APPETITE FOR DISCUSSION
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.

Cheers!
SoulMonster

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

Page 2 of 2 Previous  1, 2

Go down

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.

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."


And Duff would recount how it came to happen and indicate it was the label who wanted the album out and not the band:

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.
Soulmonster
Soulmonster
Stage manager

Admin & Founder
Posts : 12393
Plectra : 63718
Reputation : 819
Join date : 2010-07-06

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