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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.



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27. JANUARY 2007-JUNE 2008 - LEAKS AND TOURING - Page 2 Empty Re: 27. JANUARY 2007-JUNE 2008 - LEAKS AND TOURING

Post by Soulmonster Sat May 29, 2021 7:56 am


In 2008, Sebastian Bach would claim Axl was writing an autobiography and Del James would mention that Axl planned to set the redcord straight on the history of Guns N' Roses:

I was saying to Axl one day, ‘I’m going to write a book.’ He was like, ‘Cool. How many pages you got?’ I go, ‘I’ve got six pages.’ He starts laughing and goes, ‘Yeah, I started my book a while back. I’m up to 12,000 words at this point.’ He’s very prolific. He’s just not motivated by fame at all. He’s had enough of it. He gets excited by making music, by putting on a concert. Making albums, he loves doing it.

From a personal perspective, it fucking bothers me to no end when people with their own personal agendas or who don’t know what the fuck they’re talking about write books or give interviews about Axl. And let’s not forget that a lot of these journalists writing about him don’t necessarily like Axl. You could make a case that personally they hate him so you really think they’re going to go out of their way to present a fair story? I mean really, how can you objectively write about someone you have no contact with? How accurate can a biography be when all of your information comes from secondhand sources or is hearsay? One of these days, Axl is going to set straight a lot of the misconceptions about himself and the history of Guns N’ Roses and people ain’t gonna know what hit ‘em.

Then later in the year, Axl would specify that it wasn't so much of an autobiography as more of a "legal record" of the breakup of the band:

It's not exactly an autobiography as much as legal record of every last detail of what went down with the breakup. I have about 40k words on it (don't know where 1200 came from) but it's generally really depressing so I don't go back to it so much.

Last edited by Soulmonster on Thu Jun 03, 2021 9:19 am; edited 1 time in total
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27. JANUARY 2007-JUNE 2008 - LEAKS AND TOURING - Page 2 Empty Re: 27. JANUARY 2007-JUNE 2008 - LEAKS AND TOURING

Post by Soulmonster Sat May 29, 2021 7:56 am



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

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

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

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

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

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

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

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

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

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


I still want to make my solo record — and Duff is working on his own stuff too.

In November 2007, he would refer to his next record as a "Slash and Friends" album but wouldn't say who would be on it [JAM! Music, November 28, 2007].

In early 2008, Slash would provide an update:

The only progress is I'm starting to put it together as to how I'm gonna do it and who I'm gonna do it with. It's actually really in the back of my mind, but I haven't gotten the wheels in motion to get it produced. It'll be coming -- probably the next thing I do after the next Velvet Revolver record. But if anything delays the Velvet record, I would turn around and do that (solo album) then.

And in March he would talk more about the planned record:

I don't think I have the patience to do an instrumental record, so I want to work with a bunch of artists whose records I've played on and some who I've never worked with.

In June, he would say it would be his first proper solo album:

I'm working on it pretty aggressively right now while I have the time cause as soon as Velvet finds its singer, then it's going to be off the races with that. I'm using this little period to be able to do as much on my solo record as possible. I'm not sure exactly when it will come out, but hopefully it will come out before the Velvet record.

It'll be my first solo record. All the other ones were just me putting other bands together and going out and just jamming. This will actually be a little bit more personal.

I want to do a solo record, too. I need that outlet pretty bad. Depending on how things stand with the next Velvet Revolver album, I'll do that either before or after. [...] It's not going to be a Snakepit thing. The last thing I want to do after everything I've been through lately is put together another band. That pattern, where you call up some guys, put the group together and the music becomes a product of that group is not attractive to me right now. It's hard to control where that goes. When we [Velvet Revolver] did the Libertad album, I wrote some great heavy shit, but the album just wasn't going to go there. I'll probably have more control on the next Velvet record. I don't care if people like what I do or if they don't like it, but I do like them to know what I meant.

One of the musicians it is likely Slash considered working with was Sebastian Bach:

[Slash contacted me] out of the blue ... to talk to me about working together, but it was not Velvet Revolver. It was a completely different project, and I can't tell you what it is 'cause it's mind-blowing, but I've been sworn to secrecy on that. But nothing's happening right now with me and him.
Billboard, June 25, 2008

Talking more about the singers:

I want to do different kinds of music and work with different singers, people I've worked with in the past, and people I've admired for a long time. Quite a lot of people have signed up already, but I can't say who they are - I don't want to jinx it. I can tell you that I'd love to get Stevie Wonder down. We've talked about hooking up, but we haven't managed it so far. That’s the thing about the brothers, man: we're all talk and no action! Very LA...

There’s a wish list and so far I’ve managed to get pretty much everybody on that wish list to commit. At the pace the Velvet singer search is going I’ll probably get this done before then.

In September Slash would talk about doing it all himself:

I’m totally on my own. A buddy of mine has got a mini-studio in his house and we stay until two or three in the morning just recording the basic demos. I’m used to a band situation where I’m one fifth of the input no matter who brought the song or whatever it is. Every band I’ve ever been in we all just sort of tear it apart, put it back together, and it comes out however it comes out. This is interesting for me because I’m just doing my thing and I have no one to answer to.

He would also mention he had demoed 14 songs for the new album [NME, September 30, 2008].

I've been carrying a tape recorder with me on the Velvet Revolver tour and putting down ideas. When I got back from the UK at the beginning of the summer listened to what was cool on them, then elaborated and came up with new stuff.

In October he would be asked about the status of his solo record:

I started writing on the road with Velvet Revolver and then when we finished the tour and I got back from the UK at the beginning of the summer I started to sift through the ideas I'd recorded and elaborating on them.

The plan at this point is where I'm just using different singers for every song. So it'll probably be...if there are 12 songs, there will be 12 singers, put it that way. [...] Working on a solo record, which is really my first solo record where I'm not using a fixed band, has just been a new experience for me because I don't have to answer to anybody.

I’ve been working on the solo album all summer. I only have three of four more songs left to get on [demo] tape. We’re probably going to record the album next year. It’s hard to say when it will actually be released because this industry is so fucked up right now.

I'm just at the very tail end of doing demos for it right now. So, I'll probably have about four more songs left to record in demo form and then in January go into the studio and actually start recording. Schedule permitting because I've got Velvet Revolver stuff if we find a singer. So, it's sort of a juggling act at the moment.

It’s not really much to say; I’m probably about 80 per cent done with demoes right now and probably going into the studio because it’s the holidays and all that stuff, I’ll probably start off the beginning of the year recording and doing vocals and all that kind of stuff. So that’s basically where that’s at.

So far, it’s going really great and I just have to hold the reins until it’s finished because it’s one of those kind of things where it always sounds best when it’s as simple as possible. And through the whole sort of recording process and working with engineers and this and that and the other and depending on what studio you’re working in, things are subject to change. So, it’s something I have to be very hands-on with throughout the whole process.

I'm just at the very tail end of doing demos for it right now. So, I'll probably have about four more songs left to record in demo form and then in January go into the studio and actually start recording. Schedule permitting, because I've got Velvet Revolver stuff if we find a singer. So, it's sort of a juggling act at the moment.

Being asked if the solo record will surprise people:

I don't know if it will be so much surprising…I mean, it touches on a lot of different sounds. There's different singers for every song and I think it will be the choice of vocalists that surprises people the most. But you'll just have to wait and see who they are. I'm sure there will be huge rumours going around will be reported as if they are a matter of fact!

And talking about coming to a stage where he can try to combine the songs with specific singers:

We’re just now getting to that point where I’m starting to go, “OK, this song is,” as far as my ear is concerned, “perfect for so-and-so.” And that’s just starting to happen because when I originally started, it was just music. But now that I’ve actually completed a lot of material, I’m starting to see which people the songs are tailor-made for.

Comparing working as a solo artist with the dynamics of being in a band:

It’s a different process because with Velvet Revolver or even Snakepit or Guns N’ Roses or whatever, in a band situation you have this sort of collaborative effort. Where you bring in a couple ideas and everybody riffs around on that and it becomes something that is produced by the group and everybody has their mark on it and that’s the way it comes out. And that’s what makes band stuff so dynamic. For the solo stuff in this particular situation, where it’s just me by myself, the only judge is me, you know? If I can’t find a bridge, there’s no other guy to go and find a bridge so I have to come up with it. So, I’m trying to be a little bit more patient when I’m writing songs. I don’t like force a completed thing out in the span of a couple hours; sometimes I’ll leave it and come back to it in a couple of days and work on something else. It’s been working; it’s been moving at a good pace but it’s been relaxed enough so I’m not stressing out over it too much. [...] I need different outlets every so often and I think having been working out sort of with the personalities within the confines of a group and the different dynamics and the different politics and all that kind of stuff for so long, sometimes you just need to come up for air. And just not have to listen to anybody for a minute. But I’ll always be a band guy and like I said, I’m still doing Velvet Revolver at the same time. Like I work in the afternoon and work with Matt and Duff (McKagen, bass) and Dave (Kirshner, guitar) and listen to singers and this and that and the other, and then that evening go in by myself and just start working on separate tracks for what I’m doing.

Talking about the singers:

They're all sort of well-known singers. It's sort of like how I go play on a lot of other people's records, so other people will just play on this one.

And that he wanted Jack White but couldn't get him:

I wanted to get Jack White to sing on something, but he didn't want to sing. He said I'll play drums, I'll play guitar, but I don't wanna sing. He was one guy that I wanted to work with. Pretty much everyone else that I went after I managed to get.

Talking about the album:

It’s gonna be Slash and friends. Slash and everybody from Ozzy to Fergie to everything in the middle.
Rockerazzi, November 24, 2008


In March 2009, Steven would say he would be featured on the record:

I have been working with Slash. I am producing a record and playing on it of course, so that will be in a week or two that we finish with this (the final date on the tour). [...] No, that is going to be my record, but I am going to play a song on Slash’s solo record too. So I will be doing some recording with him on that, but he is going to be producing my record.

Matt, on the other hand, was not invited:

He hasn’t asked me. You know, he’s got Jason Bonham playing on it, and Travis Barker, and I think he wants to, kind of, separate himself and do his own thing and that’s cool. I mean when he first did Slash’s Snakepit, I told him years ago that I thought it might be a good idea for him to bring in different singers and do that kind of thing, when we did the first Snakepit album way back when. Now he’s doing it, and I think it’s a good time for him to explore other styles of music because he’s such a great guitar player. He’s lent his guitar playing to so many great artists like everyone from Iggy Pop to Dylan, and he’s played with Michael Jackson. I mean he’s played with everybody. So to ask a favor back for him, it’s a big thing for Slash and I’m really excited for him.

Also in March 2009, Slash would provide an update on the musicians on the record and mention Josh:

I start recording my solo cd today with Josh Freese on drums & Chris Chaney on bass, with Eric Valentine producing. I know you're saying "didn't Josh play with Axl's Guns N Roses?!" He did in the 90's for a while but left after a couple years, so I don't know if it counts much. Besides, that doesn't undermine that he is an amazing drummer.

And Slash would talk more about Josh in 2010:

I'd never played with Josh before. I’d only seen him play with Nine Inch Nails and I just thought he was a phenomenal drummer.

In July 2009, Josh would talk about drumming on the record:

It's awesome. He's making kind of a Santana record with a bunch of different singers. There's an Ozzy track, an Iggy Pop track, a Fergie track… Chris Cornell's going to be on it. As of now, I'm the only drummer on it, but you never know...

And Slash would confirm that Steven would drum on one track together with Flea [Twitter, July 10, 2009]:

Steven Adler is going to play on a track for my solo record next week.

After the session with Steven, Slash and Steven would provide updates:

Flea & Steven did a fabulous job on the new track. Steven is doing really well, I'm proud of him.

It was with Slash, Flea and a singer that you all know. I will let Slash announce who it is. It is a great Rock N' Roll song. It was good for us three to be playing together. Slash, Flea and I grew up in the same three block area. It was amazing to get together.

After the album was released, Slash would discuss recording with Steven:

I promised Steve Adler if he stayed clean long enough he could play on the record. I hadn’t played with Steven in 20 years and it was great. One of the reasons Appetite For Destruction is so great is the energy that he brings to the table. It was great to get in a room with him and start playing and just to recognise that sound that he has.

I told Steven I was making a record, and he did say that he’d love to play on it, and I went, “you keep your shit together, and we’ll see”. He is on it. There’s the main album, the first thirteen songs, and then there are six other ones. And in the UK, there are two bonus tracks, and one of them is the one Steven played on – with Alice Cooper, Nicole Scherzinger and Flea as well. So that’s a cool little number.

This track also has Steve Adler on it. He actually hadn’t been in a recording studio in 10 years. But he did a great job. Steven was always underrated in Guns N’ Roses but he provided a type of groove and a type of energy to GN’R, and the Appetite… record particularly, that is half of its fuckin’ charm. A lot of people don’t even recognise that. When he came in and played on this track that feel and that sound was instantly there. It was a trip to see because I hadn’t played with him in so long.

He actually hadn’t been in a recording studio in 10 years. But he did a great job. Steven was always underrated in Guns N’ Roses because of the obvious. But he provided a type of groove and a type of energy to GN’R, and the Appetite record particularly, that is half of its fuckin’ charm. A lot of people don’t even recognise that. So when he came in and played on this track it was like - that feel and that sound was instantly there. It was a trip to see because I hadn’t played with him in so long.

He was funny though: we had to have the producer come out and play conductor because he couldn’t remember the song all the way through. He’d get it going, he’d get so energetic and then it’d be like, ‘Dude - that’s where the bridge is’. ‘Oh.’ And he’d go back and do it again. It was great.

It was great to play with Steven because it’s been, like, 20 years. As soon as he got in the kit it was that same drum sound, that same attitude, he really was an integral part of why Appetite was such a cool record. The poor kid is so underrated.


In the summer of 2009, Slash would play at the Quart Festival in Norway under the moniker Slash & Friends. The band consisted of Jason Bonham (Led Zeppelin) - Drums; Chris Chaney (Jane's Addiction) - Bass; John 5 (Rob Zombie, Marilyn Manson) - Guitar; Franky Perez (Scars On Broadway) - Guitar; and Teddy Andreadis (Guns N' Roses, Alice Cooper) - Piano/Harmonica, while the friends were Ron Wood (The Rolling Stones); Ozzy Osbourne (Black Sabbath); and Fergie (a.k.a. Stacy Ann Ferguson of Black Eyed Peas) [Dagbladet (via Blabbermouth), September 3, 2009].


In March 2009 recording had begun:

I am just about to start recording my solo album and I've been super-busy getting all that together. But it's going smoothly and I've got a great team that I'm working with. The artists are fantastic. Unfortunately, I can't leak any names yet, but I will do what I can to let you know as each collaboration is completed.

Over the next months Slash would work with Ronnie Wood [Twitter, March 4, 2009], Kid Rock [Twitter, March 9, 2009; Twitter, March 10, 2009], M Shadows [Twitter, March 11, 2009], Nick Oliveri [Twitter, August 1, 2009] and Duff and Dave Grohl [Twitter, September 21, 2009; Twitter, September 23, 2009].

In May, Slash would mention Izzy being featured on one of the songs:

Izzy is down here putting some rhythm guitar on a track; sounds fucking cool.

By September-November, the album was "pretty much done" and scheduled for release some time between January and March 2010 [Classic Rock, September 2009]. Still, it was not clear who was actually playing on the record or at least Slash couldn't divulge that information yet, something he had been unwilling to do throughout the process:

I've been reading your messages & there is a handful of questions that a lot of you have in common. One question that a lot of you want to know is, who is singing on this record, but unfortunately, I can't divulge that info yet, but you'll know soon enough. I will say however, that they are fantastically talented songwriters who its been an honor to work & write with, to say the least.

The reason for the secrecy is that – the music is easy and getting everybody to do it is fine – but then there’s the red tape that has to do with getting clearances. And I don’t want to overstep my whatevers and say that ‘so-and-so’s doing it’ and then find out that I caused some legal hassles.

I've been very low key on this, because I was waiting for all the releases for all the different singers, but some of the cats are out of the bag. There's a lot of people on the record.

There's quite a list of people on the album. I'm not publicly talking about who it is until all the ink is dried on all the different contracts, but the rumours are out there - you sort of know what's going on. [...] There will be some people from the pop business that people are surprised that I'm using, and there's also some real rock n roll people with pop guises. [...] When I was actually doing the writing of the songs I didn't have singers. But then, when I had finished them, I thought 'you know who would sound good on this...' and that's how it would start.

Explaining why he wanted to do a solo album:

For that entire five years [in Velvet Revolver] I could never be happy. I could never get comfortable and happy with it because it was such a fuckin’ mess. That last tour in the UK was the first time I ever had any fun in that band – because I knew that Scott was leaving and it was a huge relief.

But, all things considered, Scott to me is now like George Bush – I like him now that he’s not here. I have nothing bad to say about Scott, but he doesn’t work well with others in a group situation. So towards the end I had written a bunch of music and there were a lot of restrictions because of him writing in Velvet and a lot of stuff that I wanted to do was just sort of squelched.

I was writing a lot of material and on that last UK tour I started taping a lot of stuff, and when I got home I was like: ‘I need to get away from this group situation – I just need to be in control of something and do things my own way.’ So it was a relief. It’s not really about trying to make the biggest record in the world, but I will support it. I’ll go out there and do what I have to do to make sure that people listen to it ‘cos I think it’s a cool record.

It's just nice to be in charge of my own destiny, even if it's just for one record. Just not to be in a group situation, and at the mercy of what everybody as a whole feels, but being responsible for my own decisions and having the final say.

It's nice, ‘cause I've been doing this diplomatic band stuff for so long, I needed to get it out of my system.

In early November it was reported the record would simply be called Slash [BBC 6 Music, November 3, 2009]. And Slash would provide an update:

[...] the [record] is in its mixing stage and the mixes to this point sound great. We have recorded 18 songs, with one more I want to track. [...] the record is still slated for a February/March release.

Blabbermouth would summarize what was known:

Slash tracked most of the CD with former Nine Inch Nails drummer Josh Freese and ex-Jane's Addiction bassist Chris Chaney. Other confirmed guest singers so far include Ozzy Osbourne, Avenged Sevenfold's M. Shadows and Chris Cornell (Soundgarden, Audioslave). The CD was produced by Eric Valentine (Good Charlotte, Queens Of The Stone Age) and features additional appearances by ex-Guns N' Roses drummer Steven Adler, Red Hot Chili Peppers bassist Flea and former Nirvana drummer and current Foo Fighters frontman Dave Grohl.

Mastering took place in December 2009 [MySpace, December 2, 2009].


In November, Slash and Friends would play another show, this one at LAYN Rocks:

This Sunday November 22nd at Avalon in Hollywood, SLASH & Friends will play a benefit show for Los Angeles Youth Network [LAYN], an organization aiming to end homelessness among kids. Some of those "super friends" appearing at LAYN Rocks include Ozzy Osbourne, Perry Farrell, Billy Idol, Chester Bennington of Linkin Park & Dead By Sunrise, Travis Barker, Andrew Stockdale of Wolfmother, Dave Navarro and a few surprise guests. Plus, Mr. George Lopez will be MC-ing.

My wife, Perla, and I support LAYN. She's actually on the board. We're trying to raise money to keep it going, and we've been doing these SLASH & Friends gigs recently. Basically, we get a bunch of people together and put on a concert. Perla had asked me if I'd be interested in doing it to support LAYN, and I was fully into it! This will actually be the first SLASH & Friends gig I've done in Los Angeles. Basically, I wanted to put together something that would be a really big blowout, and that's what we've done! We've got all these different artists, and it should be an amazing event.

My wife and I are both big supporters of the Los Angeles Youth Network which is this really cool non profit organization. Basically they take in homeless kids anywhere from 12 to 21 years old and give them a new lease on life. Most of them are either abused or in some kind of deep trouble. They've been through a lot at a young age. It gives them the wherewithal to get on their feet, get into the world, be independent and get their shit together. They really take good care of educating these kids on all different levels, housing them, all sorts of stuff. It's a great support group and I'm just amazed at how the kids have turned out. I'll go and visit on occasion and see what they've got going on. It's really cool to see the developments so we're trying to help LAYN stay on its feet because it's expensive to keep all these kids together.

[...] this will be the first “Slash & Friends” gig I've ever done in L.A. We did one in Vegas recently and I did one in Norway a while back. I try and get as many cool people as possible but this is unique because I've [performed] with Ozzy before, Ozzy's great, but then all these other cats I haven't really worked with in this capacity: Andrew Stockdale from Wolfmother; Billy Idol who I'm friends with but have never done one of these gigs with; Chester and Perry Farrell I have; Dave Navarro which is great; and Travis Barker who I've never jammed with before either. Then there's Chris Chaney who played bass on my record which is coming out next year … and Frankie Perez who's the house band vocalist. He's fuckin' killer. It's just going to be one of these rocking gigs. Steve Adler's coming up for one song. Tom Morello's coming up as well. It's going to be rad. We've managed to sell a lot of tickets so I'm glad we've been able to come through for LAYN. We want to sell it out.

Talking about the importance of the benefit show:

I definitely feel a bond with these kids. Even though I wasn't abused or anything, I chose to hang out on the streets from a very young age so I've seen a lot of the same stuff they're going through first hand. I've been through it and can just totally relate. So, yeah, I hadn't even really thought about that … [laughs] that's probably why I was so attracted to the [organization]. I can understand how violated some of them feel because I've seen kids go down the same paths who weren't lucky enough to have an organization like this to help them get out. When I was in junior high school, in 7th grade, we had girls that were prostitutes in Hollywood. I remember running in to one of them in Griffith Park doing these three guys in a burned out old car and it turned out she was turning tricks for money because she didn't have any parents. She was lucky to be in school. I saw all sorts of weird shit like that.

At the LAYN show, Slash would be joined by Duff and Steven [NME, November 23, 2009].


In February 2010 it was reported that Myles Kennedy, singer in the band Alter Bridge, would join Slash on his tour in support of the forthcoming solo album [MySpace (via Blabbermouth), February 3, 2010]:

Also, I want to announce that Myles Kennedy is going to be fronting the band for the upcoming tour. Something I'm really stoked about.

Myles sang a killer track on the record and I think he is by far one of the best rock and roll singers out there today. I'm really honored and proud to be working with him.

I will announce the other band members shortly.

[Kennedy] was one of these sort of youngish rock singers that I wasn't real familiar with, who is probably one of the best, you know, young new rock 'n' roll singers around. There's actually two songs on the record that he did, and he can basically perform any other songs on the record, plus he knows how to do all the Guns N' Roses stuff. So it's worked out nicely.

Myles Kennedy surprised the shit out of me. He’s amazing! I didn’t know a lot about him before. I seemed to be the last kid on the block to discover Myles Kennedy.

Myles was the last guy that sang on the record,” Slash said. “And he was sort of a new discovery for me. ... He got asked by Zeppelin if he wanted to do the tour and went down and jammed with them. I was thinking, ‘Well, anybody’s who’s good enough for Zeppelin’s got to be pretty good.’ So I was like, ‘Do you want to come do the tour?’ And he said yes. He can really sing just about anything.

But I’d just recently been introduced to Myles Kennedy. He was the singer that Led Zeppelin was auditioning, he was in Alter Bridge, and I wasn’t familiar with him. But I called Myles up and asked him if he would be interested in singing one song. I sent it to him and I had no idea what to expect, I really wasn’t that familiar with his work and I’d never met him. Three days later he sent me an email with the track on it and it blew my mind. So I flew him out here the day after I got back from England from the Classic Rock Awards and we recorded the song. It was exactly what I wanted. We got on so well that, at the last minute, I did a second song with him for the album. It’s only just been added to the track listing, and is called Back From Cali. Again, like Starlight, it was something for which I couldn’t find anyone suitable – Myles nailed it. Now he’s going to be in my touring band too, so the whole thing really worked out better than I could have hoped.

In February, it was reported that Slash would also guest on Kennedy's solo album [Blabbermouth, February 8, 2010].

For the tour, which would start in May [Rock Radio, March 11, 2010], Slash would play songs by Guns N' Roses:

More than anything, it’s because Myles is such a capable singer. He knows those songs, and he sings them great. A lot of those songs are in a register that most people can’t sing, and Myles can, and he can do it from the heart. That’s the real reason for unwrapping certain material that I haven’t played with anybody else.

The rest of the touring band would be comprised by rhythm guitarist Bobby Schneck, who's toured with Weezer and Green Day, Alice Cooper and Vince Neil drummer Brent Fitz, and Big Wreck bass player Dave Henning [Radio Rock, March 11, 2010].


I wasn’t trying to consciously bridge any generation gaps or to try to be eclectic. I wrote the music first, and I took the different styles of music that I was writing and farmed it out to singers who I thought might like it or be appropriate for. So for instance, I’d say, ‘Adam Levine would sound amazing on this.‘ So while that may be way off the beaten Slash path, I knew that’s what I would sound great.

As a solo artist, I could get away with a lot of things that aren’t confined by the parameters of being in a band. This was a musical statement for me. I provided music for the singers, and it was an open campus for them to do what they wanted. Some people we collaborated on the music, and did whatever was necessary for that singer to have as much input, and some instances the arrangement I set the demo is the way it came out on the record. They had free rein on the lyrics and the vocal melodies.

I think when it comes down to it, inside of the first year I picked up a guitar I've always been in a band. Even when I had Snakepit, which was a band that originated with me, it was still treated as a band. It was five different guys who had equal input so it was a group situation, that sort of democracy that makes up a hopefully functional group [laughs]. After years of doing that and then the whole thing with Velvet Revolver and Scott [Weiland] and revisiting difficult lead singers again, I just needed to do something where I was calling my own shots. I needed to be able to do whatever music I wanted to do without having to worry about the other guys nitpicking it to death or rejecting it entirely.

Talking about the singers he didn't get:

I did the record with Eric Valentine who is the most superb producer and the perfect guy for me; it was almost like match made in heaven for this project. Originally Mark Ronson was slated to do it and there was this one song I couldn't figure out who was going to sing it. He suggested Jack White and I thought that'd be interesting so he went to Jack White and Jack said, "I'll play drums on it, I'll play guitar on it, but I won't sing on it." And for some singers that's a very personal thing that they do within the confines of their own group. So that one didn't happen. Another one, there's an instrumental on the record, and Dave Grohl was playing drums and I originally wanted him to sing it as well but he was like, "I don't like doing guest spots. I suck at it," so we just made an instrumental out of it. There was one other guy I couldn't get because of contractual [reasons]. Everybody else I was really fortunate to get and for the song that Jack White was going to do, I ended up working with Myles Kennedy which was a blessing in disguise.

And Michael Jackson:

I thought about doing something that would see him totally cross over into rock. But it was around this time last year and he was flat-out rehearsing for the London O2 gigs so in the back of my mind I thought: ‘He’s not going to have the time.’ It’s hard to believe he’s gone.


One of the songs on the album, Crucify the Dead, sung by Ozzy Osbourne, would contain thinly veiled lyrics about Axl:

The fire started long ago
The flames burned out, still embers glow
So charred and black
There's nothing left to burn, to burn
We had the same dream
Lived life to extreme
A loaded gun jammed by a rose
The thorns are knots around your head
Your ego cursed you till you bled
You cannot crucify the dead
To me you're dead, yeah

Talking about Ozzy writing the lyrics and that the vocals were recorded in Ozzy's house:

Sitting next to Ozzy while he’s writing lyrics and practicing the vocal is really fuckin’ a trip. I’ve been listening to Ozzy since I was like 13 years old.

Ozzy was a lot of fun. It was a real honour – he’s so busy with his stuff – and he took the time to stop and really focus on writing the lyrics for this song.

We recorded the vocals up at Ozzy’s house, and it was funny because I’m sitting here and Ozzy’s here and we’re sitting at the control board and he’s got his microphone, and he’s working on the lyrics and he’s singing them, trying to work out how they should go. It’s such a recognisable voice!

It was just a trip to hear Ozzy working out the parts for a piece of music that I wrote. Somebody I’d been listening to since I was a kid, all of a sudden right there. He put together a very poignant set of lyrics about a particular subject matter that a lot of us can relate to...

Being asked if he read the lyrics of the songs on the album before recording:

I did read most of them. I’d write the music and then send the demo to the singer, and then we’d get together and collaborate on the arrangements, and I got pretty familiar with the lyrics at that point.

An whether he ever asked some of the singers to change any of the lyrics:

I didn’t. I really wanted for the singers to feel completely comfortable and just do their own thing. I never even thought to change any of their lyrics! (laughs)

In early April 2010, Slash would deny that the lyrics were about Axl:

It was an Ozzy thing. He said the song represents the situation he’s had in his relationships with other musicians. Yes, there were some key lines in there that were very suggestive of my experience. But he said, ‘No, this is just an overall picture of the issues.’

And in an interview released in May, but likely conducted weeks before, Slash would suggest the lyrics were about Zakk Wylde:

[Ozzy] actually took charge on this one. He was going through this thing with Zakk Wylde at the time so I think he had a lot to say. If you listen to the lyrics it’s got a very definite thing he’s going for that he’s trying to say. This is one of those songs, compared to a lot of stuff that I’ve heard him do of late, where he really takes the bull by the horns.

But Ozzy would confirm they were about Axl:

Slash sent me the music of it and I worked on the melody and some lyrics for him and what I did with the lyrics, I thought, what's always gotten me about the Guns N' Roses guys and I say to Slash all the time, 'Do you realize what you guys did? You'll never understand. You guys could've been the next Rolling Stones, the next superband,'" Ozzy said. "And what I wrote in the song, 'Crucify The Dead', is if I were Slash, what I would send in a message to Axl.

I've never met Axl but I would be pissed off and the lyrics are about that.

I helped write the lyrics and melody for the song with my producer. It’s kind of about what I think happened to Guns N' Roses. I often say to Slash, ‘Y’know what? One day you guys are going to wake up and go, 'What the fuck did we have and why did we blow it?' The song's what I'd be singing to Axl if I was Slash, y'know: 'They can't crucify you when you're dead'.


A bonus track which was set to be included on limited edition deluxe version of the album would be a new version of Paradise City with Cypress Hill and Fergie from Black Eyes Peas:

I’ve been playing Paradise City with Cypress Hill since 2002. It was just one of those fun things and I always said, I’m gonna record this one of these days. Finally the time came for me to do my own record and we went in and recorded it and we didn’t know who was going to sing the chorus vocals for the longest time.

But I'd done a song with Fergie and I was thinking, god, I would love to ask Fergie to sing the chorus but she seems like she doesn’t wanna sing it. Then we did this gig in Norway and she came up and sang a few songs and she sang the chorus to Paradise City so finally I asked her to do it.

It’s a different version than the original and it’s slowed down the way I originally wrote the riff. With Guns N’ Roses everything sped up, which was just the nature of the band! It’s cool, but this is more of a rhythmic, heavier groove.

But on March 19 it was reported that Slash was withdrawing this song from the album due to legal reasons [Blabbermouth, March 19, 2010].

When I f---ed with 'Paradise City', I heard about it. Trust me.

I've been playing 'Paradise City' with Cypress Hill since 2002 -- I just love the way they do the verses -- and we always have somebody come up and do the chorus. I always said, 'one of these days, we've got to record this' and here we were, seven years later. I had the Cypress Hill guys come down [to the studio] and I'd just done 'Beautiful Dangerous' with Fergie so I said, 'why don't you sing the chorus?' just for the hell of it. [...] I put it out as a B-side of a Japanese single and, of course, it cruised around the internet. I had all the Guns N' Roses purists that were really pissed off about it and I had all these other people that really liked it. [...] I just figured some people are taking it a little too seriously.

That got an interesting response. Some people loved it; all the purists were f---ing devastated I'd covered it. It was just a fun thing I did. I'd been playing that song with Cypress Hill for years, I always wanted to record it. Fergie was around, she's a huge Axl (Rose) fan, she came and sang it. I didn't put it on the album because I didn't want to make it look like it was really serious. So I put it on a Japanese B-side, and of course it trickled down. But it's actually a really cool version.


The album cover was designed by Slash but painted by an artist called Ron English:

I told him give me a good skull in a top hat ’cause that’s my signature. My regular signature has a skull and cross bones. And so that‘s like an embellished version of my own signature.


While touring in June 2010, Slash was almost tackled by a drunk fan who got onstage and had his guitar broken:

What'd I say? Rowdy crowd for sure. But amazing! The guy who nailed me didn't take me down but he busted my poor guitar. Ah well... it was a kick-ass rock show in the first order!

The guy came down from the rafters [and] ran up to Slash and grabbed him during his 'Sweet Child O' Mine' solo. Broke the head on the guitar, Junior grabbed the asshole [and] they both fell to the floor. Junior hit his head hard and the Milan security did nothing! Kicked him out but didn't arrest him. I love Italy! But fuck those security [and] promoters for doing nothing! Slash could have seriously and Junior did. It's not right! What [are] they there for? As decoration? No they [are] there to protect the people [and] the artists. It's not right.

Now that all the facts are out, it was just some drunk guy who got on stage. It doesn’t seem like he had any ill will. What happened was, he came up behind me, and he’d managed to get up on stage and my security guard came up and tackled him, not knowing what this guy was neccissarily capable of or whatever. So the real melee was the tackle (laughs). He basically deflected the guy off of me, and somehow the guy had managed to be hooked onto my guitar, which I let go of, all in a split second. They went off the edge of the stage, my guitar hit the ground and I picked it up and continued playing, only to find that it was broken, so I had to switch guitars and finish the song. It turned out to not be that big a deal, but you never know exactly what it could have been.

I got hit, but I didn't get tackled. After the security guard broadsided the guy, he bounced into me. But had the security guy not jumped in, the velocity that this guy was coming in with, he would have taken me over the stage, and that would have been a drag because the stage was pretty high up. But luckily, that's not what happened. So I just continued playing and it was one of the best shows on the tour. I'm a rock guy. This kind of s--- goes with the territory.

Commenting on the state of the guitar:

Yeah it’s fine. I used it yesterday, and this happened the day before yesterday. All he did was rip the machine head off. The whole mechanism was sort of off. It was one of the Gibson ‘Inspired By’ guitars, which is a replica of my 1988 Les Paul Standard. So it’s one of those guitars that’s been Murphy-aged [aged by Gibson's Tom Murphy]. That’s why I only take new guitars on the road. I don’t take old guitars on the road because, in the sort of spirit and energy of the kind of performances that I do, and all the bands I’ve been in, there’s a certain amount of chaos, so if you’re looking to keep something preserved in its pristine state, don’t use it! (Laughs). Gibsons are durable, but if you feel any sentimental attachment to something that you’ve had for years and obviously have been through a lot of stuff with, leave it at home and take something else.

Last edited by Soulmonster on Sat Aug 21, 2021 9:13 am; edited 47 times in total
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27. JANUARY 2007-JUNE 2008 - LEAKS AND TOURING - Page 2 Empty Re: 27. JANUARY 2007-JUNE 2008 - LEAKS AND TOURING

Post by Soulmonster Wed Jun 02, 2021 4:44 pm

JULY 30, 2007-AUGUST 25, 2008

On July 30, 2007, Slash and Duff would sue Axl, and among other, Sanctuary and Bravado International Group Merchandize Services over alleged copyright infringement. Axl would later refer to this suit and claim Merck had changed the band's merchandize to incorporate older styles that apparently was partly owned by Slash and Duff:

I haven't been involved much in any of our merch and the reasons are it's been a mess legally for years. Unbeknownst to most of you I was recently sued again by Duff and Slash for some murky Merckiness that I was unaware and not involved in. Fortunately that was resolved but it got ugly and took a while going into arbitration. Merck shifted our merch from some of our newer styles to incorporating more of the old with some scam that actually and surprisingly lost sales in comparison but that's old news.

The suit was terminated in August 25, 2008.
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Post by Soulmonster Fri Jul 02, 2021 9:59 am

JULY 2008

Bumblefoot had been a prolific solo artist before joining Guns N' Roses and the long periods of inactivity in the band allowed him to continue making and releasing music.

Talking about his next solo album, Abnormal:

Well, back up one step to Normal. That was pretty autobiographical about what was going on. I guess in a sense, everything anyone writes is autobiographical whether it is about an event that happened in their life or about the way they perceive it. Usually an artist is trying to get you to see something through their eyes not that I am an artist, I’m a “Bumblefuck”! [laughs] Normal was trying to tell the story of where shit was at, where I was beaten, battered and bumblefucked! I went on some mind-altering medication before I put a bullet in my head and that got me through that. The side effect of that is that on those kind of meds, you can’t really get creative anymore. They block a lot of the bad shit you use to create. So it was a whole time period of weighing what was better: to be happy and silent, or a head case but be able to give something. So in the end, music always wins! Otherwise there would be no musicians. If you ask half of them they are like, “Why the hell am I doing this?” It’s because you have to. You have no choice in the matter. It was assigned to you and it is not your choice. You have to do it and if you try not to, you feel like your holding your breath. You have to breathe and you have to make the music.

So, with Abnormal, the meds wore off. I’m a fucking head case again! [laughs] Ask her! [motions to his wife] So same old shit, a lot of love songs. Sure! [laughs] From everyone that has heard it, they say it reminds them of the Sex Pistols but with this Queen musical thing that is going on. There are moments where there is a little bit of opera and I did have opera singers come in and sing on it. I think guitar-wise, my head was in a different place with this album. I wouldn’t even say that I cared more about everything. I think I cared less about everything and that allowed me to do something a little more natural because I wasn’t guided by the idea of “this is what people want to hear” and “this is what I should or shouldn’t be doing.” I was just like, “Fuck it!” I just have to do whatever. In the end, I think a lot more melodic shit came out. The crazy shit was crazier and the pretty shit was prettier because when you let go of something and let it run free, it’s like taking the intensity knob and turning it up a couple of notches! So I am pretty happy with this album. It’s in the same direction as Normal was as far as songs with noodley-noodley over it, but I feel like I have stepped it up in every way. The sound quality, I put so much more time into the tone of everything. It just hit me over the head one day that it doesn’t matter what you play if your final tone is not pleasing. So I really put extra into that. I don’t know if it helped, but I tried! [laughs]

So Abnormal, it’s not as freaky as the name. Well, it’s got it’s moments. You know how I had that song, “Guitars Suck”? Well, now I have a song called “Guitars Still Suck” and it’s a little crazier than the last one! It was actually inspired by my friend Guthrie Govan, who is a wonderful friend of mine and an old friend of mine going back 20 years, lives in England. I was a guest on one of his songs that had a kinda country vibe to it and I wanted to make a song that was an answer back to him.

Bumblefoot would also mention that Abnormal described his period in Guns N' Roses and how he had gone from being normal to being abnormal::

The 'Abnormal' cd was the next chapter of life, being in GNR and how I processed the changes occurring around me, how I was suddenly seen by many as a different creature, overnight.

And how it was a response to his previous solo album Normal:

In a way it's a sequel, or maybe a counterpart. Or maybe it's like Evil Spock with the goatee in the parallel Universe. "Abnormal" definitely references "Normal" in ways. "Normal" was life on the meds. "Abnormal" is life off them. Seems like all the albums have different personalities to each other and within themselves. Or is it strong sides to one personality. It's a bit polar. And that's fine. I have no interest in doing anything to "fit" what an album or song traditionally is. I have to do what's honest to me, whether good or bad.

"Abnormal" is definitely the sequel, the counterpart, the upside-down mirror image to "Normal". It's life off the meds, and things are a bit more "on edge" than in the Normal days. A lot of the songs were written in October, they just started pouring out. There's one song called "Simple Days" that I had written while on tour with GnR. I was tempted to give the song to GnR, I think the song would have fit Axl's voice well.

[...] it’s like the evil Spock versus the good Spock in Star Trek – they’re Ying and Yang.

The Normal album touched on making the choice, whether to continue on meds and sacrifice creativity, or get off them so I can do what I love, making music, at the risk falling back into Hell. In the end you realize you're not powerless, it starts with your perception of things and how you choose to react to everything. It's where life was at self-discovery-wise, learning to give up control and not try to change what we can't, and to just roll with it all, to learn, and draw from your experiences. I think an emotional charge can push creative moments, I think it's a personal expression, a look inside a person, I think free thinking helps creativity flow, but I don't think artistry completely coincides with mental disorder. But I'm the wrong guy to ask, haha. Abnormal was the second chapter, it touches on where life is at now, with the intensity knob turned up, some of the new highs and lows that come with being in a band with name recognition, and how the world suddenly sees you differently.

And how the stories are autobiographical:

The music business was kicking my ass, so I took some stuff to help me out. And it felt as though someone pressed a ‘pause’ button in my brain – literally. And it lasted for a year and a half.

And how it began:

It always begins the same. I'd have this impending anxious feeling building for weeks, and right when I'm ready to completely snap, the first half of an album flashes in my head, complete, instrumentation and all. I'd hear it; no, more like I'd know it all in my head, the opera singers, tubas, cello, everything. Picture having an intuitive feeling that someone's sneaking up behind you and when you're about to bust into fight/flight mode, you turn and a stranger puts a book in your hands - as soon as it touches your hands you know everything in the book as if you had just read the whole thing. It's like that, only that when the book touches your hands it's like the inside of your head gets hit by lighting, it's this big flash.

I'd spend two days by myself in the studio writing down the lyrics and the musical ideas quickly in some cryptic way that I'd only have a limited time to be able to translate - if I'd wait too long it wouldn't make sense anymore. I'd get together with ... Dennis [Leeflang] and start showing him the songs on acoustic guitar, singing along, and he'd start feeling out beats,' Ron explained. 'I'd lay some tracks down and Dennis would play along to the tracks, we'd listen back and see what's working, what isn't, and continue building from there. Dennis does the drums, I do the rest, have some guests, and let things form.

Talking about when it will be released:

I would like to get it out there as soon possible. It’s a plus and a minus that I am doing things all by myself. It’s a plus in the sense that I don’t have to organize and wait and work it out. I can just put it out as it comes out, which is also a minus because there is no big bang when it comes out. Suddenly it is just there, but I kinda like that. So I am just making it available as I can and hopefully people will discover it and they have the option of deciding whether they like it ot not when it is there.

Abnormal was released in July:

So, Abnormal, we put it on the web in July. Did pretty well. Better than the rest of the stuff. The reason probably that my mum bought two copies instead of one. So now I got some distro in Europe and got some North American distro, they'll stick it in stores. Doesn't mean you can see it all over the shelves, just means that there is the possibility where a store can get it. Maybe they'll choose to, you know, stock it or they can order it, but, you know, it will be available.

July 2008

Talking about how he recorded the vocals and his guitars:

What I did, like normally what you do is, you pick a song and you work on it till you've got it done, you then work on the next one, you start hearing things from the last one you did and put a few tweaks to that, but you really focus section by section and just keep honing in word by word, everything. With Abnormal, I would go into the studio, I would have the songs ready to go, and I would sing every song one time straight through as if it was a gig, as quickly as possible. As soon as I finished one, save, the next song, sing it and save, next one... I wouldn't listen to anything, I would just go home and do the same thing next day. I did that for a month... and oh! Also, every time I did it, I made sure there were people there so this way I didn't get to think too much. I was in "ham-it-up mode" [?] where it's like, "Yeah, yeah, yeah", slightly in performance-mode, a little more. Cheese it out a little extra. So, yeah.

Did it the same way, so instead of going after a whole song I would sing the whole album all the way through, shut it off, go home. The next day I would do the same thing, did that for a month. By the end of that month all these things that might have spontaneously happened during that month became parts of the song, I started getting the feel for just the tone I should give a song and everything, and it worked out well and I would just pick the best take. And so, I did that. What else did I do that was different? Ah, I re-amped the guitars, which normally, which you do, is you're plugged into the amps, you got mikes on the amp, and you record what's coming through those mikes. Therefore, your performance, the way you played, what you played, is bound to the sound of your guitar coming through that amp, and you can't really change it very much. You can EQ it but you can't make any big changes. When you re-amp a guitar what you do is, you have the recording device in-between the guitar and the amps, so it's capturing just your raw guitar, it's capturing what you send to the amplifier. So this way, once you've played it right, you have that and you send that, you send the track of your performance to the amp and you can spend time tweaking the sound of the amp, picking different microphones, different distances, different rooms, different dampening, different everything, and you end up getting a much better guitar-sound because you have the option to get a better guitar sound. So I was able to spend a lot of time picking different amps and different settings for them that would be best, and I think I got a much better guitar sound as the result. It's a good way, I don't think I will ever go back.

Starting from the beginning with the drums, using floor toms as kicks, then recording the direct signal from the bass and guitars and re-amping them later, manipulating sampling rates. The vocal approach was different also - I'd sing the entire album straight through, one song right into the next without stopping, no re-takes or listening back. I'd leave, come back the next day and do the same - did that for a month. By the end, I knew what I wanted to do and how to do it, everything fell into place. It was a good way to do it, but I don't know if I'd ever do it that way again.

On this album I dug really deep and you can hear everything I was into at that primal, youthful… Sex Pistols, Ramones, AC/DC. Just a culmination of life up to that point. Like at moments you can probably pick out Van Halen, even Allan Holdsworth, maybe Yngwie, maybe Ace Frehley. All kinds of things. I think that album is a pretty good culmination. It’s sort of the score card adding up everything. It’s like ‘Here’s where your life is at up to this point.’ When I do these albums, that’s what they are. They’re as biographical as the bio on the website. I just put it all out there and spill my guts.

I definitely wanted [a live] feel. Very natural, not studio-processed, not ‘Let’s do it again and make sure we got the right take.’ It was like, ‘That take is all screwed up but it’s honest and pure and human as you can get, so let’s go with that one.’ So if there’s a screw-up in there, if the voice cracks, keep it! That’s being real! Those are the things you rewind, like, ‘Listen to the way his voice broke up!’ Those are things that can’t be repeated. You caught a real human moment. It’s so easy to get obsessed and start just over-magnifying all the little things, I guess getting microscopically immersed in it to the point that you’re counting the tiniest little things, driving yourself crazy for an hour comparing two different takes. Don’t overthink it. If it’s right, trust your instincts and move on. If you were to take Robert Plant’s vocal takes and nothing else, you’d hear all these little noises and things that sort of get eaten up by the music, yet if they weren’t there, there would be something very sterile about it. On some level that stuff just gets into your soul. When the true spirit is there, you feel it. I think that’s the mistake people make these days. Because of the ability to edit so much, we’re editing away our spirit in the music.

For the opera parts, Bumblefoot did a "world-wide Opera Challenge":

Haha, the Opera Challenge [laughs]. Yes, people would send me videos of themselves singing a famous opera. Worldwide entries, not sure what the exact total was, around 30 or 40 I think? Brian Larkin was first - it was the fire in his face as he sang, and of course having a great voice. Natalie Kikkenborg was chosen for her strong, classic opera voice. And Erin Bailey is a passionate singer, her voice made it breathe. A pleasure to have them all on the album.

Explaining the cover:

Shit, you see it as a scorpion too? [laughs]. The limbs are actually his arms, elbows bent with his fingers in his ears. It's just a picture of a guy whose head feels like a bomb, the fuse getting shorter, and his fingers in his ears as he braces for the explosion. That's how I felt at the time that the album was being made.

The album would sell more than previous albums from Bumblefoot:

Each album would sell more than the last, but "Abnormal" definitely took a bigger jump. It did better than expected from the beginning, we were moving more CDs and merch than we could keep up with. I wasn't expecting it to make a difference, but I guess the exposure, more people being aware of what I was doing, it seems to have made an inevitable difference. =0 A


Some [GN'R fans] became interested in what I was doing solo-wise. I was on their radar now, so it was a new chunk of population checking out what I was doing, but I think the response was the same as everyone else's - some like it, some don't, some are indifferent. It's like this for any band, any album.
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