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21. SEPTEMBER 1997-NOVEMBER 1999: JOSH AND TOMMY JOINS, ROBIN LEAVES, LIVE ERA IS RELEASED

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21. SEPTEMBER 1997-NOVEMBER 1999: JOSH AND TOMMY JOINS, ROBIN LEAVES, LIVE ERA IS RELEASED - Page 2 Empty Re: 21. SEPTEMBER 1997-NOVEMBER 1999: JOSH AND TOMMY JOINS, ROBIN LEAVES, LIVE ERA IS RELEASED

Post by Soulmonster on Sun Aug 30, 2020 8:41 am

NOVEMBER 23, 1999
'LIVE ERA '87-'93' IS RELEASED


This live album closed the chapter.
BURRN! Magazine, 1999; translated from Japanese

Guns N' Roses made it in the first place by being an effective live band. I'm really proud of the albums we made in the studio. But it was in our live shows that you could see the band's true colors.

____________________________________________

On November 23, 1999, the double live album, 'Live Era '87-'89' was released.


Live Era '87-'93
November 23, 1999


Slash's manager, Tom Maher, would discuss the double album:

The guys starting fooling around with this a few years ago, seeing if there was anything worth releasing.

Once the merger [between Interscope and Geffen Records] was over they starting working on it again, and the guys sent tapes back and forth between the different camps.

I think Slash got involved because it's been so long since they had a record out. When you listen to these tapes, you just go, 'Oh man, they were a really good band.'


Slash would also discuss the live album:

Believe it or not, it's still a very mutual effort. All things considered, it's as close as we ever got.

[…]

I have a standard for live records, because when I was a kid, I didn't have a lot of money, so rather than take my chances on buying a whole record based on songs that I liked or on hearsay about a great band, I'd always buy the live record. I think that's what established in my own subconscious what it was supposed to sound like. So I always got the live record before I got the studio albums. Aerosmith's Bootleg, Budokan by Cheap Trick, Get Yer Ya Ya's Out! by the Stones...and anything by Jimi Hendrix live is awesome. Bootleg is my favorite, because it's by far the most rock. And when I heard this one, it was like very little post-production work -- almost none, because there's no one that's going to show up to do it! [Laughs]

It's very honest, and it's like, 'What a f---ing bad ass band. It's one of the best live records I've ever heard. I'm proud of it.

[...] it was a contractual thing. Geffen were owed albums or somethin’, I guess. But I figured if it was gonna come out anyway, it might as well be as good as we could get it. I thought, it could be a great idea, there hasn’t been any great live albums since Aerosmith’s ‘Bootleg’ in 78. Before that, you’d have to go back to The Who’s ‘Live At Leeds’ album in the 70s.

So anyway, suddenly there’s lots of faxes and phone calls, everybody avoiding each other. But they sent me tapes, and the guy who was producing, I don’t remember his name, but he was pro-tooling it [a computerised system whereby raw analogue tapes can be expertly doctored]. I thought, no way! This is not the band I was in. [...]

Andy [Wallace] did a mix of like one song and I was like, ‘Oh, there it is!’

Because that first mix they sent me scared me, man. But I worked shoulder-to-shoulder with Andy, then Duff came down, and in the end there were only a couple of fixes where the drums dropped out, and we had to bleed the mikes, because Steven was gone by then.

I had a big role. I hired the original mixing guy, and I sat in on the mix to make sure it was honest and accurate, and got across that, yeah, we were actually that good.

I'm very proud of that record. I was raised on live albums back in the '70s, when if you didn't have any money, you had to beg borrow or steal the live records, because they were the ones that had all the cool songs on them. […]

I get a reaction [when listening to the songs], in the same way that I get a reaction listening to anything. I don't listen to any of my own records. My girlfriend has a couple … excuse me, my fiancé … has a couple tracks I've played on, and sometimes she'll play them when she doesn't know I'm here, and ... well, I won't call it a misty-eyed reminscence but it's just like, "That was cool."

I recently listened to Guns’ live record (Live Era ’87-’93) for the first time since it came out (in 1999). I didn’t realize how much I soloed in Guns! It was mostly because of the absence of Axl; he would go offstage, or just need a break, which was all cool – as long as he was coming back (laughs)! All those licks were totally in the moment.


And Duff would recount how it came to happen and indicate it was the label who wanted the album out and not the band (Slash confirms this in a quote above, saying it was a contractual thing):

Let me explain this. At first Geffen Records was bought up. Axl, Slash, and I were still partners of GN'R. Seagram was buying up everything and put them together. Contract, master tapes, everything. I still had one live album to release in that contract. I had the tape in my hand, but I was expected that somebody will use the right. And now is the time. That's great. Me and Andy Wallace were in the studio and mixed the album every day in last August. He is great. Slash called me up and asked me how the sound like, because he was busy working on his record. This album is supposed to be sent to Axl. It's funny thing that guys from "Universal/ Interscope" or something said they won't release the album unless I decide the title of the album. I said that's fine. I said "You are the people who want to release the album". But they were giving me mental pressure.
Burrn! Magazine, December 1999; translated from Japanese

A year ago [since I talked to Axl]. That means we haven't talked since he was putting live album together. Our managers talk to each other or FedEX it back and force. It was not like Slash. I told Izzy to check out mixing. "You are in that album also. Come check it out." He said, "I might as well check it."
Burrn! Magazine, December 1999; translated from Japanese


Slash would confirm it was the label who wanted to release the live album:

Well, the concept of the live record came up and, from a business point of view, I know it was the record company trying to fill the quota for the simple fact that there's been no new, original material from the band since we all broke up. But as far as the "band of old" is concerned, I'm always there to make sure that at least somebody's paying attention so things don't get messed up. Back then, we only had mobile [recording] trucks at certain shows, and we had some board tapes from '87 - like from when we played at the London Marquee, which was one of our first road trips that we ever took. So we just picked out like an average night's set list-those certain songs that we played all the time.

Once that was done, rather than sit there and analyze each individual take of a particular song, I just said, "Just grab this song, this song, and this song from whatever shows you feel like," because I wanted it to be as honest [a representation of the band] as possible. And I've never listened back to anything we've ever done after it was recorded and mixed, but [after listening to the tapes], I realized how good the band was. For the most part, it's one of our almost three-hours-long shows, just assembled from different places and different years.


Being asked if some of the songs were from shows in Tokyo:

I know there's three, but I don't know which ones they are. We didn't put any details on [the CD]. I know there are songs that were recorded in Las Vegas, Minneapolis, England, Japan, but I don't know which ones. There's a photo inside [the CD sleeve] from Tokyo Dome too.


Talking about 'Coma' being included on the Japanese and European version of the album:

We only played [Coma] probably two or three times that whole tour, because it was just so involved. Izzy used to have a "cheat sheet" for the chord changes on it - like the size of a table-onstage when we played that song. It's got a mathematical chord structure at the end, where the chord progression stays the same, but it's transposed to different keys. You have to pay attention because the chords are skipping all over the neck. So Izzy would follow it by reading the chords off his sheet. And I think the version of "Coma" that's on the record is the first or second time we ever played it live. We'd just go out there and go, "Let's try this!" And then Izzy would bring out the big piece of cardboard and tape it to the stage [laughs]. So it's not perfect, but it's got attitude.


And the absence of Slash's 'Godfather' solo:

I've had a couple passing thoughts about that, after the fact, because when we were making the record, it didn't even occur to me to use that. But a little bit later, I was going, "I wonder if we should've put that in there?" But there are so many different versions of it. It's so inspired by the night, and it's such an impromptu thing-you never knew how long it was gonna go, it wasn't like a "set" thing. So, it being that spontaneous, I was like, "If you were there at that time, then it meant something to you at that moment." But to put it on the record would signify "that's how it went," and none of them were the same. And also, I never got into that big "guitar solo" thing. Eddie Van Halen's great at it, but I just never got into that. The only reason that I ever did it was to give Axl some time to cool out, basically. I didn't think it was more important to put on there-and kill time on the record-and have to lose another song.


Talking about the record:

It's not pretty, and there are a lot of mistakes. But this is Guns N' Roses, not the fucking Mahavishnu Orchestra. It's as honest as it gets. All the other bands in the mid Eighties were trying to have Top 40 hits—even bands like Motley Crue. We didn't care about that. We just wanted to kick some ass.

The live record was cool. It was one of those things that came out of nowhere and I got involved with it because, regardless of any kind of, you know, rumoured animosity having to do with myself and the Guns guys, that's still my family, that’s where I came from. So when I heard that that was going to happen, I got into the whole mixing of it and all that kind of stuff. I was surprised we were as good a band as we were! (laughs) I was sort of amazed! But it's a really good honest representation of our shows. That's like about as in-your-face, blatant fucking Guns N' Roses as it gets. There's no fixes, no fucking bullshit.

[Being asked if he was happy with the result]: I had to be. I was there for the whole thing. A lot of people think (it's) over-produced, or over-mixed; that's what I heard. No, that's what the band sounded like. I was surprised, I didn't know the band was that good!

I stand behind it proudly. It's the best fuckin' live record released in years. I think the last good live album I heard was Aerosmith's Live! Bootleg [1978]. Not many bands put out live records anymore. When I first got into listening to rock & roll before I even started playing guitar, I used to buy live records because I couldn't afford to purchase a band's entire catalog. I figured the best way to hear a band would be through a live album. So Live Era '87-'93 was really important to me. I really didn't know we were even that good a band until I heard the live stuff.

[I played on] 21 out of 23 [tracks] actually. None of those songs were recorded before 1991. So that album, saying 87 to 93 is a complete farce. There are two songs on that album recorded before 1990. But the rest of it was 1991, 1992. The big tour that we did. All of that record was recorded then. At three shows specifically... Joe Robbie Stadium, some of that stuff came from Tokyo and I believe the show in Paris, and the Patience track on that album was actually from a board tape. Recorded by our soundman, who passed away, called Dave Care. He recorded that. But we did not have a version on tape that was any good. But I wasn't involved in that record.


The first pressing of the album was "mislabeled, [had] flaws in the accompanying booklet artwork, and [had] a serious 'skip' (which is actually a 'loop'), apparently a factory error", but this was to be corrected in the second pressing [MTV News, December 15, 1999].

Slash would discuss the various mistakes:

Now you have to be a really fuckin' fanatic to find some of this shit. But, originally, we had guitars going in the wrong direction. I said, "There's no left-handed players in this band!" I mean, it was really that green. I was looking at the picture of the Tokyo Dome in the CD sleeve, and I was going, "I could've sworn the red tapestry was on the other side of the Dome." But it's been a long time, so I let it go. Someone got a magnifying glass and found out that Marlboro and Coca-Cola signs were spelled backwards [laughs]. And I was like, "I knew the blue tapestry was on my side of the stage!" Other than that, there's this picture of Axl that's the other way; someone brought to my attention that his tattoo is on the other side of his body. But the only problem I could relate to was which direction the guitar necks were going. Other than that, everything else is flyers from the old days, most of which I made. I remember poster-boarding those things all over the place when we were doing gigs, and going out and handing them out [laughs].

But the main problem on the first version of the live record was that the sequence was backwards. And when it came out-800,000 of them went out-Disc 1 was Disc 2, and Disc 2 was Disc 1. And then there was a loop on "Paradise City," where it just kept saying, "Las Vegas." [Laughs] And I found out about it when I was in Miami. I get this phone call, and I'm like, "You're kidding me!" A one-in-a-million shot that that would ever happen, and it happens to us [laughs]. But it is a collector's item, because when they made the new one they changed the new cover around a little bit, so anybody who has the old one, hold on to it.


Later, Slash would imply that the live albums could have been better if the band had been together when they made it:

As far as I'm concerned, the cool thing about it was that it sounds good and it's real. Everything they did after that was between Ax and Interscope and all the kind of s--t, as far as shoving it down the toilet is concerned. It would have been great if Guns, at that particular point in time, was together and we were touring. That album would have been amazingly huge but there was no reality to that so I mean, how to work a Guns N' Roses record when the band's not together and Axl's on some trip-- I can't really give you an answer.



RE-RELEASE OF MUSIC VIDEOS


In connection with the release of the live album, Geffen decided to release updated music videos for 'It's So Easy' and 'Welcome to the Jungle' [Rolling Stone, November 9, 1999]. The video for 'Its So Easy' "was a mildly modified version of an old but rarely seen video shot at the Cathouse in Los Angeles in 1988, with original footage of ex-wives and naked women replaced with still photos from a Robert John Guns N' Roses photo book" [Rolling Stone, November 9, 1999].

Doug Goldstein would comment on the new video for 'Welcome to the Jungle':

It's very 'end of the Millennium' based. Waco, Columbine, Nike shoes, Rodney King… anything newsworthy.

We just decided to put out another video, the idea came along, (video director) Jeff Richter did a great job cutting it, and we went for it.


Last edited by Soulmonster on Mon Jan 11, 2021 1:03 pm; edited 2 times in total
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21. SEPTEMBER 1997-NOVEMBER 1999: JOSH AND TOMMY JOINS, ROBIN LEAVES, LIVE ERA IS RELEASED - Page 2 Empty Re: 21. SEPTEMBER 1997-NOVEMBER 1999: JOSH AND TOMMY JOINS, ROBIN LEAVES, LIVE ERA IS RELEASED

Post by Soulmonster on Mon Jan 04, 2021 6:23 pm

1998-
IZZY, AFTER GUNS N' ROSES


1998/1999 - RIDE ON


Despite seemingly become tired of music last year, in 1998 or 1999 he would release a new solo album called 'Ride On':

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

It was only 1998 or 1999, I don't remember, that we started Ride On. It came out only in Japan and we played a few shows there.​



Ride On
November 1999


Explaining the limited release:

[…] we sent it to some companies in London and UK. and they did not answer with very much enthusiasm, they weren't crazy about it, for that reason we weren't able to publish it in Europe. We are trying to put it out this year through Sanctuary.
Kerrang! (Spain), June 2001; translated from Spanish

[…] when we recorded “Ride On” no company wanted it, because they didn’t see any singles, so I decided to release it in Japan.
Popular 1 (Spain), July 2001; translated from Spanish


Talking about his solo records:

These records I've been putting out, it's painless man. We just have some fun, get the songs going, work on 'em a bit and there's really nothing to it after you've done it a few times.


In April 2000, Izzy would do a four-show tour in japan to support 'Ride On' with Duff joining the band [Japanese Radio, April 19, 2000].

[…] we went to Japan and had a great time playing there. We went with Rick and Taz…
Popular 1 (Spain), July 2001; translated from Spanish

It was nice, because now we don’t drink and we remember everything now. It’s nice to play with him. Yeah, we had a great time.
Popular 1 (Spain), July 2001; translated from Spanish


When asked if they had played any Guns N' Roses songs during this mini-tour, Duff responded:

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

In the 80's, the band just struck a nerve. But since I left, I've never played any Guns N' Roses songs. I played in Japan one time with Duff and we tried 'Paradise City' but we couldn't do it and keep a straight face.



MOVING BACK TO LOS ANGELES


I sold my house [in Indiana], now I live in Los Angeles. I did it because I had that yard with all that grass and I never cut it. When you live in a house that has grass, you have to take care of it and I didn’t, so it was a complete disaster. Although I’m thinking of coming back to Europe. I like southern Europe, I like Spain. All of southern Europe.
Popular 1 (Spain), July 2001; translated from Spanish



2001 - RIVER


In 2001 Izzy would release yet another solo record, River.


River
May 21, 2001


As for Ride On, he struggled to have the record released but eventually ended up on Sanctuary:

[…] when we recorded “Ride On” no company wanted it, because they didn’t see any singles, so I decided to release it in Japan. With the latter, “River”, the same thing happened until it reached the hands of Sanctuary Records, a company from England. I received a call and they told me: “Hey Izzy, we love your album”, so they released it. So now we’re with a small company, which is better than being in a gigantic company.
Popular 1 (Spain), July 2001; translated from Spanish


For the US release, Izzy would end up using the independent Bilawn Records label and the album would be available on the Bilawn's website [CDNow, August 11, 2001].

Talking about the record:

It was only 1998 or 1999, I don't remember, that we started Ride On. It came out only in Japan and we played a few shows there.  Then I started this new album, River, right away. The shows in Japan really invigorated us. We composed a few tracks there, others in Seattle - where Duff lives -, and a reggae track in Los Angeles.​

[Explaining the album title]: On River, there's a track called River and it happens to be my favorite on the album.

[…] we've been together since 1995. There is Rick Richards of Georgia Satellites who plays the guitar with me. He plays all slide parts and solos. He is very strong and we perfectly completes each other. He's been with me since 1992 and played on all my disks. There is Duff who also plays on my disk. He plays on all titles except on the reggae. This is not a style that inspires him but me, I love it. To the percussion there is Taz who comes from a psychobilly group of that has been badly marketed in the States. It is a type of rockabilly played knew steroids, in depth the case. It would be necessary that I send you a CD. He plays on my last three albums. There is also Ian McLagan that is also a precious help to me. I am very attached to the human rapport and rather of the faithful kind. These types are extra and I am very proud to have them with me. They will be also present on the next tour.
Guitar & Bass (France), June 2001; translated from French

I don't have anything against writing jointly; I wrote most songs for River alone, but there are some exceptions, like the first piece of the album, where it is Rick who came up with the music. When it was pointed and that he played me this riff, I found it so good that I made it the starting point of a new song and I don't regret anything when I listen to the final result. I only had to put lyrics over it. All was held perfectly with a lot of spontaneity. The remainder has been made in a very simple manner, I write in my corner with acoustic and I unload to repeat them to show them that that I made. Then, we arrange that all together, each is free to bring ideas and to play parts as he feels it on his instrument. I'm not a dictator. Rarely, I compose on the electric but I find that it is easier with an acoustic. Sometimes, we even play all together with the acoustic before passing to the big electric sound. It is maybe a question of resonance. It is as when you sing while accompanying on twelve-string acoustics. It would be necessary besides that I buy myself one. I have an excellent six string, but it is going to be necessary that I think about finding me one of those.
Guitar & Bass (France), June 2001; translated from French

There were five days of work in Seattle and five days in Los Angeles. The majority of the songs were written before, but much of the arrangements were made in studio on the fly. There is only the reggae that was written directly in the studio. We were alone, Taz and me, and we left on this idea to go until the end, he did the percussion and I undertook the remainder. All the remainder was recorded with the whole group. With regard to the words, I must confess that I arrived at the studio with quite a lot of holes but we finished everything there. Generally, I am satisfied with only one verse and only one chorus to start to work on a title. Thereafter, I finish with the will of inspiration. Ian McLagan did all the keyboard parts in only one day when we were in Texas. I believe that all really was in the box in three weeks, which is not enormous since the mixing is included.
Guitar & Bass (France), June 2001; translated from French

[…] there are three or four songs on the album which I had written during the tour that we did last year in Japan. The rest was made up when I was in L.A. There's also a song which I had already worked in 1992 with Ju Ju Hounds. I had to record it at least five times, there's even a version where Slash does the lead guitar. It was a good song, but there was something which didn't stick. I changed full with things and I also changed the lyrics, it finally became the reggae which is reproduced on River! The title-track, "River", dates from at least a year ago, I recorded it on my 4-track and I revised it a good package of time before arriving at the final result. I can leave an idea in a corner for six months or a year before returning there, I created a kind of musical bank for myself where I can draw ideas according to my desires or of my inspiration.
Guitar & Bass (France), June 2001; translated from French

This is more like my first solo album, it has a lot more piano. I went back to Ian McLagan, that’s why there’s a lot more piano and organ. I’ve also worked with Rick Richards again, so it’s very similar to the first one.
Popular 1 (Spain), July 2001; translated from Spanish


Talking about his collaborations with Duff:

I actually just spoke with him on the phone yesterday. He has worked on all my albums. We love working together, we always have had a great time, since Guns N’ Roses.
Popular 1 (Spain), July 2001; translated from Spanish


And Duff would talk about collaborating with Izzy:

I’ve gone and played with Izzy over in Japan. Izzy puts a record out a year over there, and uh, tours there once a year. And it’s great, you know, he has no interest in putting a record out any where else, at all. […] He doesn’t like the stardom part of playing - he likes to play, and he likes to make records. […]  Guns sold so many damn records that, you know, nobody really has to do anything for a living – you know what I mean? That’s not part of the equation. I don’t want it to sound anything more than just absolutely truthful. He doesn’t have to do it for a living, you know. So he just does it because he wants to all right? It’s very cool, you know? Izzy’s Izzy, you know?


And on touring the band in the summer:

I’m very content with [The River]. Now that it’s done, I hope to reunite the band to rehearse the songs and carry out a small tour in the summer.
Popular 1 (Spain), July 2001; translated from Spanish



2002: ON DOWN THE ROAD


In early 2002 it would be reported that Izzy would collaborate with both Slash and Duff on his next record, and that Slash would contribute with three songs he had written himself [KNAC.com, January 15, 2002]. According to Slash, he had written five songs with Izzy in November 2001 [MTV News, January 23, 2002].

The thing with Izzy's [solo] record is that I got involved with him because we talk on the phone a lot, and he's just always doing these anonymous projects in his own quiet little fashion. It's just nice to get together and write again.

We got together to work on songs, and they sound like Izzy, like Izzy and Slash, so they're easy to recognize that way. They have a sense of humor about them, but they're loose and laid back. They're not heavy-duty, arrangement-oriented songs. They're just basic ideas that we thought were cool, so we threw it down.

Me and Slash are just the session guys, man [laughs]. I just went in and did bass tracks for the first three songs in an hour and kept at it.

We were in the studio last week. He called me up and asked me if I’d like to play on some stuff he’d written. And we really don’t know what we’re going to do with it. It’s the [Thanksgiving] holiday this weekend, and I guess we’ll meet next week and figure it out from there. It was good playing with him again. It was like that getting on a bicycle thing...
Classic Rock, January 2002; interview from 2001


But in June it would be stated that Slash would not contribute to the record [Blabbermouth, June 14, 2002]. The record was also slated for an August release in Japan [Blabbermouth, June 14, 2002].


On Down the Road
August 21, 2002


Sometime in 2002 Izzy was asked if the record would be released in USA and Europe:



And when asked about release date and touring:

Possible summer release and tour.....will keep you posted........



VELVET REVOLVER


Izzy's brief period with what would become Velvet Revolver will be discussed in its own chapter.


FEBRUARY 2003: IZZY SUES BIG FD MANAGEMENT AND LAWYERS


In February 2003, Izzy would sue his and Guns N' Roses' former managers (Big FD) and lawyers [Blabbermouth, February 25, 2003]. After Izzy had left Guns N' Roses he had continued to pay his managers as per an agreement, but was supposed to stop paying them when Slash and Duff left the band; this had not happened and in the suit he demanded the commission of $231,575 that had accrued to be paid back to him [Blabbermouth, February 25, 2003].


2003: LIKE A DOG


In June 2003 it would be reported that Izzy had recorded a new album, Like a Dog, that would tentatively be released later in the year followed by a tour [Rolling Stone, June 6, 2003]. Rick Richards and Taz Bentley would be back on the record with Izzy playing guitar and bass [Rolling Stone, June 6, 2003].

Duff would talk about Izzy:

But Izzy leads a pretty charmed life, he does what he wants to do when he wants to do it and he doesn’t get caught up I any sort of huppla, he refuses to go there, he’ll make a record on his own, he’ll license it to Japan and maybe some where in Europe, and he’ll do a little tour, I’ve toured with him over in Japan, and he’s just this very pleasant country gentleman you know [...]

Izzy is a good guy, my birthday was last week and he drove eleven hours from Baja, to get to this birthday party. He's just a straight up good dude.


And Slash would describe Izzy's release approach:

The thing is that Izzy was so shattered by the whole Guns N' Roses experience that he'll never go back to being in [a band] situation again. He does music at this point, but that's just for the love of doing it, and recording stuff on his 8-track. When he makes records, he makes them real quick and just puts it on the Internet and moves on.



MARCH-DECEMBER 2004: DO YOU LOVE ME? WITH STEVEN


In March 2004 the admin of Steven's official fansite would report that Steven had been recording with Izzy:

Steven flew back to LA last night where he was picked up at LAX by none other than Izzy Stradlin! Izzy invited his former bandmate to collaborate on some new music. The plan is to record two songs, possibly to be included on Izzy's next release. I hope to have more info for you asap!

Steven returned from LA with a CD-R featuring two songs of his collaboration with Izzy! One new original song, and a cover of the classic oldie, “Do you Love Me?”. Izzy’s friend JT flew in from Texas. He plays bass on the tracks and he also engineered the session. Izzy took the lead vocal duty and Steven contributed backing vocals. The songs were recorded at Izzy’s home on his digital 8 track. They did about five takes of each song, and Steven was surprised when JT complimented him by saying, “Dude, you are an amazing drummer!” Steven says the recording sounds "fucking great!" and would like to send the tracks to some radio stations, most likely those in Europe. Also, the three of them plan to return in April to record five more songs!


On December 24, 2004, the cover of "Do You Love Me" was released on Steven's website.


APRIL 2004: PLAYING WITH THE NEW YORK DOLLS


In April 2004 it would be reported that Izzy was to take Johnny Thunders guitar spot in a one-show resurrection of The New York Dolls at the London's Meltdown Festival [Brave Words, April 10, 2004]. David Johansen, singer in the New York Dolls would explain:

Izzy’s a sharp guy, and he broke his teeth on our tunes, so I think he’ll do a really good job. I don’t want to have to turn this thing into marathon rehearsals for just one show — hopefully everyone will do their homework and we can all just get together and throw it on the stage.

Do you know that Izzy’s gonna be Johnny Thunders? The Dolls are doing a reunion next month… [...] Izzy just… he called me and he goes, (does Izzy imitation) “You’ll never believe, I got this call today, man… from Johansen… and, uh, he wants to do… they’re gonna do a Dolls reunion, and, uh, they want me to be Thunders… and, yeah, it’s like, wow…” ”So I learned the record, and, uh, yeah, uh, I got it down… and this should be a blast man!”


But in May it was reported that Izzy had backed out when he learned that that plans existed for the band to do additional dates, a prospect that would have required Izzy to learn more of the group's catalogue and to dedicate more of his time [Blabbermouth, May 5, 2004].
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