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

22. NOVEMBER 1999-JANUARY 2001: LINEUP TURMOIL BUT A TRIUMPHAL RETURN

Go down

22. NOVEMBER 1999-JANUARY 2001: LINEUP TURMOIL BUT A TRIUMPHAL RETURN Empty 22. NOVEMBER 1999-JANUARY 2001: LINEUP TURMOIL BUT A TRIUMPHAL RETURN

Post by Soulmonster on Sat Aug 29, 2020 6:57 am



Last edited by Soulmonster on Sat Aug 29, 2020 9:44 am; edited 7 times in total
Soulmonster
Soulmonster
Stage manager

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

Back to top Go down

22. NOVEMBER 1999-JANUARY 2001: LINEUP TURMOIL BUT A TRIUMPHAL RETURN Empty Re: 22. NOVEMBER 1999-JANUARY 2001: LINEUP TURMOIL BUT A TRIUMPHAL RETURN

Post by Soulmonster on Sat Aug 29, 2020 7:01 am

NOVEMBER-DECEMBER 1999
CHINESE DEMOCRACY IS NAMED AND AXL TALKS ABOUT THE MUSIC


With the release of 'Oh My God' media was asking if this song would represent the new style of Guns N' Roses, and Doug Goldstein would comment:

It’s not entirely indicative of what the album’s going to be. It’s a song that seemed to fit the movie. You know how diverse Axl’s always been.


Goldstein would further state that the record should be out in 2000 and that it would be called 'Chinese Democracy" [Los Angeles Times, November 7, 1999]. According to Goldstein, the name had been clear for "at least six weeks" [Rolling Stone, November 9, 1999].

Axl would explain the title:

Well, there's a lot of Chinese democracy movements, and it's something that there's a lot of talk about, and it's something that will be nice to see. It could also just be like an ironic statement. I don't know, I just like the sound of it..


Discussing the process and material:

We've been working on, I don't know, 70 songs.

The record will be about, anywhere from 16 to 18 songs, but we recorded at least two albums' worth of material that is solidly recorded. But we are working on a lot more songs than that at the same time... in that way, what we're doing is exploring so, you know, you get a good idea, you save it, and then maybe you come back to it later, or maybe you get a good idea and you go, "That's really cool, but that's not what we're looking for. Okay, let's try something new." You know, basically taking the advance money for the record and actually spending it on the record. […] and I don't want to be in a situation again where I have to depend on other people and have [to] start all over. So we have material that we think is too advanced for old Guns fans to hear right now and they would completely hate, because we were exploring the use of computers [along with] everybody really playing their ass off and combining that, but trying to push the envelope a bit. It's like, "Hmm, I have to push the envelope a little too far. We'll wait on that." So we got a list of things.

It's a lot of different sounds. There's some other really heavy songs, there's a lot of aggressive songs, but they're all in different styles and different sounds. It is truly a melting pot.

I go back to listening to Queen -- you know, we're still hoping to have Brian May come in and do some tracks, and I got a fax today that he's coming in -- Queen had all kinds of different-style songs on their records, and that's something that I like. 'Cause I do listen to a lot of things, and I really don't like being pigeonholed to that degree, and it's something that Guns N' Roses seem to share [with Queen] a bit. With "Appetite," even though it seems to have the same sound, if you really go back, you can pull all the little parts from different influences. That's not really the case by the time we're on "Use Your Illusion." People are kind of set in their ways. ["Chinese Democracy"] is coming from all over the place.


With Robin recently having left the band to rejoin Nine Inch Nails, they were again working with different guitarists:

What we're doing is we're rehearsing with different guitar players, and we're still recording.


Because of this, media would speculate the release date would again be postponed because Robin's guitar tracks had to be replaced [Metal Hammer, September 1999]. Although Axl would seem to deny this in November:

[…] we will be continuing to look for and or decide who the official new guitar player will be, but it's not that important to the band at this time, as that person's not really needed. There's not a whole lot for them to do at this time in regards to recording, as we've recorded [a] majority of material.


Axl was also in the process of adding vocals, and would say this was challenging:

I'm doing the vocals. I'm about three-quarters of the way through, and it's a very difficult process for me.

I write the vocals last, because I wanted to invent the music first and push the music to the level that I had to compete against it. That's kind of tough. It's like you got to go in against these new guys who kicked ass. You finally got the song musically where you wanted to, and then you have to figure out how to go in and kick its ass and be one person competing against this wall of sound.

Why I chose to do it that way is that, you know, I can sit and write poetry 'til hell freezes over, and getting attached to any particular set of words... I felt that I would write to those words in a dated fashion, and we really wouldn't get the best music. "Oh My God" is a perfect example. When we finally got "Oh My God" where it needed to be, then I got the right words to it. With "Appetite," I wrote a lot of the words first, but in, like, "Oh My God," I wrote the words second, but the music was written like "Appetite." We kept developing it until it we got it right. [With] "Appetite," everything had been worked on, and worked on, and worked on. That was not the case with "Use Your Illusion"


And talking about his guitar playing:

It's all right. I just wanted to be good enough to be able to contribute what was needed to this main album.


As for when the album could be out:

We're hoping [early next year]. Yes, definitely, everything seems to be going well. Robin's departure was abrupt, sudden, you know, not expected....


As for having some hip hop guys work with the music:

No, we haven't done anything like that. It's been thought of, but it's kind of [like] we would really be wasting somebody else's time, as we're trying to figure out how to develop this ourselves. Maybe if it were to get closer to, say, mastering or mixing, maybe there could be something someone else could add to it.


And as for touring or doing single shows in the near future:

Nah. […] Nah! […] Na-nah-na-nah! [Laughs].


As for future recording and overall plans:

I'm not working on all this to keep it buried. We plan on getting out there and doing it right. The new guys are a lot of fun, and like I say, we will be continuing to look for and or decide who the official new guitar player will be, but it's not that important to the band at this time, as that person's not really needed. There's not a whole lot for them to do at this time in regards to recording, as we've recorded [a] majority of material.


In November 1999, Axl would also do an interview with Rolling Stone magazine who asked if the next record would come out sometime in the twenty-first century:

Yes, I think that would definitely be the right time.
Rolling Stone, February 3, 2000; interview from November 1999


And explaining one of the reasons why it is taking so long was that Axl had to "educate [himself" on new technologies:

It's like from scratch, learning how to work with something and not wanting it just to be something you did on a computer.
Rolling Stone, February 3, 2000; interview from November 1999


Doug Goldstein would answer with a little more detail:

As far as I can tell, we are now 99% musically done and 80% vocals done. I see the record being done Feb or March for a summer release.
Rolling Stone, February 3, 2000; interview from November 1999

After years and years of trying to work with his old band mates, it's taken [Axl] quite some time to get the unit he now has together. Along the time we were trying to put it together with the other fellas, I certainly had my doubts. But now he has a group of guys that he appears to be friends with, and it's a very cohesive unit, which wasn't necessarily the case in the past. Everything I've heard is spectacular. It's exciting and diverse and - I think - absolutely well worth the wait.
Rolling Stone, February 3, 2000; interview from November 1999


Rolling Stone got to listen to almost a dozen new songs, although Axl wasn't entirely finished with all of them. The magazine would also list some of the song titles:

Song after song combines the edgy hard rock force and pop smarts of vintage Guns N Roses with surprisingly modern and ambitious music textures. In addition to the album's almost grungy title track, tentative song titles include ''Catcher in the Rye,'' ''I.R.S,'' ''The Blues'' and ''TWAT,'' which [Axl] says stands for ''there was a time.''
Rolling Stone, February 3, 2000; interview from November 1999


Axl also played for them a song called 'Oklahoma' which was in an instrumental form and had been inspired by Axl's litigation with Stephanie Seymour:

I was sitting in my litigation with my ex-wife, and it was the day after the bombing. We had a break, and I'm sitting with my attorneys with a sort of smile on my face, more like a nervous thing - it was like, 'Forgive me, people, I'm having trouble taking this seriously.' It's just ironic that we're sitting there and this person is spewing all kinds of things and 168 people just got killed. And this person I'm sitting there with, she don't care. Obliterating me is their goal.
Rolling Stone, February 3, 2000; interview from November 1999


This means that by the end of 1999, the following song titles had been mentioned in various articles: Prostitute, Cock-a-roach Soup, This I Love, Suckerpunched, No Love Remains, Friend Or Foe, Zip It, Something Always, Hearts Get Killed, Closing In On You, Catcher in the Rye, I.R.S., Oklahoma, and There Was A Time.
Soulmonster
Soulmonster
Stage manager

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

Back to top Go down

22. NOVEMBER 1999-JANUARY 2001: LINEUP TURMOIL BUT A TRIUMPHAL RETURN Empty Re: 22. NOVEMBER 1999-JANUARY 2001: LINEUP TURMOIL BUT A TRIUMPHAL RETURN

Post by Soulmonster on Sat Aug 29, 2020 7:02 am

OCTOBER 1999
'APPETITE FOR RECONSTRUCTION'
A GUNS N' ROSES TRIBUTE RECORD


In late 1999 a tribute record to Appetite for Destruction would be released:

While KISSonline issued a track listing for the Guns N' Roses remix album Appetite for Reconstruction indicating songs covered by a variety of bands including Union, Quiet Riot, Bang Tango, L.A. Guns, and Bulletboys in fact these tracks were recorded by the singers of these bands, not the bands themselves. Tracii Guns laid down all the guitar tracks, and vocalists including John Corabi ("Rocket Queen"), Kevin DuBrow ("Welcome to the Jungle"), Joe LeSté ("Nighttrain"), Jizzy Pearl ("Sweet Child O' Mine"), Phil Lewis ("My Michelle"), Marq Torien ("Out ta Get Me"), Taime Downe ("It's So Easy"), Kelly Hansen ("Anything Goes"), Steve Summers ("Think About You"), and Kory Clarke ("Paradise City") contributed the vox, and then the tracks were handed over to various remixers including Pigface, KMFDM, and Die Krupps. The album will be out October 12.
Metal Edge, Sept. 24, 1999


The track list would be:

1. Welcome To The Jungle - Quiet Riot (Pigface remix)
2. Rocket Queen - Union (Sigue Sigue Sputnik remix)
3. It's So Easy - Faster Pussycat
4. Nightrain - Bang Tango (Astralasia remix)
5. My Michelle - LA Guns (KMFDM remix)
6. Think About You - Pretty Boy Floyd (Die Krupps remix)
7. Out Ta Get Me - The Bulletboys (Meeks remix)
8. You're Crazy - Love/Hate (Spahn Ranch remix)
9. Paradise City - Warrior Soul (Sheep On Drugs remix)
10. Mr. Brownstone - Bang Tango (Rosetta Stone remix)
11. Anything Goes - Hurricane (Electric Hellfire Club remix)
12. Sweet Child O' Mine - Warrior Soul (Ex-Voto remix)
13. Welcome To The Jungle - Quiet Riot (Interface remix)



Appetite for Reconstruction
October 1999


Slash would later tell a story about the album:

I have an interesting anecdote to tell you on this topic: one day, a barman in New-York told me how much he loved Guns N’ Roses and asked a friend to buy Appetite For Destruction for him so I could autograph it. When the friend came back, he handed me this Appetite For Reconstruction that you mentioned. I hallucinated when I took a look at the credits and realised that all the washed-up has-beens of the West Coast, the losers, the ex-somebodys were all gathered on this shitty record! (laughs) Even Tracii Guns plays on most of the tracks. Fuck, this album is basically the record all these guys dreamed of making one day! So I didn’t even bother listening to these covers. It can only be crap anyway. It’s really fucked up. I don’t feel honored or flattered whatsoever. It’s all about money.
Hard Rock (France), October 2000; translated from French


EPILOGUE: 2002 TRIBUTE ALBUM


In 2002 another tribute album would be released, with a very similar track list and artists as the one from 1999:

Here are the full track listing and vocalist credit details for the forthcoming Guns N Roses tribute album, due for release from Deadline Records on April 30.
You're Crazy - Stevie Rachelle
It's So Easy - Fred Coury
Welcome To The Jungle - Kevin DuBrow
My Michelle - Phil Lewis
Sweet Child O Mine - Jizzy Pearl
Paradise City - Kory Clarke
Mr. Brownstone - Joe Leste
You Could Me Mine - Mitch Malloy
Used To Love Her - John Corabi
Don't Cry - Spike
Patience - John Corabi
Civil War - Christina Kartsonakis
Melodic Rock, March 29, 2002


Last edited by Soulmonster on Thu Sep 24, 2020 9:02 am; edited 3 times in total
Soulmonster
Soulmonster
Stage manager

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

Back to top Go down

22. NOVEMBER 1999-JANUARY 2001: LINEUP TURMOIL BUT A TRIUMPHAL RETURN Empty Re: 22. NOVEMBER 1999-JANUARY 2001: LINEUP TURMOIL BUT A TRIUMPHAL RETURN

Post by Soulmonster on Sat Aug 29, 2020 7:04 am

LATE 1999
IZZY TRIES TO MEET WITH AXL


To tell the truth, [Izzy] visited Axl's house about two weeks ago. […] Yes, he did visit there. But somebody told him that Axl is not home, answering over the interphone at the gate. First he said "Wait a minute" and he came back and said "He is gone." Izzy said "OK" and went back. There is always emotional thing with GN'R. At least the old GN'R.
Burrn! Magazine, December 1999; translated from Japanese


Axl would likely reference this episode in an interview he did with Rolling Stone magazine in November 1999:

[Axl] casually mentions that a while back his security camera caught an unannounced visit by Izzy Stradlin to his front gate, but quickly adds that he had no interest in getting together with the old school buddy and former collaborator, whom he originally followed to Los Angeles from Indiana.
Rolling Stone, February 3, 2000; interview from November 1999


Izzy himself would say he did this regularly but after they had had a fall out over the phone in 1995 [see previous section], Axl would not see him again:

Since then, regularly, I go to his house to have a laugh: I ring his doorbell and there's always someone to tell me that he's not there!

I was traveling on my motorcycle and I passed by his house, so I thought about knocking and seeing him. No one answered. I don’t know if he was home or not.
Popular 1 (Spain), July 2001; translated from Spanish
Soulmonster
Soulmonster
Stage manager

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

Back to top Go down

22. NOVEMBER 1999-JANUARY 2001: LINEUP TURMOIL BUT A TRIUMPHAL RETURN Empty Re: 22. NOVEMBER 1999-JANUARY 2001: LINEUP TURMOIL BUT A TRIUMPHAL RETURN

Post by Soulmonster on Sat Aug 29, 2020 7:31 am

LATE 1999
DOUG GOLDSTEIN SUES SLASH AND DUFF


GN'R's management company, Big F D Entertainment (headed up by Doug Goldstein) is suing former bandmembers Slash (Saul Hudson) and Duff McKagan (Michael McKagan) for what Big F D says are monies owed, according to papers dated December 14 and filed in the Los Angeles County Superior Court. The suit claims that the pair is in debt to the company to the tune of at least $400,000.

Slash's lawyer, Zia Modabber, told MTV News that the guitarist's contract with Goldstein ended some time ago and that the manager isn't owed anything. The lawyer added that Slash intends to vigorously defend himself in court.

The filed documents include a copy of Goldstein's contract, which covers not only the bandmembers' work with GN'R, but also the individual members' solo projects. The contract appears to be valid for either a term of three-years or until the last day of the next GN'R tour cycle, which ever comes last. The three-year period appears to have started in October of 1992 and ended in October of 1995.

GN'R released its last original product, the "Use Your Illusion" album set, in 1991, and the group last toured in 1993.

The key issue apparently lies with the definition and timeline of the term "tour cycle." Big F D legal counsel Bert Deixler told MTV News there's a new Guns N' Roses record on the way (presumably "Chinese Democracy," the project Axl Rose first mentioned to MTV News' Kurt Loder in November of last year) that will give rise to a GN'R tour, and that when that tour is over, the contract will expire.

Slash left the group in 1996 and was followed by McKagan in 1998. Rose retained the rights to the Guns N' Roses name and has assembled a new band that will be using that moniker. According to the documents filed last month, the band is expected to finish recording this spring and will start touring in the summer or fall.

McKagan is also accused of breaching the management contract by hiring independent managers in 1997 and again in 1999, although Slash's manager, Tom Maher, is not referenced in the documents. Maher declined to comment for this story, and McKagan's current manager, Katrina Sirdofsky, was not immediately available.
Soulmonster
Soulmonster
Stage manager

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

Back to top Go down

22. NOVEMBER 1999-JANUARY 2001: LINEUP TURMOIL BUT A TRIUMPHAL RETURN Empty Re: 22. NOVEMBER 1999-JANUARY 2001: LINEUP TURMOIL BUT A TRIUMPHAL RETURN

Post by Soulmonster on Sat Aug 29, 2020 7:32 am

CHRISTMAS OF 1999
BUCKETHEAD JOINS THE BAND


In February 2000, Rolling Stone magazine would write about the various musicians that had been connected to Guns N' Roses in recent years, and mention "cult hero Buckethead" [Rolling Stone, February 3, 2000] and in March, it would be reported that Buckethead had indeed recorded with the band but that he wasn't necessarily the band's new lead guitarist [MTV News, March 15, 2000].

Buckethead's involvement with the band would be confirmed in October 2000 [MTV News, October 27, 2000].

Later it would be revealed that Axl's original idea had been to get Richard Fortus to join the band, but changed his mind after watching Buckethead perform:

Actually, I first got a call like three years ago, but before that audition happened, Axl saw Buckethead play, and he decided to go with him instead.


In December Buckethead would talk about how he ended up in the band:

There was this Leatherface doll that Spencers-type stores put out, it's pretty large and puffy, it was on the top of the list. Didn't receive it from the family. Got invited to Axl's on Christmas night; never met him before. Sad about not getting the doll but it is ok, but still sad. Get to Axl's, he presents this box wrapped up. The Michael Myers version has been out for a while, knew it was the same box. Figured it was Michael Myers and opened it up. There was Leatherface. In the brain joined that second.

[Axl] must understand me somehow.


Later there would be rumours that Buckets was really Slash in disguise, and Axl would comment on these rumours:

Yeah, many people have thought that [=Buckethead is Slash]. And I guess on the Internet sometimes, you know, there are polls or questionnaires, and one of the bets has always been that it’s really Slash. I think that’s funny. And that was before I knew Buckethead, people guessed that he might be Slash because of the hair and the look.


Matt would also tell a story about Slash being upset people thought he was Buckethead:

But you know, Slash is so passive of a guy that most of the time I ever saw him upset was when he came to rehersal one day [with Velvet Revolver] and said, "Someone thought I had changed my hat and now I'm wearin' a bucket on my head... [laughter] Someone thought that you were wearing a Kentucky Fried Chicken bucket on your head. [laughter] "Hey man! That's a cool hat!" It was like, dude, that's not me.



Buckethead in concert
July 1999, Ozzfest


Last edited by Soulmonster on Sun Aug 30, 2020 7:07 pm; edited 2 times in total
Soulmonster
Soulmonster
Stage manager

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

Back to top Go down

22. NOVEMBER 1999-JANUARY 2001: LINEUP TURMOIL BUT A TRIUMPHAL RETURN Empty Re: 22. NOVEMBER 1999-JANUARY 2001: LINEUP TURMOIL BUT A TRIUMPHAL RETURN

Post by Soulmonster on Sat Aug 29, 2020 7:34 am

BUCKETHEAD BEFORE GUNS N' ROSES


Of course there are all kinds of aspiring guitar wizards out there (although probably none within pick-flicking distance of this guy). But what sets Carroll decisively apart from the pack is the outré "Buckethead" persona he's so painstakingly created. This character, with its vaguely sinister mask, soberly upended KFC bucket, and absurdly detailed chicken fetish, is pure American surrealism. Buckethead is a star of a strange new kind: not the projection of a preening personality, as is usually the case, but a mirror, a screen, a somehow lovable cipher. As a stage presence, he seems almost (one of Carroll's favorite words) disembodied.

Although most people are probably experiencing Buckethead for the first time in his current stint with the new Guns N' Roses, the man has been putting out solo albums for the last 10 years. Some, like the 1999 Monsters and Robots, are pure "post-metal psycho-shred," as one writer put it. Others, like the just-released Electric Tears, are serenely ambient. Buckethead also records under the name Death Cube K (an anagram); the 1994 Dreamatorium is a good one.

In addition to this solo output, Buckethead has also recorded and performed with a wild array of other musicians, from P-Funk all-stars Bootsy Collins and Bernie Worrell to Iggy Pop, Primus, avant-fusion bassist Bill Laswell and the late Miles Davis Quintet drummer Tony Williams. He's played on three albums by "The Lord of the Rings" star Viggo Mortensen, one by the painter Julian Schnabel, and some movie soundtracks and scores, too ("The Last Action Hero," "Mortal Kombat," "Beverly Hills Ninja"). He longs to do an all-Disney album. ("When You Wish Upon a Star" is one of his favorite tunes.)


About his famous appearance:

I was eating [take-out fried chicken], and I put the mask on and then the bucket on my head. I went to the mirror. I just said, 'Buckethead. That's Buckethead right there'. It was just one of those things. After that, I wanted to be that thing all the time.
MTV News, November 21, 2002; from earlier interview in Guitar Player Magazine

[Talking through his hand puppet, Herbie]: He put the bucket on his head because he thought he could help all those dead chickens come back to life. So when he plays, it’s like the sounds of those dead chickens is coming through his hands.


Last edited by Soulmonster on Sat Sep 12, 2020 7:46 am; edited 2 times in total
Soulmonster
Soulmonster
Stage manager

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

Back to top Go down

22. NOVEMBER 1999-JANUARY 2001: LINEUP TURMOIL BUT A TRIUMPHAL RETURN Empty Re: 22. NOVEMBER 1999-JANUARY 2001: LINEUP TURMOIL BUT A TRIUMPHAL RETURN

Post by Soulmonster on Sat Aug 29, 2020 7:35 am

NOVEMBER 1999-FEBRUARY 2000
BRIAN MAY WORKS WITH THE BAND


As discussed in previous chapters, Guns N' Roses had a lot of respect for Brian May. In 1994, Axl would discuss wanting to work with May:

We may work with Brian May on a project upcoming… We don't know… And we're hoping to pull that one off. We get along with Brian really well. […] And Slash and Brian did a pretty amazing job on… When we did "Heaven's Door" live somewhere in Europe. And I've never seen two guitarists get along like that, the way they played together, complementing each other, in my life. It was pretty magical. But the rest… The whole band, we were all kinda waiting: 'When is the solo gonna end?' […] After five minutes we're all running around and we're getting tired and these guys are still soloing. […] It was pretty wild. It was great.

[May is] one of the most unpretentious rock stars of his caliber that I've ever met and… You put the two of us together onstage playing guitar, and it basically free rain [laughs].


May would also describe his respect and fondness for the band:

I have a lot of history with those guys as you know, because, well, I was on tour with them for a while - you know, my own band supported them - which was great fun. They also did the Freddie Tribute with us, and I think I regard them as great friends, Axl in particular.

(laughs) I tell ya, Axl is a very persuasive guy. He's magic. Really he is, and I think he's not always easy, as, you know, genius very often isn't. You know, Fred was not the easiest person in the world to get on with, but someone who has that amount of passion and gives a million percent of themselves, you'll take any amount of stuff from, and I would from Axl. I think he's that good, you know.


And in August 1999, it was rumoured that Brian May would join Guns N' Roses in an unknown capacity [Rolling Stone, August 25, 1999]. The rumours were shot down by a spokesperson for Brian May who described the rumours as "highly improbable" [Rolling Stone, August 25, 1999]. In addition, Doug Goldstein would say:

There haven't been any conversations like that.


Queen's UK publicist, Brian Symes, would concur and deny any rumours that May might join Guns N' Roses on tour:

I was just with Brian last week, so I think we would know. I think he very much enjoys what he does, doing his own music and working with other members of [Queen].


But in November 1999, Axl would reveal that he might indeed collaborate with May on the new music:

I go back to listening to Queen -- you know, we're still hoping to have Brian May come in and do some tracks, and I got a fax today that he's coming in -- Queen had all kinds of different-style songs on their records, and that's something that I like. 'Cause I do listen to a lot of things, and I really don't like being pigeonholed to that degree, and it's something that Guns N' Roses seem to share [with Queen] a bit. With "Appetite," even though it seems to have the same sound, if you really go back, you can pull all the little parts from different influences. That's not really the case by the time we're on "Use Your Illusion." People are kind of set in their ways. ["Chinese Democracy"] is coming from all over the place.


And in February 2000, May had indeed recorded with the band:

So, like, last week, I was in Los Angeles to play on the Guns N' Roses record. It's very interesting. […] Something very nice and different. But, hum... I just went on the plane. And I took my guitar with me. And  they met me the other end. And they said "Why you brought your original guitar?" And I said "yeah" [when I] play some[thing] important, I always wanna play on [this] guitar.


May would explain that the reason Axl invited May over was to replace Robin's guitar parts:

And they just said, "Come over and do some stuff." It's a long story to be honest and I won't bore you with all the details, but Axl was feeling that he was in a difficult place because the guitarist that he'd been working with on this new album had sort of replaced Slash, because they fell out, sadly. I think that is sad actually, 'cos they're both, well you know, brilliant talents and great with each other, but the guitarist that had done most of the tracks had departed and Axl had a real emotional attachment to what he'd done, and yet he didn't want him on the album - and I hope I'm not saying too much here - he didn't really want him to stay on the album because he'd disappeared, you know - so he's feeling a kind of divided loyalty and he said: "Brian, can you come and do stuff which I WILL LIKE, (laughing) and I won't feel too bad about ditching this other stuff?"


And talking about the new Guns N' Roses:

So I did, I went over there, and I think I played on three tracks, and messed around on various other things, but it worked out pretty well as far as I can tell. And its very strange cos most of the Guns'n'Roses people are not there cos Axl sacked 'em all, you know, so you're talking about Axl and the new Guns'n'Roses, but BOY is there a lot of energy there, you know, and his singing is outrageous. There's some great tracks on it.

[The music] sounds great, and Axl sounds wonderful.
Sonic Net, March 19, 2001


Axl would ask May about the music they had created so far:

Axl actually sat down and MADE ME listen to everything (laughing) and there's some wonderful stuff there.


When asked if it is possible to be genuinely criticize someone as allegedly mercurial as Axl:

Well (sigh), Axl sort of holds Queen and, and our whole thing in a great deal of respect so I always figure as long as I tell my truth, he's fine - and its always held out so far. He's always been very good, you know, to me. He will tell you if he doesn't agree with what you say. I mean, I went in and immediately, you know, Brian May opens his mouth and "Blab, blab, blab" - and I told exactly what I thought of the stuff as it was and some of it he went "Yeah", and some of it he went "I couldn't do that" - you know, like some of the suggestions, and that's it. And Axl's a very emotionally kind of 'connected' person, I mean, to the point where he's so intense about EVERY single note that's on there, and the solos that I played, he was totally into it VERY much in the way that Freddie used to be. You know, Freddie used to go through my solos and, and say "You know there's this particular note here and I think if you did this and this and this". You know, and I thought I would just go in there... I'd forgotten what Axl was like, and I thought I would just go in there and he'd like it. He did like it, but he wanted to get into EVERY single take of every single note, and sort of string, you know ... I would go in there and he - from one day to another Axl would have been in there like from 5 o'clock in the morning to 7 o'clock in the morning, comping little bits of my solos and saying, "Can you get Brian to try this?" You know, he's UTTERLY meticulous.


And how May felt about being micro-managed by Axl:

Oh, I'm fine. I don't care, because I'm there to deliver, you know. And in this context, I'm a session player, and people can take what they want, it doesn't bother me. I'll give my best and if someone will make a comment, generally it will be - you know if someone makes a comment to you about your playing, and it's someone who cares, and then its probably gonna do you some good whether you like it or not. So I'm always open to that stuff - always.


May would also comment on being willing to tour with Guns N' Roses as one of their guitarists:

I don't know if I would be up for those long tours anymore. I did that for twenty years of my life, nine months a year and I'm not in that position anymore in my life, you know. I don't feel like I wanna have that kind of chaotic lack of balance in my life any more. I dealt with it, and I loved it, but I'm just not in that place anymore. I don't think I could do that. If it was a short tour, its possible, but...


May would also get to hear much of the recorded material when he flew over to Los Angeles to add guitar parts to the music. He would then shoot down the rumour that except for 'Oh My God', Axl hadn't added vocal parts to any of the tracks:

Oh yeah, there's a whole album of vocal parts - in fact there's two albums' worth that they've got there, at least. They played me EVERYTHING. Axl actually sat down and MADE ME listen to everything (laughing) and there's some wonderful stuff there.

[…] it's a long time project. They'd been really..., from the inception I think it's 5 years  since they started making the record. But they made many many many tracks. And now they've chosen just a few they want to be on the first new record. And I think it's very good stuff. I was very impressed, Axl is singing fantastically. I mean, actually such a unique sound and style. I don't know if you know his work very much. But... […]  it's very passionate and very... very exciting, you know. And I was happy to play some stuff on that. I think it will be out on...they talked about spring, I think, you know, late spring probably and maybe they can tour in the summer.


A spokesperson for the band would comment on the collaboration between May and Axl:

Brian spent a week with the singer. They recorded several songs worth of material, but we have no idea what's going to end up on the end product.


In 2001, Beta Lebeis would say that May's guitar work would be featured on the upcoming record:

[…] [Axl is] still friends with Brian May. He played guitar on one of Axl's songs on the new album.
Bolsa de Mulher, January 22, 2001; translated from Portuguese


In 2002 May would talk about the collaboration:

That was years ago! Literally two years ago. I was working in Capitol Studios in LA and met our old producer Roy Baker. He told me he was off to produce Guns N' Roses. […] [The music was] fantastic. I was shocked that they didn't put it out straight away. Maybe it's perfection on Axl's part - the desire to make it the album of all time. I played on three tracks , but I don't know if they'll be used. I don't wanna ask! […] It has to be the best in Axl's own mind and an expression of his personal feelings. He's very passionate about it - every single word and note is very personal.


In October 2003, Classic Rock would write about the collaboration between Brian May and Guns N' Roses, and claim May had declined Axl's invitation to join the band:

QUEEN GUITARIST BRIAN MAY RECENTLY revealed that he turned down an offer from Axl Rose to join Guns N’ Roses.

“Ha-ha. Yes, it’s true. How did you know that?” May responded to an interviewer from Live magazine. “I worked with Axl a couple of years back on some new songs, and during that period he did ask me if I wanted to become a guitarist in Guns N’ Roses.”

May declined the singer’s offer, but not due to his notorious ‘difficult’ streak: “Axl’s actually a really nice, down-toearth guy,” ha says. “He gets a bad deal from the press, but that’s mainly because he likes his privacy. He’s a really genuine person, and a good friend.

“Axl is a very good songwriter,” May added. “He writes good, complex songs that are a pleasure to listen to. Some of his new songs, like ‘Madagascar’, ‘Catcher In The Rye’ and ‘Once Upon A Time’, are very complex yet catchy, and it’s hooks that sell songs. Queen’s songs all had hooks, which is why we were so popular. Axl does the same thing.”


In response, May would anrgily write about it on his official webpage:

I snubbed AXL??? WHAT ?!!!

This is complete Horse-Poo - a deliberate mis-quote as far as I can tell, to make a cheap headline.

Who makes this stuff up??

I was NEVER, NEVER asked to join Guns n Roses. The truth is I was invited by Axl to play on 3 tracks a while ago, no an album which they were making in L.A. I had a great time playing, and interacting with the guys, and I was hugely impressed with the material they'd already put down. To me Axl is one of the great untamed talents of our age. Since the album is still not released I have no idea if the tracks I played on are still in consideration. But I'm damn sure it will be worth waiting for!

P.S. I also NEVER would have given away the titles of songs I had heard - I regarded the whole experience as confidential. I am VERY upset that this writer has made it look like I blabbed.

God, I HATE journalists. Fabrications like this can destroy friendships.


LIES in a glossy Magazine

I'm pretty sad and disappointed to see yet another music magzine be sullied by ignoranace and schoolboy-level journalism.

Classic Rock seemed such a refreshing change when it first came out - devoted to the enjoyment of the music it discussed.

Now they have some jerk writing for them called Tommy Udo, tellling us that our musical 'We Will Rock You' has "soiled the legend" of Queen. Ha Ha! Well, there's exactly one MILLION people ready to tell you that you, young man, are talking outta your ASS. Try actually seeing it, Mr. Udo, and see if you can still say that, after seeing so many people having such a huge good time! Trying to make a name for yourself, Tommy? Better raise your game.

But much worse is the nasty little tapestry of lies woven in the same magazine, which makes it look as if I gave Axl Rose "The Finger". They even have the temerity to print a picture of me holding up a finger, purportedly "The very one he gave Axl." Now, number one, you idiots, IT'S the wrong FINGER - have you haver been outside Peckham, you simpletons?!! Number two, you have painted a picture of me insulting one of the greatest Rock Stars of our age, and one of my most valued friends. That's not funny. I am taking advice as to whether I have grounds for suing you and the writer responsible. This is deliberate mischief. How would you like it if I tried to lose you a friend by lying about what you had said about him? Why should I have to put up with this crap just because the music we made became famous, making it possible for people like you to parasitically live off it?

What a shame about Classic Rock. You seemed to be so full of promise. Going down the same road as the NME???

I hope I'm wrong.



The offending picture from Classic Rock


Last edited by Soulmonster on Sat Aug 29, 2020 9:48 am; edited 1 time in total
Soulmonster
Soulmonster
Stage manager

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

Back to top Go down

22. NOVEMBER 1999-JANUARY 2001: LINEUP TURMOIL BUT A TRIUMPHAL RETURN Empty Re: 22. NOVEMBER 1999-JANUARY 2001: LINEUP TURMOIL BUT A TRIUMPHAL RETURN

Post by Soulmonster on Sat Aug 29, 2020 8:52 am

JANUARY 2000
KNAC.COM OFFERS A LIVE VERSION OF 'COMA'


To celebrate KNAC-FM radio station's knac.com website, Guns N' Roses allowed the station to offer a live version of 'Coma' to their web users.

KNAC was the only station in the country playing us back when we were in the clubs in Los Angeles, and the fact that they have gone online with the same people working who were around before is amazing. Giving rock fans a technology-based alternative to some of the crap radio...and doing it internationally, I feel very strongly about supporting their efforts. It was also a way to give the fans a cool live version of "Coma," and I felt this was the best way to get it to the fans.


The live version of 'Coma' had been mixed by Andy Wallace and was to be found on the Japanese version of 'Live Era '87-'93' [knac.com, January 19, 2000].
Soulmonster
Soulmonster
Stage manager

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

Back to top Go down

22. NOVEMBER 1999-JANUARY 2001: LINEUP TURMOIL BUT A TRIUMPHAL RETURN Empty Re: 22. NOVEMBER 1999-JANUARY 2001: LINEUP TURMOIL BUT A TRIUMPHAL RETURN

Post by Soulmonster on Sat Aug 29, 2020 8:53 am

MARCH 2000
JOSH LEAVES THE BAND


In March 2000, it would be reported that Josh had quit the band to focus on his other project, A Perfect Circle [Allstarmag, March 14, 2000]. According to sources "close to Josh", his contract had run out and he was no longer willing to remain available for the band [MTV News, March 15, 2000]. Goldstein would remark that his drum parts were done and since they wouldn't be touring anytime soon, the door would be open to Josh in the future [MTV News, March 15, 2000]. That Josh's future with the band was uncertain would be emphasized in other press reports, and it would be speculated that he had quit the band for good or that he was just taking a break from the band to focus on other projects [VH-1, March 18, 2000].

I'm hearing these rumors, and nobody has officially told me anything....[Freese] hasn't had an attorney or manager tell me he's out of the band.


Later in March Josh himself would comment upon the situation:

The only thing I can say about that is for the time being is that I'm not working with them. When they finish the record and when it comes time to tour we've kind of left the door open, where if they feel like calling me, and if they still want me involved, I'm going to do it with them.

[On whether he had learnt anything from playing in Guns N' Roses]: Yeah, I learn something from everyone I work with. I've worked with a billion different artists. I've played on almost a hundred records. Depending on the situation, you can learn from every experience -- whether it's a good experience, a bad experience, or I might work with somebody that I could pick up some engineering skills from, or just learn to communicate better with people or just...No comment.


Apparently, according to Joe Escalante, a band mate of Josh from the Vandals, Josh sent in his resignation over email:

He e-mailed his resignation because he didn't want to sit around waiting another year, so he joined A Perfect Circle with a couple of his bald friends. That guy has to rock. He's a road dog.


Josh would also be asked to talk about Axl, but would always express nothing but admiration and respect:

[Axl's] great. People always want to hear stories and I can give stories about other people but really it's amazing what a good guy he is, but he just has a bad reputation through press and stuff. Maybe in the past, but I didn't know him ten years ago.

I enjoyed the time in the studio with [Axl] — he was a pleasure to work with. But I had to make a decision and I decided I wanted to do A Perfect Circle and get out on tour.

I had fun playing with Axl. He’s a cool guy, but it got really frustrating just reporting to a studio and not playing out live... I was in the studio with Axl for two years and I had to get out.

Axl was always nice to me and always generous. People want to hear horror stories, but I personally don’t have any.
Las Vegas Review Journal, via Rockdirt.com, March 24, 2004


Later Josh would explain how his other band, A Perfect Circle, took more and more focus:

Maynard [James Keenan] said to me, ‘Billy [Howerdel] doesn’t want to say anything because he’s a shy guy, but he’s written some awesome songs. Billy is too insecure to play them for anyone, so don’t even listen to what he says about them. I’m going to write some lyrics and I would love it if you would play drums. […] But then it became obvious that we were working on something special here. We realized we shouldn’t treat this as a side project. This was much cooler than much of what we were working on.

About a year later I started working with Guns & Roses & this guy named Billy Howerdel, told me that he was roommates with Maynard. So we started hanging out and Billy was kind of quiet about the music he was writing, but Maynard pulled me aside one day and said, "Man, you know Billy writes these great songs and we should try to record some of them.
Full Throttle Music, November 2003


Last edited by Soulmonster on Wed Sep 16, 2020 9:53 am; edited 3 times in total
Soulmonster
Soulmonster
Stage manager

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

Back to top Go down

22. NOVEMBER 1999-JANUARY 2001: LINEUP TURMOIL BUT A TRIUMPHAL RETURN Empty Re: 22. NOVEMBER 1999-JANUARY 2001: LINEUP TURMOIL BUT A TRIUMPHAL RETURN

Post by Soulmonster on Sat Aug 29, 2020 8:54 am

JOSH AFTER GUNS N' ROSES


Placeholder. I haven't started this chapter yet. Obviously Josh is a busy musician with lots of projects.
Soulmonster
Soulmonster
Stage manager

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

Back to top Go down

22. NOVEMBER 1999-JANUARY 2001: LINEUP TURMOIL BUT A TRIUMPHAL RETURN Empty Re: 22. NOVEMBER 1999-JANUARY 2001: LINEUP TURMOIL BUT A TRIUMPHAL RETURN

Post by Soulmonster on Sat Aug 29, 2020 8:54 am

MARCH 2000
BRAIN JOINS THE BAND


Brian "Brain" Mantia would first be announced as the band's when drummer October 2000, when the lineup for 2001's Rock in Rio was discussed in the media [MTV News, October 25, 2000].

According to this quote from Buckethead, Brain may actually joined the band much earlier, around the same time Buckethead joined:

Got invited to Axl's on Christmas night; never met him before. […] In the brain joined that second.


But is it not clear what Buckethead means with "in the brain" here. Regardless of when Brain joined, he got the job because Buckethead recommended him [Unknown publication, 2001].

Brain would confirm he was a permanent member of the band in January 2001 [Último Segundo (Brazil), January 14, 2001].
Soulmonster
Soulmonster
Stage manager

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

Back to top Go down

22. NOVEMBER 1999-JANUARY 2001: LINEUP TURMOIL BUT A TRIUMPHAL RETURN Empty Re: 22. NOVEMBER 1999-JANUARY 2001: LINEUP TURMOIL BUT A TRIUMPHAL RETURN

Post by Soulmonster on Sat Aug 29, 2020 8:55 am

BRAIN BEFORE GUNS N' ROSES


Placeholder. To be filled in later.
Soulmonster
Soulmonster
Stage manager

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

Back to top Go down

22. NOVEMBER 1999-JANUARY 2001: LINEUP TURMOIL BUT A TRIUMPHAL RETURN Empty Re: 22. NOVEMBER 1999-JANUARY 2001: LINEUP TURMOIL BUT A TRIUMPHAL RETURN

Post by Soulmonster on Sat Aug 29, 2020 8:55 am

FEBRUARY 2000-2002
LOOKING FOR A PRODUCER - ROY THOMAS BAKER


Apparently, the quest for producers for the new record was not over because in April 2000 media would report that Axl had been in talks with Roy Thomas Baker, who is best known for his work with Queen [MTV News, April 28, 2000]. A spokesperson for the band would confirm that Baker was in the studio with Axl but that he at this stage was only supplying additional production which may or may not make it onto the next GN'R album [MTV News, April 28, 2000]. Doug Goldstein would confirm that Sean Beaven was still a producer for the project [MTV News, April 28, 2000]. Brian May would later state that Baker had been in the studio with Guns N' Roses around the same time May laid down tracks for three songs, which was in late January or early February 2000.

Still, in April 2000 it was not clear what baker would do, or at least it would not be disclosed to the public:

[Beavan has] been the only producer. The others were people we met with or tried out on some tracks [with].


Then in May 2001 media would again report that Baker was intended to help producing the record, and that he had been charged to sift through 72 tracks that the band had recorded [Metal Hammer, May 11, 2001].

Baker would later talk about working with Guns N' Roses:

This is not like the old band. This is a major progression from the old band. I loved the old band; I've always been a fan of Axl and Guns N' Roses. When I think of 'November Rain' off the second set of albums, and 'Welcome to the Jungle' and stuff on the first album, these are tracks that go down in history. These are tracks that you remember exactly where you were when you first heard them. That's very, very rare that you ever get into that situation where you can actually remember what you were doing the first time you heard something.


Chris Vrenna would comment on what Baker would bring:

I can't imagine Roy Thomas Baker's making an industrial record, so I have to somehow believe it's going to have a more classic sound to it.


Baker's involvement with Guns N' Roses seemed to have been short-lived, because already in early 2002 rumours were spreading that he had been fired [CDNow/Allstar, February 11, 2002].
Soulmonster
Soulmonster
Stage manager

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

Back to top Go down

22. NOVEMBER 1999-JANUARY 2001: LINEUP TURMOIL BUT A TRIUMPHAL RETURN Empty Re: 22. NOVEMBER 1999-JANUARY 2001: LINEUP TURMOIL BUT A TRIUMPHAL RETURN

Post by Soulmonster on Sat Aug 29, 2020 8:56 am

1996-
AXL'S RELATIONSHIP WITH FORMER BAND MEMBERS


SLASH


After Slash left Guns N' Roses a public spat between the two former friends would develop.

In Axl's first interview since Slash left in October 1996, Axl would criticize Slash:

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 tears...hot, 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


Slash would follow with by pointing out that they never had much of a personal relationship:

I haven’t spoken to Axl in almost five years, and I have no interest in talking to him. He wouldn’t talk to me. No big deal, it just would be a waste of time. ... If Axl and I hadn’t been in a band together., we'd never have been friends. ... With Axl — even though we looked like the two frontmen — we really didn’t have that much of a personal relationship.

[Being asked who he would eject from a Bond car]: There is one guy I'd like to eject. I can't tell you his name, but I think you know who it is.

Me and Axl never got along, but I never really disliked him. It was always the camaraderie of the band as a whole that kept us together.


And that Axl held sole responsibility for the dismantling of previous lineups:

[Axl would] systematically eliminate or alienate everyone so Guns N’ Roses wasn’t fun anymore. […] I’m a huge Axl Rose fan. I’d love to hear what it is that he decimated a band of that stature for. ... There has to be some sort of method to the madness.

What was the point? Realistically, you have a situation where it was all centered around one person, you're like going, 'What is it you want to do so bad that you forced everybody out like that?'


Being asked when thing fell apart between him and Axl:

It was before Guns even started! I mean, he’s a brilliant man. I’m a huge Axl fan, but he’s got one way of doing things which I just don’t understand.


Slash would also repeatedly take swipes at Axl when talking about his new bands:

The guys in the band are great—there are no rock stars. Everyone’s very levelheaded, we have the same aspirations. Everyone’s just so enthusiastic and moving in the same direction, including our singer, which I’m not used to.


Yet Slash would consistently compliment Axl as a musician:

You know what? Alright, okay, okay, okay. We’re not at war. It’s not like – I’m not, you know -. I’m the hugest Axl fan in the world, because the guy’s great. We don’t see eye-to-eye on stuff, but – […] he is great. He can sing and he’s a great performer.

Axl's brilliant. He's one of the overall best performer/singer/writer guys, in my book.


And defend Axl against other people:

It’s like, ‘Don’t talk [badly] about Guns or about Axel [sic] or about any of that stuff, because that’s where I come from.

I don't like people talking shit about Axl behind his back. He's still a brother. I stick up for him.


By the year 2000 it would be five years since Slash last talked to Axl [The Howard Stern Show, June 7, 2000]:

I just haven’t talked to Axel [sic]. I think the split-up between [us] was a little more bitter. But it wasn’t so much personal as it was a disassociation from what I thought he was doing and consequently what it was that I wanted to do. So we just parted ways and I haven’t talked to him since.


Slash would also continue to put the blame for the break-up squarely on Axl, and indicate that it was Axl who didn't want to continue with the band:

The only reason the band broke up was because it was not what (vocalist Axl Rose) wanted to do.


And he would put the blame on the riot in Montreal on Axl's shoulders:

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

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

All you have to do is walk up there and do your thing. It’s what you’re supposed to love more than anything else in the world, and it’s got to have a hitch in it.


At the time of these last two quotes, Slash allegedly was not allowed to name Axl in interviews:

Because of pending litigation in the Guns N’ Roses camp, Slash has been instructed not to make specific references to Rose during interviews.


Talking about whether he is at peace with Axl now:

I guess so. I haven't spoken to him since (laughs). I see Izzy and Duff and Steve Adler and Matt, those guys. I haven't talked to Axl for a long time. Five years ago.


In October 2000, NME would ask Slash about his "heroes and villains", and Slash would list Axl as a "villain":

He’s the closest person I’ve ever worked with that was as villainesque as they get. You know, in a sort of harmless kind of way, but not totally. All that is sort of self-explanatory as well. I definitely gotta put him on the list cos as much as I love the guy he’s definitely way up there. I don’t know how familiar you are with Guns history, but I quit the band five years ago and haven’t looked back since. Axl’s probably still in them, but I haven’t seen him. He’s just a really fucking huge mindfuck. He has a sweet side to him and a nasty side to him, if memory serves. He would be very, very violent and have very wicked thoughts and sore points.


Talking about singers in general:

Everybody is different. You have to have a disorder to sell your soul to rock ’n’ roll in the first place. To really be a dedicated entertainer 24-7, you’re already f- up. You have an ego problem or something. When you go out in front of an audience and want people to buy your records, something must be going on in your head. Singers have to go out there without having to hide behind the top hat and guitar, and they have to talk about s-they’re feeling. You couldn’t even get me to write a letter, let alone go out there and do that. Everyone has got their own dysfunctional reality, so it comes out in their public appearance. Hence, you’ve got a lot of whacked-out singers, but they’re all very sweet people. They’re just a little complicated.


In November he would say the fans got fucked over by the band's break-up and indicate that he was carrying the torch and playing the type of music that GN'R should be playing:

I think the only issue having to do with GN'R fans is all the fans that got fucked over because the band broke up -- and they didn't deserve all that. Under the circumstances, well, someone is out there fucking rocking. We do, more or less, what Guns... It's a sensitive issue. What Guns was best at -- hard rock and guitar playing -- that's what I do now. I don't wanna say anything bad about the other guys; they're doing their own thing. But as far as going out as hard rock band and doing it, we're the only ones that are doing it.


In December he would recount a warning he had received from his father when things got crazy in Guns N' Roses:

The other thing was my dad telling me, during the Guns crazy days, “Watch out, don’t let that guy take you down.”


At another time in 2000, Slash would call this the best advice he ever got:

"Don't go down with the ship". My dad gave me that.


In early 2001, Axl would claim that Slash had been fighting with Izzy over control of the band:

Everybody hated each other in the band, with the exception of me. Slash was fighting for power with (the guitarist) Izzy (Stradlin) because he wanted to take control of the band and destroy it.
O Globo, January 16, 2001; translated from Portuguese, possible paraphrased


And that Slash was all about negativity:

Nothing about happiness and love made sense to him. That was the reason why he hated "Sweet Child O' Mine". He only wanted to write songs about drugs and sadness.
O Globo, January 16, 2001; translated from Portuguese, possible paraphrased


Slash, on his side, would say that his problems with Axl started with the 'Sympathy for the Devil' recording in 1994:

It really started when we covered "Sympathy for the Devil" for the "Interview With a Vampire" movie. […] at least it'll bring the band back together, because we were going through another one of those periods when we weren't hanging out or talking. Sometimes it takes a particular vehicle to put a band back together. But then when we were recording that song, he never showed up! (laughs).


Beta Lebeis would say it started when Slash wanted the band to release the music he had written [and which ended up on the first Snakepit album] and that Slash didn't go to rehearsals:

The problem was that Slash, at that time, said he already had the new Guns N’ Roses album ready, which would be the next one, right? That "next" album was the one he would then release, which was terrible. Slash's last two records were terrible. Axl wanted to do something more advanced for the new generation. You can't stay on the same thing, like the same kind of music that he played 15 years ago. […] Slash wanted to keep doing the same thing. And then drugs was another reason. Axl could never count on Slash. For example, Slash didn’t go to the rehearsals, it wasn’t going well. The drummer was drunk. It didn't work.
Bolsa de Mulher, January 22, 2001; translated from Portuguese


Beta is likely pointing to the period 1994-1996 when she says that Slash didn't go to rehearsals, this was a time when Slash was more focused on Snakepit [see previous sections]. Whether she is conflating Steven's drug problems here or are suggesting Matt was always drunk, is unclear. It is also interesting that she claims Slash was suffering from a drug problem in this period, this is not likely and she could be thinking about the drug problems earlier in the band's history which caused a rift between Axl and Slash [see previous sections].

Being asked what he would say to Axl if they got trapped in an elevator:

We've been trapped in a room before and we really didn't have much to say to each other. But if it were to happen right now, I don't know what we would say. I would be pretty relaxed and just say, "hi" and just see what his reaction would be. Everything from there on would be up in the air. I don't know how it would go to be honest. […] My guess is the elevator would be very quiet. Then you would find us three or four hours later, sitting across from each other playing jacks.


In 2001 Slash would again talk more about his relationship with Axl:

I haven't talked to him since I left. So it's probably been 5 or 6 years. […] it's not [any ill feelings]. It's just, once that decision was made - where I finally decided that I was going to leave - I don't think either one of us really had much to talk about. It wasn't the most amicably split, but then again it wasn't fire and brimstone, either.


And in July 2001, Fernando Lebeis would discuss the relationship:

They haven't talked to each other for years. But it's a relationship in which people see Axl as the villain. If something went wrong, whose fault is it? If Slash does something, nobody even gets to know, like Snakepit, and what's so special about this album? It's not on any MTV charts, nobody buys it, but "Slash is the key of GNR," "GNR is Slash and Axl"... He was a good guitarist, but it's not like that, Axl doesn't have to be blamed for everything. Slash has used drugs and has been in the hospital because of an overdose, and that's no big deal, but if it was Axl... For example, one of these days I was home when I saw someone running in the garden. Axl's room is above mine, so I thought the person might have jumped through Axl's window and run. I went to his room and knocked the door but Axl was in the shower and didn't hear it, and I called the police. When they arrived, the paramedics came along and said they were here to help someone who OD'd. I never mentioned anything about an overdose, they just assumed the emergency was an overdose because it was Axl's house. Slash wanted to end Guns, take the band to clubs. Axl told him it wasn't possible, they couldn't play for 1000 people when they attracted crowds of 200,000. But if Axl had agreed with Slash, people would blame him for the failure of the idea.


In early 2002, after having been denied entry to a Guns N' Roses - and a possible reconciliation with Axl - Slash would talk about not being negative towards Axl in the press:

I don't like to dwell on negativity, for one. And for two, I mean, all things considered, granted, yeah, I did quit the band because of reasons that were not too savory. But, at the same time, a lot of time has gone by and I don't have the time or the patience to, like, just make crap out of crap for no real reason. […] And I'd like to sort of just get on with things.


But make an exception after Axl had badmouthed Slash and Duff from the stage at the December 31, 2001, show at Joint, Las Vegas:

But then, you know, what pisses me off is that the little bastard had the fucking gall to badmouth me and Duff on stage the next night. For riding on the Guns N’ Roses name.  I mean, that's so hypocritical. […] I haven't been riding on the Guns N' Roses name. […] And I’ve been working, you know ( laughs). […] I’ve been doing  all kinds of crazy stuff. I’ve been working, so that sort of hurt my feelings […]


Slash would keep getting questions about Axl:

He's one of the most brilliant lyricists. He's got so much going on, and he's really an intelligent, amazing guy. It's just… it depends how much of that [emotional baggage] you want to experience with him. A lot of it is stuff that not everyone in the band necessarily understands. So you try to understand, and you try to be a good friend and bandmate as you go through it. But when it negatively affects everything the band is doing, it's really hard to stand by him.


In 2002, in addition to restating that Slash had tried to wrestle control over the band, Axl would call Slash a liar:

Slash has lied about nearly everything and anything to nearly everyone and anyone. It's who he is. It's what he does. [...] For the fans to attempt to condemn me to relationships even only professional with any of these men is a prison sentence and something I wouldn't wish on my worst enemy. I'd say my parole is nearly over. I'm practically a free man and if you don't like it you'll have plenty of time to get used to the idea.


On November 20, 2002, Axl would also discuss how the other band members never wanted to really make it big:

Well, it’s basically why Izzy and these guys – I mean, none of them really wanted to do the big shows. [...] from day one, Izzy always wanted to be about the size of The Ramones and do, like, 2,000 seaters. Okay? So there was always a little battle there. And then the other guys had to be on so many substances to really be able to deal with that crowd.


In 2004 Slash would be contronted with this statement from Axl and respond:

(Pause) I don’t know. I mean, I don’t think… You know, when we first started I think maybe it was like, you know, just success to us was just being able to play in front of an audience that was actually… basically appreciated… the band. And the good night would be a night that you just walked away feelin‘ like the crowd got off on it and the band got off on it and it didn’t matter, really, how big the place was. But as you sort of, you know, move along, you sort of tryin to move with forward motion. So you go from this size venue to that size venue to the next size venue and you just allow yourself to get bigger if you’re capable of doin‘ it you just go there but… You know, like sittin‘ and wishin‘ that you could be… somewhere else when you‘re doin‘ whatever as you doin‘ now… wasn’t a really big thing with me and Duff and Izzy and Steve or Matt. Where Axl might have been… but then once he got there then he fucked it all up, you know (laughs). We’re just happy doin‘ whatever it was that we were doin‘ and we just kept sort of goin‘ forward. You know what I’m sayin‘? So you just sort of take it as it comes.


Axl would also discuss Slash from stage:

Now I was uh, perusing. I was reading all about my integrity, 'cause that's what I'm known for I guess - selling out my integrity. That's why I'm here with you tonight because I just don't give a fuck I guess. Yeah, that's why we worked real hard at this. That's why these guys worked real hard at being in a band that they can get abused for "because they're the guys in the way of stopping the old band from getting together." That's horseshit.

I'm not trying to bum anybody out, but, you know, I was thinking about it. I'm pretty blunt so people get real pissed. And I haven't done a lot of talking on this tour. I'll shut up real soon don't worry. You know, I've tried acting nice and that just ends up fucking me right up the ass. They take advantage of that. "Well, you see Axl said something nice, so how can we use that to our advantage?" ... The truth is they didn't want to be here for you at this level and they don't want to take it farther. I mean, that's their business right? But not at my expense or yours. You've been played. You've been lied to. You've been used. You've been manipulated so that they can ride around in limos and jam with Snoop Dogg or whoever the fuck. I don't care. That's their business, but they shouldn't really do it at your expense or mine.

Now as soon as I say this it'll be on an MP3, someone will transcribe it , and the next person will say "'Can you believe Axl said that? I mean my god. I mean he hasn't put out a record. I don't know why he would say that. I mean who does he think he is? That's not very nice. The other guys, they have gotten over it and they're his friend now and they're willing to be his friend and he just needs to grow up." .. I'm sorry. I'm a little bit more blunt. I mean, Slash may sound like a De La Hoya, but he's the fucking Vargas. That's just how it is. And just because you've got a bunch of guys agreeing doesn't mean shit. The truth is that they're a bunch of bad cops and I'm the fuckin' Serpico and they can "suck my dick!"

"You know without Axl and Slash we wouldn't have November Rain and Estranged" .. Well you don't know what the fuck I went through to get that guy to play those songs. You don't know about the argument we had at A&M studios, because Duff and Slash came to me going "We're not gonna do that song Axl, we're not gonna do this song, no, no, we're just not gonna do it." .. But I wanna do it. We'll do it right now. This song is called "Patience."


In early 2004 Slash would say he still hadn't talked to Axl since he 1996, but that Perla sends him Christmas cards:

But my wife is sending him Christmas cards. She has not even met him, but she just wants to be nice.
Dagbladet, February 17, 2004; translated from Norwegian

I haven't talked with him since I left Guns. Can we change the subject?

The last time I talked to him was at rehearsal the day before we quit the band, and then I got a lot of nasty messages on my answer machine. I haven't tried to rekindle anything 'cos he really rubbed me the wrong way.


In June 2004, Slash would talk about how bad he felt for the fans of Guns N' Roses and reluctantly blame Axl:

I feel bad about all the people who got ripped off by Guns N' Roses. [...] You know what I mean by that. The fans were so f---ing great. They embraced us, and a band couldn't have asked for more, and we let them down. [...] I would be a total assh--e if I didn't put some of the blame on me. But I'm not responsible for the band breaking up. I worked too hard, for too long, trying to keep things together. I don't like to blame Axl either. He seems to be the scapegoat for everything. [...] Nobody involved with Guns wants to blame Axl, but there's no one else to blame.



DUFF


[I have talked to him a] couple of times. [...] I don't know if [our relationship] is for him. I don't know. I think Axl is really pissed at me now. I think he's getting more and more pissed. First time I saw him, everything seemed to work out fine, but it looks like things have changed.


And yes, Axl was pissed at Duff and suggest it came down to Duff's support of Slash:

Duff's support for the man [=Slash] though understandable in one sense in regard to his circumstances, is inexcusable, and furthers my distance from the two of them. [...] And for the record I'm referring to Slash and Matt in regards to their actions and behavior, Duff played more of a supporting role (for reasons I've never understood). For the fans to attempt to condemn me to relationships even only professional with any of these men is a prison sentence and something I wouldn't wish on my worst enemy. I'd say my parole is nearly over. I'm practically a free man and if you don't like it you'll have plenty of time to get used to the idea.


In late 2002 Duff would say that that previous comments between band members have been misconstrued and taken out of context, he would also be reluctant to say anything about Axl because of fear of hurting the brand (Guns N' Roses Inc.) to which he still was a partner:

Things have been misconstrued and taken out of context in the past. [...] [I am] concerned when damage is done to the name [=Guns N' Roses Inc.].


Duff would describe Axl as a bitter man:

I think he's a bitter man. I just hope he finds some kinda happiness in his life.
Dagbladet, February 17, 2004; translated from Norwegian



IZZY


As discussed previously, Izzy had reconnected with Axl in 1995 but then had a fallout on the phone [see previous section].

We're still pretty good friends. The only guy that doesn't call anyone is Axl. I don't know what his problem is.

[…] I see Duff from time to time because he lives up there in LA. The others, I run into them… Slash, I see him once a month. We made a song called “Ocean” for his record, but it wasn’t kept. No, the only one I haven’t seen in ages is Axl, but he never calls anyone... who knows? Maybe one day.
Rock & Folk, April 1998; translated from French


Then in late 1999 Izzy had tried to visit Axl's home but not been le tin [see later section]. Lastly, Izzy would claim that before the Rock In Rio show in January 2001, Axl had asked Izzy to rejoin Guns N' Roses [see later section].

In mid-2001, Izzy would talk about he was on good terms with everybody except Axl:

I am still in contact with almost everybody. A few days ago, I was talking to Slash and Duff. I've seen Steven as well! Steven Adler our drummer. I've seen him for the first time in five years, we had lunch together last week. The only one with who I don't have any contact with is that fucking singer. Every two or three years, I take my phone, call GNR management, and I leave him a message: "Hi, dude, it's Izzy, looking for some news, here is my number, call me back..." Never had any answers, he lives in his own world...
Guitar Part (France), June 2001; translated from French

I talked to them on the phone three days ago. I even had lunch with Steven last week. He's sober today, but he's damaged mentally and physically. Slash is doing fine. Duff is doing great: he just took part in the fucking Hawaii marathon! A marathon for God's sake! Not bad for a guy whose pancreas exploded because he drank 3.5 liters of vodka a day! He's in my band actually, it's really cool. The only one who doesn't speak to anyone is Axl. He doesn't call people back.

I still talk to Slash, certainly with Duff, and I saw Steve, our former drummer last month...I talk a whole world less with the singer.
Kerrang! (Spain), June 2001; translated from Spanish


Yet, he would still claim to be friends with Axl:

[…] we're still friends, we just don't talk to each other (laughs) you know? Every two years I call him and leave messages at the office that he never returns...
Kerrang! (Spain), June 2001; translated from Spanish



MATT


When 'Live Era' was released, Matt was listed as "additional musician":

That hurt. It was the biggest dig he ever took at me. But Axl said he wouldn't release the album if it was changed. That's how spiteful he got. I didn't mean what I said badly. I felt sorry for him.

I mean the reason why I was listed as additional musician is because me and Axl were not getting along. He made that call.


And on talking to Axl:

I've phoned Axl 4 times to let him know I'm still here, but Axl, he's a...private...person.


In 2002 Axl would mention that he didn't consider Matt an important past member of the band:

For me Matt doesn't figure into the equation and for as much as I was a friend to him he was incapable of reciprocating and life is much better without such an obvious albatross. [...]  And for the record I'm referring to Slash and Matt in regards to their actions and behavior, Duff played more of a supporting role (for reasons I've never understood). For the fans to attempt to condemn me to relationships even only professional with any of these men is a prison sentence and something I wouldn't wish on my worst enemy. I'd say my parole is nearly over. I'm practically a free man and if you don't like it you'll have plenty of time to get used to the idea.


After Velvet Revolver started Matt would get more questions about Axl, and also about his new looks:

I'm not feeling it. And I don't know what's going on with the hair.



STEVEN


[Being asked if he hates Axl for what he has done to Guns N' Roses]: Well, I don’t know if I hate Axl ‘cause we’ve done so much together, so, no matter what he does that’s the way he is, and I love him so I accept it.



GILBY


A lot of people make him out to be a reclusive drug weirdo, and he’s not. He’s a pretty talented guy. It will be a good record.

People don't believe me, but I really don't have a bad relationship with Axl. We get along great when we see each other once every six years!


Last edited by Soulmonster on Thu Oct 01, 2020 12:00 pm; edited 5 times in total
Soulmonster
Soulmonster
Stage manager

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

Back to top Go down

22. NOVEMBER 1999-JANUARY 2001: LINEUP TURMOIL BUT A TRIUMPHAL RETURN Empty Re: 22. NOVEMBER 1999-JANUARY 2001: LINEUP TURMOIL BUT A TRIUMPHAL RETURN

Post by Soulmonster on Sat Aug 29, 2020 8:57 am

GUNS N' ROSES TO TOUR IN THE SUMMER OF 2000?


As late as in May 2000, some press sources would suggest that Guns N' Roses were considering to tour with Testament and Dio [TotalRock! Radio, May 30, 2000; Edmonton Journal, June 11, 2000] and that it was Del James, who was doing songwriting with Testament's vocalist Chuck Billy, who had "put in a good word" about Testament to Axl [RockReport mailing list, May 30, 2000].

Eventually nothing came out of this and it is unclear how correct these rumours were. Rumours about Guns N' Roses planning to tour would be frequent over the next years.
Soulmonster
Soulmonster
Stage manager

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

Back to top Go down

22. NOVEMBER 1999-JANUARY 2001: LINEUP TURMOIL BUT A TRIUMPHAL RETURN Empty Re: 22. NOVEMBER 1999-JANUARY 2001: LINEUP TURMOIL BUT A TRIUMPHAL RETURN

Post by Soulmonster on Sat Aug 29, 2020 8:58 am

MAY 2000
RUMOURS ABOUT SLASH, IZZY, DUFF, AND STEVEN
REHEARSING IN PHOENIX


In an interview published in January 2000, Slash would talk fondly of his old band mates and mention he had met with Izzy and Duff "some months ago":

Guns is still close to my heart. I'm loyal to the day I die, I suppose. We weren't out to change the world. We were just doing what we liked to do. But the success put a lot of pressure on us. Now that the pressure is off of us, we're probably getting along better than ever. I still have a great amount of respect for everyone and their individual talents. […] Izzy and Duff came by my studio a few months ago, and it was weird. They looked all grown up. I was the only one with a cigarette and a drink in my hand.


And in May 2000, there would be rumours that Slash, Izzy, Duff and Steven were rehearsing in a secret location in Phoenix, Arizona [NME, May 18, 2000].

At some time in 2000, Slash was asked why he hadn't put Izzy, Duff and Matt in Snakepit:

[…] the new lineup in Snakepit 99 is the result of wanting to start fresh, put together a permanent band, and record and tour as a new band. Ex-Guns guys and ex-Snakepit guys in the group wouldn't feel as new for any of us.


It is highly unlikely that Steven was part of any jamming with the rest of the AFD lineup in this period.
Soulmonster
Soulmonster
Stage manager

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

Back to top Go down

22. NOVEMBER 1999-JANUARY 2001: LINEUP TURMOIL BUT A TRIUMPHAL RETURN Empty Re: 22. NOVEMBER 1999-JANUARY 2001: LINEUP TURMOIL BUT A TRIUMPHAL RETURN

Post by Soulmonster on Sat Aug 29, 2020 8:59 am

JUNE 22, 2000
AXL JAMS WITH GILBY


On June 22, 2000, Gilby did a concert at the Hollywood spot the Slim Jim Phantom's Cat Club with his side-band Starfuckers [MTV News, June 23, 2000].

Slim Jim Phantom would describe the meeting:

I wasn't sure [it was really Axl]. So I took Gilby over and tapped the guy on the shoulder. He turns round and Gilby says, 'That's not him!' But Axl grins and says, 'Hey, Gilby, how're you doin'?


Axl, who had attended a Roger Waters concert earlier in the night, joined Gilby onstage to sing vocals on the Rolling Stones songs 'Dead Flowers' and 'Wild Horses' [MTV News, June 23, 2000; Q, July 2001] and allegedly other songs [Q, July 2001]..

I guess he ran into some friends of mine at the Roger Waters show at Universal Amphitheater, and they told him that we were playing down there and he came by. Maybe he just wanted to have some fun.



Axl, Gilby and Richard Hayhurst, June 22, 2000


After the show, Gilby and Axl allegedly talked for hours, mostly about Axl's new band and album:

He was really excited about it. He was explaining it to me. We didn't rehash anything. We had a good time.

When everything went down, him and I never got into any arguments, any fights or anything. It's kind of strange 'cause like I never quit. I never got fired. People always put you up like everybody hates each other, but . . . we never got in a fight. […] [Axl is] very, very excited about his new record and the new [GNR] band.
Soulmonster
Soulmonster
Stage manager

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

Back to top Go down

22. NOVEMBER 1999-JANUARY 2001: LINEUP TURMOIL BUT A TRIUMPHAL RETURN Empty Re: 22. NOVEMBER 1999-JANUARY 2001: LINEUP TURMOIL BUT A TRIUMPHAL RETURN

Post by Soulmonster on Sat Aug 29, 2020 9:00 am

NON-DISCLOSURE AGREEMENTS?


In an article in Star Tribune in February 1999, Tommy said he couldn't talk about the new Guns N' Roses album that was in development, and this was one of the first indications that band members from the new Guns era would not be free to publicly discuss every aspect of their tenure in Guns N' Roses [Star Tribune, February 26, 1999]. This indicates that the band, or label, wanted to keep, at the very least, aspects of the forthcoming music secret to the public. That band members were reluctant to talk about the music-in-making could also be gleamed from other later article and interviews [KNAC.com, March 28, 2000].

In 2000, Josh would say it explicitly:

I’m not really able to talk about [the new record].

I can't really answer questions about them.

[When asked, 'On the advice of lawyers?']: Not necessarily.


But Josh would also explain that "a friendly agreement is in place" [Calgary Herald, September 2, 2000]. This would indicate a verbal agreement between Josh and Guns N' Roses, more than signed non-disclosure agreements, although he could be referring to an NDA as a friendly agreement, too.

Not only band members would be subjects to such NDAs, as Joey Quackenbush, a friend of Josh from the Vandals, would realize when he met Axl in this period:

Beside, I got to go to Axl's house, where I was made to sign a contract of confidentiality. So now I can't talk about the fact that I saw Axl in a dinosaur suit on Halloween or that I saw him push his piano into his swimming pool.


In 2003 when Tommy talked to the press about his upcoming solo record, media would report on the gag order he had which prevented him from talking about Guns N' Roses:

A confidentiality clause in his Guns contract has led to a gag order from his publicist in terms of discussing anything related to that project [...]


If so, there weren't stand-alone NDAs but simply broad confidentiality clauses in band members' employment contracts with the band. Such confidentiality clauses are common in employment contracts and it is possible that in this case they specifically contained words against any disclosure of details surrounding the new music.
Soulmonster
Soulmonster
Stage manager

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

Back to top Go down

22. NOVEMBER 1999-JANUARY 2001: LINEUP TURMOIL BUT A TRIUMPHAL RETURN Empty Re: 22. NOVEMBER 1999-JANUARY 2001: LINEUP TURMOIL BUT A TRIUMPHAL RETURN

Post by Soulmonster on Sat Aug 29, 2020 9:06 am

2000
WORK ON THE NEW RECORD


BRAIN RECORDS


Josh leaving meant that Brain would initially replace some of Josh's parts:

Not on the whole record, but yes, I made some recordings.


This could indicate that at this time the record was intended to contain drum parts by both Brain and Josh. As it turned out, Brain would end up replacing all of Josh's parts.

Brain would talk about how much effort went into setting up the perfect drum kit:

I had my drum tech [Gersh] bring in over 30 different kits from the Drum Doctor, Drum Paradise, and Drum Fetish. I literally slept in the rehearsal space for three days, looking at angles. I just sat there staring at the stage. I was on the ground looking at angles to see how the kids are going to be looking at it from this angle. And then I would climb up on the stairs and get on a ladder and look at it from above, and say, 'Okay, the people in the balcony are going to be looking at it from this angle. What's going to be the right vibe? What's going to work for this situation?'

I have an idea of what I want when I go in. And since there are 50 snare drums and 40 kick drums, or whatever, you know it's kind of like, 'Well, this song would be great if we start with a 26" kick, 14", 16", 18" toms, because it's a huge sound - a very slow, huge, grunge-type of sound. Let's get some big hi-hats in there. Where's that really deep snare? Let's get a 7" or an 8". Let's try it.' It usually works right away.

And sometimes we get bored and we're like, 'Let's set up in that corner up in the balcony and get a little baby kit. Let's get an 18", and a 12" snare, and 12" hi-hats, just for something to do. Let's put it in the chorus.' This is probably one of the most creative things I've been in, because I've just been allowed to experiment so much.


In contrast to Josh who had only done acoustic drumming, Brain would bring in drum programming:

I'm totally into using a computer-based sequence setup. I use Logic and Pro Tools, and I have a G4 titanium laptop. I have this bag where I keep a nice DAT machine with a nice mike, or I have those toy samplers that you buy at Toys R Us. And I just sit there after whatever session I'm in, whether I'm even at the rehearsal space or at the studio, and I just hit my drums, make weird sounds, make weird loops, and then I take them home. I get home at about 2:00 in the morning and from 2:00 until 4:00 in the morning I sit at my laptop, cut up all my beats, make more beats, more sounds, and then bring them into the producer and say, 'Hey, check this out. Are you into this?' That's what I spend most of my free time doing.

What I've noticed with this situation is that I've kind of made it my own, tow here I'm getting what I want out of it and what I want to do. It's really been inspiring in that way. At first it was different. It was hard for me to get into this process. But I kind of turned it around. I said, "Wait. I've got access to the studio and to do what I want. I'm going to start calling the shots to say, 'Let's try this or let's do this.' I want to add what I want to this project. I'm looking at this as a musical education.



DESCRIBING THE MUSIC


In May 2000, Rolling Stone would publish an article where Jim Barber, "a former Geffen A&R executive who worked on the project", described the music he had heard:

The tracks reminded me of the best moments of Seventies Pink Floyd or later Led Zeppelin. There's nothing out there right now that has that kind of scope. Axl hasn't spent the last several years struggling to write Use Your Illusion over again.


In August 2000 Josh would be asked about how the music sounded and whether it was "better than the old stuff"

It's Guns and Roses.


In December 2000, Chuck Klosterman writing for The Akron Beacon Journal, would write an article where he claimed to have heard two new songs from Guns N' Roses, 'Strip Bar', but more likely to be called 'Just Another Sunday', and 'Livin' Loud' [The Akron Beacon Journal, December 14, 2000]. 'Just Another Sunday' was a West Arkeen song dating back to the 80s. It could be that 'Livn' Loud' was also not a new GN'R song.


BUCKETHEAD IN THE STUDIO


In late 2000, Buckethead would talk about his general approach to decorating recording studios to create a special physical environment:

Bring a box of stuff, lay it around. Couple dummies, some chicken feed if it's away. At the coop it is, there is tons of stuff. The video goggles have changed everything now. Anywhere anytime with the goggles.


Gary Sunshine would describe seeing the coop in the studio:

When I went to the studio to say hello and discuss the lesson thing at first, I was shown Buckethead’s recording “cage”,funny but cool.
Per5sonnel communication, September 27, 2020


Buckethead would also talk about how it was to be part of Guns N' Roses:

It has been fun like a ride never been ridden. Every turn is new, it will be interesting to see where this ride goes.



THE RELEASE IS POSTPONED


With Josh leaving the band, a UK spokeswoman for the band would in early 2000 be asked about the record's release date:

(The album could be) released this year, but I’ll believe it when I see it to be honest. We’ll all just have to wait and see. At the minute it isn’t even on our releases pending list.


The album was then scheduled for a release in July 2000 only to be postponed indefinitely without even being listed with "TBD" in release schedules [Launch, May 20, 2000; Wall of Sound, May 24, 2000]. The postponement of the release for July 2000 might have been connected to Robin and Josh being out of the band. Robin would be asked about the release date in May 2000:

There's not a release date right now, not that I'm aware of. And I would know.


In late 2000, rumours would have it that the band hoped to release the album early in 2001, to time it with their appearance at Rock in Rio 3, in January 2001 [Rolling Stone, October 27, 2000]. And in November 2000, according to The New Journal, GN'R's management had stated that the record would come out in January 2001 [The News Journal, November 4, 2000]. Then, in December, it was reported the band management had stated the record would be out in June to correspond with the summer tour [MTV News, December 11, 2000]. In another report, Doug Goldstein would be said to have told Los Angeles radio station KROQ, that the album could be out as early as June [Rolling Stone, December 12, 2000]. Interscope, on the other hand, would not confirm a June release date and only refer to it as "to be determined" [Rolling Stone, December 12, 2000].


Last edited by Soulmonster on Sun Sep 27, 2020 6:46 am; edited 1 time in total
Soulmonster
Soulmonster
Stage manager

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

Back to top Go down

22. NOVEMBER 1999-JANUARY 2001: LINEUP TURMOIL BUT A TRIUMPHAL RETURN Empty Re: 22. NOVEMBER 1999-JANUARY 2001: LINEUP TURMOIL BUT A TRIUMPHAL RETURN

Post by Soulmonster on Sat Aug 29, 2020 9:12 am

OCTOBER 2000
GUNS N' ROSES TO PLAY ROCK IN RIO 3 IN 2001


In October 2000, the news would break that Guns N' Roses would return to Rio De Janeiro, Brazil, to again play at Rock in Rio [MTV News, October 25, 2000]. The festival was scheduled for January 12 to 21, 2001, and Guns N' Roses was said to end the day on January 14, 2001  [MTV News, October 25, 2000; Rolling Stone, October 27, 2000]. The lineup was expected to consist of Axl, Paul, Buckethead, Tommy, Dizzy and Brain, and it was rumoured that Robin would return to the band for the show, too [MTV News, October 25, 2000]. A few days after the rumours started to spread in the media, Doug Goldstein, from Big FD Entertainment, would confirm that Guns N' Roses would play at Rock in Rio in 2001, and that Robin would be part of the lineup [MTV News, October 30, 2000]. A few days later, the festival promotor, Robert Medina, would confirm that Guns N' Roses were to play on January 14 [E! Online, November 1, 2000].

Talking about the decision to play at Rock In Rio:

Well, South America has always had a place in my heart since I first came here, and it’s very emotional for the people, and myself, and my management to play here.


From the following quote it is clear Axl wanted the Rock In Rio date to be part of a larger series of shows, including two shows in Argentina:

The idea was, I wanted to play Buenos Aires and Santiago. And for us. For some reasons that did not work out right now.


Last edited by Soulmonster on Sat Aug 29, 2020 9:16 am; edited 1 time in total
Soulmonster
Soulmonster
Stage manager

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

Back to top Go down

22. NOVEMBER 1999-JANUARY 2001: LINEUP TURMOIL BUT A TRIUMPHAL RETURN Empty Re: 22. NOVEMBER 1999-JANUARY 2001: LINEUP TURMOIL BUT A TRIUMPHAL RETURN

Post by Soulmonster on Sat Aug 29, 2020 9:13 am

OCTOBER 2000
ROBIN RETURNS TO THE BAND


In addition to confirming that Guns N' Roses would play on Rock in Rio in January 2000, and that this show would be followed by a US summer tour, a press release from Doug Goldstein at Big FD Entertainment would also confirm that Robin would be back in the band for these shows [MTV News, October 30, 2000].

From the quote below it is obvious it was not Axl's original intention to have three guitar players in the band but that he was happy it happened:

And even now, this band has only fully played together for six weeks before Rio. So it’s still very new for them all playing together as a band, you know, with Robin and Bucket. That was a surprise and that was, obviously, to me, the right decision to make, but it was not something originally planned having three guitar players.


Last edited by Soulmonster on Sat Aug 29, 2020 9:18 am; edited 1 time in total
Soulmonster
Soulmonster
Stage manager

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

Back to top Go down

22. NOVEMBER 1999-JANUARY 2001: LINEUP TURMOIL BUT A TRIUMPHAL RETURN Empty Re: 22. NOVEMBER 1999-JANUARY 2001: LINEUP TURMOIL BUT A TRIUMPHAL RETURN

Post by Soulmonster on Sat Aug 29, 2020 9:14 am

PLANNING TOURING IN 2001


In October 2000, a statement from Doug Goldstein at Big FD Entertainment, would announce that the show at Rock in Rio 3, in January 2001, would be followed by a summer tour [MTV News, October 30, 2000]. And in January 2001, it would be reported that the first of these shows would be at the German Rock Am Ring festival on June 1-3 [NME, January 7, 2001]. Further European dates would be confirmed and rumoured: two shows in the UK, a show in the Netherlands, one more show in Germany [NME, January 10, 2001; KNAC.com, January 22, 2001].

Later the following shows would be confirmed [MTV News, February 9, 2001; NME, February 27, 2001; NME, March 1, 2001; Allstar News, March 7, 2001]:

6/1 - Nuremberg, Germany @ Rock IM Park, 6/3 - Nurburgring, Germany @ Rock Am Ring, 6/5 - Berlin, Germany @ Waldbuhne, 6/9 - London, Italy @ London Docklands Arena, 6/10 - London, Italy @ London Docklands Arena, 6/12 - Glasgow, Scotland @ SECC, 6/13 - Manchester, England @ Manchester Arena, 6/14 - Birmingham, England @ Birmingham NEC, 6/17 - Imola, Italy @ Jammin Fest, 6/23 - Arnhem, Holland @ Gelredome, 6/25 - Stockholm, Sweden @ Globen, 6/26 - Oslo, Norway @ Spektrum, 6/28 - Roskilde, Denmark @ Roskilde Festival.

When asked if the touring lineup for the summer and fall tours would be the same as for Rock In Rio in January:

It’s difficult to say, but I believe so.


Apparently some of the uncertainty was in regards to whether Robin would be back also for the entire tour and not only Rock in Rio in January:

Well, I don't know yet, we just got together to do this show [=Rock in Rio].


Brain, on the other hand, would say he was not playing in Primus anymore and when asked if he was a permanent member of Guns N' Roses:



In early January Axl would also discuss the possibility of touring South America after the European summer tour:

Yes, it's very possible. It's very possible that we will play in November or January. Um, you know, November this year or January of next year. Um, I'm very excited to play here. I want to come back and play Rio again. And play, you know, Buenos Aires and Santiago and hopefully other South American countries, you know. As soon as we can.


A show in Argentina at the Buenos Aires Hot Festival in November would later be confirmed by local media [Clarin (Argentina), February 2001].
Soulmonster
Soulmonster
Stage manager

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

Back to top Go down

22. NOVEMBER 1999-JANUARY 2001: LINEUP TURMOIL BUT A TRIUMPHAL RETURN Empty Re: 22. NOVEMBER 1999-JANUARY 2001: LINEUP TURMOIL BUT A TRIUMPHAL RETURN

Post by Soulmonster on Sat Aug 29, 2020 9:16 am

AXL WANTS IZZY BACK?


In 2001, Izzy would say that around the time when Guns N' Roses was planning the Rock in Rio show, Axl called Izzy and asked him to return:

Axl called me when he had the plan to play Rock In Rio. I don't believe that he hoped to reform the group as a whole because I am the only one that he called, but, in any event, I declined the offer. Maybe he estimated that his group was not good enough […]. […] Axl is really a special type, he's too hard to manage. […] I already had this album in preparation and I prefer to leave on the road with my group, I find everything I need there without problems that occur when you're with Axl...
Guitar & Bass (France), June 2001; translated from French
Soulmonster
Soulmonster
Stage manager

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

Back to top Go down

22. NOVEMBER 1999-JANUARY 2001: LINEUP TURMOIL BUT A TRIUMPHAL RETURN Empty Re: 22. NOVEMBER 1999-JANUARY 2001: LINEUP TURMOIL BUT A TRIUMPHAL RETURN

Post by Soulmonster on Sat Aug 29, 2020 9:18 am

OCTOBER 2000
BOB EZRIN TO WORK WITH THE BAND


In addition to all the other news announced in late October 2000, it would also be stated that producer Bob Ezrin was involved as an A&R person to help Guns N' Roses complete Chinese Democracy [MTV News, October 30, 2000].

Slash would likely allude to Ezrin's entrance, or Roy Thomas Baker working with the band:

There’s just been a lot of, like, so-called Guns N’ Roses shows that were supposed to happen, even when I was in the band (laughs). And it never did, so it’s just like, we’ll wait to see when it happens [regarding the planned shows in 2001]. You know, I hope it does and I hope it goes on. I hope he gets a record out and – you know. And there’s some pretty heavy people at the helm right now working on the Guns record, so I don’t think anybody’s fuckin’ around, because I think too much money and time has been spent, you know, so they have to do it (chuckles).


Alice Cooper would shed light on Ezrin working with Guns N' Roses:

[Talking about working with Ezrin]: Bob Ezrin came in, listened to it, and goes, ‘Clarinet.' I said, `What do you mean?' He says, ‘A clarinet's gonna give it this 1890s kind of feel. A clarinet's got a real lonely sound to it.' We tried it and I said, ‘Oh, that's good.' It's almost Dixieland. It had that New Orleans vampire kind of thing to it.

But that's exactly why I run things by Bob Ezrin. He and I think so much alike that I'll go, ‘I know I'm missing something here, Bob. What is it?' We came up at the same time together. He was a classically trained kid from Toronto, and we were this sick, theatrical garage band... Somehow, the two met, and we found he was as warped as we were. But then he could take all that classical training and plug it into what we were doing...

I'm not the only one. To this day, really good songwriters that are ready to finish an album call me up and go, ‘Do you have Bob Ezrin's number?' He did it with Jane's Addiction. He did it with The Darkness. He did it with Guns 'n' Roses. I know Axl called him up and said, ‘I want you to listen to (the still-unfinished CD) ‘Chinese Democracy’' and tell me what I've got (that's good).' Bob listened to it and said, ‘Three songs.' This is after seven years (of songwriting). Bob's not going to be a yes man. He's going to go in there and tell you how many (decent) songs you actually have... He's basically taught me everything about how to write a song.'
King County Journal, Oct. 15, 2004


So from the quote above it is suggested that Axl contacted Ezrin but that Ezrin only thought the band had three good songs at the time.

In December 2000 it would be reported that according to an industry source Ezrin had only had one meeting with the band and had not committed to anything [Rolling Stone, December 12, 2000].


Last edited by Soulmonster on Wed Sep 16, 2020 10:19 am; edited 2 times in total
Soulmonster
Soulmonster
Stage manager

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

Back to top Go down

22. NOVEMBER 1999-JANUARY 2001: LINEUP TURMOIL BUT A TRIUMPHAL RETURN Empty Re: 22. NOVEMBER 1999-JANUARY 2001: LINEUP TURMOIL BUT A TRIUMPHAL RETURN

Post by Soulmonster on Sat Aug 29, 2020 9:18 am

NOT ONE BUT TWO RECORDS


In August 1999, it would be rumoured that the band was not working on one record, but two records, and that it was expected that both would be released in October 1999 [Metal Hammer, August 13, 1999].

When Axl finally did speak in late 1999, he revealed that not only had they worked on enough music for two records, but that they also planned for two records:

We've been working on, I don't know, 70 songs. […] The record will be about, anywhere from 16 to 18 songs, but we recorded at least two albums' worth of material that is solidly recorded. But we are working on a lot more songs than that at the same time... in that way, what we're doing is exploring so, you know, you get a good idea, you save it, and then maybe you come back to it later, or maybe you get a good idea and you go, "That's really cool, but that's not what we're looking for. Okay, let's try something new." You know, basically taking the advance money for the record and actually spending it on the record. […] and I don't want to be in a situation again where I have to depend on other people and have [to] start all over. So we have material that we think is too advanced for old Guns fans to hear right now and they would completely hate, because we were exploring the use of computers [along with] everybody really playing their ass off and combining that, but trying to push the envelope a bit. It's like, "Hmm, I have to push the envelope a little too far. We'll wait on that." So we got a list of things.


Axl would also indicate that the substantial costs of making the record wouldn't be so bad if they got two albums out of it [Rolling Stone, January 2000].

The plan was to let the first record be more guitar-driven while the second would contain more aggressive electronica:

It took working on the majority of these things and at least the couple albums' [worth] of material to figure out what should be on the first official Guns album. I wouldn't say it's like, you know, that we recorded a double album, or that we have all of our scraps to be the second one. There is a distinct difference in sound. The second leans probably a little more to aggressive electronica with full guitars, where the first one is definitely more guitar-based.

I'd like to take some of the old Guns fans along with me gradually into the twenty-first century.
Rolling Stone, February 3, 2000; interview from November 1999
Soulmonster
Soulmonster
Stage manager

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

Back to top Go down

22. NOVEMBER 1999-JANUARY 2001: LINEUP TURMOIL BUT A TRIUMPHAL RETURN Empty Re: 22. NOVEMBER 1999-JANUARY 2001: LINEUP TURMOIL BUT A TRIUMPHAL RETURN

Post by Soulmonster on Sat Aug 29, 2020 9:20 am

LATE 2000
PLANNING A "SECRET" NEW YEAR'S SHOW IN LAS VEGAS


In November 2000, Shoutweb, who claimed to have spoken to Axl, would report that Axl was planning a secret show in Las Vegas to debut the new version of the band [Shoutweb, November 22, 2000]. With the band already confirmed to play at Rock in Rio on January 14, 2001, this meant that this secret show would haver to take place within the next two months. According to Shoutweb, the band intended to play this secret show under another name [Shoutweb, November 22, 2000].

The show would be confirmed to a new year's show and take place at the Las Vegas House of Blues [MTV News, December 3, 2000].

I heard them in rehearsals. ... [The old material] sounds substantially more powerful. With two lead guitars, it just sounded so powerful.

We've been rehearsing and recording — we just wanted to blow some smoke. What better place to do that than New Year's Eve in Las Vegas?


A week later it would be reported that the setlist at the Las Vegas show would closely resemble the setlist planned for Rock in Rio, and that the show would last up for up to two hours [MTV News, December 11, 2000].
Soulmonster
Soulmonster
Stage manager

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

Back to top Go down

22. NOVEMBER 1999-JANUARY 2001: LINEUP TURMOIL BUT A TRIUMPHAL RETURN Empty Re: 22. NOVEMBER 1999-JANUARY 2001: LINEUP TURMOIL BUT A TRIUMPHAL RETURN

Post by Soulmonster on Sat Aug 29, 2020 9:20 am

CHRIS PITMAN JOINS THE BAND


On December 20, 1999, on the band Lusk's internet blod, it would be stated that Chris Pitman was now "working for Axl Rose, doing engineering/writing work on the new GUNS 'N ROSES album" [http://www.nmc.siu.edu/~beckham/lusk/news.html; December 20, 1999].
Soulmonster
Soulmonster
Stage manager

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

Back to top Go down

22. NOVEMBER 1999-JANUARY 2001: LINEUP TURMOIL BUT A TRIUMPHAL RETURN Empty Re: 22. NOVEMBER 1999-JANUARY 2001: LINEUP TURMOIL BUT A TRIUMPHAL RETURN

Post by Soulmonster on Sat Aug 29, 2020 9:21 am

JANUARY 1, 2001
GN'R IS BACK! HOUSE OF BLUES, LAS VEGAS


I have traversed a treacherous sea of horrors to be with you here tonight.

____________________________________________________________

Then, on January 1, 2001, more than seven years since the last Guns N' Roses show, the new version of the band would finally enter the stage and a select few would get to hear Guns N' Roses live again. The event took place at The House of Blues in Las Vegas, NV, USA, and the band would take the stage at 3:30 am in the early morning [New York Times, January 2, 2001].

The show would start with a cartoon called "It's A Sorta Kinda Wonderful Life" of Axl making fun of his own public image.

The band's performance was preceded by an animated feature that poked fun at Rose's media-perpetuated persona. The mercurial frontman was depicted in bed — presumably having spent the last seven years in Brian Wilson-like seclusion — carrying on conversations with Buddha and the odd alien, with a music magazine used in lieu of toilet paper following a bedpan sequence. Footage depicting a journey through a birth canal was also presented, among other esoteric endeavors.


This self-deprecating style would continue during the show:

Ah, good morning. I just woke up, I’ve been taking a nap for about eight years (laughs).

Let’s do Patience. Because that’s what I’m going to try to experience right now... Or should I, like, have a tantrum or something? (chuckles) Now we’re talking, huh? Break some shit, fuck things up... have them write in the paper what a dick I was... (mocking laughter) So Thursday night was the first night I ever, like, sang a set with these guys. It was the first time I sang a set in eight years. I have a little bit of emotional problem doing the old stuff that I had to work through... I don’t know, it’s a little worrying, because, see, there was a rehearsal, then we had some kind of setlist, then I actually went to soundcheck. That’s a first for all three of those in 15 years. I was afraid that might jinx the show. You know, like baseball players wearing different socks or something. I could fuck things up. Alright. We’ve got some acoustic guitars? So people are on crack. [Shouts from the crowd] Say what? (laughs) [The crowd chants “Welcome back”] Thank you. Now you’re embarrassing me...


The lineup would feature Axl, Paul, Robin, Buckethead, Brain, Dizzy, Tommy and newcomer Chris Pitman.



Axl at the House of Blues
January 1, 2001



The 20-song setlist would naturally be dominated by old Guns N' Roses songs, but the band would also play the following new songs: "Oh My God", "Rhiad and the Bedouins", "Chinese Democracy", "Street of Dreams" and "Silkworms".

During the show, Axl would take time to praise Paul for his role:

I’d like to introduce a couple of people now. Someone who’s worked very hard to be here, and through all the opposition, and worked very hard with the former band to try to help things work out, and has worked solidly, basically every single day for the last seven years to try to help me have a god damn band. The original guitar player that I’ve worked with, that I met when I was 12 years old and we’d argue about who’s cooler, Led Zeppelin, Queen, Kiss or Aerosmith. Ladies and gentlemen, this is Mr. Paul Huge, the question mark and “who the fuck is Paul,” and “what does he look like” and... Well, now you all know him and you can write home to everybody how it just doesn’t work and it’s not – it just sucks (laughs).


After the show Axl would talk about putting together a new lineup and how Buckethead and Robin hadn't know each other at the show:

[...] this band did not come together by a bunch of guys meeting each other in a bar or down on a corner in their old neighborhood or anything like that. So it's taken a long time to pull these guys together and then have them develop a chemistry with themselves. When we first did our first show in Vegas, Robin and Buckethead didn't know each other at all, and you've got two lead guitar players trying to kill each other.


Axl would say that Robin and Buckethead playing together had been similar to when Zakk was brought in to play with Slash in early 1995 [WRIF Radio Detroit, November 20, 2002].

A DVD and video of the performance at the House of Blues would later be scheduled for release in Japan in September 2001 [CDNow, August 11, 2001].


Last edited by Soulmonster on Thu Sep 24, 2020 2:37 pm; edited 3 times in total
Soulmonster
Soulmonster
Stage manager

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

Back to top Go down

22. NOVEMBER 1999-JANUARY 2001: LINEUP TURMOIL BUT A TRIUMPHAL RETURN Empty Re: 22. NOVEMBER 1999-JANUARY 2001: LINEUP TURMOIL BUT A TRIUMPHAL RETURN

Post by Soulmonster on Sat Aug 29, 2020 9:25 am

JANUARY 14, 2001
ROCK IN RIO III


In Brazil we have an acceptance that we can't get in any other place in the world. The Brazilian people came to Rock In Rio without knowing the new band and without knowing if we would play the old songs. This is something we need to thank a lot.
O Globo, January 16, 2001; translated from Portuguese, possible paraphrased

____________________________________________

The band would rehearse extensively before the Rock in Rio show:

At the moment we are just very tired, as we’ve been rehearsing continuously for the past two months. I'm kind of tired of music right now.


Axl would indicate Tommy was taking a leader role in the rehearsals:

And the bass player, Tommy Stinson, did really good leading the band through the rehearsals for Vegas and Rock In Rio.


When Chris was told that the show was sold out and that 250,000 people were expected:

Really? I think it’s going to be a good show.


Brain would later talk about nerves before the show:

So, ya know, warming up is a big.. for me, especially in a rock sit..situation, ya know, playing these big shows.. especially now if like.. Guns N' Roses doing this last show in a.. Rio in front of like 200,000 people.. ya know, I mean I was so nervous, I'd warmed up for like 3 hours.


As for the House of Blues show on January 1, the Rock in Rio show would start with the cartoon "It's A Sorta Kinda Wonderful Life."

This show would feature yet a new song, Madagascar, in addition to include Oh My God, Chinese Democracy, Street of Dreams and Silkworms.

During the show, Axl would comment on why they played many of the old songs:

We've done one show before this and already we have been criticized for playing old songs. But I have no intention and I never did of denying you all something you enjoyed. And I thought it was only fair for you to see that this new band can play the fuck out of these songs. It's very hard to ask a musician to learn to play the part or parts played by other musicians before that. These guys here have worked very hard.


Like at the House of Blues show two weeks prior, Axl would talk about the new band and praise Paul and this time also Dizzy for his loyalty:

I know that many of you are disappointed that some of the people that you came to know and love could not be with us here today. Regardless of what you have heard or read, people worked very hard – meaning my former friends – to do everything they could so that I could not be here today. I say fuck that. I am as hurt and disappointed as you that, unlike Oasis, we could not find a way to all get along. So I will begin to introduce the new band, who have worked very, very, very hard to come and see you today. This is my friend, Paul Tobias. He has worked through the darkness, underground, for the last seven years to be able to be here today. I think this makes it his fourth of fifth show altogether in his life. Without Paul there would be no more Guns N’ Roses. Along with Paul, the only man from the old lineup that stayed loyal and worked hard every day is on the keyboards, Mr. Dizzy Reed. Well, so much for the past. This is Live and Let Die.


Axl would also talk about rumours on the Internet:

You know, I used to go on the internet, but the internet seems to be a big garbage can. So I don’t read the things that they say on the internet anymore. And that goes for your comments too, Renato, and Xozi and anyone else who likes to think that they know what’s going on but have no idea. We have a lot of Brazilian fans and we love them very much. We also have a lot of fans in the rest of South America and we love them very much, too. So I hope that you can try and get along, and that both you Brazil and you from Argentina don’t kill each other at the next soccer game. We love you very much.


Near the end of the show, Axl would bring out his assistant Beta Lebeis and emotionally thank her for being there for him:

[Beta translating Axl's words to Portuguese]: In closing, I would like to say, without the love and support of one person, above all others, I would not be here today. In America, for the last seven years... [Axl hugs Beta] ...I have been supported by, and taken care of, and looked out for... [Beta (crying): Go ahead] This is very hard for her... The band has been taken care of. She has worked every step of the way to the rehearsals, recording, contracts and what a pain in the fucking ass I am. I’ve been taken care of for the last seven years by a Brazilian family. This is Elizabeth Lebeis, Beta, my assistant, and her three amazing children, Alex, Vanessa and Fernando. She has been a mother to me, to my manager, to my other assistants and anyone in the band who ever needed her at any time. I thank her, and I thank all of you for her. Peace, I love you, and we’ll be here next summer with a whole bunch of new songs. Be good to each other, and we’ll see you then. Goodnight.

I didn't think it would happen. I'm translating what Axl is saying, you know? Suddenly, he comes back again and calls me to the stage. I thought he would thank the audience, and then when he said, “Seven years ago...” I started to choke, I couldn’t speak. I went away and his manager pushed me back to the stage, right? Then I was translating everything wrong, I saw that nothing came out. The most difficult thing is to translate someone talking about you. Nothing came out. I know everything went wrong, I was nervous. There is no way to explain what I went through at that moment, in front of all that crowd...
Bolsa de Mulher, January 22, 2001; translated from Portuguese



REVIEWS AND RECEPTION


The press would universally praise the show:

Before long. it's back to Axl who seems to have mellowed out and found love after seven years in the wilderness to implore all the people of S. America that no matter if they are from Brazil, Argentina, or Chile, not to fight anymore and that Love is the only way. People aren't sure what to make of this new compassionate Axl but they sure as @#%$ love the show and really and really dug the four new songs the band played from their soon-to-be-release album. […] The set closes after two encorers with axl introducing the woman that has been his saviour / friend / manager /a gent / everything for the past seven years who turns out to be the woman who has been translating for him all night. We don't quite catch her name as she gets all emotional and breaks down crying in Axl's arms in the middle of the stage. Its quite a surreal way to finish off a rock show, but it's been a damn long seven years and this wasn't an ordinary gig, it's the return of Guns n' Roses to the World stage. But there was no leather and no spandex, although the red bandana did make an appearance, reports that Axl is now a tubby bastard are untrue, he looked like he did seven years ago and is still choc full of attitude. FORGET TRENT, MARILYN, AND FRED, AXL IS BACK TO SAVE ROCK!!!!!

As much as G n’ R’s performance was about spectacle, it also proved to be one of the most engaging musical moments of Rock in Rio. Highlights were the kicking “Chinese Democracy” and “Madagascar,” a ballad (not played at the Vegas show) that blended organ, a looped drum-machine backbeat and spoken-word samples before working itself up to Rock in Rio fest a “November Rain” crescendo. Rose’s vocals remain strong, and he commanded the entire stage, even occasionally running into the audience. The new band had enough chops and freak-show appeal to make the crowd forget about the beloved original model. Buckethead provided the most “Slash who?” moments, as he busted out a pair of nunchucks, made his eyes glow and soloed mercilessly.

So it was an exciting show — not only for the unusually high level of musicianship, but also for the unflagging spirit and intelligence of the music itself, and what that seems to promise for the future.


Axl and Brain were also happy with the show:

[…] it was amazing. And it was amazing to play for the people, it was amazing that the people were that, were so happy and so excited. Um, it was. It worked for the band and I was very proud of them. I thought that they did very well. And it was very fun for me to play with the new band.

The whole show was very special. The crowd was so warm and receptive. Sound and music wise everything went wrong for the band, but it was a very exciting show for us to know that we could do a show that big, and it was very new for everybody. So it was a very big and important thing for our new band.

[…] it was, you know, an honor to be able to play Rio. I mean, now there was no new songs, the people didn't know the band, it’s not the old band... And they came anyway and that was very special. And the show brought the new band together.

It was very hard for me, emotionally and mentally, to want to play the older songs, because of the hard times or experiences that I’ve gone through with the old band and playing those songs. But the new guys made it exciting, so it was good to get out there. But we will put together a much bigger show and be more prepared. I feel that we did okay in Rio and it was a lot of fun, but we all want to be much more prepared when we actually do a real tour. This is what’s the band know what it is we have to do.

[…]  I did play one of the biggest shows of my life, Rock in Rio, with this new situation, and it was awesome. It was one of the best things I've ever experienced. It was so huge and such a great experience that when I came back I was kind of depressed for a while, because I was kind of like, 'Wow! What's next?' I went to the tenth floor.


And Beta would describe how important the show had been to Axl:

It was [Axl's] dream to come back to Brazil. When we first met, our first conversation was about Brazil. He was talking about the favelas, the diseases and his dream of building a hospital where poor people would receive treatment for free.
Bolsa de Mulher, January 22, 2001; translated from Portuguese


During the show Robin had played a famous Brazilian song, Sossego, and Fernando Lebeis would later discuss how important that had been:

[Robin] was criticized for playing Sossego, but do you know any other person who would do that? He learned that song one day before the show. Axl... Guns loves Brazil, they feel a connection with the fans, they really love it, without any pretense. Robin noticed that and saw Brazil in the same way. He learned to play it and sing it by himself.



LOOKING BACK AT THE SHOW


Immediately after the show, Axl would say his singing hadn't been good enough due to lack of sleep and that the band needed to adjust the sound to the large venue [O Globo, January 16, 2001].

We did the first show at Rock in Rio. We rehearsed for probably two or three months without Axl. Our first show’s Rock in Rio and I thought, ‘Wait, what’s it going to sound like with Axl? Where is Axl? Oh here’s his helicopter coming in.’ The first time I ever played a real show with him was in front of 250,000 people! I was thinking, ‘How’s this song supposed to start again?’ Because some he was supposed to cue but we never had a verbal conversation on whether he would or I!

You look to your left and there was the Foo Fighters, Oasis and Sting! We were headlining that day and everybody was anxious to see what we were going to do because Axl had put this motley group of people together.
musicradar, October 2012
Soulmonster
Soulmonster
Stage manager

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

Back to top Go down

22. NOVEMBER 1999-JANUARY 2001: LINEUP TURMOIL BUT A TRIUMPHAL RETURN Empty Re: 22. NOVEMBER 1999-JANUARY 2001: LINEUP TURMOIL BUT A TRIUMPHAL RETURN

Post by Sponsored content


Sponsored content


Back to top Go down

Back to top


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