Bryan “Brain” Mantia Talks Chinese Democracy
Brain gets asked to do a lot of interesting things these days, like playing time on a wagon wheel while recording with Tom Waits in an abandoned country church, or keeping a drumkit set up for six years in a haunted Masonic hall while working on Guns N’ Roses’ long-awaited latest album, Chinese Democracy. “Those situations are kind of opposite, but in a sense they’re the same,” the drummer suggests. “They’re different scenarios, but they’re both overblown. Somehow I feel comfortable in those situations. I don’t do too many studio sessions where I just show up with my set and read a chart. I’m used to getting involved and being part of the production and the ridiculousness of whatever it is. I just gravitate more toward that.”
Mantia was born in 1964, grew up in the San Francisco Bay Area town of Cupertino, and was first alerted to the skins by stickmen like John Bonham and the drummers of James Brown. He got serious in high school and cemented some chops at PIT in Hollywood, and in the late 1980s he played in the popular San Francisco party band Limbomaniacs. In the ’90s he hooked up with producer Bill Laswell for several interesting projects and did a stint with his longtime pal Les Claypool in Primus. Brain now lives in the Oakland hills with his wife and two-year-old daughter, near his recording space at Studio 880, where he spends time on turntables and traps.
Today Brain is developing a new funk project called SociaLibrium, and he hopes to be on the road this summer with Guns N’ Roses in support of Chinese Democracy.
MD: I’ve never heard anything quite like Tom Waits’ Real Gone album.
Brain: Yeah, it was Mark Ribot, me, Larry Taylor, and Tom. We recorded in this old…it was kind of a cross between a church and a barn. Tom says, “Show up at this place, this is where we’re going to do it.” I’m like, “Okay, is there a studio there? Should I call the studio owner?” He says, “Aw, no, nobody’s really there, there’s no phone service.” “Okay, is there a bathroom? A kitchen? Anything?”
Basically he just brought the studio in there. The producer kind of set it all up and made it pretty comfortable. We sat around and just started jamming. He’d come in with an idea and go, “Okay, so maybe it goes like….” He basically told me, “Don’t bring a drumset, don’t bring anything that you can buy at Guitar Center.” So I went to some pawnshops and some junkyards, grabbed whatever sounded cool, and brought it. And he has his own stuff. We’d make a drumkit out of, like, a manhole, a carburetor, maybe a traditional cymbal that was broken, a 1930s Ludwig 26" kick drum…. The snares were old, vintage, whatever was lying around. The other thing was, he asked me to bring hard leather-soled shoes. There was a bathroom that had a really nice-sounding ambience, and the tile on the floor sounded really good when you stomped on it. Most of the backbeats on that album were done by stomping on the bathroom floor.
MD: It definitely doesn’t sound like a traditional kit on Real Gone.
Brain: Tom had given me a cassette of him making all of these percussion sounds in his bathroom at like four in the morning. I took the cassette, blew it into Peak, which is a two-track editor, chopped it all up, and exported the WAV files. I have this program called MPC Maker, which allows you to create the programs on your Mac to put onto your MPC 3000. And so I just grabbed them, dragged and dropped them, threw them on the zip drive, and put them in my MPC. So when you hear [makes beatbox sounds] and all those weird vocal sounds, that was Tom. Next to the kit—which could have been me playing a log with a piece of metal in one hand and a mallet in the other—I also had the MPC 3000 with all those sounds set up. So that hip-hop-based beat stuff was me playing the MPC live—no programming—just live on the pads with his voice cut up from the cassette.
MD: It must have been quite a switch going from doing two takes per song with Tom, to the Guns N’ Roses album, which took about ten years to make.
Brain: [laughs] I think I have the record for my drums being set up for the longest time in any studio. I think they were set up at Village Recorders in Santa Monica for six years. Six years. That was another process entirely.
MD: How did you get into that situation, and what was that process like?
Brain: The Guns album was in the works for fifteen years. Matt Sorum started it, thenJosh Freese did it for four or five years, and then Josh quit. Then [guitarist] Bucketheadgot in there, and he and I have been friends forever. He told me that Josh had quit and said, “Axl’s an awesome dude. You should come check it out.” So I went in there, and I didn’t hear back from them for a while. And then one day I remember Axl calling me and saying, “You know, if you want the gig you can have it, and you can still be on other stuff. You can still do Primus or whatever you want to do.”
MD: What were some of the more memorable things you recall about that session?
Brain: [Producer] Roy Thomas Baker drove us around L.A. in his Rolls Royce to try to find the exact drums that we wanted for the recording. We went to every company, and it wound up being a mash-up of all the best drums we could find around L.A. We pretty much gathered the most ridiculous kit you could ever have, to rerecord Josh’s parts. Josh had come up with some pretty good parts for the album. Axl was like, “Hey, I like what Josh did, so could we start out by you doing his parts, but with your feel? Because your feel’s different.” So I went over to Sony Music and found the dude who did their orchestrations for films and asked if he could transcribe the drums on the thirty songs. He’s like, “All right, yeah, I’ll let you know when they’re done.” He would do about six a month—literally these six-page drum transcriptions of what Josh had played.
So we brought all those drums into the main studio at Village, where Fleetwood Macrecorded Tusk. I set up and started playing, and I was like, “Wait a second, man. We’re doing Guns N’ Roses here.”
I talked to Jeff Greenberg, the owner, and said, “Jeff, man, we gotta have something better than this. I mean the room sounds great and this is cool, but you just had, like,Kenny G in here. We gotta get a vibe.”
He tells me there’s an old haunted Masonic temple upstairs where the Masons would give their speeches, and nobody ever goes up there. It was a theater. So we go up, he opens the door, and I’m thinking, We’ve got to set up here. We found the sweet spot and I set up the drums there…and that’s where they stayed for six years.
This was a Guns N’ Roses album—it had to be overblown.
I wasn't going to just sit in the studio. I was kind of coming from the school of Tom Waits. One of the best studios I ever recorded in was Bill Laswell’s Geenpoint Studio, just an open cement building, and the only baffling that he had were these little foam pillars, and it sounded amazing. We recorded the first Praxis album there, with Bernie Worrell, Bootsy Collins. Bucket, and Ali from The Jungle Brothers, and it was the best -the drums sounded killer. I was using Steve Jordan's Yamahas, and they just sounded incredible. It sounded so much better than the studios I had worked in, which were built for acoustics. So going into the Guns thing, it just felt like we had to do something better that what you'd normally get in a studio that's built to sound good. All of a sudden them was a vibe, and it clicked. I got the album then. I started getting what the drums should sound like. Josh's drums were kind of tight and precise, and we loosened it up. The sound became a little bigger, a little sloppier. And that became more of what the album is now.
MD: What were you guys listening to while you recorded your stuff?
Brain: We listened to some prerecorded tracks that Josh had already played on. Sometimes we did some stuff all together, but most of it was done when there were already bass and guitar tracks. And whatever feel that we put on it, maybe they'd go back and re-record to that. I took one song at a time, learned each as an orchestra piece literally note for note, every fill, every crazy thing. I replayed it with my feel and the new sound in the new building. And that process happened for a few songs, so it took a while. After that was done Axl said, “Okay, that was cool, now do your thing.” So I went in, forgot all of what I'd just done, and did my thing, and I think it became a combination of both. In the end I redid it again by kind or doing half my thing and some of what I remembered from Josh's original drum parts. We were also writing as a new band with me and Bucket. We had some songs that we started from scratch, where I just recorded myself without charts.
MD: It sounds like some different kits were used on Chinese Democracy
Brain: It was a constant sound thing. Each song started from scratch, so it was like. "Okay. here's 'Madagascar.' This DW 13” tom, a Timeless Timber model that my drum tech had - sounds huge. And it sounds really great with this Gretsch floor tom. And this aluminum DW snare sounds great with this particular setup...." Then, next song… “Okay, this is a tighter kick drum, let's use this one.” And every cymbal would change. That was fun. Like I said, I’m kind of a studio tweaker, and it was fun to be able to do that. We had the budget, so I was like, lets just do this. When am I ever going to get a chance to do this again?
At one point I probably had four snares lined up on the ground...twenty different kick drums…cymbals just thrown all over the place - it was insane. But then I’ve got pictures of the Tom Waits thing, and it's the same thing, but it's just junk. All of the great albums that I’ve been lucky enough to play on have always had that kind of overblown type of tweaking. I feel comfortable and at home when it's like that. I was a chameleon or every song, just like on the Tom Waits stuff. Every song I was like, Okay, now I'm this, now we're in this situation.
MD: And like you said, by nature a Guns N’ Roses recording has to be over the top.
Brain: Yeah, it's that rock 'n' roll thing, which I guess everybody wants to live at one point. I figured that was my chance to live it. But I'm studio geek, so I had to live it in the studio. I'm not really a rock star in that way, you know. l'm not going to go pose in front of a plane – I’m just going to tweak on fifty different snares.
MD: You must have recorded to a click with Guns N’ Roses.
Brain: Oh, yeah, we definitely used a click, and even live on some of the new songs I'll play to a click. We don't really have any backing tracks - though if there's something that we can't re-create they might add that. "Riad N' the Bedouins” and “Madagascar”
are done with clicks Iive because they start with loops. In the studio I think everything was done to a click.
Now, with Tom Waits, if you ever mention that, I dont think he'd be in the room. There's no such thing, ever. And if they‘re going to splice something together, it's done with a razor blade. I don't think Pro Tools is allowed with him.
MD: You always manage to make a groove swing, even on a driving rock tune like “Shackler's Revenge” off Chinese Democracy.
Brain: Yeah, I’ve always been a fan of Mitch Mitchell and John Bonham. Then there’sBernhard Purdie, I’d listen to a lot of R&B, a lot of Stax recordings. My dad was heavy intoCurtis Mayfield and Shuggie Otis when I was growing up, and he'd play those records all the time. He took me to the Keystone Korner to see Tony Williams when I was really young, and I think I gravitated toward that kind of swing and groove. I think [Josh] Freeseis the precise, technically proficient, perfect kind of punk drummer - I saw him with Nine Inch Nails recently and it was incredible. He was killing it. But my style is a little looser, and I've always had that kind of swing to my feel, even if it's rock. I just hear music that way. I think that’s what Axl heard and thought. Okay, Brain puts the pocket in a different slot, a different place.
“Shackler’s” was a song that Bucket and I wrote a Iong time ago, just jamming. Axl asked if anybody had any songs or grooves, so we brought that in. It was a riff that we'd been jamming on since the Praxis days with Bill and Bootsy and Bernie. Axl loved it and put some lyrics to it, and it became “Shackler's.” That one might have more of a swing because it came more from me.
MD: The tune “Better,” and several others, list you and Frank Ferrer as the drummers. How did it come about that you now share the drum chair in Guns N' Roses?
Brain: I was having a baby girl at the beginning of a tour in ’06, and l told them before I started that I would have to leave early. I got Frank Ferrer, who had played with [Gunsguitarist and bassist] Richard Fortus and Tommy Stinson, to fill in, and that was cool. When I got home, I was kind of diggin’ being home. The album wasn't out yet, and Frankwas doing a great job and I was getting a lot of production gigs just staying home. I'm really into computers and music, and I have my own studio. I rent a room at Studio 880,and I built this MIDI studio with all these MPCs and outboard gear, and I just started doing production - commercials for TV, that kind of stuff. And I kept getting more and more gigs and making almost as much money doing that as I was from touring and being a drummer. I also started taking theory lessons, piano lessons, ear training, computer and music lesson, going that route.
When I left I was only supposed to be gone for two weeks, and then that turned into a month, and then that turned into three months, because I was getting a lot of studio work. "Hey, can you do this Gatorade commercial?” “Hey, we’ve got this Best Buy commercial." Write the music or make the beat for this...." I do a lot of work with Bootsy Collins on that side of things, the commercials and stuff. “Hey Brain, can you put a beat to this?” We're working on a Gatorade commercial right now. I’ve been a Bootsy fan for years, so I'm just honored to be working with him on any level. Anyway,
I started doing more of that, so I was like, “Hey Frank, I’m kind of doing this and they're digging your playing. Would you mind hanging out and staying?”
He was thrilled - "Oh, man, this is the greatest gig in the world. I’m so happy, this is awesome." And nobody else in the band was complaining, though they were like, "Well, are you ever coming back?" I told them, “Well, yeah, we’ll see what’s going on, but right now letFrank do it" Frank is more rock. He's more like the original Guns N' Roses drummer [Steven Adler], which is more like straight-up rock, open hi-hat bashing, hitting as hard as you can.
So I think Axl wins like, “Hey. Frank plays this way, let him play the chorus to 'Better,’ because that's supposed to be open. Let’s see what it sounds like.” So I think it's me playing all the way up to the chorus, then it's Frank in the chorus, and then it goes back to me. We never actually played together. It was all done after the fact. I asked the engineer how much Frank is on it, and he said, “It’s mainly you, with Frank playing a chorus here or a bridge there.” So that’s why I'm listed first on those tracks.
MD: I like the way it goes to the toms on the chorus.
Brain: That song was brought in after Josh and was written by the band. It was Robin Finck's song. We jammed it for a couple weeks, and then went into the studio and recorded it. So that tom part was kind of written by me more than Frank, but it could beFrank playing it because he plays more bombastic. Or … oh, who knows.
MD: The tune "Scraped” is a vicious groove, and it sounds like you’re playing of the guitar a lot as well as staying with the bass.
Brain: That's another Buckethead song, I was keying off the guitar riff- we've been playing that style for years, so when he came in with the riff I knew what to do. Bucket and I have been playing for twenty years now. Before I was even in Primus, Joe Gore, the editor ofGuitar Player, turned me on to him. We've been playing together since Bill Laswell andPraxis. So to get into that song was so simple - right away I hear his style, and I know what to play and what to feel.
MD: I love the groove where you're playing quarter notes with your right hand and there's other stuff going on with your other limbs. It feels slow, but fast at the same time.
Brain: Yeah, that’s based off some Zeppelin-type licks. I noticed with Bonham that he’ll play something straight up top and then it'll be kind of busy underneath. But that straight thing in the hi-hat kind of keeps it together, holds it back and makes it bigger sounding than it really is. From the beginning, the reason I played music was from watching [the Led Zeppelin concert movie] The Song Remains the Same, and that Bonham style was one of my first influences. And that song in particular and that feel are kind of based on that.
MD: "Madagascar" is another tune with some great grooves.
Brain: Yeah, it’s got that Bonham thing too, the big long fills. The loop at the beginning I just created from the MPC. Then we went into the main parts where Axl comes in, and that's when we added the drums, played live. It was the first we we had the drums set up in that theater, and it just sounded really Bonham-esque. In the spoken-word section we took away the baffles and had it completely opened up because we wanted it bigger. That’s totally my style and the way I like to play. I was just biting off Bonham the whole time on that track.
MD: You've brought Guns N' Roses up to the minute with these drum tracks, like the break-beat intro before the big grooves come in.
Brain: Axl is really interested in having everybody bring what they do into the picture. I just did a remix of "Shackler’s,” - made it kind of more club. And I think he wants to put out a remx album of some of the other songs we did. The great thing is he lets you do what you do. He still has the final say and wants it to work as a Guns N’ Roses cut. But he definitely will let you stretch it out in that way, and I think that’s where my influenes come in. I listen to a lot hip-hop and R&B. I listen to all of Questlove's productions. Every time aRoots album comes out I'm in line at the store, I’m still a fan that way.
MD: I’ve never seen three people credited for a drum arrangement before on an album.
Brain: I think Axl really went back and thought about who added what where, and gave people credit for it. It's incredible. He wants me to add what I know about modem music and what I'm into. I’m not just a rock dude. Somehow I get the rock gigs, but I really listen to every style, and I'm on top of of whatever's happening in hip-hop and R&B.
MD: That leads to me the topic of your new funk band. SociaLibrium, with Bernie Worrell, T.M Stevens, and Blackbyrd McKnight.
Brain: Blackbyrd is the closest thing to Jimi Hendrix that you're going to run into. AndBernie is the Jimi Hendrix of the keyboards. I don't know who's heavier than Bernie as musician, or anybody that I could pick right now, other than Prince that I'd like to play with. We did a gig in San Francisco and we were learning some old songs and revamping them. Everybody brought in some jams that they had played before, some Praxis ones that Bernie and I had played, T.M. brought in some, Blackbyrd brought in some of his stuff. We listened to it very quickly and decided: Let's make this a band. Don't copy... don't learn "Super Stupid" or “Red Hot Mama" the same way they were played on the albums. It would be more about, which way would you play it, what is your favorite beat right now, or what are you listening to? Just play a beat.
So we just made up new grooves, and then those started morphing into more jamiming, almost like the band-jam thing, but more Miles-y. I love the’70s miles stuff. Agharta - I’m a huge fan of that. Al Foster. I love the open hi-hat rawness, and the fact that it’s these jazz people trying to play rock and twisting it in a weird way. So anyway, it started to get more into that, and I can't tell you how awesome it's been. Musically, I’ve been so happy … I hope we can make an album and continue it. Because I really see this thing stretching into that Miles side, and that's my favorite stuff.
MD: You’re also into selling your own beats these days.
Brain: I started the web site BrainBeatz.com and before that I made a beat DVD with Big Fish Audio, Pro-tools 24-bit. I just went to a studio, played all my grooves, and did a deal just selling it for producers, people who just want to have the tempo. Now with time stretching and stuff it can pretty much he any tempo, but back when I made it I had specific tempos and specific grooves. Now, I am trying to do that on my own through my site, just because I have a whole HD Pro-tools rig in the studio and a place to play the drums. So every time I get bored I just make a new beat. I flip it, do some weird stuff to it, and then try to sell it. I'll probably make another DVD set. hopefully through Big Fish and try to sell that to producers and stuff. I'm really trying to get more into the production side.
My heroes in drumming have been the John Bonhams, the Keith Moons. the Tony Williamses. But in terms of longevity and having a career it's been more about Stewart Copeland and Narada Michael Walden, the people that have gone from drumming into production...and into doing soundtracks and writing songs. So during that whole Chineseperiod I was studying up on technology, reading evert music magazine that I could get my hands on that had to do with Iogic, taking private lessons, and just learning everything I could about that stuff.
I'm just starting to do what Questlove is doing, but I really enjoy that. I enjoy tweaking on a kick drum for six hours, playing with sounds and synths and learning how synthesis works. After taking the two years off front play ing live since my kid was born, I kind of miss playing now. The SociaLibrium thing was kind of like, "Man! -- you know, getting that rush, that kind of Zen feeling of being on stage and just being comfortable in what you're doing. I don't know if I just want to be a road dog for the rest of my life. Doing a little bit of both is where I'm trying to head.
By Robin Tolleson
Source: moderndrummer.com
Guns N’ Roses bassist Tommy Stinson talks ‘Chinese Democracy’
Here are a couple of excerpts fromt the Bass Player magazine interview:
Bass Player: How did you get the gig with GUNS N' ROSES?
Stinson: My friend Josh Freese was playing drums with the band. I ran into him in a Hollywood rehearsal hall, and he mentioned that Duff[McKagan] had quit, then he asked if I knew any bass players. We just kind or laughed about it, because it sounded like a funny thing for me to go audition for GUNS N' ROSES. GUNS N' ROSES were never my thing when the band first came out — they just weren't my style. I thought at least it would be fun to play with Josh. But I learned five or six songs for the audition. We basically just jammed, and it was pretty fun. They seriously needed a bass player, so they asked if I'd do it.
Bass Player: Why do you think you were the right guy for this gig?
Stinson: The only thing I could grasp at is that I have the kind of punk-rock attack that Duff did. He wasn't really a metal guy — he had punk roots. On the other hand. he's got sensibilities that are different from mine. I couldn't place exactly what they are — they're unique to each one of us.
Bass Player: Do you and Duff know each other?
Stinson: I met him a few years back, and he seemed like a really sweet guy. He didn't seem to have any issues with me — I don't think he wanted the gig anymore.
Bass Player: Describe the writing process for "Chinese Democracy".
Stinson: I came in around '98 when the band was still writing the record. It was Paul Tobias and Robin Finck on guitar, Dizzy Reed andChris Pitman on keys, Josh on drums and me. Everybody was just slowly starting to bring in ideas. We were set up at Rumbo Recorders, a big studio out in the middle of nowhere. A funny thing — Captain & Tennilleown it. The whole thing looks like a boat. Anyway, we all just started hammering ideas out. Essentially it was eight guys collaborating. To be thrown into that kind of environment — eight guys from very different walks of life — was very crazy, I'd never worked in that way, but it was cool. There were guys who'd never ever made a record putting out their ideas. At first, those of us who'd actually made records thought their ideas sucked, but there were also some good ones.
Bass Player: How did you work out your ideas in a civil way?
Stinson: We each had to give reasons for liking or disliking something — you couldn't just be bull-headed. We had to function as a democracy or we'd end up hating each other. Collaborating was good for that. I think every one of us learned a lot from it.
Bass Player: "Street of Dreams" stands out for having a lot of cool, counter melodic bass work.
Stinson: That's definitely one of the places where I tried to play melodically. Axl (Rose) had the majority of that song written, and I brought in the bridge bass line and progression.
Bass Player: It has a few licks that seem to reference Duff's playing. Was that intentional?
Stinson: When I started hammering out those GUNS N' ROSES songs, I started to really dig into what Duff was doing — I really liked the stuff he played. I'd be lying if I said his playing didn't seep into my subconscious — like the way he uses grace notes. And I wouldn't be afraid to say I stole some of his stuff.
Bass Player: Josh Freese left GUNS N' ROSES in 2000, and was replaced by Brain Mantia. What did that mean for the tracks you recorded with Josh?
Stinson: I had to redo them. I probably ended up completely re-recording each part five or six times over the years. It was tough. What really happened was the record company stood back and left Axl to his own devices. Axl had all these ideas, and he needed somebody to help interpret what he wanted. He had to basically produce himself, and that's not what he went into this wanting to do. There are a lot of reasons the album took so long to make, but I think the record company really dropped the ball on this one.
Bass Player: What do you see as the root cause for that?
Stinson: I think everything changed when Geffen merged withInterscope. When that happened, Axl was told that [A&R executive]Jimmy Iovine would play more of a role in making the album happen. What Jimmy did instead was throw other people into the mix who weren't very capable.
Bass Player: What happened when producer Roy Thomas Baker was brought in?
Stinson: He wanted to re-record everything, because he felt he could get better tones. In my opinion, he wasted many years and many millions of dollars trying to get us better sounds that we could have addressed in the mixing stage. I'm not a proponent of his style of producing. I think Iovineput Roy Thomas Baker in the producer seat because he didn't think the raw sounds were good enough. Then Roy came in and would try everyMarshall guitar amp in a five-state area to find just the right guitar tone. And he wanted to do that for every single part on the album.
source: blabbermouth.net
Axl Rose Insists Original Guns N’ Roses Lineup Is Dead and Buried
Axl was interviewed by old time pal and rock journalist Del James. Here's what he had to say:
Since releasing the long-awaited Guns N' Roses album 'Chinese Democracy' this past November, Axl Rose has said very little about it, taking to message boards and e-mails for the few comments he has made. But if there's one person who could get him to break his silence it's Del James, Rose's longtime friend, road manager and the man whose short story, 'Without You,' inspired the epic clip for 'November Rain.'
James, a music journalist who has covered G N' R for years, dating back to his days at metal mag Rip, as well as in several Rolling Stonearticles, spoke with Rose and is sharing the results of that one-on-one exclusively with Spinner. Yes, here he is, W. Axl Rose, letting loose on Slash, answering whether he was trying to make the best album ever and waxing philosophically on when the original G N' R lineup really died.
Del James: As reported, were you, either in your mind or otherwise, trying to create the "best album ever made"?
Axl Rose: No. That's f---ing ridiculous and more negative media nonsense. We were all just trying to do our best for the fans and ourselves.
At any point did you feel or say either you or the band had to make a "masterpiece"?
Of course not -- more unaccountable nonsense. Obviously, media, elements of the public, fans and our detractors had all kinds of things going on such as high hopes, expectations, pressure, naysayers, etc. I don't think anyone would mind discovering a diamond mine and I don't think anyone in any competitive field would get very far if they didn't have dreams, aspirations or simply hope to do well. That said, these types of comments are more from our detractors, pulled out of their ass if not thin air.
Do you feel that your alleged sense of perfectionism has delayed the release of the album?
No. Guns in any lineup wasn't going to release anything all that great any sooner. And no matter how any of us tried, that didn't happen, and often while any number of us were pushing to try and do so with whatever we had going at the time. In regard to so-called perfectionism, I feel that has a lot to do with your goals or requirements with whatever one's doing or creating. Different levels may be required for different objectives. If you're making brakes for a vehicle, what's required? It's all relative, right? You try to make the best calls you can at any given moment and go from there. Generally, when this term is used by others in regard to me or how I work, it's said in a negative way or as an excuse for their shortcomings -- and again by my detractors. Whether they are open about such or not, some people love putting others in a negative light; helps them feel better about themselves. Too many ears and too many stupid comments have proven that.
Did you break up the old Guns?
It is my belief that the commitment to end old Guns came long before the band started in the heart and soul of one man. After that, it became more visible sometime before/during [the 'Use Your Illusion' albums], when the others opted for personal reasons to change our approach, styles and methods of working together. At the time, I unwittingly chose as a means of what I felt was both my own and Guns' survival to adapt, and threw myself into whatever I could get out of that to support and promote our efforts.
The group shot of the band in front of the piece 'Dead' was not a coincidence but not something I felt could be talked about openly, and something I hoped would change. I couldn't reach Izzy [Stradlin] and couldn't manage or curtail Slash and his personal objectives to take over Guns anymore than I did at the time, and I'm lucky to have survived, got what we did out of it and some still enjoyed the results. But for all intents and purposes, the 'Appetite [for Destruction]' lineup and approach was already dead, and with the addition of Matt [Sorum], the end of the then-lineup and what Guns wasreally about was only a matter of time. Only heartfelt choices by the others could or would change that. Unfortunately, nothing did.
I'm generally blamed for the time it took to release 'Illusions,' but again the reality of my fault would be in not finding a way to manage Slash complete with his addictions and bring both him and Izzy together either similar to 'Appetite' or in some other progression more conducive to Guns than how 'Illusions' was accomplished. Unfortunately, that never truly happened, and both Guns and the public suffered for it. I'll take the responsibility in the sense that had I known how to achieve those goals we would have made what I feel would've been a more effective and powerful album at the time.
See? There's the catch, right? All this time, most thought I changed the direction with 'Illusions.' A lot of nonsense theories, speculation and complete nonrealities put together by others, based on Slash and others' crap and off one interview taken out of context I did with Kurt Loder where I said I hated 'Appetite.' That sentence has been used and twisted in every conceivable way since to vilify me and purports to prove my guilt and responsibility, when I wasn't speaking to the music itself but the overwhelming and at that time seemingly drowning success of our record.
My statement was in specific response to the feelings I had listening to DJs at the L.A. hard rock station KNAC at the time complaining about having to play the entire record for the umpteenth time for fans. I simply wanted to make another record and have it be as good or better. If you don't think I would've liked to have five 'Appetites' and been living like the Stones at the time, you're high. With that, any other avenue I hoped to pursue musically would more than likely been available as well. This was something I could never get through to the others with. Personal need to dominate in Guns was very important to them. Izzy has to be in charge or he's not comfortable, same with Slash. Duff [McKagan] tries convincing himself he's equal partners with Slash. Each to their own.
Why didn't you write 'Appetite'-style songs yourself then?
Part of what destroyed Guns was the battle between those guitars that works so well for 'Appetite.' I have no concept how to duplicate that with either the old guys or anyone else. I liked it then but can't say I truly understood their nature as I feel I do now. Make no mistake: That was a war and the efforts of one man to "successfully" remove another in his path between him and I. Neither player wants to deal with each other in those ways again. Those battles have already been fought, both sides went their prospective ways. Regardless of if they were to work together or not, the true dynamics of back then aren't something Izzy has an interest in or would allow himself to actually be in to such a degree other than for appearances, if that. Also, anything I had written I felt was in similar directions then, during and after the 'Illusions' tour was more than rejected by both Slash and Duff at a time, which greatly helped destroy whatever confidence I may have had at the time.
Why so many guitars on 'Chinese Democracy'?
Why not?
Seriously, past Guns records have only two. Why did you feel the need for more on this endeavor?
I understand it's for whatever reason a bit of a challenge for most people to feel comfortable in their minds with any band having more than two guitarists, but technically, as far as our recording goes, we're a bit more alike with the older recordings than one might think. On the older records, though, it's very distinct that there are generally two guitar parts -- each part is actually performed and recorded twice, giving a fuller sound, so in effect you have four guitars. Leads and fills are another pass, and often songs were originally written and demos were done with other guitarists as well.
On 'Chinese,' instead of having the same player double his part, we chose to add another voice and either each player's own take on the part or their take of another's, then there's leads and fills which vary from one person or a few on a track. Also on this record, though, you may have one player playing more than one part in a section; they generally tend to be two distinct parts and not overdubs or harmonizing with their own leads or fills. No way is better than another; it's just whatever works for what you're trying to do, what you personally want or for whatever reason you feel you either need, choose or like.
For this record, I wanted a blend of different-style sounds and approaches; some at least a bit unique to the individual players and their takes on these songs. I feel the different personalities and techniques give the material its own sense of originality. Live, I prefer the more solid approach of the three guitars now, especially as the performances with the rhythm are more energetic, consistent and reliable. It was fun having Izzy on board a bit adding yet another voice to the mix and seemed to work better for the songs this way, as opposed to having him by himself.
Would you consider a reunion with the 'Appetite' or 'Illusions' lineups?
No.
Why not?
A lot more reasons than I'll get into here now. Different reasons for each version and each individual. The Izzy bit was fun -- and also fun because we didn't have to rely on him in any way, which is how he prefers things and works better for everyone. That said, you never knew if Izzy would be there or not or if he'd remember the song or decide to leave early. It didn't cause any problems, because we were doing our show regardless and didn't have to depend on anything, but it did open everyone's eyes a bit and blow minds.
He called, asked to come out and negotiated a deal with management that it's probably best that none of us knew about or the fun would've seemed a bit more like being used or taken advantage of spoiling the moment. As it was, we had a great time.
It'd be highly doubtful for us to have more than one of the alumni up with us at any given time. I suppose Duff could play guitar on something somewhere, but there's zero possibility of me having anything to do with Slash other than by ambush, and that wouldn't be pretty. He wrote that whole bit about not having his guitar in Vegas, I'd assume, to save face. I was told by both the Hard Rock and different Guns industry people who had come out to be supportive of the new band and were a bit surprised to see him there, especially guitar in hand, but just assumed it was a surprise for the show and we were in on the arrangement.
Steven [Adler] brings assorted ambulance-chasing attorneys and the nightmare of his mother. One gig, or even a couple songs, could mean years of behind-the-scenes legal aftermath.
Wouldn't you make more money?
If the music was there, meaning new music, I can't say for sure right now -- and there have been market surveys, and various promoters have put together different projections and analysis that in areas where there could be more, it's not enough to sell your soul and live in hell the rest of your life for, that's definitely certain. But that's the catch, right, the music? If I believed in that as a reality which, no offense meant to anyone, I haven't seen anything in all these years to convince me or we'd be doing this interview under different circumstances of some sort, to say the least.
It's not some place I want to be or have any interest in being. If I believed in it in regard to the music, not in direction so much but in how it feels and to what degree, then maybe it'd be another story. I'm in no way trying to be offensive to anyone here, and I'm allowed to have my own feelings in regard to what inspires me, not someone else. Other than a one-off or something, I don't really do songs because someone else likes them.
There is the distinct possibility that having his intentions in regard to me so deeply ingrained and his personal though guarded distaste for much of 'Appetite' other than his or Duff's playing, Slash either should not have been in Guns to begin with or should have left after 'Lies.' In a nutshell, personally I consider him a cancer and better removed, avoided -- and the less anyone heard of him or his supporters, the better.
Didn't you say you loved him in what -- '06?
No. I said "loved," as in past tense. It was a misquote by a writer I mistook as a fan.
Do you think he can play guitar?
I prefer listening to others in general, especially those who both push their talents and infuse them with a level of energy that I've seldom heard in his efforts over the years. I'm not taking anything away from the man that are his to claim for his past efforts; it's just that for whatever reason for me, whether the approach, style or basic hands-on technique is there, the passion and true dedication to the art of guitar in his chosen area other than being, in my opinion, a whore for the limelight has generally seemed absent or lacking with most efforts for a long time. To me, it's sad. I don't get it. Where does it go? Is it a choice? Sometimes it's there on covers; I think Clive [Davis, legendary record executive] fell for that.
It wasn't there with me on 'Sympathy [for the Devil]' or ['The] Spaghetti [Incident?'] and it took years for me to get there again, in my opinion, and in the ways I wanted it to be. Will I keep it? Who knows? I'd like to, but who can say?
Who's your favorite drummer you've worked with?
I've liked elements that each brought in. Josh [Freese], [Brian] "Brain" [Mantia] and Frank [Ferrer] have been the easiest to work with and get along with, as well as it being fun to hang out with any of them. I do feel that all three were the right drummers to make this album. The rehearsals with [Dave] Abruzzesse and Pod as a duo were really cool; it was a shame then that it didn't work out but seemed for the best once we found Josh. In regard to old Guns, I don't listen much and for different reasons -- more because of the drums than anything else.
With 'Appetite,' for me the parts, playing, etc., timing flaws, whatever, are perfect, and as a moment in time for me, the whole record is. That said, the sound of the drums, which at the time in our niche of the woods was a bit of a bold statement and a somewhat successful effort to change things from the current flow at the time, and so may have been necessary but for me sound the most dated of anything there sound-wise.
With 'Illusions' several years ago, something came on the radio and I realized how the energy in the drums, though solid and consistent, brought me down in a way I feel damaged the material in the long run, if not from the get-go. Maybe it's there with some, most or all of us in ways, but I specifically notice it more with the drums. And when listening in that sense of analyzing how something feels to me in regards to its involvement or inclusion in the song, whether anyone disagrees I'm somewhat capable of removing myself and events from the picture.
For m,e it's more about certain energies and feel, and I'm not into what we did there for a good bit in regard to the drum work. To actually have a drummer that could play at the time, though, was a bit too overwhelming. The public has no idea what went into Steven's parts and the notion of getting through songs in rehearsal if ever, with no exaggeration, was unfortunately a nightmare that neither I or Izzy could take, and eventually the others as well, though they lasted longer for other reasons.
What do you think of Steven being on the VH1 rehab show?
I wish Steven the best; unfortunately Steven's given us the spoiler for that. I hope people are able to find answers and get the help they need; other than that, I'm not the biggest fan of the show.
Who's in the band?
I think we'll go with a combo of who's around and who's on the album for now and worry about that when we get ready to tour.
Is Robin [Finck] in the band?
Last I was aware, he had some interest in touring, though I can't say what that means until then. In our opinion, he's made things a bit awkward publicly, but that's just his way.
Is Brain in the band?
Last I checked. Brain works on several things with Guns either from his home or in the studio.
So you have two drummers? Will they both tour?
Yes, and who knows?
When's the next album?
Have no idea and don't care. Hopefully, we'll be working 'Chinese' for a good bit. Of course there's the same idiots that have been around forever already demanding release dates.
How much material is there?
Not as much as Baz [Sebastian Bach] thinks he heard! Really, it doesn't matter. If things go well enough, we'd like to get another out at some point in our lifetimes.
Is anything finished?
Depends how you look at it.
How do you look at it?
Not something we've focused on.
You're not saying much.
You got that? What I can say is if you don't like this, then you probably won't like that. Same people, lots more approaches, bit meaner in places and darker in some. Robin does a really great Stevie Ray Vaughan-type solo on one track.
Slash has said that the sessions they did with Izzy before Velvet Revolver were the best Guns album ever. What do you think of that?
Politics.
In what way?
Old Guns promotion.
What happened between you and [photographer] Robert John?
Hmmm ... I don't know anyone who knows. Last I heard he was allegedly doing a lot of meth and sleeping on his mom's floor. Anyone whose opinions I trust seems to thinks he lost his mind, lives in a fantasy world and knows everything.
What's that about, if you don't mind me asking?
Have no idea. This is a guy that I got in the business, got him gigs, paid and treated well, promoted, etc. Helped him get a house, helped him keep his house, bought his photos, and when Merck [Mercuriadis, former G N' R manager], for whatever reasons took forever to pay him, Robert sues me ... but I didn't know anything about it. Next thing, I'm the Antichrist because I didn't like some photos. F--- if I know.
I called Robert out of the blue back when, because I felt I knew something was wrong. Finally, he says he was gonna kill himself. I put up about 60-something-K on the mortgage, got a couple payments, but that wasn't where the trouble started. It was that the bank was foreclosing on that money, so he was pissed at our accountant, who kept on him trying to sort out what we should do and Robert avoiding him -- who was the others' accountant as well. I only learned of any of this near the end. He and Robert knew each other for years. He's one of the guys who allegedly saw Slash with his guitar in Vegas. And it seems genuine because he didn't know anything was going on. He's like, "Why was Slash there with his guitar?" And the Hard Rock people -- what did they have to lie about? They deal with all the bands ... friends, enemies, whatever, so it's just business. As far as I know, we're all good with that.
source: spinner.com
Billboard Q&A: Axl Rose Speaks. His first official interview since “Chinese Democracy’s” release
It's been nine years since Axl Rose gave a substantial print interview. For all that time and more, he's been working on the album "Chinese Democracy," which finally arrived in late November.
It was an arduous process, to say the least. Guns N' Roses haven't released a new song since 1999 or an album since a 1993 set of covers. Since then, Rose has toured sporadically, worked with a rotating cast of musicians -- he owns the Guns N' Roses name, according to his attorney, Laurie Soriano -- and recorded numerous versions of the same new songs. According to a 2005 article in the New York Times, Universal Music Group had spent $13 million on "Chinese Democracy" by then.
The album came out in the United States as a Best Buy retail exclusive and debuted at No. 3 on the Billboard 200 with first-week sales of 261,000, according to Nielsen SoundScan. To date, it has sold 537,000 copies in the States, far fewer than the 1.3 million that Best Buy bought upfront, according to the Wall Street Journal. But the album has sold 2.6 million copies worldwide, according to Universal -- a number that counts only retail purchases -- and the company plans to start promoting another single soon.
Some industry executives have blamed the album's disappointing sales on Rose, who hasn't made a video, announced a tour or given interviews. Others point to Best Buy, claiming the chain didn't make the album as visible as last year's other major retail exclusive, AC/DC's "Black Ice," which was sold only at Wal-Mart. Until now, Rose himself has remained silent, except for a series of postings on some Guns N' Roses fan Web sites.
That doesn't mean he doesn't have plenty to say -- about his new album, his former bandmates and his label, Interscope, a subsidiary of Universal. (The label declined to comment.) Rose answered two series of questions via e-mail, in which he discussed for the first time the events surrounding the release of "Chinese Democracy" and his frustrations with Interscope.
In a separate phone interview, longtime Guns N' Roses (and former Replacements) bassist Tommy Stinson echoed Rose's sentiments. Rose's answers appear here almost exactly as he sent them, edited only for grammar, length and clarity.
The obvious question: Why talk now? Rose says he "felt it was a good time to address some of these issues publicly."
Some people thought "Chinese Democracy" would never come out. Were there times during the making of the album when you felt that way yourself?
Axl Rose: Not so much that it wouldn't come out but that we could in some way legally be forced to release it either incomplete or with so many business areas unresolved that the beginning would be the end as well.
Without sounding presumptuous, what took so long to get the album out?
And without sounding facetious, what didn't? There aren't too many issues of the hundreds [we ran into] that happened as quickly as anyone would have preferred, from building my studio; finding the right players; never did find a producer; still don't have real record company involvement or support; to getting it out and mixed and mastered.
All that aside, it's the right record and I couldn't ask for more in that regard. Could have been a more enjoyable journey, but it's there now. The art comes first. It dictates if not the course [then] the destination artistically.
For me, once the real accompanying artwork is there with a few videos and some touring, the package was achieved and delivered.
And to do so at this level in terms of quality, both artistic and performance-wise, both on record and live, is something that's a miracle at minimum and something that wouldn't have happened, no matter how anyone tries to convince others, with old Guns, regardless of anyone's intentions. It was just as ugly in old Guns, regardless of our success.
What were your expectations in terms of what Best Buy would do to promote the album?
Best Buy has been great. Going with Best Buy was a way to work out a deal with Universal and we were fortunate enough to work with Irving [Azoff, as manager] and deal more directly with Universal. I've asked for information regarding their role in working the record but that hasn't come yet so I'm not able to tell what Universal has or hasn't done, although Zach [Horowitz, Universal Music Group president/COO], or whoever's behind the international efforts, is doing great. It's more than appreciated and a welcome relief.
Unfortunately [going with Best Buy] didn't change us having to rely on Interscope as much as we'd hoped. The opinions expressed or "jumped" on publicly regarding promotion seem to be [about] my or our involvement with mainstream media -- talk shows, rock magazines and dot-coms -- which have generally held negative public stances toward myself or the band for years, [and they] unfortunately have not been resolved. Efforts are being made to understand the relationships and evaluate how best to proceed.
Our focus was in getting the record deal done while finishing the album, which hit many an unexpected bump or sinkhole in the road right up until the actual release. We never intended a huge public rollout, especially without resolving certain issues, and no one ever suggested us doing so, though Interscope's communications with Best Buy in these areas may not have been as clear as anyone would have preferred.
Our approach, for better or worse, has always been to work the record over the course of the following tour cycles, with attempts to forge new or better and hopefully redefined relationships with the different forms of media that may be interested along the way. In regard to our promotion, it was based around certain agreements with Universal, Interscope, our management and legal [teams] that unfortunately never happened. I won't get into specifics but am beginning to address some of those issues in my own way as opposed to "working together," and we'll see how that plays out.
What are your thoughts on how Universal has handled the album?
Unfortunately I have no information for me to believe [that] there was any real involvement or effort from Interscope. I'm not saying there wasn't. But in my opinion, without [Interscope Geffen A&M chairman] Jimmy Iovine's involvement, it doesn't matter who anyone talks to or what they say -- virtually nothing will happen from their end.
I do know [that] I've been asking for a marketing plan for over five years and still haven't got anything. We've asked for a complete breakdown of promotion expenses and efforts from all parties but unfortunately I've received very little information, if anything, so far. On another note, the draft booklet leaking and, I believe, the early shipping of preorders and the inclusion of the early draft booklet for the release was through involvement with Interscope, which was a mess. That's not to say they don't work for other artists and make things happen. I feel they work very hard for whatever it is they truly want to sell, whether it's good or ...
I can say how the band feels, and that is that to a man they hate the record company other than Universal International with a passion. And that's with me talking with them about the record company negatively hardly ever, if at all. They're not blind: They hear the talk and see the results. Our involvement with Interscope has been more than frustrating for them. It's not like anyone here wants to have any negative views, impressions or opinions. They don't go around bitching about things all the time and they don't let it get in the way of whatever they're supposed to do here, but it is what it is.
Here's how things worked until they were no longer involved-that is, until recently. Jimmy [Iovine] and whoever would come down to the studio. Things would be good for a month. Then, according to whoever was involved at the time from their side, someone above Jimmy would start putting pressure regarding us on him, Jimmy would start pressuring others at his label [and they] would begin doing the same with us. We get that it's just how business -- and perhaps especially this business -- tends to work, but after a month of this the whole thing would get ugly and extensively interfere with getting anything productive done, and near the middle of the third month we'd arrange for Jimmy to come down again. They'd go away happy and the entire process would repeat itself over and over and over.
[Former Interscope Geffen A&M president] Tom Whalley brought in Roy Thomas Baker to produce and [A&R executive] Mark Williams suggested Marco Beltrami, among others, to play strings on the album. And Jimmy had an idea for low guitar in a track and the EQ on a drum part. That's it as far as I'm aware. They were all good things, but in all sincerity, that's it. Now, what efforts were made to help keep Universal or Vivendi off us for as long as possible could very well have been extensive, and in that regard either would have been or would be most appreciated. I like Jimmy, but I've never understood him in regard to us or this album. Everything's always been, "That's easy," or "We can fix that, no problem," but unfortunately rarely added up to any kind of reality for us until [he found] Bob Ludwig for mastering.
We'd love to have their and Jimmy's support after this. But to continue at this juncture feeling as we do, keeping things so behind the scenes, unfortunately feels like the same 'ol same 'ol for all of us and, at least momentarily, a bit much to digest. Jimmy did point us in the right direction for mastering, and I believe he's sincere in his appreciation of our record but still for whatever reasons gave up pretty early in those areas.
We feel that, unfortunately, we've never been really anything all that much more other than a throw it at the wall, see if it sticks, no real ground work, something to take advantage of, last quarter, cook the books, write-off, fuck this headache, hoping to get lucky scam. And, unfortunately, for all their nice words and assurances, nothing that's happened since the week or so before the release has shown us much of anything to the contrary. So at least in regard to the U.S., for the most part I don't look at it like we have a record company -- I look at it for the most part like we have friendly but otherwise cutthroat loan sharks, and we were lucky to get what we got but feel we could have done more if they were at least, especially with some of their backgrounds, a bit more involved creatively. So in light of pirating and the mess the major labels are in, I have no sympathy for the record companies, based on our experiences in the U.S.
The last time Guns N' Roses had a new album out, the Internet was barely a reality. What was your response to the nine-song leak this summer?
Having someone jeopardize your efforts so cavalierly is pretty much a nightmare. I don't know that it hurt us though, at least as one might think. Hard to say. That's not to imply leaks don't hurt artists, but that they were earlier roughs and the level of sound quality is much higher with the finals. That said, you have those who become emotionally attached to how the leaks sound, which, for better or worse, usually isn't so great to contend with. And it seems that those who often do so and complain publicly, oddly and coincidentally, have a history of basically being detractors as well even if they're somehow considered part of a "fan" base.
What's your take on the media response to the album?
It's been a mixed bag. Some has been great, others a blood bath. That said, most of the nonsense has been from the same or the latest batch of negative idiots, so it was to be expected and really doesn't mean much. [I] did see some jump ship, and that's always funny. Watching some douche waving a flag and then being the first punk in the water's always great.
Observers are interpreting some of the songs on "Chinese Democracy" as being about the process of making the album. Is this valid?
I'd say there's a lot in the lyrics regarding the journey to make the album, even if not in so many words.
Can you give an example of a song that the band nailed on an early take and didn't change that much?
The basic concept of most songs stayed the same. "Riad [N' the Bedouins]," "Sorry," "Better" and "Prostitute" are probably closer to their original demos in ways than others.
How many other songs were completed and considered for "Chinese Democracy"? There are rumors that there are two full albums done.
We'd like to get another album out at some point, but for now our focus is on "Chinese."
Some artists like to test out their new songs in their car stereos or invite friends to the studio to hear playbacks. How did you listen to the album when it was a work in progress?
My studio, car stereos, a CD Walkman, computers and different speaker setups, clubs, iPods. Actually, our first leaks were from using a sound system in a strip club in the early hours when it was basically empty. I went there to play the tracks for someone I was interested in working with. I'd gone there with a guy who worked band security, who was allegedly somehow related to the owners, feeling it was a bit more of a protected environment than it turned out to be.
Are you planning to tour?
No plans, but there's talk. Management and our promoters are really excited with the offers coming in both here and worldwide.
Are you planning to make videos?
We're finalizing a video for "Better" and writing a couple others now. Over time different ideas have been tossed around, written up or submitted but that was then. Nothing we had come up with -- or at least the approaches so far -- felt right. We have been discouraged from making a video all along by Interscope, up until Best Buy requested one after the release, and in a manner by Interscope then of, "So where's the video?," taking everyone more than off guard.
There was talk of a "Guitar Hero" or "Rock Band" download of "Chinese Democracy." Is either going to happen?
There is talk about a "Rock Band" release, and they felt the record-based on the nature and complexity of the depth of instrumentation-deserved a bit more attention and some more involved elements than they've generally dealt with. I have no idea what that means but it's my understanding they were very enthusiastic. We're looking at a Feb. 28 release, according to [executives at MTV responsible for] "Rock Band." ["Rock Band" has since changed the release date to spring.]
Is there any chance you'll work with the former members of Guns N' Roses in the future?
I could see doing a song or so on the side with Izzy [Stradlin] or having him out [on tour] again. I'm not so comfortable with doing anything having more than one of the alumni. Maybe something with Duff [McKagan], but that's it, and not something I'd have to really get down into, as I'd get left with sorting it out and then blamed on top of it. So, no, not me.
In regards to Slash, I read a desperate fan's message about, what if one of us were to die and looking back I had the possibility of a reunion now, blah blah blah. And my thoughts are, "Yeah, and while you're at the show your baby accidentally kicks a candle and burns your house down, killing himself and the rest of your family."
Give me a fucking break. What's clear is that one of the two of us will die before a reunion and however sad, ugly or unfortunate anyone views it, it is how it is. Those decisions were made a long time ago and reiterated year after year by one man.
There are acts that, once committed between individuals, they are what they are. To add insult to injury almost day after day, lapsing into year after year, for more than a decade, is a nightmare. Anyone putting his own personal entertainment above everything else is sickening.
This is the first interview you've done in a long time. Why have you been so reluctant to do press now that the album is out?
Lots of reasons I've gone into elsewhere, but I can say why I'm doing this one. First, because in all this time it's one of the first actually formally presented: I was asked to consider it, I liked the questions and I felt it was a good time to address some of these issues publicly. Also, because it's my understanding that these answers may be "considered" for use with Billboard.com and Reuters [with which Billboard has a syndication deal] and this seemed like a wonderful opportunity to express myself accordingly.
With Reuters, I get their reach. That said, they've been particularly ugly toward me and this band for years, with nearly everything they've written being condescending or negatively judgmental with the cute little press trick of using negative adjectives across the board whenever they've written anything. In our regard they're one of the media outlets that appear to continually attempt to set a tone for a negative mainstream public perception regarding either us or myself, at least in the United States, if not the world.
I get freedom of the press, but I'm not clear in regard to their writers or those who choose to run their spin, why someone who no one's ever heard of with so little "real" information is deemed qualified -- let alone allowed so much corporate backing -- to promote negative and often completely inaccurate and purely opinion-based (at best, if that) shots in forums with so much exposure at the public's and our expense.
Billboard.com has generally taken a pro-Slash and -old Guns position as well, and I don't recall having been particularly negative toward them previously either. In my opinion it seems a bit less professional than tabloid in nature. This is an attempt to begin sorting these things out when more than shots across the bow have been taken by both of these organizations -- but obviously much more so with Reuters -- if not a deliberate public stating of both position and intention, in my opinion.
BUMBLEFOOT: Video Footage Of Paris Masterclass, Interview Available
GUNS N' ROSES guitarist Ron "Bumblefoot" Thal took part in a masterclass and interview with the Guitars-Attitude.com web site during his recent promotional visit to Paris, France. Watch it in five parts below.
Part 1:
[youtube]http://uk.youtube.com/watch?v=_DeqR4gZ8qY[/youtube]
Part 2
[youtube]http://www.youtube.com/watch?v=_uAZF31khIQ[/youtube]
Part 3
[youtube]http://www.youtube.com/watch?v=OLaHIr6-oeA[/youtube]
Part 4:
[youtube]http://www.youtube.com/watch?v=RA0JjvZYT9w[/youtube]
Part 5:
[youtube]http://www.youtube.com/watch?v=sOn9wJTvkVY[/youtube]
source: blabbermouth.net
BUMBLEFOOT Interviewed In Germany (Video)
Germany's Zoomer conducted an interview with GUNS N' ROSES' Ron "Bumblefoot" Thal on December 15, 2008 when the guitarist made appearance at the Gibson Guitar Showroom in Berlin. Watch the four-minute chat below (overdubbed in German translation).
[youtube]http://www.youtube.com/watch?v=Yf0Y-prQE8A[/youtube]
Axl answers even more fan questions
Axl Rose
Credits: heretodaygonetohell.com and chinesedemocracy.com
Quote from: deadxsouth on Today at 12:05:18
In regard to?
That wouldn't stop us from playing there again. And the whole throwing shit sucks and is pretty cowardly but the leaving I got at Donnington from Lemmy. When we 1st played Donnington I was so happy I had knocked a bottle of piss out of the air when Lemmy gave me a lecture how if another band got hurt because I allowed people to throw things at our shows I'd be responsible for other bands getting hurt. Whether real or there's an argument against that, I've never been able to have anything override that in my head, not even a riot and I don't know why.
If you're working hard and some cunt throws something so he can tell his buddies I don't see where it's worth it.
is Silkworms on the next record?
It's a masterpiece.
has a lot of guitars, lots of different drum the chorus is gone.
Say hi! He's got a lot more experience at this than I do.
Imo that was just cheap shots from media jerkoffs knowing that Shaq wasn't the most popular or respected rapper publicly. I've never met the man. He goofed around with Paul and Diz and it went from there.
No plans. We're talking.
Axl. What is Brains status? Can you bring back Breakdown or Dead Horse to the set? Thanks. Your music means more to me than I could ever express.
I think he's doing alright. Maybe I should check. On the songs maybe, more interested in the newer now. And thank you, means a lot.
I wanted to let our members ask their questions first but as my battery will go dead soon I have to ask...
What's your opinion on the CD album, gunsnroses.com and chinesedemocracy.com being banned in China
China's a tough place. A lot of us have no idea how good we have it and think less of those less fortunate. The Chinese people have been kept in the dark thru literally the fear of incarceration or death which to most is either unimaginable or only able to be contemplated w/stories or movies and such where there it's an all encompassing environment and they're growing larger everyday.
Thanks.
Frequency depends on the reason say a tour or particular gig and how we feel about where we're at with whatever the material is and not so much on the covers but lots of jams. Generally there's a lot of fun but a lot of work and these guys take it very seriously which is great.
What is the best way for a fan to meet you, if they happen to be a dude (since the stereotype is that rockers only wanna meet hot chicks)
What do you think of fans who get GNR related tattoos?
I like meeting all kinds of fans but after a show (I realize that's the only time some may feel they have an opportunity but w/the exception of close friends around...) not to be offensive but I'm generally not looking forward to walking off stage to hang with guys whether they're fans or not. I deal with Guns all day every day so coming off stage to talk about the band is just like more of the same. Unless there's pressing business I wanna forget that till it's time to go at it again the next day. And people may enjoy meet and greets and have their reasons why it meant a lot for them which I respect but overall charging fans for it I thinks disgusting of bands. Now if they did it for free to winners of a contest etc that would be different. Charging is lame. How to meet bands? Maybe try to hang out places u might hear they do sometimes.
Well my question on the other thread, which I will ask again here is:
How much does the book 'Catcher in the Rye' inform the song, or is is soley referring to Chapman?
And are there any plans of touring South Africa?
Thanks so much
For me the song is inspired by what's referred to sometimes as Holden Caulfield syndrome. I feel there's a possibility that how the writing is structured with the thinking of the main character could somehow reprogram for lack of a better word some who may be a bit more vulnerable, with a skewed way of thinking and tried to allow myself to go what may be there or somewhat close during the verses. I'd think for most those lines are enjoyed as just venting, blowing off steam, humor or some type of entertainment where it may be how others seriously live in their minds.
When I came up with the focus, I got a call from the director of Imagine wanting a bunch of money to make a documentary, had a guy sending me strange packages about Lennon and serial killers etc and the web started calling me Salinger w/no one knowing what I was writing. I figured I was on the right track at least for a song.
Haven't forgot, looking forward to it.
Just wanted to ask this: out of all of the music you have written, what song are you most proud of?
BTW Prostitute is fuckin amazing.....thank you
Right now a lot on this album. For me musically it would have to be the orchestral arrangement in the bridge of TIL.
fine
no idea
DUFF MCKAGAN Says AXL ROSE 'Sounds Amazing' On 'Chinese Democracy' - Dec. 12, 2008
Bassist Duff McKagan (VELVET REVOLVER, LOADED, ex-GUNS N' ROSES) was interviewed this morning (Friday, December 12) by "The BJ Shea Morning Experience" on the Seattle station KISW 99.9 FM. A couple of excerpts from the chat follow below.
On whether he's heard the new GUNS N' ROSES album, "Chinese Democracy":
Duff: "I have, yeah. I think Axl [Rose, vocals] sounds amazing. You know, I'm glad he put out the record he wanted to put out and I think it's gonna be successful, him going out and touring. People have been talking how the record's doing. I think it's a longevity thing; it will do fine for him. And I wish him the best of luck."
On whether there is any truth to the rumors that Axl Rose tried to reunite the original GUNS N' ROSES lineup before the release of "Chinese Democracy":
Duff: "I think all of it's rumors. It makes for good, you know, talk around the water cooler, but I don't think much of it is based on any fact."
On whether there's been any communication between him and Axl and on the possibility of a future reunion of the original GUNS N' ROSES lineup:
Duff: "No, there has been no communication. I've grown up. There are so many other things that made me realize, in my life, that made me realize, 'Oh, you're an adult now,' you know? Petty things just go by the wayside. I don't really have time for any of that stuff anymore. As an adult, I see what you guys see. Like, OK, well, everybody is alive and perhaps one day. And if we did it, it would be a blast. It's not anything, by any means, that I sit around and wait for or hope for. If it happens, it happens, and if not, that's fine too."
Quote from: bushkarocks! on Today at 11:31:10
do ya internet with a 56 k modem axl?
Do you?
Quote from: Lies They Tell on Today at 11:31:53
Hi Axl! Chinese Democracy awesome, but it's a pretty ballady album compared to previous GNR albums. Is this the new direction of GNR or will some of the future GNR albums be more focused on hard rocking songs again?
Quote from: BringBackBrain on Today at 11:35:42
How did you get involved with the WWE? I am going to the Pay per View on Sunday. What is a good sign to bring with your name on it?
Management. Can't remember the name of Bubbles wrestling character.
Quote from: sakuL on Today at 11:38:33
alright than ... nevermind anything I've sent
- is the band still in contact with Paul Huge? Any more future plans with him? Guest apperance on tour maybe?
Quote from: workaholic on Today at 11:49:26
I would like to know...
If you're composing music (piano) are you using some computer software to write the notes down or are you using a sheet of paper and a pen for this?
Quote from: Gunns on Today at 11:51:59
Hey Axl, alot of the gnr fans always say how good the House of Blues 01/01/01 show is,are you thinking about releasing that for the fans in dvd or download soon?
Quote from: vince41090 on Today at 11:55:19
Axl - From interviews, tours, riots, and information you revealed yesterday morning, this project has obviously had it's ups and downs. If you could do this whole process over again, with the making of CD, would you?
Quote from: blueheart on Today at 11:49:39
Also, would u consider GNR to perform for a charity cause, and if yes what that cause would be?
Quote from: yorch on Today at 11:50:50
Now I'll start with 2 easy questions:
-When did you start the recording of your voice for CD and when did it end and which was the last song recorded?
-Are you here to promote the album, or do you really care about your fan base?
About me, your music has given me the best of my life. That's something great, thank you. Oh and, When you think about you, do you know you're one of the greatest geniuses of our time? How does it feel? Not only me, WE love you, thanks.
I'll have to think about the 1st bit. W/the second I'm not sure how much this is promoting the album as it's in our own backyard so to speak but it is talking with fans about some of the realities of Guns or myself which whether I've wanted to or not didn't feel right until now. So I'd say it's about us!!
Quote from: BringBackBrain on Today at 11:53:00
Ides Of March ('98), Oklahoma ('98), Atlas Shrugged ('99), Closing In On You ('99), Cock-A-Roach Soup ('99), Friend Or Foe ('99), Hearts Get Killed ('99), No Love Remains ('99), Oh My God ('99), Something Always ('99), Suckerpunched ('99), Zip It ('99), Silkworms ('00), Down By The Ocean ('01), Leave Me Alone ('02), Seven ('02), The General ('02), Thyme ('02), Quick Song ('05), Zodiac ('05), Motormouth ('06), We Were Lying ('06)
What do you think of fans who bring signs to shows?
Remember GIMME SOME TWAT @ Hammerstein?
That was me! Can you tell us if you will play new (non chi dem ) material on tour in 09?
Axl gets up around 7
Gets on the Net around 9
Answering the same fucking questions 200 times
Typing away and feeling fine
We've been chatting with Mr. Brownstone
He's be typing
He needs a faster internet connection at HOOOOMMMMEEEEE!
Ides Of March, Oklahoma, Atlas Shrugged, Oh My God, Silkworms , Down By The Ocean (Izzy), Leave Me Alone, Seven , The General , Thyme , Quick Song , Zodiac Most all titles subject to change w/out warning and r considered working titles.
No plans on tour setlist as of now.
Quote from: Mickey Mouse on Today at 11:56:46
axl i have two questions for you
-has anything disney ever inspired you musically? like the little mermaid score or somthing? are you a fan of the little mermaid? whats your favorite disney animated film?
i guess thats more than one question sorry
I don't know about musically but I'm pro Disney. Go about once a year or so. Went w/Bucket a lot. It's nice to go somewhere where people allow themselves to be more in touch with a more innocent side of themselves at least for what seems like the most part.
He recorded w/Slash and Duff. He really wanted to attack the media over attacking me for One in a Million. There wasn't really any Easy on it. I wasn't there. He gave me the tape to consider. Sounded a bit like the other guys doing Bodycount. The idea was ok but the track wasn't really there and I felt it would get more heat than the track could stand up to. Only hung a couple times after a show with any of them. Was glad I got to meet Easy.
Quote from: totalost on Today at 11:58:45
hi Axl! which of your songs ever is the most meaningful for you? and why? thanx for chatting
Quote from: JLR on Today at 12:03
Which song on Chi Dem do you feel was your best work vocally?
also, are you coming back to Sheffield anytime soon?
End section of TWAT, Backgrounds in Catcher. And hopefully when we tour again.
Q1 What do you do in your spare time for a hobby what else do you love except music?
Q2 If you don't mind would you tell me what are your favorite 10 albums of 2008 and all time favorites i would like to know more about your music taste.
Q3 The Bonus Question hahah. Chinese Democracy was a brilliant album ,but to you miss the old Guns from time to time and when can we expect more from the musical guineas you're?
Thank You
P.S You Rock
Cars, checking out art, F1.
I'm more into film scores.
I miss the illusion we shared for only a few months if that of thinking we were in this together. It wasn't real or if so only ever so briefly while deeper currents of ambitions were temporarily put aside but I didn't know that then.
Because that's all it was, only at the time having just got it together only Jimmy Iovine knew that who wanted it to sell their soundtrack. I saw segments of the movie which were good. As a whole later not so much but it wasn't ready yet then. I did write an experimental piece inspired by the bits I'd seen called "Daddy Can the Devil do Mommy and me?"
Not sure, looking at options and I would love to play Philly as I would have loved to play bk in 02.
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.
I said I'm going on ChiDem now and he said whatever and walked away other than that I've been busy.
You may have heard parts of it somewhere.
Haven't checked.
Their being considered. Was great in '06.
That's right, sorry bout that.
Thanks for evrything you've done for us. You've always made my life brighter,happier,you saved my life,made my day,helped me find my wife,build my career...
Thanks for that time and smile on my face when I first hold the Chinese Democracy cd. IT DESERVED EVRY SECOND I WAITED IN THE LAST 17 YRS.
I love you. Please come back to Istanbul next tour. (I was the one who gave you "mom dont worry i'm with axl again 93-06 banner,got your microphone from that gig,and cried just in front of you in the first 3 songs ) Did you like Istanbul? Plz come again.
Istanbul was great and the venue with the river, the bridge, the boats and the moon, the outdoor clubs and getting chased by the cops, and almost being kidnapped...
Edit: Shit, I just saw the above post in red. We'll have to find out the answer to that one another day
Never thought of that w/the Sopranos but a big fan of that song. And I think that's a yes on Rockband.
Which is the most emotional song for you too sing on Chinese Democracy?
TIL
do you have any plans to come to argentina soon ? Thanks, We love you so much.
I really like Argentina and wish I could go more often. I look forward to play there again.
Democracy is a compelling/brilliant album every song has such an extreme feeling and vibe which drags you back for more, id just like to know....
1) outta the whole record what is your favourite part of music on it? like a break down at some point,strings, anything!, it would jus be cool to know!
2) in the 2006 tour when you was in the good old UK did you use michael owen's helicopter????? i heard rumours hahahaha top man if you did!
thanks for this, made my day!!
Axl: Bucket's Blues fill at the beginning of the last verse in Prostitute and his Eventide bits in the outro, the guitars in the bridge of Better, Robin's solo in Twat for a few of them.
Not sure but leaving Silverstone and no fault of our pilots, I saw another helicopter coming towards us blades 1st out of the corner of my eye, yelled watchout and our pilot jerked us out of the way of an idiot who was unauthorized to be where he was and came out of nowhere.
W/out our pilots skill and quick reflexes it would've been over rt then for real.
It was also great to read how "Merck took the keys to the copter so Axl couldn't leave" Donnington like I'm James Bond or something. I did make him drive bk to London though!! ;D
Axlgreece: Christos from Greece here...First of all, thank you Axl for answering all these questions.
Both of my questions are about Catcher and they're a bit strange and may sound stupid to some but what the fuck...
1) Many people consider number 7 to be a lucky number (including me). Is this a good reason why Catcher is on number 7, or was it just random placement?
2) "How a body took a body and gave that boy a gun". Sorry for my english, but if you could explain to me what this means, I would be gratefull...
3) Don't care about May's solos (even though I love the guy), the song is pure magic, just like This I Love.
GN'R = Sometimes the only thing we counted on when noone else was there...
Axl: The # was random but the sequence is intentional. It's a line from the book used to infer it may have helped to inspire a senseless killing.
Rex: Axl, do you think This I Love is still the heaviest thing you've written, or has another song popped up that now holds that title?
Axl: That's still it and ultimately a great healing experience to compose something you have no real idea you're capable of such as the bridge. It's a lot more intricate than I think most realize yet as the guitar and vocals are placed as they should be so dominant. The main string melody in that section I had originally written to a hip-hop loop as well.
markus89: The chance of you actually reading this is pretty slim, but here goes...
Axl ! Mind telling us what we have coming? Wondering if we have some sort of concert fottage coming anytime soon, remember from the 2 shows I was at in Norway that it got filmed.
Are you able to tell us anything about a future tour at this time? Next time I'll be folowing the band, in a non stalking way, through Scandinavia.
Oh, and, if you were to talk to Bumble anytime soon, ask if he still has the cross I gave him during Paradise in Norway July 8th
Axl: Think I've already answered the 1st 2 and I'll ask Bbf.
Monkeychow: Axl - could you pklease talk at all about what inspired the lyrics to Shackler's Revenge and/or Catcher? Or the meaning behind Riad? thanks.
Axl: Shackler's was inspired by the insanity of senseless school shootings and also the media trying desperately to make more out of one shooter's preference for the Guns song Brownstone to no avail.
That said, listening for my own enjoyment or if we were to make a video or performing it I lean more to the entertainment of a horror flick or something like Dexter, something with an interesting menacing character as opposed to real life.
UseYourIllusion1991: Hey Axl,I just want to apologise on behalf of everyone in Brisbane, Australia, for that douchebag who threw that cup of water at you after you went on stage. Thanks for the great performance, it was a night full of memories for me.
Axl: Ha! Thanks...mate!!
Vesosexa: lol I knew my questions weren't going to be answered I'm not very lucky am i lol. anyway before i go to work i'll ask it again : Axl please tell us a bit more about your self
Axl: Cheer up and have a great day!! : ok:
andy Rosita: 1) Hi Axl, I’m from Argentina and I must say that I’m ashamed of the way our government treated GNR the last time you came. Unfortunately for you, that current administration was up to really dirty business and they used GNR as scapegoat, you know, to distract people from what was really going on. Accept my apologies on behalf of my country
Argentina is really fond of GNR, we fucking love you . My question is: when will you start touring? I hope you don’t exclude us from your destination list!!!
Axl: I tried sending this ages ago but apparently it never went through. It was a direct response but now fits others questions on the same subject.
The whole whose it about bit w/songs doesn't work for me that much as in whether a line or whatever was inspired by a particular person or situation doesn't mean that in the end that's what or who the song's about.
I could be working with clay and think of someone or something and somehow that could inspire me to take the work in a different direction at the moment but in the end it could just be a nice vase.
I often wonder where the people who inspired so many songs are now and why it's only important with some songs such as Layla as opposed to others. I'm guessin' a fair # of beautiful love songs or otherwise were inspired by some that the artists and public might consider now or in hindsight to be the opposite of how they are depicted or allegedly represented.
With Sorry.. like a lot of the material is drawn from a lot of different situations. The main focus on the boards w/the track seems to be either Slash or "the fans" (and the collective of "the fans" is another thing that doesn't work for me) and is much too restrictive or narrow and limits what I feel I intended.
For me it's for anyone talking nonsense at mine and the public's expense and that many of those as well as the public don't know who to believe.
Also where possible I'd like to give people the opportunity to get what they can from the material for a while before clouding that with my inspirations. Of course that's not always avoidable.
GNRNZ: Hey axl what effect do leaks REALLY have on the band/the album? Theres a lot of speculation but no clear answer. Thanks for your time
Axl: Basically for us it's devastating across the board. And when u have such a majority openly justifying their actions and throwing out nonsense such as it's not actually stealing as the original is still with whomever it's unbelievably insane.
It exists because of the greed of the record industry, the greed of large scale pirating, the ease and common nature now of the act itself and personal motivations such as popularity among certain groups, possible momentary media recognition etc.
And it's too rampant and widespread. It's simply too huge a mess for the courts to deal with and in that with those #'s and the expense and manpower involved necessary at this time to curtail it... obviously there are more serious crimes for society to focus on.
Besides, fuck musicians right? If they didn't make enough already then they probably suck anyway rt? "I ain't cryin' for no rich dude." Whatever.
And who knows? What are our #'s on the torrent sites for this album? I don't know. So I don't know how or if it's affected us in terms of sales this time around. Maybe not but w/the economy and the core of our market I'd think there's a possibility it has had a negative effect. Anyone?
Steveysham: Axl, I'd just like to say I feel that you have captured the mood and feel of J.D Sallinger's 'The Catcher In The Rye' perfectly. Why did you chose this book to reference as regards to Chinese Democracy. On a related note, What are your five favourite books?
Axl: Ok, I've never actually tried to put this into words this way before and this'll probably get me in trouble with someone but here goes...
The piano started while watching a documentary or A&E type show on Chapman and wanting to write something for Lennon and his family.
W/the book it started as fascination and curiosity with Holden Caufield Syndrome and what was or could possibly be in the book that obviously certain vulnerable people have seemed to become so passionate about and resort to outrageous public attempts or acts of violence. That and the question most have in regard to Lennon's death...why?
Can't say I have those answers but I feel our song pays the emotional tribute to John Lennon in the end that I'd wanted to write since the night he was killed and also since first listening to Elton and Bernie's Empty Garden.
I read the book. I fell into a deep dark sleep. Went to the studio and sang as a joke what I refer to as the Holden parts off the top of my head and felt at the time at least imo I had stumbled on a way of thinking that had a pattern and a flow but was broken up like a television station going out and coming back slightly off course intermittently and not making sense with it's earlier portion.
Where this unease helped to justify or even demand taking action and feeling the power of taking that action against whoever your mind felt was somehow involved or the root of this unease and alienation. Accompanied by a calming surreal almost religious (but totally insane) vibe I think that if some were to experience having limited capabilities, insecurities or are mentally and emotionally challenged in some way could find a false sense of solace and take comfort in like being on some type of drugs or meds but with an added completely false sense of an imagined calling or purpose.
It certainly could and very well often would feel better than some individuals real world or having to experience or live with a clearer perspective of their true reality...
All of which of course could be imagined and hooked together by events like Lennon's murder, reading the book, wanting to write a song about someone being insane, John Lennon, Chapman, people shooting people and watching Mel Gibson's Conspiracy!
And when I got home not in any dramatic way but more like cleaning off the dinner table I threw my book away.
Don't know if any of that's really what any of that's about but that's how it hit me and just like an instant cake we got the basis for a song.
The Stand, A Scanner Darkly, The Mutant King, The Zodiac, Mary Shelley's Frankenstein.
Axl: And with that I'm out. I'll try and get to more later. It's been fun. That bum rush killed me at the start and I never recovered! Thanks for the appreciation and props, have a good one.Thanks Sean!!
[UPDATED] Axl interviewed by fans! The only interview that matters
Axl Rose
Taken from heretodaygonetohell.com
So you can all read the after hours interview that Axl gave early the morning of Fri Dec 12th. The following is everything that I have saved so far.
This is also so that people don't have to ask the same questions. I will post more as we go.
Axl on performing late and being late to gigs?
I've been an after midnight type since I was sneakin' out of my house in Jr. High. With old Guns we preferred 12am or so. When we moved to theaters etc obviously that changes but it's never changed inside me. Doesn't matter what I do so generally that's when I'm more myself. This isn't to mess with anyone that has an early schedule to keep it's just personal preference.
And in regard to the size venues I'm on record as preferring what ever venues allow for our schedule but management and promoters can do a lot in their own interests behind the scenes that can rarely be avoided and their greed or whatever leads to a lot of double talk and ugly behind nonsense that generally eventually ruins things for everyone. Translated once a tour is scheduled however it's like parting the seas to change.
As far as being late, I've been that way my whole life. It drove Izzy crazy but he would check himself and freely admit I was generally actually doing something that had to get done rather than watching basketball etc.
On a video for Better?
THE BETTER MUSIC VIDEO WILL BE OUT IN A WEEK OR SO"
MONUMENTAL PROMOTION WILL START VERY SOON!
Who do you listen to for hardcore blues? I'm a blues singer and I can tell from your work that you have at least got way into a couple of blues records.
Bessie Smith, Zep 1, Robert Johnson, Tumbleweed Connection, Janice.
Regarding multiple albums...
For now we'll concentrate and keep our focus on this album but I will say I've always thought of it as a double.
And no offence but no one's trying to talk in parables. The issues are a bit more complex than anyone would like.
Hey Axl, is the song Atlas Shrugged as epic as the book? Who is your favorite character from the book?
Song doesn't have all that much to do with the book other than trying to do what you believe in and a line about shoulders not being wide enough.
Axl was their ever a cover B and cover C for chinese democracy?
Yes there are. There are 2 more covers/bk cover combos and the real booklet that is all artwork that will be out shortly in some form. It's been an ugly battle that hasn't made any sense to anyone and whether anyone cares about such things the booklet or artwork has always been something I've been passionate about and to release the album with unapproved and unseen final artwork with a !st work only error filled draft when others more recent were readily available still has not been explained but is finally getting cleared up. My fave is the How Are You Grenade cover.
Axl how do you feel about Kanye outselling Chinese Democracy? Do you like Kanye's music?
I met Kanye at the Versace awards. He was very gracious. I love Gold Digger and told him so. I'm a big fan of his stage performance as he seems to go for it physically which I relate more to. B4 r release I sent him a msg that any nonsense from the media had nothing to do with us and wished him the best. I'm humbled we've done as well as we have considering.
Axl do you control the weather or is that solely Oprah?
Oprah
Jarmo, do you know the reason behind the name Dexter? Is he a fan of the show (on Showtime)? Just curious...No need to reply if the reason is deemed private/personal.
could be because of the guy from The Offspring, too... but I'd rather it be the TV show.
The show and my cat named after the show, she's a methodical killer.
Hi Axl, how's it going?
Just wanted to ask if you had any fond memories from the UK leg of the tour from 2006, particularly the concert in Glasgow in July?
Glasgow was great. I think that's where I got to do a lot of slides on the stage. Was like a race track or something rt?
Axl, thanks for Chinese Democracy which i personally think is your best work.
what's your pick for album of the year?
and have you heard the new MetallicA album?
Ours of course!!
Yes, I like it.
Axl will you tour Australia next year, and when are you looking at doing so?
If you could work with buckethead again, would you have him just in studio, or also would you welcome him in the touring lineup?
Austrailia's great and the crowds are really alive. No plans yet but I'm sure there will be.
I have no issues with Bucket. It's hard to tell what was real or not in things we were told by Merck. He's more than welcome to tour with us in some form or other provided we're both interested at the time and come to some type of reasonable terms. Personally I have a blast w/Bucket on tour and get a big kick out of the guy. A lot of feelings were hurt on this side of the fence in how things went down and unfortunately others used our silence and the public's not knowing for their own purposes at both Bucket's and our expense.
Now that you said that please tell us if Robin's out or not... because, otherwise, we'll be reading several 'Axl wants Bucket back and Robin/Bumble/Richard out' type of threads for the entire '09 year and these threads annoy us, the new lineup fans.
It really is what it is. No decisions have been made by either him, I or us that I'm aware of.
When we're touring or working in the studio or there's social things like a friend's dinner or party whatever we would hang. But as people get older they have their own lives. The Stones aren't going bowling every Tuesday etc.
Robin leads one of the most different lives I know of starting with the trapeze in his backyard to the tv in his closet. Robin's work on the next is done so there's not lots for him to do here except the elusive promo and he'd rather be on stage.
It's more about seeing where things are when Guns decides it's right for a tour and if we're able to make agreements we both are comfortable and can live with at that time.
As a native Colombian I must ask:
In 1992, while performing November Rain in Bogota (in November), it rained.
Wait no....it poured.
How weird was that, eh?
Very surreal and religious feeling. So was being chased by the military in our plane down the runway gettin' outta Dodge there!!
Hi axl!
just wondering what stops you from playing more guitar live?
skill
Hey Axl,
Are you checking your PM's???
Not rt now. It's a bit slow getting around on here rt now.
Let's talk about Catcher!!
Who's 1st?
Axl/Dexter, I'm fixing to pack everyhting I own into my car and drive out to L.A. from Arkansas to give a career in music a shot. Any advice? Or should I just shit in my pants, dive in and swim?
Follow your heart, don't sell out and read every book on the biz u can find.
Catcher is one of the best songs on the album, why no Brian?
There's a few reasons and none of them all that big and definitely not in spite or to slight anyone.
1st off obviously I knew people liked the song but the Brian appreciation really only showed up in force publicly after we had moved on in Guns. In fact Not many seemed to care and most comments were aimed at why Slash in their opinions should be here.
Brians solo itself is a personal fave of mine and I really couldn't understand as he's such a rock legend why it wasn't openly appreciated more at the time.
In actuality all that feel and emotion referred to now had a lot to do with Sean and I and the parts I chose out of Brian's different runs, versions, practice runs etc to make sure we had those elements in one version. It's entirely constructed from edits based around one specific note Brian hit in a throw away take. And though Brian seems to have warmed a bit to it at least publicly he was unfortunately none to pleased at the time with our handiwork.
I remember looking at Brian standing to my left and him staring at the big studio speakers a bit aghast saying "But that's not what I played."
Sean Beavan and I were not in any way tring to mess with Brian we just did what we do and then try and do our best to stand up for our decisions.
Axl are you still thinking of suing Dr Peppers ass?
Sure but the actions taken so far had nothing to do with me and I was taken off guard as I had specifically told our team who fucking cares rt now we have a record to deal with.
My feelings are after their public response. It was cute.
Maybe the guy who got it rolling originally meant well but it turned out sour and maybe it's just me but he seems like maybe he wants a bit too much attention so...
I'm sorry for posting this again! It's just..I don't get this chance everyday! Ever still think about working with Jeff Lynne I think you two would be fuckin awesome together. Would you ever give an unkown band a chance to open for you guys? How do you feel about Double Fantasy? I could see u covering watching the wheels Have you seen the movie The Aviator any thoughts it is my favorite of all time.
Not presently but he's a true hero of mine. Absolutely. I think we have or at least relatively but I could be mistaken Big Lennon fan. I piss in jars all the time only I throw them at people!! j/k
when are the online shop opening?
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.
What I look forward to is incorporating the new artwork into our merch and getting some for myself. I think u'll like a lot of it. My vote's for the How Are You grenade and the Sorry automatic rifle artwork on shirts etc.
?
I do like the lyrics.
I wrote a paragraph or so on the new booklet and more on the story of what's out now but it got lost in the traffic jam.
DEXTER/AXL,
How do you feel about artists covering your songs ?
Depends but in general it's great.
Hey Axl , whats your favourite song from either Chinese Democracy, or from an unreleased album?
The bridge in "Elvis Presley and the Monster of Soul aka The Soul Monster (working title Leave Me Alone)" which will no doubt end up "Soul Monster".
I think it's r most Black Sabbath moment. Sang it on a Christmas eve. Imo the meanest section of anything I've sung to date. Which having said that I'm sure when it's heard others may disagree but we felt it was a Christmas card of unadulterated venom so to speak. I felt a lot better afterward.
Axl, how is your relationship with the former members/friends of GNR???
Not sure I understand the question.
Axl, do you know of any steak house in the Los Angeles area better than The Cut?
Haven't been but I hear it's great. Maestros T.O. is pretty good.
Someone give me a list of all the alleged song titles at once and I'll tell what's real or not. Most from the past like cockroach soup or eulogy aren't.
Atlas Shrugged
No Love Remains
Take That
When Love Collides (I believe that was the name)
only Atlas
I know this is jumping the gun big time, but any tentative idea when you would like to see the next CD come out?
No, maybe same bat time, same bat channel next year but we'll have to see.
Hey Axl,
Is there anything in the past that you have now looked back on and thought maybe I culd have handled that differently, also what are your ongoing hopes for GnR in the future?
I have cyclothemia and sometimes get this feeling that I cant be around people and need my own space and area, how do you find the bipolar effect you, if you dont mind me asking that is?
thanks again for doing this.
Alex
Of course but in the world of sports and litigation....
I've not been diagnosed as being bipolar though many misconstrue statements I made earlier as alluding to such and unfortunately there's been an abundance of misguided or unqualified speculation of various events but I definitely can relate to needing my own space.
In my world all bi polar means (and not to offend or make light of those suffering from a genuine condition or involved with those who are) is that someone can try to take cheap uneducated shots or try to claim I'm bipolar thus justifying why they should get paid a financial settlement for whatever nonsense they're up to. Fortunately that hasn't proved successful.
Axl,
- What is your honest opinion on why the old lineup disintegrated ?
- What is your honest opinion on why it took so long for CD to come out ?
I think that's what most people want to know but dare not ask ...
2 great but complicated questions and I agree that people would like to know at least my take on things.
Not avoiding them here but they deserve more than I can give as we've been at this a little while. But I'm attempting to speak out on several issues these being a major focus over the coming weeks and months. What I can say now is u've been told a lot of things in order for others to promote themselves that factually they cannot backup in regard to either. They are complicated legally, financially and have devoured a good portion of my life.
The record Chinese u may have is nothing short of a miracle in almost each and every way that either it or I exist imo under the bizarre and ugly conditions of the last over 15yrs.
Thanks everyone and thanks for all the support and the positive comments both 2nite and over the years. I hope to do this again soon, maybe sooner than u'd think! And u didn't scare me off I'm just burnt and would rather not mispeak on issues that may mean a lot to some.
Thanks again.
Peace,
Axl-
And Checkmate is a bogus title.
The working title is Jackie Chan.
Chris Pittman interview with Polands Nightrain Station
Poland's Nightrain Station conducted an interview with none other than Chris Pittman. Here's the full interview
Q- What were your dreams as a teenager and which of them came true?
cp- i wanted to be a painter, or a writer, …instead i ended up a lowly musician
Q- How did you join Gn’R?
cp- we merely fused together musical ideas and concepts, and it turned out to be this record called Chinese Democracy
Q- How do you feel when you play shows like Rock am Ring ? What does it mean playing with Gn’R for you? Is it a job, hobby, or just hanging out with friends?
cp- its really too nebulous to describe to anyone. words can’t do it.
Q- Is it possible that we will see you playing bass on some occassion? Are there any other instruments you can play – perhaps the drums?
cp- On the recordings, ive played a multitude of instruments. On tour, I’ll do vocals, keyboards, acoustic guitar, bass and whatever comes up. when we do private acoustic party gigs, i’ll play a triangle or something that is as weird as possible
Q- Would you like to visit Poland again? What did you like about our country?
cp- would love to return. I didn’t have time to check out much outside of the stadium. drats
Q- Is there anything you learned from Dizzy Reed?
cp- Dizzy is always a role model on How to be a Cool human being.
Q- What’s the best and the worst thing while being on tour with the band?
cp- the best thing is when the tour ends, the worst thing is waiting around and not sleeping much
Q- Do you plan to record another cd with Lusk, Replicants or SexTapes?
cp- its an uncertain future, and i like that. for December 2008, I’m introducing a new band by playing live in los angeles, its called ‘The Walter Kronkite Trio’ - its a unique concept, and entirely electronic.
Q- Why, in your opinion, would some people call your style “Super Funky Techno Beats”?
cp- when i hear the term ‘techno beats’, i think of House music or Disco. that music has never inspired me. i like Super Funky though, like the groove i wrote in ‘If the World’. which was actually based in Dub/Reggae
Q- Is it true that you can perfectly parody / imitate Christopher Walken?
cp- no, but i can do a good Slim Pickens
Q- Do you like signing autographs and pose for photos with fans? Do people recognize you often in the streets?
cp- i prefer to be anonymous, so i can freely move around and meet people genuinely
Q- How would you solve the problem with people illegally downloading music from the internet so it would be good for the fans and recording artists as well?
cp- How would I solve it?
by providing free cell phone service, free satellite television, free movies ,and free anything that is digital, just like what they do with music. and just as it has destroyed the Music Industry, and it has, don’t believe anything different, it would be nice to see the end of the Communications Industry, the Entertainment Industry, etc. etc.
and then we can all go back to cuddling up next to the fire again with our hand drums and mouth harps
Q- Do you consider yourself a rich man?
cp- i would consider myself as broke-ass. try financing your own independent records, videos, and art and you’ll know what i mean
Q- Is there anything you would like to say to Polish fans?
cp- Hi, how are you
Q- What question would you like to be asked? Please answer it.
cp- Am I a spokesman for Guns N Roses? No, i am merely doing promo for my band SexTapes and thats why I am currently doing interviews. Everything that I say should be considered as both true and false.
Q- What would you say to your fans about your last records (SexTapes and Chinese Democracy).
cp- go out and buy them. get vinyl records if you can. they provide the highest Sonic quality. think of it as HI-DEF
Thank you for your time and all answers.
Hope to see you soon here in Poland
source: chrispitman.com
BILLBOARD: Exclusive: Iovine Talks Axl, U2, Dre, Eminem
Axl Rose
by Jonathan Cohen, N.Y.
But Interscope-Geffen-A&M chairman Jimmy Iovine refuses to apologize for the decision, which he says he made to ensure the projects would be the best they could be. And it's not like the company doesn't have some big album coming before year's end: All-American Rejects, Soulja Boy, Keyshia Cole and, of course, Guns N' Roses' "Chinese Democracy," which arrived yesterday (Nov. 23) as a Best Buy exclusive.
Iovine spoke exclusively to Billboard about the release schedule, retail exclusives and what parts of his business are growing.
Yesterday was an exciting day for a lot of Guns N' Roses fans. What are your thoughts now that this record is a reality?
Axl delivered a great Guns N' Roses album. Period. He did. It took him a long time for whatever reasons. I am sure there were many different reasons. Bottom line is, he did it. It's hard to say if something is worth the wait, because how the hell do any of us know? I judge it based on what it is. Does it sound better than 99% of the rock records out there? Yes. I'm just thrilled for him.
The proliferation of retail exclusives like Guns N' Roses with Best Buy has been one of the biggest stories of the year. What are you thoughts on how this has developed?
With the confusion and how much media is spread out and how hard it is to market things to a mass audience right now, I think you'll see the labels needing marketing partners to drive this music, whether it's a song, an album or a new configuration. In this case, Best Buy gave this album a great deal of marketing that we couldn't have gotten any other way. Now we have the press on our side as well, which is extraordinary.
But what about indie retailers who throw their arms up because of deals like this? Is there a silver lining for them?
I don't know the answer to that. But when a guy works that hard on a record, you want to give it the best possible chance it has. We found a great partner in Best Buy, and Axl's new management felt it was a good idea. It looks like it's going to do really well. I mean, really, really well. Beyond anybody's expectations.
read the rest @ Billboard
