks.

Well, I’ve been back in Guns N’ Roses for the last three weeks. So we’re just, like – just writing stuff and reacquainting each other, with each other. […] [Axl's] healthy (laughs). […] he’s fine. I mean, we really haven’t gotten to the point – I mean, first thing first is to do an album and finish that. And then the touring plans come later.

Slash would also say the studio was in Los Angeles and that the whole band went there [The Howard Stern Show, September 30, 1996]:

We get there at 11 o'clock at night.  And then we go to a local....[bar, "or something like that"]…around the corner and about 12 o'clock, 1 o'clock we get working. We work till about 4 or 5 o'clock in the morning.

In an interview likely from September 1996, Duff would also confirm that the entire band was rehearsing, but that they also included a "friend of Axl":

We rehearse every night and I play bass! Axl is playing the rhythm guitar, and it works very well! We work from Monday to Friday, ha, ha! There's me, Axl, Slash, Matt, Dizzy. There's also a friend of Axl who helps him to learn to play guitar. But we play, and it works!
hard Metal, 1996; translated from French

This friend was again likely Paul Huge.

And when asked if they had any songs completed:

Some time, likely start of October, Duff, would be optimistic:

It's fun and the energy is there. It's awesome now, everything's killer, so I guess things like the time off do happen for a reason. I would hope, at the latest, Guns can have an album out by spring.

The band was hooping to hit the recording studio in 1.5-2 months:

We’re going in soon, very soon — a month and a half, two months maybe. We don’t have a producer lined up yet. Mike (Clink)’s awesome, but we haven’t even talked to him yet.

Right now, we’re just trying to get back on track. Remember it’s been three years since we’ve all been in the same room together! Axl’s really great, he’s in really good spirits. He just wants to make a record. Axl’s playing a little guitar and writing some cool songs. Slash is coming around. And we’re just trying to figure out what we’re going to do about the other guitar player. It’s a good thing; we really need to do it. I’m sick of walking down the street and people go, ‘What are you guys doing? Are you together?’ And now I can say, ‘Yes we are.’ I’m happy about that.


Based on the quotes above, it seems the band had at least 7 songs recorded, and that there were no ballads among them. The musical style was described as closer to Appetite than Illusions, and, according to Slash, it was mostly Axl's songs they had worked on.

In 2000, Slash would be asked if it was true that there would be songs on Chinese Democracy featuring Slash's solos:

No, that isn't true. There were some rehearsals of new material that I was there for, but I didn't contribute any solos.

Slash would later look back at their efforts at working together again:

I went back for like ten rehearsals. It just didn't work out. It was worse than before I left […]

I went back to Guns for like 12 rehearsals on the forthcoming Guns N' Roses record to re-establish the band and where it was headed. And realistically from Use Your Illusion all the way up until now, Axl's been holding the reigns on taking it in his direction, and I just went, 'You know what? Fuck it then, you do it.' I would have suggested just do a solo record and let Guns do what it does naturally, but he insisted that Guns was his solo project anyway, so why did he have to do a solo project? So I just went, 'Fine, I'm gonna leave while the band's still cool, 'cause I don't know what you're gonna do with it.'

[Axl and I] had 11 rehearsals together around 1995. Through those, we learned what we needed to know.

Once I was done with recording and promoting [It's Five O' Clock Somewhere] live the way it deserved it, I came back to Guns N’ Roses and tried my best to work and get along with Axl. Unfortunately, we didn’t make it and so I simply ended up leaving the band.
Hard Rock (France), October 2000; translated from French

You can’t imagine how much fun I had on the It's Five O'Clock Somewhere tour. I felt like when Guns first started. I wasn’t trying to recapture a kind of magic, I just played with no holds barred, the way I like it. We toured for four months, I met thousands of kids and had a huge kick. So you can imagine how brutal the transition was when I came back to Guns. Very quickly, I thought: "Fuck that, it’s annoying. I want to play without torturing myself." Snakepit opened my eyes.
Hard Rock (France), October 2000; translated from French

I had 11 days of rehearsal that were really tedious, more or less painful […]

Slash would later admit his heart hadn't been in it when he returned to try to work Guns N' Roses:

I sort of made a half-assed attempt at going back to Guns. But at the end of the day it was half-hearted, and I realized it wasn't going to happen […]

He would also mention reacting to the production methods employed:

I came back from that first Snakepit tour— […]  And I came back to the studio and there was nothing but ADAT machines and ProTools and I did 11 days of rehearsal and woke up suicidal one morning, [saying] “I can’t do this anymore.”

Finally, in November 1999, would Axl for the first time discuss what had happened when they tried to make a record while Slash was still in the band [MTV, November 8, 1999]. In this interview Axl would say that he, in contrast to rumours at the time, originally wanted to make an album more similar to Appetite in sound, but that he wasn't allowed to do so:

I originally wanted to make a traditional record or try to get back to an "Appetite [For Destruction]" thing or something, because that would have been a lot easier for me to do. I was involved in a lot of lawsuits for Guns N' Roses and in my own personal life, so I didn't have a lot of time to try and develop a new style or re-invent myself, so I was hoping to write a traditional thing, but I was not really allowed to do that.

When asked who had prevented him from doing that, Axl replied Slash, and explained why it wasn't easy to replace Slash:

Slash. […] Well, not really.... Not to make a true Guns record. It's kind of like, I don't know, if you know somebody has a relationship, and there's difficulties in that, and Mr. or Mrs. Right doesn't kind of just stumble into their path, or they don't stumble across that person, they can't really get on with things. Somebody didn't come into my radar that would have really replaced Slash in a proper way.

It is likely these quotes from Axl that Duff would protest against in a later interview:

I heard something that Axl was fucked up by Slash. More I heard, more stimulated to save friendship. Don't badmouth me or Slash! Stop it! I worked so hard and did as much as I could do to keep running the band and recognize the greatest band in this century. It's OK to say things about me, but I live my life frankly and have responsibility. If I do wrong, that hurts myself. I don't care what other people say. I did care about was lying this time. And that was very big one. I don't want to ruin the history what I was the part of the creation for rock n' roll. I couldn't stand that it was insulted by my friend when I watched that interview. He is just looking for excuse to make his band bigger. That's fine, but do not make me involved in. Slash is a killer rock n' roll guitar
player and treat guy. Axl would not be able to live in Malibu without us playing on the stage. Most important thing to him now is to make all the lies put it together and not to be contradicted. That's no way to make Slash to be involved. Finally that made me stand up for it. He has what he's saying. Off course each one of us has some. And there's the truth. A lot of things have been happening, but now I think I could show my status.
Burrn! Magazine, December 1999; poorly translated from Japanese

Axl would then talk about educating himself on new production technologies, and claim:

Slash told me, 'I don't want to work that hard.'
Rolling Stone, January 2000; interview from November 1999
Stage manager

Admin & Founder
Posts : 12755
Plectra : 64871
Reputation : 820
Join date : 2010-07-06

Back to top Go down


Post by Soulmonster Fri Aug 07, 2020 8:29 am

SEPTEMBER 27, 1996

In September 1996 Quentin Tarantino would release the black comedy crime movie Curdled.

September 26, 1996

Slash had been involved in making the music and to New York Daily News, he would say he had done on a couple of tracks for the movie [New York Daily News, July 24, 1996]. In a later interview, he would indicate it was only one track:

I've been doing a soundtrack for a movie called Curdled -  that's a Quentin Tarantino movie. I wrote a song for that.

“My music appears during the murder scenes, which is cool.

The song was 'Obsession Confession' with vocals by Marta Sanchez, and it would feature in two version on the soundtrack, an acoustic and an electric [The Howard Stern Show, September 30, 1996]. He spent one night recording each song [Online Chat, October 16, 1996].

[Talking about his inspirations]: Different kinds of music, and also, as an example, for the "Curdled" soundtrack, visuals. Like the lead actress in Curdled, Angela Jones. The movie has a latin theme, so that helped. And the twisted, bizarre, bloody mess that the movie is based on.

To Slash's surprise the song reached the no. 4 spot on adult contemporary music lists:

To tell you the truth, I haven't really grasped that whole medium of music where you end up on The Wave [an LA radio station]. […] I wrote this song for the movie soundtrack and that was basically it. I don't know exactly how to receive No. 4 in the adult-contemporary charts. Obviously that's a little left-field for me.

My mom called me and told me she heard me on the radio. I was like, 'What are you talking about?' She goes, 'That music you did on the radio.' I was like, oh God, now I'm adult contemporary? But I'm proud of the song regardless..

Talking about his playing:

I don't think it's really radical fusion jazz or anything [laughter]. There's something about blue-style guitar playing that fits into a lot of ethnic music. The Spanish chord changes are more of less the same basic style, so it feels very natural to me. It's not like I'm playing advanced flamenco guitar; I'm not that technically proficient. But I have a feel for it, I think.

And how the collaboration came together:

I actually played with Bernard [Edwards] the night he died [=April 18, 1996]. He's the Big Daddy bass player of all time. Rest in peace. I love that guy. We did three shows in Tokyo and it was cool because I also got to play with Omar Hakim, Stevie Winwood, Simon Le Bon and Sister Sledge - all together.

It was like a huge 'pop star' orchestra. That was a great experience. In the process, Nile turned me on to this Spanish singer - she's like the Madonna of Spain - and that led to me doing a soundtrack for a movie; an instrumental based on this Spanish song, which turned out to be a huge success for me on the Adult Contemporary charts.

Last edited by Soulmonster on Sat Apr 17, 2021 9:01 am; edited 2 times in total
Stage manager

Admin & Founder
Posts : 12755
Plectra : 64871
Reputation : 820
Join date : 2010-07-06

Back to top Go down


Post by Soulmonster Fri Aug 07, 2020 8:29 am


Things must have turned sour between Axl and Slash during the sessions in August/September, because in mid-October Slash's comment on the new music and their work wasn't exactly promising:

I would like [the new record] to be hard edged like Appetite, but at this moment in time I have no idea what direction it's going in. I have only been back in the band for three weeks and my relationship with Axl right now is sort of at a stand still.

And from an interview published in January 1997 but likely conducted in October:

Right now we're in sort of a trial and error period. To me, the group is actually Duff and Matt and Axl. Where I stand is not etched in stone. I can't say it's all working out perfectly. That's part of the illusion of looking at five different personalities onstage and seeing them actually get on. It's not as easy at it looks. Over the last year, everybody has gone in different directions. Putting us all back together in one room is not simple.

And when discussing what they had done so far, Slash would emphasize that they had only been "collaborating":

At this point in time we have only been collaborating together. But we have been doing mostly Axl's material.

Although Duff would express - what in hindsight would seem misplaced - optimism:

I hope [a new record] happens, and I think it will. But I’ve gotten my hopes up before only to see everything kind of crash in around me. But I honestly believe that everyone wants to make a new Guns N’ Roses album now, and I think that everyone knows that if we don’t do it now we may not get the chance. It’s amazing to all of us to realize that five years have passed since Use Your Illusion, and that a whole new generation of fans has come along. But it kind of presents some new challenges to us, and that’s one thing we’ve always enjoyed. Whether it’s with Guns N’ Roses or the Neurotic Outsiders, when you place a challenge in front of use, the odds are that we’re going to take on that challenge.

In 2000, Slash would indicate that he and Axl had only grown more apart musically as he returned from the Snakepit tour:

When I came back [from the tour], me and Axl had grown so f--king far apart--as far as what we thought we should be doing--that I inevitably ended up quitting.

Last edited by Soulmonster on Sat Apr 17, 2021 7:50 am; edited 1 time in total
Stage manager

Admin & Founder
Posts : 12755
Plectra : 64871
Reputation : 820
Join date : 2010-07-06

Back to top Go down


Post by Soulmonster Fri Aug 07, 2020 8:29 am

LATE 1996

In late 1996 there would be rumours about Steve Vai joining the band:

Steve Vai - I have no idea about that one. He might have to take my place if anything weird were to happen. […] It'd definitely be the same thing with Vai [as with Wylde], having two overly - I wouldn't say flamboyant - but two aggressive front guys as lead guitar players. We'd both be doing the same thing at the same time, and it would lose its personality. The guitar playing shouldn't be excessive; it should be one of the instruments in the band.

When Slash was out of the band in late 1996, Vai was asked about joining Guns N' Roses:

Can you imagine me in Guns N' Roses? I like Guns N' Roses. I like Axl. But I've worked with enough singers like that for four lifetimes.
Stage manager

Admin & Founder
Posts : 12755
Plectra : 64871
Reputation : 820
Join date : 2010-07-06

Back to top Go down


Post by Soulmonster Fri Aug 07, 2020 8:29 am


[Being asked if he can see himself leave the band]: Not really. I don't look at things in those terms, much. I'm not the kind of guy that has a secret Plan B ready to swing into operation if anything should ever go wrong with this band. We love each other too much as friends for me to worry my ass off about whether we might split up one day

The bottom line is that nothing can come between Slash and I, and as long as we have that bond we have Guns N' Roses.
Hit Parader, June 1993; interview from December 1992

Guns will be around forever, trust me. They know how I feel. They know I'm not going anywhere. I don’t have the inclination to quit Guns and think I’m cool.

[Being asked how he would react if he suddenly got a fax saying Slash had been fired]: It would be difficult.
Hard Rock, September 1996; translated from French

Leaving Guns N' Roses was legally, technically one of the hardest fucking things to do. It shouldn't have been that hard. Divorce wasn't that hard.



In October Slash would do an online chat that would result in some very ominous comments:

Right now, Axl and I are deliberating over the future of our relationship.

I have only been back in the band for three weeks and my relationship with Axl right now is sort of at a stand still.

And in an interview published in Total Guitar in January 1997, but likely conducted  some months earlier, Slash went even further:

There's no animosity between the guys in the band, put it that way. But I've been out if it for so long, and there's a reason why that hasn't changed all that much. I'm trying right now; if it works out I'll be ecstatic...And if it doesn't, I don't want everybody to think it's a done deal and everything is fine. If they turn around and I'm not in the band, I don't want everyone to say 'He Lied'. […] I have no regrets. It was basically a really good time.


As mentioned in previous chapters, Axl had stayed low for a long time, since their tour ended in 1993, giving very few comments to the press and allowing his band mates (mostly Slash) to keep the media updated on what was happening. But then, in October 30, 1996, Axl sent out a fax to MTV commenting on many on the ongoing rumours:

LIVE!!!! From "Burning Hills", California...

Due to overwhelming enthusiasm, and that "DIVE IN AND FIND THE MONKEY" attitude....

#1. There will NOT be a Guns N' Roses tour.

#2. There will NOT be an official Guns N' Roses web site.

#3. There will NOT be any NEW Guns N' Roses videos.

#4. There will NOT be any new Guns N' Roses involved merhandise.

#5. There will NOT be a Guns N' Roses Fan Club.

#6. There will be a new Guns N' Roses 12 song minimum recording with three original "B" sides.

  NOTE: If all goes well this will be immediately repeated.

#7. However*******Slash will not be involved in any new Guns N' Roses endeavors, as he has not been musically involved with Guns N Roses since April 1994 with the exception of a BRIEF trial period with Zakk Wylde and a 2 week trial period with Guns N' Roses in the fall of 1996. He (Slash) has been "OFFICIALLY and LEGALLY" outside of the Guns N' Roses Partnership since December 31, 1995.


             Nothing here is Subject To Change
             Without A PERMANENT SUSPENSION
             Of the "Pseudo Studio Musician Work Ethic"

                             W. Axl Rose

c.c. Big FD Ent., Inc.
Michael "Duff" McKagan
Matt Sorum

The text of the fax is copied from a blurry screen shot and may contain mistakes.

In addition to denying rumours surrounding a tour, web site, fan club and merchandise, but confirmed the band's plans to release a record, Axl officially announced that Slash was out of the band and had indeed been so since December 31, 1995.

Interestingly, although in the words of Axl, the press release also came from Big FD Enterprise Inc. and Duff and Matt, indicating that this wasn't a solo decision by Axl but had band backing.

Axl would not elucidate on Slash being out of the band until November 1999, when he did an interview with MTV:

We were trying to make things work with Slash for a very, very long time... about three and a half years.


It was a divorce. The poverty is what kept us together. That was how we became Guns N Roses. Once that changed... Guns N Roses was like the old Stones or whatever. Not necessarily the friendliest bunch of guys.
Rolling Stone, January 2000; interview from November 1999

I never said that I was bitter. Hurt, yeah. Disappointed. I mean, with Slash, I remember crying about all kinds of things in my life, but I had never felt hot, burning, burning tears of anger. Basically, to me, it was because I am watching this guy and I don't understand it. Playing with everyone from Space Ghost to Michael Jackson. I don't get it. I wanted the world to love and respect him. I just watched him throw it away.'
Rolling Stone, January 2000; interview from November 1999

Later, Axl would claim that Slash, together with Renee and Ronnie Stalnacker, had been sabotaging any progress on new music and that it had been an issue of control over the band:

It seemed to me that anytime we got close to something that would work, it wasn't out of opinion that Slash would go ‘hey it doesn't work', but it was nixed simply because it did work. In other words, ‘Whoa, wait a minute. That actually might be successful, we can't do that.' People like to call me paranoid. It has nothing to do with paranoia; it was to do with reality. If the material were strong enough for me to sink my teeth in then I would still be in a certain public position in regards to Guns, we'd have possibly still held a certain popularity with the public as I have previously been fortunate enough to have had. Slash and his ex-wife Renee and his security guy and closest confidant at the time, Ronnie Stalnacker could not live with that. It's not something Slash could live with. Slash chose not to be here over control issues.

Now people can say ‘Well Axl, you're after control of the band too.' You're damn skippy. That's right. I am the one held responsible since day one. When it comes to Guns n' Roses, I may not always get everything right but I do have a good idea about getting things from point A to point B and knowing what the job is that we have to do. Within those parameters, I give everyone as much freedom to do what they want something Slash has verified in several interviews. Had Slash stepped up and written what we captured glimpses of, it would have created an environment that was beyond Slash's ability to control. He did not want to do that or put himself through the rigors of taking the band to that level even if he was capable of writing it. Was he capable of doing it? Absolutely 100%. I think that some of the riffs that were coming out of him were the meanest, most contemporary, bluesiest, rocking thing since Aerosmith's Rocks. The 2000 version of Aerosmith Rocks or the 1996 Aerosmith Rocks by the time we would have put it out. I don't know if I would have wanted to even do a world tour at the time but I wanted to put that record together and could we have done it? Yes. It's not something I would want to approach (without Slash) because at the time there was only one person that I knew who could do certain riffs that way. We still needed the collaboration of the band as a whole to write the best songs.

Since none of that happened, that's the reason why that material got scrapped.

The reality was that I was basically going to do most of Slash's songs in particular, and work on those with him, but basically any time we got anything that would be halfway near something that was gonna be either successful, because it completely kicked ass or it was just strong in any way, then it was backed away from. And I believe that this has a lot to do with trying to keep the material down - for his own personal reasons, keep his own material down.


Naturally, the media would report on Slash being out of the band and the label would be quick to confirm that Slash was indeed out [Philadelphia Daily News, November 1, 1996]. The press would report that Slash had quit to focus on his band Snakepit [Philadelphia Daily News, November 1, 1996]. It would also be reported that it was a mutual decision between Axl and Slash [The Orlando Sentinel, November 1, 1996]. The mutual nature of the break-up would also be confirmed by a spokeswoman from Geffen who insisted on anonymity [Associated Press/The Daily World, November 13, 1996].

A label representative would also comment on the break-up:

They had been rehearsing together in Los Angeles, but couldn’t work out their differences.

Later it would be reported, based on band sources, that musical differences between Axl and Slash was at the core of their problems [MTV, November 8, 1996].

There was also concern over the financial outcome of the break-up, with Malcolm Dome, editor of Kerrang! saying:

[It is] total bloody suicide. Axl's new band could very easily come out and die the death. From what I can tell you, from our readers' reaction, they just don't care that much about Axl anymore.

And an anonymous French promoter:

In 1992 Guns played to 30,000 people on Paris, in '93 to less than half that number. If Slash were still in the band, he'd book them into a 60,000 seater.

And the general interest in Guns N' Roses was waning, as explained by an American promoter:

In his years away from the stage, Axl Rose's thunder has been stolen by younger performers. If the kids want a bad-ass hellion to admire, Phil Anselmo of Pantera, Jonathan Davis of Korn, and the singer from Tool do the whole 'I'm a fucked-up child and now you're going to suffer' routine. And if you want the beer-swilling drug-taking hooligan with charisma who sometimes doesn't turn up to gigs - look no further that Oasis's Liam Gallagher.

Last edited by Soulmonster on Fri Aug 14, 2020 2:31 pm; edited 4 times in total
Stage manager

Admin & Founder
Posts : 12755
Plectra : 64871
Reputation : 820
Join date : 2010-07-06

Back to top Go down


Post by Soulmonster Fri Aug 07, 2020 8:30 am



In late 1997, Slash and Renee would divorce. Of the only two things he would regret in his life, getting married was one of them [FHM, April 2000].

One of my few regrets of my entire existence.

Talking about the divorce and what went wrong:

It just went wrong. It was just wrong to begin with. […] it just got – something got real wrong and old about it.

And admitting he had been a terrible husband:

Well, you know, all things considered, I had no business being married at that time anyhow. I was a lousy husband.

I got very addicted to sex at one point. I'd keep three or four different rooms in one hotel so I could bounce around between them. That was over the top and that took me to therapy. It was during my first marriage, too, which is pretty sad. That first marriage was a big mistake.

Being asked if he would ever marry again:

It’s not a question in my mind. Am I thinking about it? No. Would I do it? If I did it would have to be majorly different. I don’t think it’s necessary especially in this business. It’s just another contract.

In September, he would talk about having sold the house and still living as a bachelor despite having a girlfriend:

I just sold the house. Record's done, I don't have any use for the house.[...] The only reason I left the house was because, being that I'm like the consummate bachelor, even though I have a girlfriend and I've been married, whatever, my lifestyle's the same. I don't need a house. I just need a place to go jam and I need to have a bar and a strip bar and Carl's Jr. and a Jack In The Box nearby. I need to be in the city. As soon as I knew we were going to go on tour, I said, 'F--k it, I don't need a house, sell it.'

Apparently, he had started dating a new woman, Perla, about one year before the divorce with Renee [The Howard Stern Radio Show, June 7, 2000]. In a later interview he would say he met up with Perla during the divorce process, and that they knew each other from before:

Right as I was about to get divorced, I ran into an old friend of mine in a bar one night, and she and I hooked up, so I went from getting divorced to starting a whole new relationship […]

Her name is Perla and she’s 100% Cuban. She’s just... She’s great. She’s really, really cool. […] That just like happened, so I went from one to another, but it was a huge difference, because for four years of being married and not being happy to all of a sudden being ecstatic, it’s like, “Okay, so there is...”

In 2004, while discussing managing money, Slash would imply Perla had been a manager at a brothel:

I never had any ambitions with money. I had no interest in it, no real respect for it. Money will turn your life in all sorts of twisted directions if you don't get a handle on it. So my wife helps me. She was a madam back in her day. She knows money backwards and forwards.

Slash had met Perla while touring [The Howard Stern Radio Show, June 7, 2000]. They met at a Las Vegas casino and were introduced by a "leading porn star" [Daily Mirror, September 10, 2004].

But also this relationship wasn't without fights:

I came here pretty much in the clothes I’m standing in. It’s a long story, man. My girlfriend and I got into a fight and she locked me out of the bedroom…so I just came here pretty much as is.
Record Collector Magazine, February 2004; interview from late 2000 or early 2001

By 2001 Perla and Slash were engaged to be married [The Howard Stern Show, September 7, 2001] and the wedding took place on October 15, 2001 [Classic Rock, January 2002].

[The wedding] happened on October 15, so I was kinda busy with that. She’s a good girl. She was my girlfriend - obviously, ha, ha! It's been great. You know, it’s all good for me right now.
Classic Rock, January 2002; interview from 2001

Slash would claim that with Perla it was the first time he was monogamous:

You know what? It’s the only time I’ve ever been completely, um… [Stern suggests monogamous.] You know? It’s weird, too. It’s not really weird, cuz, you know, all things considered, I love her to death. But before that, you know, I wasn’t necessarily the trophy guy when it came to being a good husband or something.

Yeah, you know, this last five-six years I’ve spent with Perla, I’ve been, you know, like total... I haven’t even looked around, I haven’t even gone there.

In August 1998 it would be reported that Slash had moved into a new house in the Beverly Hills, previously owned by Cecil B DeMille and former residence of Roman Polanski [Metal Hammer, August 1998]. His previous house, with the Snakepit studio, was sold to Billy Bob Thornton [, October 2000].

In February 2002, it was announced that Perla and Slash were expecting their first child [New York Daily News, February 14, 2002].

The baby was conceived at Ronnie Wood’s house in London. [...]We’re thinking about maybe giving the kid the middle name Woody. I can’t believe we are going to be somebody’s parents.
New York Daily News, February 14, 2002

I was 37 when I had my first kid. He was conceived in London at Ronnie Wood's house. I'd been drinking nothing but Guinness for two weeks and my wife got pregnant. So I always hold up Guinness as the real deal.

The child, named London (Emilio), was born on August 28:

We just had a baby ten days ago. His name's London, nine pounds, four ounces. He's only ten days old, but he's got a cool personality . . . This is the first time I've been away from home since he was born, so I've called home like six times. And as soon as the gig is done, I'm going home.

Explaining the name:

My wife will tell you that it was because he was conceived here.

In early 2004 they were expected their second child [Dagbladet, February 17, 2004].

I'm the same guy [as I was before kids], it's just that I now carry more luggage. I love my children and my wife, and I love that, so there is not much to think about. I'm a little bit more responsible than I was before. It was my destiny to grow in this business because I was very young when it all happened, and one of the best things that happened to me was that, being involved in this being so young. Anyway, inside all this craziness I also thought that, in some moment I would have children and I liked that Idea too, so now, I enjoy it very much, I think it happened at its best moment, because before. I wouldn't had been able to handle it.

Domesticity is something I didn't welcome too easily. I fought it real hard. But I love my wife and having a kid came at just about the right time. When he came along it sort of straightened my wife and I out, 'cos we were still partying pretty hard - actually harder and more consistently than I was in the Gunners days.

Their second son was named Cash Anthony [Daily Mirror, September 10, 2004].

Talking about having mellowed down:

I mean, nowadays when we do a show, when it’s over, I sort of actually have gotten a little bit mellower afterwards. Like, I need some... somewhere to sort of withdraw for a while. So I’ll go to a neighborhood pub and hang out there with some locals, you know? That kind of deal. But if you were used to fucking chasing chicks around and looking for something exciting to do, you just couldn’t wind down. But now, after having been through that and seen it all, I know that there’s nothing out there that I haven’t seen already and it’s just – it’s a bore. You know? I woke up the other day in my hotel room, and just the first thing that happened in the morning was that I woke up and I was like, “God, I’m so fucking glad I don’t have some stupid bimbo I gotta kick out of here from last night,” you know? So, I mean, I think you just live and learn; and, after a while, you’ve just done it too many times and it just gets old.

[Becoming parents] gave us a sense of responsibility that neither of us were really used to, but at the same time if I was going to be a father I wanted to be a good parent. [...] We still party. But only when we have a babysitter.

You end up realizing what a (expletive) selfish self-centered person you've been all your life. I spent my entire life as a no-holds-barred rock 'n' roll musician with nothing to lose. [...] Now I have something that I care about which is not about myself.

And asked if Perla worries over him:

No, no. She doesn’t worry about me. She’d kick my ass (laughs). No, actually, my wife is an interesting story. I was married once before and I was probably – had to have been - one of the worst husbands you could possibly have, because I was... they wanted to check me in for sex addiction back then. I used to keep three and four different hotel rooms in the same hotel, so that I could go back and forth to different girls and stuff. Matt really thought that I was sick; he thought I needed to go to an institution. Actually, during those years, while I was still married, I met my wife now. I was just always really good friends with her and we used to fuck around here and there. Then I ran into her just before my divorce and we’ve just been tight ever since. I never really needed anything else from anybody else, so it’s just... you know, she doesn’t have to worry about it. She does worry, but she doesn’t have to.

And on secrets of married life:

When you get married, and especially when you have kids, you realize what a selfish motherfucker you’ve been all your life. It turns out that’s just the way you are. Lending an ear is usually the most important thing you can do, and spending time not thinking about yourself…and allowing them to go shopping. If I said I had it down I’d be lying, but I am aware of some of the rules.

And on quitting smoking:

I just quit smoking for 8 months until I got here, so I was doing great. I went to a fucking hypnotist, and I didn’t go of my own accord-my wife talked me into it. We’d just had the baby and she said, “Every time I give you the baby he smells like cigarettes”. So she went with me and I sat and listened to this guy just verbally abusing the whole smoking concept, then he put me under for 15 minutes. I tried not smoking that whole day and it lasted 8 months. Now I’m back to a pack a day, so I don’t really have any tips, you know?

In 2006, there would be rumours that Slash was getting a divorce from Perla:

And, of course, that whole thing that I filed for divorce didn't go over well either. [Laughs] [...] that was like… [I was like], 'What are you talking about?' 'Look on your computer.' And I'd look on there… [It was written] very matter-of-factly, on the date that [supposedly] I did it… this, that and the other, and all things considered...


Immediately after leaving Guns N' Roses Slash would return to playing with his blues band, Slash's Blues Ball and would embark on a five-date tour [Associated Press/The Daily World, November 13, 1996]. Slash would describe the band as "really just a good-time band" and:

It's mostly all covers--and not necessarily a lot of blues. There's a lot of old-style rock in there as well. […] this isn't like the traditional blues cover band you see in clubs these days. There's definitely a hell of a lot more decibel levels going on. Nobody should be expecting a nice, quiet B.B. King type of thing. It's more of an approach of, say, like a Johnny Winter.

And no two shows are ever the same.

Poster for show at The Tramps, New York
December 5, 1996

Slash would be occupied with Slash's Blues Ball throughout 1997, touring the USA.

Looking back at Slash's Blues Balls:

I got on the phone to put together for a particular gig, so I made phone calls to all the local musicians that I'm good friends with and I ended up... one of the guys was the bass player, Johnny we did six months of touring, having a great time doing Slash's Blues Ball, which was really just a glorified cover band. We covered everything from John Lee Hooker to the Stones to Joe Walsh. We did all kind of different material. It was all very cool. We had our own approach to doing the material the way we did it.

1994-2001: SNAKEPIT

At first it was a side project. But once I parted ways with Axl, it became a career move.

Immediately after the announced break between Slash and Guns N' Roses it would be reported that he would now focus on Snakepit [Philadelphia Daily News, November 1, 1996] and that he would be rehearsing new singers for the band [The Orlando Sentinel, November 1, 1996]. A source "close to Slash" would say that Slash wanted to "collaborate this time, instead of the way he made the first Snake Pit album with Eric [Dover], where Slash basically laid down all the music and then Eric came in and sang afterwards" [Addicted to Noise, January 13, 1997]. Early in January rumours were spreading that Sebastian Bach would join Slash's new band, after having jammed with Slash at a Slash's Blues Ball gig in Philadelphia on December 7, 1996 [Rolling Stone, January 12, 1997].

Sebastian Bach would seem exciting about the prospect:

Slash invited me to stay at his place for three weeks back in '92 or something and he put me in a room with a bunch of snakes and shit and a black velvet Aerosmith poster. I mean he's just a great guy! You wouldn't have to twist my rubber arm, I'm ready to sing.

But then a source "close to Slash" denied that Bach would be involved [Addicted to Noise, January 13, 1997].

It would also be stated that Slash would likely change the lineup and moniker of the band [The Hollywood Reporter/The Record, November 2, 1996]. He intended to release the second Snakepit album as soon as his home studio was finished [Addicted to Noise, January 30, 1997].

Slash would later say that Soundgarden's singer, Chris Cornell, had an open invitation to play with him:

I fucking think he's awesome. If he wanted to sing for a band outside of Soundgarden I would play with him in a heartbeat.

In August 1998 it would be reported that Slash was coming closer to find a singer and that he was now working with guitarist Ryan Roxie:

For a while, I've been getting all band members together, looking for singers. At this point, I'm not saying I have found one, but I'm pretty close. What we do is go upstairs during the week and write ideas, tape 'em, and the next day we go downstairs and record them. There's a couple of the Blues Ball guys in the band, and I'm s till working with Teddy Andreadis, although we don't use a piano for hardly anything. I'm using Ryan Roxie, who used to be in Alice Cooper's band, and that's it. We start at 1pm and play until one or two in the morning. I'd like to have a Christmas release and a pre-summer tour.

But I'm going to do a small tour before I do the record, just to break the material in, let it sweat a little. Right now, we're doing just demos, but all things considered, they're really good-sounding demos. The band sounds great; I haven't been in a band like this since Guns started.

The other members of the band at this time were drummer Matt Laug and and bassist Johnny Griparik [Guitar, September 1998].

Then, in late November 1998, Slash debuted his new band, including the new singer Rod Jackson, at the club the Barfly in Hollywood [MTV News, December 2, 1998]. The new record was expected to be out by the summer of 1999 [MTV News, December 2, 1998].

Talking about the new band and record:

The band is still hard rock band. The music is the kind of stuff that I've always played and always want to do. We wrote about 50 songs, and we've been picking out the 12 that we are going to be on the record. It's been an interesting process. I've been writing with different guys, so some of the songs are really heavy-heavier than anything Guns ever did. Some songs are more pop. There are a lot of different influences because I'm working with a lot of different individuals. Everybody meshes really well and the chemistry is great. We all get along-everybody is humble and appreciate everyone else's input.

I'm going with my gut feeling. Everybody is confused right now, but I think people are really hungry for a good hard rock record and we're one of the only hard rock bands who are about to put out a new record. Plus, the reaction has been great when we've played the new songs live. As far as I am concerned, a record shouldn't be recorded until the songs have come together through being played live. Songs develop so much better after you've played them in front of an audience. The songs really kick ass, which is what a hard rock song is supposed to do. But you can't think about these things too much. Rock and roll is best when you recognize it for what it is and you don't try to make it into something that it shouldn't be.

In February 1999, it would be reported Snakepit was without a record contract [Los Angeles Times, February 15, 1999]. In December the name of the album was revealed as "Ain't Life Grand!" and that it would be released on February 22, 2000, on Geffen/Interscope [MTV News, December 15, 1999]. In March 2000, Slash would say he had broken ties with Geffen/Interscope and would release the record on another label [, March 7, 2000]. That label was later confirmed to be Koch Records and the release was scheduled for September 2000 [Billboard, June 30, 2000], then delayed to October 10, 2000 [Los Angeles Times, July 16, 2000]. In July 2000, it would also be reported that Slash's Snakepit would open for AC/DC's US tour from August 1 to September 23, 2000 [MTV News, July 14, 2000]. To be accepted on the tour with AC/DC, Angus and Malcolm Young had to approve of Snakepit's new record [The Daily Show with Jon Stewart, August 23, 2000].

The producer of the record, Jack Douglas, would describe working with Slash:

Great guitarist, total pro and really great to work with. Slash was really computer un-friendly at first, but after a while, I couldn't peel him away from the screen when we were tracking he'd ask, "Have we totally loaded the disc drive, is it backed up yet?" But deep down, he liked the good old stuff, so we cut with the best set up, 16-inch, two-track tape.
KNAC.COM, February 28, 2000

While recording Slash would have to work with ProTools:

I had this thing on a song called "Speed Parade" where I wanted a car sound on it. So where do you go and find a car sound? For me, it's go to the video store, pick out a Clint Eastwood movie and just loop or dub it in there somehow.

And they said, "No, they have these books of nothing but sound effects." ... So it took a while to find it, and the way they applied it was using ProTools. Once I saw that I would just sit behind the computer, I couldn't stand to look at it. It was just so f---ing tedious. That was my first--and pretty much last--introduction to ProTools. [laughs]

Going on tour and opening for AC/DC:

I can't wait, are you kidding me? Just getting (our new) record done and having it come out, but then getting the chance to play with AC/DC, that's like one of my all-time favorite bands, so I'm really excited about it. I'm totally star-struck by this thing. I've seen them a million times, but I've never played with them. I've never even met them actually.

Opening for AC/DC constitutes the fulfillment of a dream. We had signed for a deal with Koch, had finally managed to agree on a release date (our album was originally supposed to come out in February), and we were all eagerly waiting for a tour to begin. First, I split with all my former business relationships: manager, lawyer, agent, etc… I detached myself from all the people I had been working with for years, in order to definitely sever the bond I had to Guns N’ Roses. I didn’t want to work with people who would have an idea at the back of their mind. That’s why I hired new employees and the first thing I asked them was to create a concert schedule. Shortly after, our agent gave me the list of bands who had planned to tour in the States this summer, and I was almost petrified when I noticed the name AC/DC. I sent our album to their management and they liked it, so they proposed the opening slot to us. It’s amazing! In Snakepit, we all practiced on AC/DC’s songs when we were starting to play!
Hard Rock (France), October 2000; translated from French

For the touring in support of the record, Snakepit would play two Guns N' Roses covers, 'It's So Easy' and 'Mr. Brownstone' [Toronto Sun, August 14, 2000].

Slash's Snakepit

In May 2001 Slash would talk about his next record:

The new songs are kind of similar to the ones on Ain't Life Grand, but they're newer, so they're different. The next record will be an evolution, hopefully, but it will still totally be the kind of bluesy, ballsy rock I love.

Sometime in 2001 a fan would also ask Slash why there was little publicity for Snakepit and Slash would blame that on the label:

If there is a lack of publicity, it is the record company's fault. But I will remind them for sure.

Discussing hos Snakepit came to be:

[...] I thought that I'd like to be doing new, original material. So Johnny and myself started getting it together to look for another guitar player to see if we could start a band. Slowly but surely, we started to piece the band together. I met Ryan Roxie when I was doing events with Alice Cooper. I thought he was a great guitar player, so I talked to him about it and he came into the picture. I met Matt Laug jamming in a club and me and Johnny thought he was a great drummer, so we talked to him and we got him into it. The only person we had to find to complete the picture was a singer. That was the hard part. We auditioned some 200 singers. Johnny actually knew this one guy with the most amazing voice. After 200 singers, he goes "let me borrow that audition tape you've got", which had some instrumental stuff that the band had recorded, and he gave it to Rod to put a vocal on. Johnny gave me the tape back and said "listen to this. See what you think". I was just blown away. I was like, this is the shit! This is the guy! So, we called Rod up, he came down and we started working together. We came up with a song called Been There Lately, which is a song about a certain time and place where we should have known each other. We all used to live in the same place called Hollywood Billiards. The only thing that separated us is just different times that we all lived there, but we had mutual friends and all that kind of shit. That was kind of a bonding period...that song. That was where we started and it just kind of went from there.

In the quote above, Slash doesn't mention the first lineup and record at all. When the interviewer asked about the first lineup, Slash responded:

It was a completely different set of guys. It just goes to show how sensitive that line is, how tiny that margin is from one group to the next. [...] That was just a bunch of friends of mine, all sort of putting their two cents in on material that I was working on. Some of the guys had some material and I had a studio called Snakepit Studios...that's where the name Snakepit, it was basically a glorified demo tape. I just kept pushing it one step further by making an album out of it and then going out on the road with it, which was at the time a huge eye-opener for me because I had been in the Guns N Roses umbrella for so long that to break away from that and be able to go do something else, I had a real good time at rediscovering why I do what I do for a living. It was almost as if it were meant to happen. So, once that was over with, I went back to my former band and that didn't work out so, I did a whole bunch of different stuff until this ended up happening. To make a short story long (laughs).

In early 2002 it would be reported that Slash had disbanded Snakepit and was without management and label [CDNow/Allstar, January 8, 2002].

It was more of a selfish thing to go back into doing dates in clubs. It was just something I had to get out of my system. If I tried to verbalise what that was, I don’t think I could. I was just seeing if this thing was the same as it was in my mind. It had been so long since I’d done it with a band - and I’d had all the jets and the stadiums and all that with Guns. It was about doing something raw, about keeping that feeling alive. And it was... it was all that. Then it was time to clean up some legalities that were hanging on and to put the band to rest. Making everything right on that score.

There’s no need to reinvent things any more. You can’t reinvent the start of Guns or Snakepit. This was my little thing, and it was a blast, seeing all these guys kind of doing it for the first time, but I was kind of carrying everybody [in Snakepit] through that.

With the first album [1995’s ‘It’s Five O’Clock Somewhere’], I’ve got such a short attention span and I get so impatient, I just got it out there. It was never intended to be a new band with a new album. Then with the second one I got screwed up with the legalities. I left Guns, I left my management, I had record companies screwing me left and right... Geffen, Interscope... It has changed me. I’m more guarded now. It’s a learning experience. I wouldn't do it the same way again. I’m more defensive. When I pick up the phone now, if it’s someone I don’t know, I’m like: ‘Who the fuck are you?’

Later he would be critical of the last incarnation of Snakepit and his own drinking during the period:

The last incarnation of Snakepit was just a huge mess; as much as I liked it, I was all fucked up - I almost killed myself drinking too much - and I had a lot going on. And I did this record [2000's Ain't Life Grand] with a bunch of guys who'd never been around the block before. For me, it was like revisiting what it was like to go out and start your first band; for them, it was their first band! One was strung out, blah blah blahs; we were always getting guys out of jail for stupid shit [laughs]. It had its moments, but it was like, John Lennon had his lost fuckin' summer, right? For me, it was like my lost four or five years!

Well, it was just difficult, you know, it was just difficult. I mean I didn't realize how much experience I got over the years and how much. How professionalism really makes it a lot easier in this business. Everybody in the band has to have the same amount of experience. We can't have one guy that's been doin' it for a long time and a bunch of kids cos it just... (laughs). All have to have the same level of experience. And I remember when GN'R first started it was totally crazy, we were all basically on the same level. So we could all deal with each other. being insane. But if I been, you know, 35 or somethin' in GN'R and everybody else was 19 (laughs) it would drove me nuts. So that's what Snakepit II was like. But we managed to get the job done and do all the dates and all that kinda stuff but after that it was over, I was like: OK, I need to. need to regroup to basically figure out what I'm gonna do. And what I did after that was I started putting together another band before VR just came out of nowhere, so I was already planning on doing that whole Snakepit thing again (laughs). So the whole VR thing came out of nowhere.

And to be honest: that was one of the worst parts of my life. Cause when I left Guns N' Roses, it took very long before I even knew again what I really wanted. That was simply because I had so much political shit going on, it wasn't funny anymore. And while I knew deep inside that I did the right thing, everyone was giving me the feeling that I had gone totally crazy. Even worse: really everyone tried to take advantage of me. I had problems with my management and my lawyers, and everyone tried to make a profit out of my situation. It was a really horrible time. That I landed at Koch Records was simply the result of me running away from the whole Geffen / Interscope record label machine, which I didn't want to do any business with anymore. I recorded the album at my home studio and was very happy with it - also with the band. But the rest, the whole business part of the deal, was a nightmare. Especially when Koch didn't do any promotion for the album. I went on tour, played in some town, and it appeared to me as a Spinal Tap-movie: I did signing sessions in record stores that didn't even carry the CD. And the kids who did have the album, had to order them on the internet, cause it wasn't available anywhere else. That was crazy. You're playing sold out shows, and no one knows your record.

[...] the shows were all we had. There was no other support from the label. Of course it was fun to be one of few bands who managed to open for AC/DC and not be boo-ed off the stage. That was really cool. But there wasn't even something like a break in the tour schedule - and the point was to play some club shows in a row - when I got sick and even had to go to the hospital. From there I had to cancel the second half of the AC/DC tour. And when I was finally ready again to start anew and put a new band and crew together, I ended up with a bus filled with fucking little cowboys who wanted to do the whole 'Rockstar' circus - they basically wanted to be more wild than they expected me to be. And that's something you have in you - or not. But you don't fake it. It's something that's forced upon you and it's guaranteed to cause trouble. And that's what happened. Two of them did the whole circus every night and created a big chaos. I tolerated it at that point, but for myself I closed the door for it very quickly. After the last show in San Francisco I went straight to the airport and I've never talked to them since. I was so powerless, empty and frustrated. I knew at once how lonely you can be in this business, no matter how successful you once were.


In 1998, Slash would sue the management company, Gudvi, Chapnick, Oppenheim and business manager Michael Oppenheim [MTV News, December 8, 1999] for allegedly overpaying Renee under terms of a prenuptial agreement, and seek $224,000 in recovery [Los Angeles Times, November 15, 1998]. According to the Los Angeles Superior Court: “Plaintiff and his wife divorced, and she has refused to return the overpayments or any portion of them” [Los Angeles Times, November 15, 1998]. Other sources would have it Slash had never asked her to repay the money [MTV News, December 8, 1998].

In July 1999 it would be reported that Slash had been arresting after allegedly beating his live-in girlfriend, Perla Hudson [Los Angeles Times, July 26, 1999]. Slash would be released on a $ 50,000 bail [Los Angeles Times, July 26, 1999]. Slash's management would send the following statement to MTV News:

The alleged charges against Slash are the result of the recent break-up of Slash and his girlfriend of two years. Over the course of the breakup, Slash was staying at the Le Parc Hotel in Hollywood, under an alias to help ease the situation. His ex-girlfriend found out where Slash was staying and apparently bluffed her way into his hotel room where Slash was asleep. She initiated a physical dispute, and was removed from the room by the police, who had been called at Slash's request. Several day's later the ex-girlfriend opted to press charges.

There's a compelling set of extenuating circumstances in this case, but, as Slash does not want to further complicate the situation and cause anymore undue duress to either himself or his ex-girlfriend, neither he nor his representatives will be commenting further on the matter until it is resolved.

Later, Jack Douglas, the producer of 'Ain't Life Grand' would describe how Hudson had found Slash in his hotel room and how Slash had later been arrested by the police:

[Slash]'s a gas. Also the only guy I ever produced who was hauled off by the cops in the middle of a guitar solo. […] Slash had been charged by this crazy girlfriend of his with assault and had a warrant out. When the cops finally showed up, we expected it. The girlfriend had caused a major scene already, showed up at my hotel room and demanded to know where he was. I said nothing, so she talked the clerk into giving up his room number. She finds him and stabs him with a pencil! After he pushes her off, she charges him with assault! Anyway, the cops show up in the middle of the session, looking for "Mr. Slash," cuffed him and took him away. He had the bail bondsman's number in his teeth at the time, on a piece of paper. Had him out in no time. […] He lives for that shit, the edginess.

In August 1999, Slash would report a theft in his Hollywood Hills home [MTV News, August 26, 1999]. A total of 12 guitars had been stolen, including a Gibson "Slash" model Les Paul and two Guild Crossroad double necks, as well as a large amount of studio equipment, a bronze sculpture and some of his personal belongings [MTV News, August 26, 1999].

I don't know who did it yet. They took all kinds of stuff; mikes, studio gear, 11 guitars. They even took my rock-star stuff, all my top hats but one. These guys knew who they were robbing, so they better watch their ass. There's only so many places you can sell that stuff, so when they try, I'm going to hear about it, trust me. When I find them, it will definitely be an unfortunate day.

At some point, Slash was arrested after having smoked on an plane and had to appear before court:

I guess I smoke a lot; in the shower, on the toilet; in bed, everywhere. So I'm in this bathroom on a plane, and the stewardess starts banging on the door. I must've set off the smoke alarm or something. It was really embarrassing; everyone on the plane knew what happened. That's a federal offense, did you know that? I didn't.

In 2000, Slash would be asked about the "worst criminal activity" he had been involved in, and answered:

You've seen me down at the police station here in LA right?! Apparently, being drunk and going into LA County Jail to go meet somebody. Other than that I’m not gonna mention all the other shit! That was the most recent. I almost got arrested for being drunk in LA County.

It is not clear when this occurred, but he does refer to it as the most recent.

In 2005, Slash would be sued by his publicist, Arlett Vereecke [Celebrity Justice, July 15, 2005]. Vereecke claimed that Slash owed her tens of thousands of dollars [Celebrity Justice, July 15, 2005]. Interestingly, Vereecke blamed Perla and not Slash:

[Perla is] on a power trip. It's all about her. She doesn't want Slash to be involved with anyone but her.

Apparently, Vereecke had been fired from representing Velvet revolver after getting in a fight with Weiland and not just represented Slash [Celebrity Justice, July 15, 2005].

2001-2002: SOLO CAREER

In June 1999 it would be reported that Slash had started working on a solo record with legendary producer Jack Douglas with recording expected in July [MTV News, June 8, 1999]. This record would likely turn into Snakepit's 'Ain't Life Grand'.

Then in 2001 and 2002, having ended Snakepit, Slash would talk about releasing a proper solo record:

I’m going to put my nose to the grindstone. I’m working on material for another record and I’m going to get buried in that. It’ll be what you’d expect from me... a lot of edgy, hard rock guitar. I also want to do a lot of the different styles of guitar playing I’ve done on other people’s records, like blues.
Poughkeepsie Journal, Sept. 20, 2001

If there is a lack of publicity, it is the record company's fault. But I will remind them for sure.

In early 2002 it would be reported that Slash had disbanded Snakepit and was without management and label [CDNow/Allstar, January 8, 2002].

For the first time, I feel kind of equipped to move forward and do a record.

Put it all in place and do what I like to do. The other records [=Snakepit records], they were kind of put out on a whim. Like I say, I’m impatient, man. I’ve been jamming a lot and I’ve been writing a whole bunch of stuff... It’s going to be interesting. It’s going to be more like the stuff that I do when I play for other people, just a few different sides and shades, not necessarily what you’d find when you just put a little band together. Sometimes I do that because I get impatient.

If I tried to describe it to you it would kind of be like cutting across the edges of it. It wouldn't be fair. It’s going to be interesting - lots of different styles, lots of different things. I didn’t want anything too permanent, anything that bought too much baggage. That’s what you get with bands.
Classic Rock, January 2002; interview from 2001

In 2002 Slash would start playing with Izzy again and the songs were intended for his solo record:

I'm putting together another record with some stuff I've done with Izzy and other stuff I've done on my own. I want to start writing with other people as well, and put together an album with a lot of guests - a really cool rock 'n' roll record with people you wouldn't expect to hear together.

Last edited by Soulmonster on Sat Apr 17, 2021 4:07 pm; edited 44 times in total
Stage manager

Admin & Founder
Posts : 12755
Plectra : 64871
Reputation : 820
Join date : 2010-07-06

Back to top Go down


Post by Soulmonster Fri Aug 07, 2020 8:30 am


When I made my decision, that's the time. My dad taught me not to be with a sinking ship. That's it. I was so desperate when I left the band. I came back from rehearsal at six or seven in the morning and I was so desperate after an hour sleep. I'm sure I was dead if I did that(heroin) then. No one can imagine how much I depressed. After a while I tried to make some cocktail, smoke cigarette and watched a few episode of "Wings" then went back to sleep. It was a little better when I woke next, but I was still unstable. Most important thing is peace of mind to me. But it was too far to be stable. There is no light at the other side of tunnel. I was like wandering in the dream. But I was awake though. I went back to sleep again and I was alright next time I woke up, so I quit the band. I started to call around and said "That's it. I can't go back there!" That's the final decision. There was no other way to go, but I had it. Let me go on.

When the 90’s rolled around, Axl got really, really into the whole trip and became a more exaggerated version of someone I already knew. Nothing that Axl does now surprises me. It’s just a bigger, more exaggerated version. That’s where he was headed. […] I just wanted to go back in and do another record and keep going, but we just never fell back in sync. So I just quit.

With respect to the millions of Guns fans, I wish I could explain how inevitable the split was. There wasn't anything that could be done to save it.

It was fucking tough to leave Guns N Roses, as simple and as complicated as that. Anyway, it happened when it had to happen. But I don't regret, after that, I've been playing and having fun all the time, which is what I really love doing and keeps me alive.

The Stones were recording Voodoo Lounge up at Don Was's house. Ronnie [Wood] and Keith and their wives and myself and my wife at the time all went to a very famous Beverly Hills restaurant that all the movie stars loved to be seen at. I was sitting at the bar with Keith and we were talking, funnily enough, about drugs. He asked me what I was doing with Guns, and I told him about the situation with Axl. Keith said, 'You never leave.' I thought a lot about what he said.

One of the things about Keith that I love so much is that he hangs in there, thick or thin. He's a hero to me because he's one of the few people that is completely unbendable when it comes to what he does, so I look up to him. So I got the wherewithal to be able to go back to rehearsal next day with a fresh attitude. I did that for weeks and weeks. It kept me in there for as long as humanly possible until it finally got to a point where it wasn't gonna go anywhere.

I don't know what relationship Keith and Mick [Jagger] have, or any of the lead singer and lead guitarists. The one thing they all seem to have in common is the singer wants to do his thing. I was dealing with somebody who didn't want to do anything in particular except to keep fucking dragging the ship down. So finally I did leave. I talked to Keith later after that, and he said, 'There was nothing you could fucking do'.


After leaving Guns N' Roses, Slash would stress differences in opinion on the direction of Guns N' Roses, as the reason.

It's just that we're not seeing eye to eye on where Guns should be going. It's just such a pain in the ass. […] let the smoke clear and maybe we can talk about it later, rather than try and force something unnatural and have everyone go 'We waited around all this time for THIS?' Axl's whole visionary style, as far as his input in Guns N' Roses, is completely different from mine. I just like to play guitar, write a good riff, go out there and play, as opposed to presenting an image.

In a nutshell, Axl and I aren't really seeing eye to eye as far as musical direction is concerned. Where he's taking on a visionary direction, I'm still rooted in the original concept [from] when we first got together. We're sort of butting heads on that.

It's not a real big concern with me right now because if it gets together, you know how I always put it, if we get together we get together, and in the meantime there's so many other things to do. […] [Axl] does [want to have the band back together], but he wants to... I don't know. For me personally we're just not...uh, let's put it, like a more civil kind of way of putting it, is we're not seeing eye-to-eye on the direction point of view and it's a lot of friction and it's just worth it.

Uhm, it's real simple. Me and Axl had more or less a musical... difference of opinion as far as musical direction. Simple as that. You've heard it a million times. It's a rock n roll cliche.

[Authentic rock and roll] was just what turned me on when I was young, and I’ve been around music pretty much all my life. That’s sort of the direction that I went in when I decided to be a musician, and I’m still working on it (laughs). And probably one of the reasons why I left Guns is that it took a strange left somewhere. And so I’m still trying to get that [bleep] raw, pure rock thing down, you know?
Dave's Old Interview podcast, July 26, 2017; from a phone interview with Slash in 2000

It turned into a job. It wasn’t because of the music. It wasn’t because of anything other than Axl was going one way and the rest of us were trying to get better at what we thought we were good at.

That’s probably one of the reasons I left Guns. It took a strange left turn somewhere. I’m still trying to get the raw, pure rock thing down.

I went off and I did the Snakepit thing and the tour and everything and by the time I came back, I realised that the direction that he wanted to go in, or whatever, the conflict of interest, was definitely against whatever it was that we'd been doing, and that we weren't going to come to any kind of plausible meeting of the minds.

I guess I last saw him in an attorney’s office. I quit the group because of musical differences. I wanted to continue doing the hard rock thing, and he wanted to do techno-rock or something. We’re still to see the end result. I just do what I do because that’s what I like doing, but his thing seems to be a little more convoluted.

After all, although Axl and I were often in disagreement, sometimes we shared the same points of view. But we tended to become unnatural when we messed up the line-up, when we introduced foreign elements to rock. That’s why I felt at peace with myself when I left the band.
Hard Rock (France), October 2000; translated from French

I left the band when it was still cool. I don’t have time to regret anything, life is too short and goes on, with or without Guns. I still have a lot of things left to prove. Actually, the only thing that bothers me is what our true fans think: "You had everything to be huge. Why?" The problem is that behind this facade, there was a strong tension. It was easy for me to plug my guitar and play. It wasn’t so simple for Axl. He was always fucking everything up. It had gotten to a point when we spent all our time fighting and we went backwards musically. I felt it coming, I already felt it during the recording of Use Your Illusion.
Hard Rock (France), October 2000; translated from French

Me and Axl had grown so fucking far apart as far as what we thought we should be doing, that I inevitably ended up quitting.

It turned into playing nothing but ballads. I started to get bored with that. Then it was more internal stuff having to do with Ax and myself.

I was trying to get better at what we were basically getting good at. It seemed the natural course.

[Being asked if musical differences weren't one of the main reasons he quit]: Yeah, that's right. Axl wanted to incorporate a more industrial sound into the music.

It came to a point where I just couldn't continue working with Axl anymore. Somewhere along the way we got disjointed. I had a hard time relating to him, and he had a hard time relating to my single-minded, one-focus approach. Our breakup is as simple as that. I don't have a good hypothesis for why musical differences happen. Every band goes through it. […] [The break-up] was personal because it was musical, and musical because it was personal.

I thought we were just getting good at what we were doing and Axl headed in a different direction. I was basically too fucking stubborn -- still trying to perfect the one thing I was just getting good at to be able to go there. My whole trip is still based around the same original concept from when I started playing when I was 15… For me it’s basically all the same shit, and as far as what Axl had in mind I’m still waiting for the [next] Guns N’ Roses record to come out to see what that was.

[Talking about the final straw]: Well, I wasn’t really aware of where it was going, but it didn’t look good, let’s put it that way, man. It’s a two guitars, drums, bass and vocals band – always had been. Guns N’ Roses just started going in a direction that I couldn’t really understand. There was no emotional content for me whatsoever. So, as long as I hung in there, there was a certain point where I was basically suicidal. [...] I came home from rehearsals at 5 or 6 am one day. I went to bed, woke up and thought I was gonna have t kill myself … somehow. Luckily enough, I went back to sleep, and then I woke back up in my regular headspace and made some phone calls. Now, if I had the shit that I had around a few years ago, I’d be dead.

Axl was taking off in a direction I had no grasp of, and the way it was going, I wasn't having a good time. So I got out of the band in 1996 while it was still cool to do it.

Slash would later point out that their differences in opinion on how to develop Guns N' Roses had started already from the making of 'Appetite':

[Axl] was heading in one direction and I was heading in another. It was actually a slow progression from the days when we first made a record all the way up to the final record. When our last tour ended, he made it clear which way he wanted to go musically. I tried to hang on and stay with the band as long as I could, but there was definitely limitations. It just got to the point where we couldn't work together anymore.

On may 30, Slash would describe that direction as "techno-grunge" [The Boston Globe, May 30, 1997].

I just quietly walked away and told him, ‘When you want to do a rock ’n’ roll record, let me know.'

The best thing about the break is that it ended while it was good. I'm too into what I do to let it go all the way to hell and become like Styx or something (laughs)
Aftonbladet, July 9, 2004; translated from Swedish

Tom Zutaut would confirm that differences in opinion over musical direction was a huge problem:

Axl had a vision that GN'R should change and Slash had an attitude that Guns N' Roses was Guns N' Fucking Roses and that's who they were. I don't think they could get over their breakdown in communication. It wasn't announced publicly because nobody wanted to say the band had broken up.

In 2002 as Velvet Revolver was starting to become an entity, Dizzy would discuss the new band and implicate that Slash (and likely Duff and Matt) weren't interested in being relevant and adapting to the new music scene:

I think some of those guys really go complacent. I know Axl thought we really needed to change, and in their mind we didn't need to change, we should just do what we do and everything will be cool.

But you look around and you see bands that did that, and they're trivial now. They're nostalgia. We didn't want to be that way ... and one by one, people started quitting. The old band was a little more hell-bent on self-destruction; this band, I think, is kinda headed upwards as opposed to downward.

I think probably... I don't know if it's artistic differences but I think sometimes you know .... Some of the older guys just wanted to keep doing whatever Guns N' Roses was doing and I think the band needed to grow and change musically so if that's artistic differences then cool, I think it might have been a case of not wanting, some people not wanting to put as much work in than other people and that probably has more to do with it.

I think some people wanted to kind of stay in the same spot musically and just take that road wherever that was going, which probably was down. I think that we needed to go where we are now. We needed to diversify, we needed to modernize the sound of the band and change with the times.

In 1999, Slash would suggest he was unaware of Axl always having a vision for the band and long-term plans:

But Axl had his own - I still want to know the answer to where Axl’s ambitions were from the get-go. Because, you know, things came out in the open over the years. I was like, “Really? So you were thinking all that way before.” You know? And I was just like, “I just thought we were just hanging out.”


Despite Slash stressing the differences between him and Axl, rumours would also have it that Paul Huge's continuous presence in the band, with Axl now wanting his as a writing partner, was annoying Slash [Addicted to Noise, January 13, 1997].


There's really not much to say. I'm not a person to quit anything, but it got to the point where it was a miserable situation and I had to leave.

[Whether the decision to leave was a hard one to take]: Not so much actually. All in all, I was only a fifth of Guns N’ Roses. I couldn’t go on like that. It just appeared obvious to me that I had to leave, it was a question of survival.
Hard Rock (France), October 2000; translated from French

When I came back, I thought, ‘I don’t really like my day job anymore’. I was frustrated, because nothin’ was happening. But I hung in there for a little while, then finally got disillusioned with the whole thing. That’s when I started thinking about doing my own thing again.

If I'd stayed for the sake of chivalry, I would probably be sitting here doing nothing. 'Cause there is no new Guns record out. In fact, I would probably not be walking this earth. I'd be pushing daisies. With respect to the millions of Guns fans, I wish I could explain how inevitable the split was.

I was suicidal [after waking up after only two hours sleep]. If I'd had a gun with me at that time, I probably would have done myself in.

If I'd had a half-ounce of f**king heroin with me, I probably just would've gone. It was heavy. It was a headspace I'd never been in before.

Somehow I managed to go back to sleep. Then, when I woke up later that morning, I made a decision. I felt the whole weight of the world drop.

Slash would also imply that the problems in the band became a danger to him as it pushed him back towards drugs:

I can’t relate to Axl. Maybe I never could. I mean, Axl came with Izzy, I came with Steven, and then we all hooked up with Duff...

When the other guys left, I realised I was out alone, and that meant me and Axl had to come to terms with... not our animosity, but having a different opinion about everything. And, I mean, you know, Axl works as hard as anybody else but only on what he wants to work on. And... I just lost interest. [...]

But it all comes down to this: if I hadn’t quit, I would have died, hanging round with nothing to do, no mutual artistic relationship, nothing... [...]

I mean, I tried to hang on in there, but it was like a big, revolving door, from really hi-tech equipment, different guitar players, all kinds of shit going on... I was just waiting for the dust to clear.

Eventually, I thought, we’ll never be able to put this back on the right path. It was getting so bad I saw myself really slipping again...


Now I don't wanna go back in those days. There was nothing fun at all. Three hour delayed show caused by only one brat. And twelve year old girl was beaten up during the riot, police was carried on a stretcher. There's nothing good.

It was hard to get up in front of an audience and say, ‘We’re sorry we’re three hours late. Thanks for showing us your tits on the monitors.

I really never necessarily fuckin’ just quit because of musical differences. I quit because he is an asshole! I have other things to do and life is too short.


But everything that I learned and all the experiences that we had were all fucking awesome, you know? I had a great time. But when the band got really big is when everybody’s true colors really started to come out. There was, like, managers and a lot of people riding – [...] Yeah, riding this wave. I was handling a lot of interviews and stuff, still not really consciously aware of where everything was going, just keeping on and keeping on. And at the end of the day, all of a sudden it became the guy with the top hat and the Les Paul, and the crazy fucking… [...] The singer and the bandana. And the rest of the band sort of like just became this Guns N’ Roses thing, you know? You know, still to this day, I never really have gotten to how the image itself all works or any of that shit. We were touring around the world and doing this whole thing with this entourage of, like, 80 or something other people. I would say that there’s probably about – I could count on two hands how many people I still talk to.

After Izzy and Steven left, I realized core of the band was lost. I was pushed to the point that I leave the band to keep the state of mind. […] I'm not the person who gives up easily, but terrible situation made me to do it. That was the only way left, I have to take care of myself. Replacement is OK with me, but I have to choose "quit" when the band itself has broken. That was all up to me, other guys were quit or fired though. Leaving the band eased my mind. I could do differently when I recall now, but I couldn't even think that time, because we were so fucked up. It took two and half years to think that way.

I didn’t want to go down with the ship, so to speak. Alright? So I left when it was still just, like, cool.

It’s really not as complicated and it’s not as "Rock and Roll Heroic Break Up Stuff" as everybody makes it out to be. When Steven (Adler, drummer) got kicked out, and then we kept going from there, that was one thing. Then when Izzy (Stradlin, guitar) quit, that’s when I went "Oh..." And the only reason Izzy quit had a lot to do with Axl. So, I hung in there, because we set out on a mission to do this thing -- and we did it -- but the camaraderie was not totally there. We hung in as long as we could, then it finally came to a point where I was like, you know what, I can’t fucking hang in there anymore.

One of the main reasons I actually ended up leaving is because the ideology behind Guns N' Roses all of a sudden took up a more preconceived turn than what we originally set out doing. I’m still working on being a rock ‘n' roll band and when I realised that I didn't have much control over the outcome of the way Guns was gonna sound, I went on to do the next thing which was to start my own band, and doing what it is I'm still trying to do - good old genuine rock 'n' roll.

Sure, sure, because, for me, nothin’ much has changed, either. Not really. Everything that went on in the band, it didn’t matter if it was playing Donington way down on the bill, or flying to gigs on the private plane we had after that, it was always the same for me.

Me and Axl are different like that, the whole 'aspiration of stardom’ thing. I always hung out in the same places, always did the same things, wherever the band was at. But for him it was like everything changed. He wasn’t like the same guy anymore, it was like the band wasn’t the same band anymore.

It was a gradual kind of thing. I think it started out with Steven [Adler] getting fired, which was a mutual thing. We all realized that Steven was just too much over-the-top at that time to continue on. And then when Izzy [Stradlin] quit, I think it was just the breaking up of the gang, so to speak.

That led to a point where we found replacements and managed to keep going, but … I went to rehearsals and my heart just wasn't there. And it was never me and Axl [Rose] and the rest of the guys, the way that people like to see it — where it's like the two front guys are the main thing and then there's the back line. I was very tight with the guys in the back line, which was depleted at that point, and there was never a really big relationship between me and Axl.

So now that Axl was running the ship, I was going, 'I can't do this.' And the whole thing was taking an all around direction somewhere that I couldn't even relate to. I just couldn't hang in there, and I'm pretty tenacious. I very rarely quit anything.

There wasn’t really a final straw, I had 11 days of rehearsal that were really tedious, more or less painful, and by the end of those 11 days, it was just way too foreign, a different kind of vibe going on. Of course, without all the original members, the fabric of the band had started to show real holes in it. And that was that.

The lineup in the band had depleted so much. I just realized I couldn't keep doing it anymore. So I just split while it was still cool. (Laughs) You know?

It was also because of the degeneration of what I considered the real guts of the band - Steve [Adler, drums], Izzy [Stradlin, guitar] and Duff [McKagan, bass]. The degeneration of my backup, my hang. Axl was always more intense and isolated than the other guys in the band - the rest of us were more kickback and casual. The depletion of members eventually took a toll on the band.

First there was Steven [Adler, the band's first drummer, who was let go for excessive drug abuse]. That was a big change, but we survived it. But that still had a big effect on the camaraderie of a bunch of guys who - I hate to sound cliché - really came from the gutter. But it was hard, because I was only 20 and Steven was only 21 when the band really started. We had professional ethics, but at the same time, we were a crazy bunch of kids. Trying to keep a tab on any one of us was difficult [laughs]. We just knew when we had to show up for work, but after work… God knows what was going on.

So when we buckled down to do Use Your Illusion, [former Cult drummer] Matt Sorum came in, and he was just like the rest of us, so that was cool. And then we're doing this whole double-record thing because we had so much material. And then we had all these huge shows coming up, so it's like we were touring during the making of the record. There was a lot going on. So we were out for two-plus years on those albums.

Then Izzy left, and a lot of that had to do with the excessive shit happening on the road, as far as going on late and riots and that kind of stuff. We were a really simple band from the start. We really looked forward to getting up and playing every night - that's what we're all about. But when that started to get complicated for reasons that didn't have anything to do with the rest of us, it put a strain on the band.

It wasn't a "success kills" kind of story, it was just that what Axl had originally planned all along started to become something that none of us knew anything about [laughs]. So when the tour was over, I looked at what was going on, and I realized I felt very estranged. What bound us together was really lacking as soon as we were missing a couple of guys. You just can't reinvent something like that.

We tried to hang in there as long as possible, but Axl was going in a musical direction that none of us could fathom. Eventually, it just wasn't fun for me, and I finally left. And consequently Duff left, and Matt got fired. Now Axl is doing Guns on his own. I have no regrets about the whole thing, because it was a slow, systematic thing that went on. I'm just waiting for the new Guns album to come out so I can have something solid in my hands to explain where Axl was headed - just to clarify some things [laughs].

It took a lot for me to quit. It probably started with the depletion of band members. It was a very hard band to put together. First, we lost Steven, then Izzy quit. We kept going, did the whole two and a half year tour. Videos started to go awry, money was being spent … management was bad. I mean, a lot of fucking shit that I would never have expected I would have been stupid enough to go through, you know? A rock’n’roll band is such a simple concept, but it just got to be so complex in the end. And at the end of the day, I had nobody to go home to except Axl. And we literally didn’t see eye to eye on anything at that time.

The thing was that when Izzy left it became impossible. I couldn't deal with Axl on my own and the band stopped being what it originally was. Originally Izzy could deal with Axl, I could deal with Izzy and Duff could deal with me. Steven also played his part. And that's how it was. We all had a way of dealing with each other and it all balanced out. After Izzy left it became something else.

And then, when we got back and it was time to write a record, it really became apparent how much the original group worked. There was a certain unsaid formula that made us all be able to support one another and also deal with Axl, and this and that. And now that was sort of gone. [...] I also came to terms with the reality that I’m not the guy to be able to have to communicate with Axl, and Duff’s not the guy to do it. And the two of us together even can’t [do it]. He just turned into this almost separate entity. It was like, no way we could really communicate on a creative level.

It already went wrong when original drummer Steven Adler was kicked out of the band.

Because Steven was gone, Izzy also left. But we had a whole tour planned so we kept the whole thing going. When it was time to record a new album, though, we missed those guys a lot. Look, nothing was right about our little band, but we were very successful. Without Steven and Izzy, though, it really turned into Axl's trip.
Stage manager

Admin & Founder
Posts : 12755
Plectra : 64871
Reputation : 820
Join date : 2010-07-06

Back to top Go down


Post by Sponsored content

Sponsored content

Back to top Go down

Page 2 of 2 Previous  1, 2

Back to top

Permissions in this forum:
You cannot reply to topics in this forum