Axl reparte amor

odklas escribió:

candymanray escribió:espero que las musicas novas lleven grabadas ya desde 1996 en maquetas de VR, Guns N Cubos o lo que sea...porque como tengan que ponerse ahora... ufff

fijo. entre los tres mosqueteros seguro que tienen un baúl enorme repleto de ideas por desarrollar (sobre todo axl que es el que menos ha editado), solo tienen que ponerse de acuerdo (...) y darles forma.

Godofredo escribió:

PUMP escribió:

Godofredo escribió:Estoy más o menos ilusionado.

Reconócelo! La idea de disco nuevo de Axl/DC te la ponía como el cuello de un cantaor!

Amo la horchata, y adoro el gazpacho, pero los prefiero por separado

The Guns N’ Roses guitarist Slash on 30 years of hell‑raising

The legendary guitarist talks about his unlikely British childhood and reuniting Guns N’ Roses for a record‑breaking tour

Will Hodgkinson

It isn’t hard to spot Slash. He’ll be the one that looks like Slash. The top hat may be missing, and the once ever-present cigarette has not dangled from the side of his mouth since he quit smoking a decade ago, but otherwise it’s all there: the mirrored aviator shades, the cascades of curls, the basic rock wear of black T-shirt and blue jeans.

He also has a semi-permanent grin, suggesting the man behind Sweet Child O’ Mine, Paradise City and other classics guaranteed to drive the owners of guitar shops crazy does not take himself entirely seriously.

“The guitar always turned me on,” says Slash as he settles into a room in a discreetly luxurious hotel in Reykjavik, Iceland, where Guns N’ Roses are to play the final European date of Not In This Lifetime; a tour named after singer Axl Rose’s 2012 summation on the chances of the original line-up reuniting. Now it is the fourth highest grossing concert tour in history, at $480.09 million so far. “The guitar break in any given rock song was always the bit I looked forward to. If you’re lucky, you can come up with a few riffs that have so much character they last a lifetime. That’s when you have something magical.”

We’re meeting in slightly strange circumstances. Guns N’ Roses have granted no interviews during their two-year reunion tour of the original members of Rose, Slash and the bassist Duff McKagan, presumably for fear of someone saying the wrong thing and sending the wheels of this mammoth but delicate juggernaut spinning out of control. But Slash has a riff-heavy album coming out, Living the Dream, with Myles Kennedy and the Conspirators, and he has a day off before the Reykjavik gig. So here we are, on Slash’s 53rd birthday, talking about his lifetime in rock’n’roll while an enormous Samoan man called Kimo waits outside. When you are as wealthy and as recognisable as Slash, you need someone like Kimo.
It is easy to forget, given his image as the archetypal LA rocker, but Slash was born Saul Hudson in Hampstead, north London, in 1965. He spent his early years in Stoke-on-Trent with his father and grandparents, while his mother, Ola, an African-American costume designer to rock and pop stars including David Bowie (whom she dated briefly), Ringo Starr and Joni Mitchell, moved to Los Angeles for her work. His father, Anthony Hudson, an English artist who designed album sleeves for Crosby, Stills & Nash and Neil Young, followed in 1972.

“The big thing for me, which I didn’t recognise then, is that my dad and his two brothers were ardent rock’n’roll buffs,” says Slash in a quiet, laid-back tone. “They had all the albums, they analysed the covers, and I grew up on a heavy diet of the Kinks, the Who, the Stones and Gene Vincent. Then I moved to the States and we were in Laurel Canyon with a whole environment of artists living in the woods. It was a magical and inspired time and the people were cool, intelligent musicians doing their own thing. They were from the counterculture, but they were holding it together.”

Unlike the tormented Rose, whose biological father was murdered and who grew up in an ultra-religious household with a violent stepfather, Slash came from a loving and supportive family. That’s not to say that it was a particularly stable one. With his father believing that children should be raised as equals, Slash was allowed to run wild.

“My childhood was tumultuous. My parents separated when I was eight, both of them were living pay cheque to pay cheque, and it was an artistic environment with one and then two kids [Slash’s brother Ash was born in 1972]. We never lived in any place more than a year. I went to every school in LA. Plus I was British, I was half black, I had long hair and wore jeans and rock T-shirts . . . where did I fit in?
“How could I be the only whacked-out hippy kid around? It was totally fine in Stoke, but then we moved to LA and there was all this pressure on me from all different directions.”

Slash found a belonging of sorts as the youngest member of a delinquent BMX gang, before discovering the guitar and, soon after, the buccaneering life of the rock’n’roller. In the summer he turned 15, his schoolfriend and the future Guns N’ Roses drummer Steven Adler invited Slash to his grandmother’s house in Hollywood to check out his new Sears electric guitar and listen to Alive II by Kiss.

“We had some air-guitar moments,” says Slash on this pivotal experience. “We decided to form a band and, since he played guitar already, I would play bass although I didn’t actually own one. I found a music school, the teacher played me some Eric Clapton licks, and I discovered this thing called lead guitar. I knew my grandmother had an old flamenco guitar with one string on it, so I learnt to play Sweet Emotion and Dazed and Confused on that. At the same time I was stealing a lot of records and, since I couldn’t steal an artist’s entire work, I went for the live albums. I discovered how much I loved the seat-of-your-pants spontaneity of a rock show.”

As with so many successful artists, not to mention ones who have sold more than 100 million albums, Slash is nostalgic for the early years when the five members [with Izzy Stradlin, the rhythm guitarist] of Guns N’ Roses led druggy, poverty-stricken lives with no responsibility for anyone but each other. Slash and McKagan were the only ones with day jobs. When an offer from Geffen Records came through, the band members used it as leverage to get free dinners from all the other labels. They developed a punk-inspired attitude at odds with the commercial glam rock dominating Los Angeles in the mid-1980s.

“It was us against them and we were our only support system,” says Slash, looking amused at the memory. “We found a little storage unit with a sliding door that faced an alley and that was our band lodging. We were in a very different place from the LA glam bands like Poison.

“They were all about appearances, while we were street urchins who weren’t intimidated by anybody. We knew we were the best at what we did, even when we were doing the opening set on a Monday night at the Troubadour. We just had the chemistry, and if that happens once in your life, you’re fortunate.”

Damaged individuals tend to make the most interesting music, but that doesn’t make them the easiest people to be in a band with. I ask Slash to describe the various personalities in Guns N’ Roses. “Now we get into . . . er . . . an area where it’s hard for me to make a description in words,” he says, sounding uneasy for the first time.

“Duff was the responsible one. He answered an ad I put in the paper, showed up at Canter’s Deli in LA, had his own apartment and car, and was kind of jovial. Steven Adler was happy-go-lucky. Izzy was like the Artful Dodger. And Axl is an immensely talented but not very predictable individual. I don’t know what I was about — still don’t — except I wanted to play rock’n’roll. Somehow these personalities were drawn to each other.”

Rose’s lack of predictability was a problem. In August 1989, not long after offending pretty much everyone with the racist, homophobic song One in a Million, the singer locked himself in a Japanese hotel room for days, and fired a staff member for having the temerity to wake him up when he had asked them to. This came after countless late arrivals and no-shows and, before he walked off stage halfway through a St Louis show after attacking a photographer, inciting a riot and getting a lifetime ban from the city. Not that Slash was always the voice of reason. In January 1994 he moved into the Four Seasons hotel in Marina del Rey with a mountain lion called Curtis.

Slash cites Rose’s constant lateness as his own reason for leaving Guns N’ Roses in 1996, after which he formed Slash’s Snakepit (he’s a big snake fan) and then Velvet Revolver, leaving Rose as the sole founder member. Velvet Revolver fell apart in 2008, with Slash citing his own and the singer Scott Weiland’s “chemical issues” for the dissolution. He had a defibrillator fitted to correct a heart conditon resulting from his years of excess and, by the time he formed Slash Featuring Myles Kennedy and the Conspirators in 2010 he was clean. That helped to pave the way for the Guns N’ Roses reunion few thought could ever happen.

“There is not a lot for me to say about it except that it’s been a huge f***in’ weight off my shoulders,” says Slash. “As soon as we started the rehearsals Axl and I got past a couple of decades’ worth of bullshit and found the camaraderie again. It was only meant to be two shows and a couple of warm-up gigs. Now we’re touring the world.”

I went to the massive Guns N’ Roses show at London Stadium in 2016 and was amazed to find a band starting on the dot of 7.30pm, Rose and all. “There was a rumour going round that we gave him an ultimatum, but actually Axl showed up on time from rehearsals onward,” Slash says on his lead singer’s new-found punctuality. “It’s a trip for me because we had a lot of issues with that back in the Nineties, but he came in so professional and in great spirits, even after he broke his foot and did the first two shows in a chair.”

Now Slash is touring the world’s biggest stadiums with Guns N’ Roses while doing theatre shows with his own band, whose latest album is filled with the kind of big, heavy riffs that make you want to learn guitar; bluesy, ballsy and exciting. “Doing these two bands is like having a mistress and a wife,” he says. “With Guns N’ Roses there were four and a half leaders [the frequently drugged-out Adler presumably being the half] whereas this is my band but I don’t dictate. I write the music, Myles comes up with the words and we’ll sort out the songs through jamming. It all goes back to my love of live records. I never wanted to sit around and be a soloist. Having a bunch of guys around you and bashing out a song is what makes it rock’n’roll.”

Slash’s life may still be driven by rock’n’roll, but the drugs, booze and wild adventures are a thing of the past. These days he leads a relatively stable existence in Los Angeles, with his two sons by his ex-wife Perla Ferrar, his girlfriend Meegan Hodges and his pinball machines. “I’m working on a Guns N’ Roses pinball machine, but I’m not a big collector. They take up too much space and the missus is always, like . . . ‘Really?’ ”

He also has a horror-movie production company, the inevitably named Slasher Films. “I like The Last House on the Left, The Exorcist, The Wicker Man, all those great Seventies films that are psychologically unnerving rather than gore-focused,” he says. “I want to create tension.”
Having lived through so much tension for so long, it seems fair enough.

How did you manage to make a Conspirators album with all the Guns touring you’re doing?

I started preproduction on this new material, and then I went back on the road [solo]. At some point, Axl and I hooked up on the phone, and then we met for a little bit and started talking about doing Coachella. Just for the fun of it, because we were sort of back on friendly ground again. That turned into a whole fucking extended tour, which is still going. So all that material sat on the back burner. On our last big break, I got back together with Myles and everybody, and we revisited those songs, picked out the ones that we still wanted to work on, and then I’d written some new stuff. We just put all that together and just rehearsed and, y’know, got the arrangements and all that shit together. And we’ll do some touring in September. And Guns goes back out in November. And then we’ll go out in January with Conspirators. And we just go like that.

How does it feel to be trying to write big rock riffs with the genre so far out of the mainstream?

You have to find ideas that turn yourself on, because no one out there is putting stuff out that turns you on like when you first started. Or anywhere close. It makes you work really hard — you’re still sort of kicking your own ass to do something good.

Your first solo album was a sign of doom for the original Guns. Is there any message being sent by releasing this project now?

No. It’s really just that we started it and then I put it on the back burner, so I’m just finishing it up. But, I mean, at the same time, I wanna keep that going as something that I have outside of what Guns N’ Roses is doing.

Is the idea to make sure you never have any time off?

I mean, for the most part, yeah. And I’ve been producing horror movies too. It’s a little crazy, but it’s way better for me to be fucking busy running around and doing that than for me just to be sitting around [laughs].

In the old days, your sobriety was most at risk when you were sitting around – have you moved beyond that?

Yeah, no, I haven’t had a problem with that. I’ve been really fortunate that I finally got to that point where I was just over it. And I haven’t had an issue since then. I haven’t had the desire to go back and do that.

Have you stayed sober since 2006?

Yeah, so it’s been going well. All addicts and alcoholics have to always know that it’s there. And I think, probably I’m at my weakest if I don’t have a bunch of shit going on.

Did you really think that Coachella could’ve been it for the Guns reunion?

Originally, it was just to do those first couple of shows, and that was a gas. I missed being on a stage with Axl and Duff [McKagan]. I missed that combination. It whet the appetite to do more.

So are you in Guns N’ Roses, or are you just playing with Guns N’ Roses?

Oh, that’s an interesting question. From the moment we started playing together and embarking on this journey, I would consider it being in Guns N’ Roses, not just being hired to play Guns N’ Roses songs.

So technically, legally, is it a band again?

I’m in the band — there is no contractual anything at this point. So however you want
to look at it.

I really enjoy seeing you play the Chinese Democracy tracks. What’s that like for you?

Um, I mean, it’s fun playing them. There’s nothing weird about it. It’s not like I’m playing something out of my comfort zone. I’m very conscious of maintaining the integrity of the recording, but still doing it the way that I would approach it.

You guys are still adding to the set list, which suggests this is an active collaboration.

We work really well together, and we’ve worked really hard since we’ve gotten this thing going. We put a lot of heart and soul into it. We’re not just phoning it in.

Axl said you and Duff might play on new Guns material. True?

I think probably the best way to look at is, if something happens, then it happens. There you go.

Specifically, he said he was playing you songs, and that you might end up on it.

Yeah. You know what? I’m not lighting that fuse.

Can you clear up exactly how all of this happened? What were your first conversations with Axl like?

Yeah, I know everybody wants to ask me stuff like that, but in the Guns N’ Roses world, I’ve found that . . . I’d just rather not even get into it. Because at this point, it’s like, Guns N’ Roses is, and that’s basically all that really needs to be said. I don’t like to get into the dynamics of how . . . ’cause it always gets misconstrued. And the superficial stuff that people want to look into, it always seems to rise to the surface; and it’s hard to get away from that after years and years and years of being that band that had, uh, that kind of media dynamic going on. So, I just sort of avoid it.

I mean, obviously you don’t want to say anything to knock this all off course...

I’m not worried about fucking it up. I just don’t think that there’s really any information that is necessarily important. The fun of this has just been playing, not talking to the press. And it’s been great! There’s really nothing . . . it’s been something that I definitely would have bet against. . . . Having Axl and I get back together and sort of work out our differences and start moving forward, was sort of a shock. . . . And it’s been really a wonderful experience, and I’ve been having really a great time with it, and everybody’s been getting along great. And the fuckin’ fans have been amazing. And it’s just sort of a blessing to have it go that way, you know, especially a band that’s been around – or not around, depending on, you know, all the different lineup changes and all that kind of stuff — for so long. So, it’s been really nice to be riding this wave.

Your old friend Marc Canter suggested there is some connection between your recent divorce and your ability to reconcile with Axl.

No, it had nothing to do with — neither one had anything to do with the other. At least on my end, y’know.

It was always was a challenge to find someone else you could play with who wasn’t Izzy, so how does it work with Richard Fortus?

Richard has got a great sensibility. He’s very much a rock & roll guitar player, but technically, he’s an amazing guitar player. He’s very rooted in the kind of rock guitar we were all influenced by. So it makes him very, very easy to work with. He’s not going through the motions, he’s not posing, you know, so to speak. So, that’s how that works.

He needs to find stuff to play that complements what you do, right? Isn’t that the hard part?

There’s never been a lot of forethought into that. You just sort do it, and if it works, it works, and if it doesn’t, it doesn’t. That’s a key thing.

What’s it like playing with Frank Ferrer? He doesn’t sound like Steven Adler or Matt Sorum. He has his own thing. What’s the vibe there musically?

Well, no, he doesn’t play like either of those guys, but he’s been doing it for longer than I was ever in the band [laughs]. So he’s got his thing on lock, yeah.

The tempos of the old songs are up. Was that something you and Duff pushed for?

I think it was just high energy, because now things have started to settle down a little bit more. I felt like there was a lot of energy from those, you know, from Coachella through the first U.S. tour that we did, where everything was very sort of uptempo and just sort of manic. And I think that was just from a collective high energy from where we were at that time. It wasn’t intentional, the speed. Unless it was — I’m trying to think. There might have been a couple songs, you know, because I like to speed everything up anyway, you know.

My sense is that maybe Matt Sorum always knew that he was never going to be involved with this reunion. That it just wasn’t in the cards.

I never really talked to Matt about it. I’ve seen him, but we haven’t talked about it.

What can you say about the Izzy situation on this tour?

Uh, I’m not gonna go anywhere near that. I thought what he had to say about it, from what I saw – I didn’t read the whole thing – but the basic come away, I thought, was well handled.

You’ve tried to get him involved with various things in the past.

I mean, there was a point there, well before Velvet Revolver started where he was interested in doing something with that. But, we were looking to get a front guy, and he didn’t want to deal with the frontman kind of thing. And we were definitely headed into the get-a-front-guy direction. But it wasn’t a big issue, you know. There’s never been any kind of disappointment or anything like that. At least on my end.

Are these the only Guns shows you’ve played sober?

From ’86 to ’94, there was definitely not a day or a show that I was sober. The interesting thing, and I talk to Ax about this too, is there haven’t been any moments onstage that take me back to the past. It’s the same people, for the most part, and a lot of the same songs, and it still seems like a new experience. Which is probably a testament to the frame of mind I was in back then.

Does that mean some of your memories are gone?.

I have clear memories of stuff, and then I have not-so-clear memories of stuff [laughs].

Back then, you could play quite well when you were messed up.

I was a very functional alcoholic. I mean, when I was on tour, it’s always alcohol. I knew better than to try and carry a [heroin] habit on the road, knowing that if things don’t go as planned, and you’re gonna be sick and all that miserable shit. So, it was just alcohol that I was dealing with. Which is its own demon, but I mean, I was good with it [laughs].

Duff was also drinking back then.

Yeah, we just drank 24/7, so we were always on this sort of even [keel], you know? It’s funny looking back on it, some of the stuff. Like I said, I don’t really have any regrets about it, it was what it was. I mean, there was some stuff that might have been handled differently, you know, in crucial moments toward the end there, had there not been such a major dependency going on. But I’m not one to sort of dwell on past stuff.

It was a lot to deal with. On one hand you could say, “why did they break up?” On the other hand, it’s amazing that you got so much done, given everything. I mean, you could look at it both ways.

Yeah, a lot of stressing was going on.

In Duff’s book, he says that he and Axl both rejected the music you wrote that ended up on your first Slash’s Snakepit album, It’s Five O’Clock Somewhere. Do you think, in retrospect, they were right?

Hmm. I mean, I’m not even sure what was going on there. It was just stuff that I was writing. I don’t think it was necessarily, like, I don’t remember ever presenting any of it as new Guns N’ Roses.

In your book, you say you did.

I mean, I know there were a couple riffs, but then, those probably didn’t go anywhere, so then I was just like, “OK, fine, I’m just gonna go do this.” And that’s more or less what happened. No one was particularly excited about doing those songs, so then the rest of the record just was other new stuff that I was writing, and I just sort of went that way.

Eric Dover, the singer for that project, was really talented.

Eric was great, and I love [bassist] Mike Inez, and it was a cool little unit. But then, there was a point when we were on the road, and Eric really wasn’t comfortable. He’s a guitar player, and he can sing; he’s a good singer, but he wasn’t comfortable as a frontman. And there was a point there, during the tour, um, where I became aware that he really was not; he was out of his comfort zone, having to go up and front the band, so that was sort of that.

On the new Appetite for Destruction boxed set, you guys pretty conspicuously left off “One in a Million,” while including every other song on Lies. What can you say about that?

We collectively decided that it just didn’t have any place in that box set. It didn’t take long. There wasn’t a big roundtable thing over it.

Your mom was African-American and your dad is English. You joked that “it’s weird to be a rock musician who’s black and British, because a lot of British rockers want to be black.” But what does your background mean to you?

It’s never been part of my makeup, to be able to differentiate myself from anybody else because of color. I went through a lot of that as a kid — in school you’re pigeonholed into being more aware of your background. When I started doing my own thing, especially playing guitar, it wasn’t so much of a thing.I never really cared to have to identify one way or another.

So you don’t think of yourself as black?

Yeah, that’s what I’m saying. It was always confusing on school questionnaires. [Laughs] You know, “other.”

Do you have any thoughts on, say, Black Lives Matter?

I think racial injustice, across the board, is just ugly and sad. I can totally relate to the black side of it, because I do remember a lot of that from when I was a little kid. And also how I was raised, there was a certain fear of racial prejudice in my family. When I watch what other people are still going through, it’s sad that we’re still fucking dealing with this thing. Especially right now, this is an ugly little period. Hopefully it’s gonna end soon.

How do you feel about guitar becoming less important in music? There hasn’t been a new guitar hero for a while.

Yeah, for the most part, guitar is not considered as important an instrument to a lot of this music as it might’ve been before. And that’s happened before. I think even when the sort of New Wave thing started happening in ’78-’79, there was, like, a getting-rid-of-the-guitar, “fuck Led Zeppelin” attitude. My mom had a boyfriend when I was a kid who was all about Elvis Costello and Devo and anybody that wasn’t Led Zeppelin. Punk rock was all guitar with nary a guitar solo. But with New Wave in the Eighties and MTV, it became less and less important.

At this point, you’ve got somebody like Jack White who definitely has kept guitar at the forefront and kept it relevant – because he’s got some great ideas and his songs are good and his whole direction is something that people fucking dig. Then the guitar all of a sudden works great. So it really depends where the guitar sits with the artist that’s performing. Like, if the songs are really good and the band dynamic or whatever makes it sound special and the guitar is a part of that, people relate to it. But I don’t think anybody’s really into guitar for the sake of guitar.

But you are.

I mean, I dig guitar. It’s the thing that excites me. It’s what I do. And I’ve been doing it for a long time, and I’ve never lost interest in it. I’m not really part of sort of the contemporary mainstream anyway. I’m still sort of just doing my thing in my own little corner, the way that I am right now. But I think that there’s a definite appetite for rock & roll. It just needs to be done by people that are delivering it in a genuine, sincere way with the spirit of rock & roll. And I know that sounds cliché, but there is an attitude. It doesn’t even have to be Marshall [amps] and fucking all that for the attitude to come across. It’s that sort of “fuck you” attitude, which, in this day of Instagram and all this other kind of shit and everybody’s looking for attention. . . . It’s a very strange time.

No up-and-coming musician could live the way that Guns were living before the band was signed, because it would all end up being narced on via social media.

Oh yeah, yeah. I mean, it would seem like you were doing it intentionally, or whatever.

The Greta Van Fleet phenomenon is interesting — they’re opening for you guys.

It makes me really happy to see it. I wish they didn’t sound so much like Led Zeppelin, but still, the idea of fuckin’ four kids getting onstage and just playing their fuckin’ asses off with just a couple amps and a drum kit, and just playing their instruments, as opposed to having all this other fuckin’ shit going on, you know, that’s really healthy, and I think that’s inspiring. It definitely makes a lot of kids who are doing the same thing, that no one’s ever heard of . . . it gives them hope to be able to get somewhere.

You seem to really enjoy working with Myles Kennedy. What is it about him?

I did a solo record [in 2010] where I had all these different singers. And one of the guys that I had sing on that record was Myles Kennedy. And I’d never met him. I’d just been hearing a lot about him. At that time, I think Zeppelin had flown him to see if he wanted to do something with them, or whatever. So, I thought, “this guy’s gotta be pretty good.” But I wasn’t really familiar with him. Turned out that when I was in Velvet Revolver, Matt Sorum had suggested him at one point to audition, before we started working with Scott. But Myles never showed up. He got cold feet or something at the last minute and nothing ever came out of that.

Anyway, so I called Myles, and I’d done pretty much the whole record, but I had two songs where I hadn’t figured out the right voice. And I thought, “Well, I’ll give this guy Myles a call.” So I called him up and told him I’m doing this record, and would he be interested in hearing a piece of music? Maybe he might wanna sing on it. And so he said sure, and I sent it to him. And a few days later, a week later, “Starlight” came back, and I put it on and I go, “This is fucking really good.” I went to Eric Valentine, who was producing, and said, “Is it just me, or is this really fucking good?” And he goes, “No, this is great.” Myles has this sort of easygoing, kind of laid-back kind of demeanor. And creatively, we just sort of synced up really quick.

Your mom dated David Bowie, and you guys developed an adult relationship. Did you get to say goodbye?

No, not at all. A year or so before [his death], I was trying to get him into a horror movie I was working on [laughs]. And that was the last time I spoke to him. He was a very cool fuckin’ character. He’s somebody that you really could look up to. He was an icon that really deserved that moniker.

You had a hard time with him, but how did you react to Scott Weiland’s death?

As crazed as that whole period was, I was still shocked to hear about Scott. But yeah, Velvet Revolver was no fun. I have nothing positive to say about that experience except that we did write some cool stuff.

In Duff’s book, he writes about trying to reconcile how young he was when he got up to all these wild adventures with his experiences raising kids. How’s that been for you?

Yeah. What a strange trip that is. The first thing that comes to mind is . . . I’m not a dad by design. I’m a dad by default. Which means I haven’t really had any real parental aspirations or fatherly aspirations until the time came, and bam, there it was. And it’s great and everything, but I hadn’t immensely prepared in advance for any of it. And so when the kids were really young, I put my book out, and one of the things when I started promoting the book, was, “So what are you gonna do when your kids read it?” Because, apparently people thought it was a little edgy.

And I was like, “Oh, they’re never gonna read it.” Because I was thinking how I remember kids to be, and they don’t give a shit what their parents did. Well my oldest is now a drummer. So at some point recently he read the whole thing. So, he can’t help it but be like, “Well you said. . . .” And I’m like, don’t do as I do, do as I say! But I’m not that guy, I’m not that dad. That would be the wisdom that they would impart to their kids. But for me, it’s sort of like, “Well, yeah, but you know, you don’t necessarily wanna do that. I mean some of that stuff was really stupid, and I’d like to be able to tell you the difference between fun and smart and fun and stupid. Y’know, I feel very hypocritical, saying what you can and can’t do.”

Does it give you different insight into what was going on with you back then?

It’s such a different time. Obviously, I came from the very liberal, very open-minded Sixties. When I moved to L.A., my mom was in fashion and my dad was in art and music and stuff. So, there was a very bohemian, very loose existence. My dad, who’s very well read, was reading all these child psychology books on how to raise kids; it was Dr. Spock at the time. And so there was this whole thing of treating kids as adults and letting them do their thing. And so I was raised in that, I was out running around. And my parents totally cared about me, but they just trusted me to make my own decisions at a very young age. And I was just out there. And then, by the time I started doing any really bad stuff, at that point I was like 13, 14 years old. And my parents had split up at that point and I was just out on my own. They never knew what I was up to. Ever. There were a couple times I got busted for this and that they knew. But, other than that, they didn’t know what I was up to. Nowadays, you don’t let your kid fucking three feet away from you without knowing what they’re up to. So it’s a whole different kind of existence.

Your parents’ divorce was such a major thing for you — did that put any weight on your own recent divorce?

I was younger than they were. How old was I? I think I was like eight. And I just remember it being traumatic, and there was no support system, really. My mom was working, my dad was off doing his thing. And so I stayed with my grandma. So I definitely tried to be way more in contact with them, way more hands-on when my ex and I split up. You just kind of try to be there for your kids.

Do you still have a defibrillator in your chest?

It’s still in there, I’ve never taken it out. The battery ran out a long time ago, but my heart came back to normal. They could take it out, but they would have to detach the leads to it, which are attached to my heart which is more of a risk than just leaving it in there.

You’re obviously lucky to be alive and in decent health, given what you put your body through.

The motivation to play is what saved me, because when I first got really sick I was on the road opening for AC/DC, and I had to cancel. It was the first time I had to cancel anything, and I was so fucking frustrated. So when the doctors go, “Well you have, like, maybe six weeks [to live],” and they put me in physical therapy, they put me on some drugs. And the doctor who put the defibrillator in me, was like, “OK, just try to stay on the straight and narrow for a little while.” And I was so motivated to make up those dates that that’s really what saved me, and I got my shit back together. In 2005 to 2006 I went to my deepest, lowest point, and I was just, like, this sucks. There’s no recapturing the glory, it’s just not gonna happen.

In other words, it was fun once, but it was never going to be fun again.

And that’s the thing. When it was all happening for me, it wasn’t about trying to escape some damaged past memories, or anything like that. It wasn’t like I had anything to hide from or any of that kind of shit. It was just for the pure fun of it, and it just turned into a thing that, it was like someone told me about the hair of the dog — like, “Oh, if you drink from the time you get up to the time you go to sleep, you’ll be fine every day; you’ll never have a hangover.” And then when you get turned on to other stuff, it becomes something that you physically and mentally depend on, that you’re not really looking out for in the beginning, and all of a sudden, you’re there. But it wasn’t because I was miserable, it wasn’t because I had all kinds of of skeletons in my closet that I was hiding from.

Why have you been able to stay alive and sober when so many people just disappear into the abyss?

I think about it sometimes. I was on a crazed suicide mission for the longest time. I just did not give a shit. So, everything had to be testing the fuckin’ boundaries all the time and pushing the limit all the time, and I didn’t think twice about it. I had enough incidents that should have scared me out of that, you know, but I just didn’t care. So then there was a point there where I realized I’m just not going anywhere. You get to a point where your addictions become such a massive burden, and you’re so fuckin’ miserable, that if you’re fortunate enough to come to terms with it, it really aids you in quitting. [Laughs] Because there’s really nothing to gain out of any of it. And if you’re not gonna fuckin’ quietly pass away from an overdose or something and you keep having these times, you end up in the hospital, and you keep coming back. Then you sort of come to grips with, like, “If I’m not going anywhere, I might as well make the best of being here.”

miguelcordoba escribió:Joder estoy viendo otra vez el puto Chaskatoon y es una pasada, Axl en modo Dios total,set list de puta madre,sonando de lujo.....y en la época decian que estos conciertos eran poco menos que una mierda y que estaban acabados JAJAJAJA  me rio y me meo en su puta cara de toda esa gente echamierdas.  Que se jodan y que sigan chupandole la polla al
pelirojo a dia de hoy.

Por cierto,a ver si quien sacó este caramelito del baúl sigue destapando más cositas coñooo!!!

TheRover escribió:

miguelcordoba escribió:Joder estoy viendo otra vez el puto Chaskatoon y es una pasada, Axl en modo Dios total,set list de puta madre,sonando de lujo.....y en la época decian que estos conciertos eran poco menos que una mierda y que estaban acabados JAJAJAJA  me rio y me meo en su puta cara de toda esa gente echamierdas.  Que se jodan y que sigan chupandole la polla al
pelirojo a dia de hoy.

Por cierto,a ver si quien sacó este caramelito del baúl sigue destapando más cositas coñooo!!!

A qué concierto te refieres?

Axlferrari escribió:

TheRover escribió:

miguelcordoba escribió:Joder estoy viendo otra vez el puto Chaskatoon y es una pasada, Axl en modo Dios total,set list de puta madre,sonando de lujo.....y en la época decian que estos conciertos eran poco menos que una mierda y que estaban acabados JAJAJAJA  me rio y me meo en su puta cara de toda esa gente echamierdas.  Que se jodan y que sigan chupandole la polla al
pelirojo a dia de hoy.

Por cierto,a ver si quien sacó este caramelito del baúl sigue destapando más cositas coñooo!!!

A qué concierto te refieres?

Supongo que miguelcordoba se refiere a las imágenes proshot que salieron hace un par de meses del concierto del 26 de marzo de 1993 en Saskatoon.

He's indistinguishable from any other nuGnR employee

Axlferrari escribió:Acusan Slash de ser un mierda : https://www.gunsnfnroses.com/topic/27333-slash-speaks/

He's indistinguishable from any other nuGnR employee

odklas escribió:

Axlferrari escribió:Acusan Slash de ser un mierda : https://www.gunsnfnroses.com/topic/27333-slash-speaks/

He's indistinguishable from any other nuGnR employee

está claro que en la entrevista está midiendo sus palabras al milímetro. pero creo que es más por su tensa relación con la prensa desde siempre que por miedo a axl o porque asuma su funcionarado. se le ve feliz y comprometido con la banda.

Axlferrari escribió:

odklas escribió:

Axlferrari escribió:Acusan Slash de ser un mierda : https://www.gunsnfnroses.com/topic/27333-slash-speaks/

He's indistinguishable from any other nuGnR employee

está claro que en la entrevista está midiendo sus palabras al milímetro. pero creo que es más por su tensa relación con la prensa desde siempre que por miedo a axl o porque asuma su funcionarado. se le ve feliz y comprometido con la banda.

Sí, hay asuntos que no quiere tocar por temor a que se tergiversen sus palabras, y hace bien... Pero me ha entrado la risa leyendo esos comentarios pasados de rosca.

TheRover escribió:

Axlferrari escribió:

TheRover escribió:

miguelcordoba escribió:Joder estoy viendo otra vez el puto Chaskatoon y es una pasada, Axl en modo Dios total,set list de puta madre,sonando de lujo.....y en la época decian que estos conciertos eran poco menos que una mierda y que estaban acabados JAJAJAJA  me rio y me meo en su puta cara de toda esa gente echamierdas.  Que se jodan y que sigan chupandole la polla al
pelirojo a dia de hoy.

Por cierto,a ver si quien sacó este caramelito del baúl sigue destapando más cositas coñooo!!!

A qué concierto te refieres?

Supongo que miguelcordoba se refiere a las imágenes proshot que salieron hace un par de meses del concierto del 26 de marzo de 1993 en Saskatoon.

gracias!

Axlferrari escribió:

odklas escribió:

Axlferrari escribió:Acusan Slash de ser un mierda : https://www.gunsnfnroses.com/topic/27333-slash-speaks/

He's indistinguishable from any other nuGnR employee

está claro que en la entrevista está midiendo sus palabras al milímetro. pero creo que es más por su tensa relación con la prensa desde siempre que por miedo a axl o porque asuma su funcionarado. se le ve feliz y comprometido con la banda.

Sí, hay asuntos que no quiere tocar por temor a que se tergiversen sus palabras, y hace bien... Pero me ha entrado la risa leyendo esos comentarios pasados de rosca.

eskoriez escribió:

TheRover escribió:

Axlferrari escribió:

TheRover escribió:

miguelcordoba escribió:Joder estoy viendo otra vez el puto Chaskatoon y es una pasada, Axl en modo Dios total,set list de puta madre,sonando de lujo.....y en la época decian que estos conciertos eran poco menos que una mierda y que estaban acabados JAJAJAJA  me rio y me meo en su puta cara de toda esa gente echamierdas.  Que se jodan y que sigan chupandole la polla al
pelirojo a dia de hoy.

Por cierto,a ver si quien sacó este caramelito del baúl sigue destapando más cositas coñooo!!!

A qué concierto te refieres?

Supongo que miguelcordoba se refiere a las imágenes proshot que salieron hace un par de meses del concierto del 26 de marzo de 1993 en Saskatoon.

gracias!

joder que miedo

Un tipo en Mygnr escribió:In the latest Sweden rock Magazine there is a interview with Slash. It focuses on the Conspirators and the interviewer is strictly told not to ask about Guns n Roses, but late in the interview Slash himself talks about how he stores his ideas on his cell phone. He has over 80 ideas, riffs etc wich is not used and is sorted in Conspirators and one for new Guns n Roses music. The interviewer then asks when/if we can excpect a new GNR album and Slash just smiles and says he cant talk about that

Axlferrari escribió:Slash : “I mean, Axl’s got a ton of shit that he recorded already, so we’re going to get in there and just start getting into that thing, and then if we do a record and then do a tour, I could see that cycle going on endlessly.”

https://www.nme.com/news/music/axl-rose-is-working-on-a-ton-of-new-guns-n-roses-tracks-2369703#ylWs16GTuFWxVqej.99

candymanray escribió:

odklas escribió:

candymanray escribió:espero que las musicas novas lleven grabadas ya desde 1996 en maquetas de VR, Guns N Cubos o lo que sea...porque como tengan que ponerse ahora... ufff

fijo. entre los tres mosqueteros seguro que tienen un baúl enorme repleto de ideas por desarrollar (sobre todo axl que es el que menos ha editado), solo tienen que ponerse de acuerdo (...) y darles forma.

solo


discazo de uno aqui, por cierto

vernset escribió:confirmo, un disco cojonudo.

Now holidays come and then they go, It's nothin' new today:

www.rafabasa.com escribió:Steven Tyler de AEROSMITH: Solía ​​obtener supuestamente la heroína de Izzy Stradlin de GN’R,. Eso se deduce, una vez que Steven Tyler y Joe Perry de AEROSMITH, hablaron sobre la gira de la banda en 1988 con GUNS N ‘ROSES, y cómo su lucha contra el abuso de sustancias afectó al tour. La conversación fue con la revista Classic Rock.

¿Fue difícil hacer una gira con GUNS N ‘ROSES en 1988 cuando os acababais de “limpiar”?

Tyler: "No, fueron geniales. Esa fue una de las giras más divertidas que tuvimos. Reunimos a mucha gente".

Perry: "Estuvo bien. Fue grandioso verlos despegar porque ese es el punto más emocionante de la carrera de una banda. Intentas lograrlo, estás tratando de abrirte paso aquí, irrumpir allí y de repente algo sucede”.

“Más tarde  pasaron de ser un grupo de apertura a ser un headliner ".

¿Convivisteis mucho con ellos?

Tyler: "Todo eso de que les dijimos que no podían beber en el backstage, no es cierto. Lo que pasó fue que la primera noche los metí en mi camerino y estábamos revisando algo. Había un chico en la banda que solía ​​llevarme heroína… "

Perry: "Izzy".

Tyler: "Izzy Stradlin. Habíamos dejado de beber, así que simplemente les dije a esos tipos, ‘Este es mi camerino’. Ellos dijeron ‘Sí, no, mierda’. Y les  dije: "Bueno, si sacas un manojo de coca, voy a tener que salir de mi propio camerino. Por favor, no hagas ese tipo de cosas a mi alrededor". Eso fue todo. Luego se dijo que les prohibimos beber. Y eso no pasó".

¿Pero les comprasteis toda la “mercancía”?

Perry: "Lo hicimos. Al final de la gira, generalmente tenemos un detalle con los teloneros”

Tyler: "Eso fue para que pudieran cerrar la boca y nadie más pudiera entrar. Les enseñamos todos los buenos trucos".
AEROSMITH

Joe, ¿cómo te sentiste cuando recibiste una factura de servicio de habitaciones de los hoteles de la gira por  80,000 dólares en 1979?

Perry: "Me sentí bastante descontento. No estaba discutiendo sobre el hecho de habérmelo gastado yo, lo que me molestó es que la administración de AEROSMITH en ese momento dijeron que yo no tenía dinero para pagarlo. ".

¿Durante cuánto tiempo se acumuló esa factura?

Perry: "Durante un año. Es fácil gastar tanto en el servicio de habitaciones,  ¿sabes a qué me refiero? Siempre tuvimos fiestas y no comprábamos alcohol por la botella, lo comprábamos por cómo era el estuche".

lacan escribió:me da que Slash puede haber metido la pata con sus últimas declaraciones

Koyote escribió:

Joder, lo del minuto 6:35 es de traca... Me he quedado flipando.

Moltisanti escribió:

lacan escribió:me da que Slash puede haber metido la pata con sus últimas declaraciones

¿Por?

Está de promo. Siempre se dicen cosas estando de promo.

lacan escribió:

Moltisanti escribió:

lacan escribió:me da que Slash puede haber metido la pata con sus últimas declaraciones

¿Por?

Está de promo. Siempre se dicen cosas estando de promo.

Hace un par de días leí una entrevista a Slash donde cada vez que le preguntaban por Guns iba con pies de plomo y ahora suelta lo de un ciclo interminable de disco/gira   . A ver como le sienta al jefe que un empleado adelante acontecimientos.

No sé, lo normal es que no pase nada, lo normal seria que a Axl se le pudiera entrevistar y dijera las cosas claras, pero como Axl no es normal tal vez este tipo de declaraciones generen una presión mediática que le pueda molestar.

Moltisanti escribió:

candymanray escribió:

odklas escribió:

candymanray escribió:espero que las musicas novas lleven grabadas ya desde 1996 en maquetas de VR, Guns N Cubos o lo que sea...porque como tengan que ponerse ahora... ufff

fijo. entre los tres mosqueteros seguro que tienen un baúl enorme repleto de ideas por desarrollar (sobre todo axl que es el que menos ha editado), solo tienen que ponerse de acuerdo (...) y darles forma.

solo


discazo de uno aqui, por cierto

Cagondios, te amo.

Adso escribió:

Moltisanti escribió:

candymanray escribió:

odklas escribió:

candymanray escribió:espero que las musicas novas lleven grabadas ya desde 1996 en maquetas de VR, Guns N Cubos o lo que sea...porque como tengan que ponerse ahora... ufff

fijo. entre los tres mosqueteros seguro que tienen un baúl enorme repleto de ideas por desarrollar (sobre todo axl que es el que menos ha editado), solo tienen que ponerse de acuerdo (...) y darles forma.

solo


discazo de uno aqui, por cierto

Cagondios, te amo.

Pues Moltisanti tiene nueva serie.

Koyote escribió:

Joder, lo del minuto 6:35 es de traca... Me he quedado flipando.

lacan escribió:

Moltisanti escribió:

lacan escribió:me da que Slash puede haber metido la pata con sus últimas declaraciones

¿Por?

Está de promo. Siempre se dicen cosas estando de promo.

Hace un par de días leí una entrevista a Slash donde cada vez que le preguntaban por Guns iba con pies de plomo y ahora suelta lo de un ciclo interminable de disco/gira   . A ver como le sienta al jefe que un empleado adelante acontecimientos.

No sé, lo normal es que no pase nada, lo normal seria que a Axl se le pudiera entrevistar y dijera las cosas claras, pero como Axl no es normal tal vez este tipo de declaraciones generen una presión mediática que le pueda molestar.

rockero deprimido escribió:Logico que la cosa no acabe.Ha sido la gira de retorno mas importante de la historia junto al Steel wheels de los Stones.
Me alegra oir que habrá nuevo disco.
Por otro lado, esta claro que han aprendido de los errores del pasado, se nota en todo.
Slash con pies de plomo, nasa de intermediarios.
Y una declaración en ptro medio que intuia y me esperaba.
"He disfrutado mas de esta gira, que hace 30 años"

Axlferrari escribió:

lacan escribió:

Moltisanti escribió:

lacan escribió:me da que Slash puede haber metido la pata con sus últimas declaraciones

¿Por?

Está de promo. Siempre se dicen cosas estando de promo.

Hace un par de días leí una entrevista a Slash donde cada vez que le preguntaban por Guns iba con pies de plomo y ahora suelta lo de un ciclo interminable de disco/gira   . A ver como le sienta al jefe que un empleado adelante acontecimientos.

No sé, lo normal es que no pase nada, lo normal seria que a Axl se le pudiera entrevistar y dijera las cosas claras, pero como Axl no es normal tal vez este tipo de declaraciones generen una presión mediática que le pueda molestar.

Un empleado no suele llevarse la tercera parte de los beneficios de una empresa :

https://www.ultimate-guitar.com/news/general_music_news/money_talks_this_is_how_much_money_axl_slash__duff_are_getting_for_gnr_reunion.html