GUNSNROSES.US - news on Chinese Democracy, the new Guns N' Roses Album

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admin — 2009-05-06T14:32:39Z

140 characters about Guns N' Roses and its Democracy.

DUST N' BONES, Europe's finest GUNS N' ROSES tribute

blueheart — 2009-04-15T12:03:00Z

Το The Strip και η High Voltage Productions παρουσιάζουν:

DUST N' BONES (HU), Tribute στους GUNS N' ROSES LIVE την Παρασκευή 8 Μαϊου στο Texas Necropolis στα πλαίσια του event "THE STRIP"

Τους χαρακτήρισαν ως το πιο επικίνδυνο συγκρότημα στον κόσμο. Και δεν είχαν άδικο. Οι original Guns N' Roses ήταν μια ολέθρια rock n' roll μηχανή, η απόλυτη ενσάρκωση του “Sex, Drugs And Rock N' Roll” τρίπτυχου, που ξεκίνησε να λειτουργεί και αυτοκαταστράφηκε σε λιγότερο από μια δεκαετία. Κανένα άλλο συγκρότημα στην ιστορία του rock n' roll, δεν κατάφερε να θεμελιώσει ένα τέτοιο μύθο με μόνο τέσσερα studio άλμπουμ!

Από τότε μέχρι σήμερα, το να είσαι fan των Guns N' Roses, εμπεριέχει ένα εθιστικό ρίσκο άλλοτε απογοήτευσης ή προδοσίας και άλλοτε ενθουσιασμού, δικαίωσης και αναπάντεχων συγκινήσεων.

Oι Dust N' Bones, το καλύτερο Guns N' Roses tribute συγκρότημα στην Ευρώπη, προσπαθούν να μεταφέρουν επί σκηνής το κλίμα και την ατμόσφαιρα της εμφάνισης των Guns, για όσους δεν είχαν την τύχη να δουν το αυθεντικό σχήμα εν δράση στα 80s και 90s, με απόλυτα πιστό τρόπο. Περιοδεύοντας την Ευρώπη από το 2004 με ένα εκρηκτικό πρόγραμμα διάρκειας δύο ωρών, ερμηνεύουν όχι μόνο τραγούδια από τα άλμπουμ των Guns N' Roses (Αppetite for Destruction, Lies, Use Your Illusion I, II και Τhe Spaghetti Incident) αλλά και διασκευές που το γκρουπ συνήθιζε να παίζει, ακυκλοφόρητα κομμάτια, fillers ακόμα και σόλο υλικό.

Για πρώτη φορά το κοινό της Αθήνας θα μπορέσει να απολαύσει το show αλλά και το τι είναι γενικότερα το concept/ιδέα ενός tribute συγκροτήματος, με έμφαση στην προσέγγιση της λεπτομέρειας των live εμφανίσεων των Guns N' Roses (κοστούμια και σκηνική παρουσία). Τη βραδιά θα συνοδέψουν οι resident Djs και οι go go χορεύτριες του STRIP, μαζί με άφθονο αλκοόλ και rock n' roll !

Μεγάλος χορηγός της βραδιάς το JACK DANIEL'S, το μόνο ποτό τόσο άμεσα συνδεδεμένο με την ιστορία των Guns N' Roses και το rock n' roll τρόπο ζωής!

Με τη χορηγία των Black N' Rose Rock Fashion και SolidRock.gr

Mε την υποστήριξη των: GUNSNROSES.US (www.ChineseDemocracy.com), Rocking.gr, Gang Bang Magazine, Metal-Temple.com, Metalzone.gr, Rockguide.gr, Greekrebels.gr, KISS ARMY GREECE.

TEXAS NECROPOLIS - Θεμιστοκλέους & Γαμβέτα 5, Αθήνα 'Ωρα έναρξης/τιμή εισόδου tba

περισσότερα:

http://www.myspace.com/kidsoftheunderground

http://www.myspace.com/texasclub

Ενδεικτικά videos :

http://www.youtube.com/watch?v=ZJcJoC3Pl4M

http://www.youtube.com/watch?v=A4fmh2WIpIo

http://www.youtube.com/watch?v=Kx1Qlr2W94g

http://www.youtube.com/watch?v=lNCK8y6EkNc

Stay Tuned for English version and pictures for this press release

Guns N' Roses Album Chinese Democracy Shreds Its Way On To Rock Band®

blueheart — 2009-04-11T01:18:00Z

Harmonix and MTV Games announced today that Chinese Democracy, the sixth and most recent album from Guns N' Roses, will be released in its entirety to the Rock Band® Music Store catalog of downloadable content on April 14, 2009.

The highly anticipated November 2008 release of Chinese Democracy was Guns N' Roses' first official music release in 15 years. It debuted at #3 on the Billboard 200 chart, at #2 on the UK Albums chart and was certified platinum by the Recording Industry Association of America on February 3, 2009. Chinese Democracy has already sold nearly three million copies.

Formed in the early 80s in Los Angeles, Guns N' Roses has sold an estimated 100 million albums worldwide. The band's 1987 major label debut Appetite for Destruction, featuring the hits “Welcome to the Jungle,” “Paradise City” and “Sweet Child o' Mine,” has sold in excess of 28 million copies and remains to this day the fastest-selling debut album in history.

Next week's Rock Band Music Store lineup will feature 13 songs from Chinese Democracy. With “Shackler's Revenge” from Chinese Democracy already featured on the Rock Band 2 soundtrack, the DLC album includes the following tracks:

Chinese Democracy Better Street of Dreams If the World There Was a Time Catcher in the Rye Scraped Riad N' the Bedouins Sorry I.R.S.

Madagascar This I Love Prostitute (All tracks are original master recordings)

The tracks will be available for purchase as an album or individual tracks for Xbox 360 and PLAYSTATION 3 system. The tracks will be available for purchase as individual tracks only for Wii.

Release Date: Tuesday, April 14, 2009 (Xbox LIVE Marketplace for Xbox 360 and in-game Rock Band 2 Music Store for Wii (Release date for downloadable content in the Wii Rock Band Music Store is subject to change.)

Thursday, April 16, 2009 (PlayStation®Store)

** Dates for Rock Band game tracks are tentative and subject to change **

Price: $1. 99 or 160 Microsoft Points for Xbox 360 per track $2. 00 or 200 Wii Points for Wii per track $19.99 (1600 Microsoft Points for Xbox 360) for album (The Chinese Democracy tracks can be purchased as individual tracks or as a full album pack for Xbox 360 and PLAYSTATION 3 system only.)

Locations: Xbox LIVE Marketplace for the Xbox 360 PlayStation®Network In-game Rock Band 2 Music Store for Wii (Wii Points must be purchased through the Wii™ Shop Channel)

Website Links: www.rockband.com www.gunsnroses.com

Rock Band 2 is available for the Xbox 360® video game and entertainment system from Microsoft, PLAYSTATION®3 and PlayStation®2 computer entertainment systems and Wii™ home videogame console from Nintendo.

Downloadable content for Wii is purchased via the in-game Rock Band Music Store using Wii Points purchased through the Wii Shop Channel and can be downloaded to the hard drive of the Wii or to an SD card for additional storage. The tracks stream directly from the SD card for seamless play.

There are now more than 630 tracks available to date via disc and download purchase (complete list of tracks at www.rockband.com/music). Rock Band continues to satisfy music fans' and gamers' voracious appetite for rock with more than 40 million paid downloads since its launch on November 20, 2007. The Rock Band Music Store allows players to preview and purchase downloadable individual music tracks and packs from the vast selection of offerings available to date without ever leaving the game as they build their own custom Rock Band library.

Rock Band and Rock Band 2are rated "T" for Teen (lyrics, suggestive themes) by the ESRB.

For more information on Rock Band2 and Harmonix Music Systems please visit www.rockband.com and www.harmonixmusic.com.

source: www.myspace.com/gunsnroses

GUNS N' ROSES NAMES DJ ASHBA AS BAND'S NEWEST AXEMAN

blueheart — 2009-03-22T06:47:00Z

Guns N' Roses is proud to announce that guitarist n' songwriter Dj Ashba has joined the band. Ashba, who officially replaces current NIN guitarist Robin Finck, is best known as co-founder of hard rock bands Sixx AM and Beautiful Creatures.

"Dj's a gifted, energetic guitarist that Guns N' Roses is proud to have on board!!" exclaims Axl Rose. "We're very excited to have the opportunity to work together. Guns' radar has silently been aware of Dj's presence for quite some time. He brings a fresh approach to our particular brand of mayhem expanding the tapestry of Guns N' Roses live. Once Dj's name was in the hat, the hat disappeared!!"

"It's an honor to have the opportunity to be a part of a band that I have always loved and respected," said Dj Ashba. "I'm looking forward to working with Axl, who is not only one of the few great front men of our generation, but a true artist."

Dj Ashba co-wrote and co-produced Motley Crue's latest album Saints of Los Angeles, which garnered a 2008 GRAMMY nomination for Best Hard Rock Performance, as well as co-wrote and co-produced the Sixx AM album Heroin Diaries.

Robin continues to be part of GN'R, by virtue of Guns' history and his involvement in Chinese Democracy.

Now, one step closer to the abyss, Ashba joins a band who's all time roster is nearly as long as it's founder Axl Rose's rap sheet!

Tommy Stinson Talks 'Chinese Democracy

blueheart — 2009-03-21T16:58:54Z

The April 2009 issue of Bass Player magazine features an extensive interview with GUNS N' ROSES bassist Tommy Stinson in which he discusses the songwriting and recording process for "Chinese Democracy", among other topics. A couple of excerpts from the chat follow below.

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 & Tennille own 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 with Interscope. 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 Iovine put 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 every Marshall 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.

For more of Stinson's interview with Bass Player, visit BassPlayer.com.

Guns n' Roses Planning Summer Stadium Tour???

blueheart — 2009-03-05T17:42:00Z

Axl Rose intends to follow last November's release of Chinese Democracy with a worldwide Guns n' Roses stadium tour this summer, according to industry insiders.

If it comes to pass, the tour would mark the first U.S. stadium dates for the current line-up of Guns — their 2002 and 2006-'07 tours were arena outings, with some overseas stadium shows. (And contrary to one persistent online rumor, the band has absolutely no plans of playing Spain's Kobetasonik Festival this June.)

Meanwhile, Guns' manager, Irving Azoff, tells Rolling Stone that the band has big plans for this year. "Axl has been basically quiet, keeping out of the limelight for almost 15 years. People think they know him but they only really only know what has been said about him by questionable people" Azoff says. "He is a good guy and often misunderstood — he is a professional who has worked very hard to build and maintain a high creative standard for Guns n' Roses, which I support. We have some exciting things in the works this year for Gn'R, I'm looking forward to it."

Source: www.rollingstone.com

New Axl Rose interview by Del James

blueheart — 2009-02-27T17:37:00Z

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 Stone articles, 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 was really 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?

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 me 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.

Source: www.spinner.com

The Billboard Q&A: Axl Rose

blueheart — 2009-02-06T17:31:00Z

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'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.rrived 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.

Source: www.billboard.com

Chinese Democracy nominated for a Juno Award

blueheart — 2009-02-03T17:24:00Z

Chinese Democracy has been nominated in the "International Album Of The Year" category at this year's Juno Awards, it was announced today (February 3) at a media conference at Toronto's Fairmont Royal York Hotel.

Other albums in the same category are "Black Ice" by AC/DC, "Viva La Vida" by Coldplay, "Sleep Through The Static" by Jack Johnson and "Death Magnetic" by Metallica.

The Juno Awards are presented annually to Canadian musical artists and bands to acknowledge their artistic and technical achievements in all aspects of music. New members of the Canadian Music Hall of Fame are also inducted as part of the awards ceremonies.

Winners are currently chosen by members of the Canadian Academy of Recording Arts and Sciences or, depending on the award, a panel of experts. In almost all of the main general categories, such as "Album of the Year" or "Artist of the Year", nominees are determined by sales during the qualifying period; in genre-specific categories, they are determined by panel.

source: http://www.roadrunnerrecords.com/blabbermouth.net/

Welcome to the Jungle at #1 on VH1's "100 Greatest Hard Rock Songs"

blueheart — 2009-01-04T17:20:00Z

Top 10 of VH1's "100 Greatest Hard Rock Songs":

1. GUNS N' ROSES - "Welcome To The Jungle"

2. AC/DC - "Back In Black"

3. LED ZEPPELIN - "Whole Lotta Love"

4. BLACK SABBATH - "Paranoid"

5. METALLICA - "Enter Sandman"

6. THE WHO - "Won't Get Fooled Again"

7. NIRVANA - "Smells Like Teen Spirit"

8. AEROSMITH - "Walk This Way"

9. VAN HALEN - "Running With The Devil"

10. MOTÖRHEAD - "Ace Of Spades"