Sunday, January 31, 2010

Slash to Perform at Grammy Awards Tonight


Idolator
The 52nd Annual Grammy Awards airs on this Sunday at 8 p.m. ET/PT on CBS, and we’ll be liveblogging the whole bash. Fill up your cup—drank!—and join us for the festivities. Just so you’re not tuning into the Grammys unprepared, we pulled together this handy guide to Sunday’s awards fest, based on everything we know (and think we know) about the performers and presentations. Take the jump and be prepared for music’s biggest night:

Lady Gaga will open the show, possibly with Elton John, which will undoubtedly result in the fiercest fashion show-off in Grammy history.

Carrie Underwood, Jennifer Hudson, Smokey Robinson, Celine Dion and Usher will sing a tribute to Michael Jackson, and This Is It’s “Earth Song” short film will be screened in its entirety in 3D. With any luck, it will also star a CGI’d Michael as a Na’vi straight out of Avatar.

Green Day will perform “21 Guns” with the Broadway-bound cast of American Idiot. The cast of Cats will then storm the stage and say “Sorry, Green day, Imma let you finish, but ABBA had one of the best jukebox musicals of all time.” (No, that joke will never die until it is used in every hypothetical scenario.)

Drake, Eminem, Lil Wayne and Travis Barker will perform together, most likely the remix of “Forever.” Unfortunately, none of these male artists are nine months pregnant, so last year’s all-star “Swagga Like Us” (with a M.I.A. performing on her due date) cannot be topped.

Bon Jovi will perform one of three hits, depending on which song fans vote for. Whatever they choose to play, we’ll be humming “You Give Love a Bad Name” to ourselves.

Probably no Kanye West. But we’re expecting—nay, counting on him—to BLOG.

Somebody awkwardly asking Rihanna “So, why weren’t you here last year? Car trouble?” before immediately feeling like an ass.

Mary J. Blige and Andrea Bocelli will perform “Bridge Over Troubled Water” to support the victims of the Haiti earthquake. Because somebody already came up with the genius idea to sell leggings.

A tribute to guitar legend Les Paul with Jeff Beck and Imelda May. Maybe it will inspire kids watching at home to stop playing Guitar Hero and actually pick up a damn instrument.

Jamie Foxx will perform with T-Pain, Slash and Doug E. Fresh. And they will all be upstaged by a giant 12-foot vocoder taking over lead vocals.

Additional performances by Beyoncé, Pink, Taylor Swift, The Black Eyed Peas, Dave Matthews Band, and Roberta Flack. But with “Pants on the Ground” supposedly kicking off the show from the red carpet, there’s nowhere to go but down.

Friday, January 29, 2010

RIP Ron Schneider



via Marc Canter:
"Very sad news, Ron Schneider passed away today 1/29/10.

He was the bass player in Tidus Sloan and Roadcrew with Slash and was a GN'R roadie from 1986 to 1988.

He was one of my best friends and was very close to the band. He was loved by everyone that knew him. He will always hold a special place in our hearts. He will be missed."

http://www.recklessroad.com/

Condolences thread on MYGNR

Thursday, January 28, 2010

January 28 - Toronto


Photo: "11 PM and Still no Sign of Axl Rose" by World_Tour

January 28 - Toronto

Start time: 11:27 PM (Axl arrives on stage in wheelchair)

Chinese Democracy
Welcome to the Jungle


"Sorry about the time delay, got a little carried away jumping off stuff last night. Getting ready for this show was like 'what the fuck?' Anyway, I'm here now."


It's So Easy
Mr. Brownstone
Sorry

"A DJ on the radio said that we were expected to be on stage at 2 AM - so I'm early"

Better
Richard Fortus guitar solo
Live and Let Die
If the World
Jam
Dizzy Reed piano solo
Street of Dreams
Rocket Queen
Catcher in the Rye (for JD Salinger)
DJ Ashba solo
Sweet Child O' Mine
Jam
Axl Rose piano solo (Someone Saved My Life Tonight)
November Rain
Ron Thal solo (Pink Panther theme)
You Could Be Mine


Axl says he remembers the show last night but not the time after. Richard says he saw Axl at the bar.

Knockin' on Heaven's Door


Axl talks about how much problems they had planning the tour and going to Asia without management. He says the band really wanted to play here, since 06.

Nightrain

ENCORE

Shackler's Revenge
Madagascar
This I Love
Paradise City


First "Sold Out" show of the tour! Gonna be a good one!

Click here for local time in Toronto, Ontario.

By the way, I'll be getting my updates tonight from Here Today ... Gone to Hell!

Wednesday, January 27, 2010

Big Show Tonight in Montreal (Updated)


Photo: Jeff Lizotte
Montreal - January 27, 2010

Soundcheck: You Could Be Mine

Chinese Democracy
Welcome to the Jungle
It's So Easy
Mr. Brownstone
Sorry
Richard Fortus guitar solo
Live and Let Die
If the World
Better
Band introductions
Jam
Dizzy Reed piano solo
Street of Dreams
Jam
You Could Be Mine
DJ Ashba guitar solo
Sweet Child O' Mine
I.R.S.
Jam (Immigrant Song)
Axl Rose piano solo (Someone Saved My Life Tonight)
Ron Thal guitar solo
Knockin' on Heaven's Door
Out Ta Get Me
Jam
Patience
Shackler's Revenge
Nightrain

ENCORE:

Madagascar
Scraped
This I Love
Paradise City

Local time in Montreal

Follow Randy Spriggs on twitter for updates.

News Stories:
The jungle book; The storied return of Guns N' Roses to Montreal


Tuesday, January 26, 2010

Guns N' Roses Blaze Long into the JLC Night


Photo: Snascarella
Text: London Free Press
Every seven years or so, the frontman for Guns N’ Roses takes his sweet time about getting to the stage at the John Labatt Centre.

When he finally gets there, he works his Axl off.

At 2010’s first big rock concert at the downtown London arena, Axl Rose and his Guns N’ Roses bandmates started with about an hour of Monday left and kept rocking for 80 minutes into Tuesday.

Recalling the band’s epic show in the arena’s early days, late in 2002, the U.S. rockers played a long show including their big hits Welcome to the Jungle, Paradise City and Sweet Child O’Mine.

This time, they also found space for many songs from Chinese Democracy, the long-delayed album that finally emerged in 2008.

In terms of a review, a kaleidoscopic approach probably works best for a show like this one.

Sure, Guns N’ Roses were late to the stage and sure there was some filler as Monday blended into early Tuesday.

But any Rose that can keep running and shouting for that long and still remembers he’s in London, Ontario when it’s time to say good night is always welcome back for more.

Who knows? Maybe there will be democracy in China by the next time Guns N’ Roses plays here.

One-two punch: Chinese Democracy to open and then Welcome to the Jungle over a squeal from Axl Rose: “You know where you are? You in the jungle, baby.” A political rocker and a menacing rocker. The new. The old. Back-to-back and the band — three guitarists, two keyboards, bass and drums — is on fire. Yeah, there is a lot of pyro to punctuate the riffs early on. But this band is hot.

Paradise City: This had to be the finale destination and about 1:20 Tuesday morning, it was. Axl was running so fast, his little fedora flew off. He still had some scream in the tank to finish. The three guitarists found different monitors or other elevations at the front of the stage. The confetti flew. The mic flew, in a safe, friendly, arc from Axl Rose’s hand to lucky fans at the far reach of the standing room main floor. Big voice, big arm. The huge light system descended like an enormous spaceship. A great song. A signature song. The song to end on.

Actually, here is how it ended: The band returned casually to the stage, joined by women in skimpy cocktail dresses with trays of drinks. Axl Rose took some drinks out to fans, said get out of here safely and thanked everybody nicely. Bumblefoot, one of the guitarists, made a joke we can’t tell you here. Then, the lights went on and Frank Sinatra’s My Way serenaded the 6,000 fans as they exited. That’s a message song to end any evening.

Knockin’ on Heaven’s Door and Live and Let Die: Such covers in the Guns N’ Roses songbook. The Bob Dylan song is the night’s biggest singalong with a reggae feel. It arrives late in the main set. The McCartney-Bond item is a cool bruiser, but there’s a weird moment when the vocalist and the mic go their separate ways and the vocal doesn’t fade a bit.

This time vs. last time (Nov. 30, 2002): Band hit the stage at 11 p.m. then and opened with Welcome to the Jungle. This time, it was 10:50 p.m. and Chinese Democracy was the opener. Axl Rose looked sleeker than in 2002 and has lost the ridiculous hair style. He moved around a lot then and doesn’t seem to have lost a step when it comes to the spin moves, runs to the back of the stage, etc. His voice doesn’t seem as bone-crunchingly dominant in 2010 as it did in 2002 . . . but he has come up with powerful whine that carries a lot of freight over a long night. Last time, he was in hockey jerseys including Team Canada and London Knights looks. This time, there were enough changes in coats, jackets, shirts and bandannas to compete with Cher in the most outfits during one concert category. Both times, he played too much piano.

Three guitarists, three spotlights: Richard Fortus put some metal to James Bond-styled themes and gets extra points for windmilling a la Pete Townshend and punching away at the chords all night. Ron “Bumblefoot” Thai played The Pink Panther Theme in his spot, cute but only that. He had some of the sweetest unplugged sounds and Bumblefoot also amazed on a fretless guitar. The weak link was the newbie, DJ Ashba. His instrumental spot was just ho-hum and he applause begged no end. Good tattoos, though.

The stage: Spectacular. Multi-runways. Many screens for showing imagery and the on-stage action. Huge, illuminated stair cases. Countless lights. A big deal and there is mucho pyro, fireworks and other dazzling effects.

Who is Chris Pitman? Keyboard player Dizzy Reed gets a solo piano feature — clunky sounding Keith Jarrett or New Age ivories in a hockey rink — and joins the main stage action a lot. Muscular drummer Frank Ferrer gets plenty of face time on the big screens with his T-shirt saying GREED. Bass player Tommy Stinson gets a mention from Axl Rose for saying he’s getting “a contact high” up on stage. The three guitarists all have spots. So why does the keyboard player apparently called Chris Pitman receive none of the above . . . it’s a mystery all night.

Axlisms: Axl Rose’s pronouncements can be puzzling. In 2002, it was impossible to figure out what he was saying about Chinese Democracy, the album which was still six years from being released, or China’s political system. This time, he talked here and there, sounding friendly or edgy as the occasion inspired him. Here is a little of what he said: “That’s a question that can’t be answered” . . . “Are you having a pleasant evening . . . I’m glad we could help . . . the door only swings one way — give, give, give” . . . “You know, it’s all about responsibility. You can mix your drinks, if you choose to deal with the consequences . . . (then talks about “manageable” hangovers and various drinks) . . . I’m managing.”

Roses interruptus: There is a lot of noodling between songs in a show this long and complicated. At least twice, Axl Rose shut down his bandmates, once when they’d been fooling around with a Van Halen song and another time when they were thumping away at a riff suggesting “Guns N’ Roses, Guns N’ Roses.”

The last word: "Did I say thank you?" Axl Rose asks as he leaves for the last time. Yes, you did — and it was sweet.

Review
Setlist

Ticketmaster / Livenation Merger


LA Times
Giving its blessing to a deal that could transform the music industry, the Justice Department on Monday approved the controversial merger of the nation's dominant ticket seller and the world's largest concert promoter -- but only after extracting major concessions to address concerns that Ticketmaster and Live Nation would have a stranglehold on ticket sales.

The merger, which was the first major review for Obama administration antitrust regulators, will create a goliath with hands in every pocket of the music business. The newly formed Live Nation Entertainment would have the ability to book concerts, sell tickets and merchandise, and manage artists all under one roof.

But for the $889-million deal to proceed, the two companies agreed to the unusual step of creating a pair of rivals to ensure a competitive market for ticket sales, which has been one of the few bright spots for the ailing music industry.

"This goes beyond what is normally provided for in a settlement by creating two additional competitors who can go up against the behemoth," said Matt Cantor, a law partner at Constantine Cannon who specializes in antitrust issues.

A proposed settlement filed by the Justice Department, along with 17 state attorneys general, spells out measures to resolve concerns about competition.

Under the agreement, Ticketmaster will give Anschutz Entertainment Group access to its technology so that AEG -- which owns and manages nearly 100 venues including Staples Center -- can create its own ticketing service.

"AEG is committed to competing in the ticketing business," Chief Executive Timothy J. Leiweke said.

Ticketmaster would also be required to divest a subsidiary that provides software for venue operators to sell their own tickets. Comcast Corp.'s sporting events division, Comcast Spectacor, has signed a letter of intent to acquire the Irvine-based subsidiary, Paciolan.

Live Nation Entertainment also is prohibited from retaliating against venue owners that defect to competitors.

When it was announced last February, the proposed merger of two concert-industry juggernauts brought immediate protests from consumer groups, smaller competitors and artists including Bruce Springsteen, all of whom worried about Ticketmaster's growing power and its potential to ratchet up prices.

On Monday, some groups representing consumers and smaller competitors reacted guardedly to the Justice Department's recommendation.

"While we appreciate the efforts of the DOJ to extract meaningful concessions from the parties, we remain concerned that these two companies, with a history of anti-consumer behavior, will abide only by the letter and not the spirit of the settlement agreement," said Sally Greenberg, executive director of the National Consumers League.

Proponents of the merger, including its chief architect, Ticketmaster Chief Executive Irving Azoff, say the deal will help revive the music industry by creating a more efficient process to deliver music to fans. Opponents contend that it grants too much control to a single entity and will result in higher ticket prices.

The combination is the first major merger reviewed from start to finish by the Obama administration and was considered a test of how it would respond to a major industry consolidation.

The Justice Department said in legal filings that the merger, as initially proposed, would eliminate competition in the market for ticket sales, creating less pressure on the fees charged and potentially less innovation. No existing player, they said, would have the resources to compete.

"After a rigorous investigation, we concluded that the transaction, as originally proposed, was anti-competitive," Christine Varney, assistant attorney general in charge of the Justice Department's antitrust division, said at a news briefing Monday. "We were prepared to litigate this case, and I told the parties that."

The two companies have spent the last year trying to demonstrate that they're not the Darth Vader of the concert industry.

Last year, for instance, Live Nation and Ticketmaster instituted "no-service-fee Wednesdays" and reduced prices on lawn seats at Live Nation's network of amphitheaters around the country to draw more fans.

Jim Guerinot, the manager of No Doubt and Nine Inch Nails, said he was initially skeptical that the merger would win the Justice Department's approval. But over the last year, he said, the two companies have tried hard to work with artists.

"Since these guys have been, if not married, then living together, I've gotten a tremendous amount of cooperation," Guerinot said

Ticketmaster has dominated ticket sales for major concert events for two decades. In 2008, it sold more than 141 million tickets worth more than $8.9 billion and had a market share of more than 83% for major venues, according to concert-industry tracking publication Pollstar. Its next-biggest competitor's share was just under 4%.

As recently as 15 months ago, it appeared that Ticketmaster would face major competition from Live Nation, which in December 2008 began selling tickets for its own venues and for others. It quickly gained traction and grabbed 16.5% market share -- nearly all from Ticketmaster, according to documents filed by the Justice Department.

Just two months after Live Nation's entry into ticket sales, the two companies announced their intention to merge into a new entity with a combined value of about $2.5 billion.

Live events have been the only relatively healthy segment of the ailing music business in recent years. In 2009, North American concert revenue was a record $4.4 billion, according to Pollstar, a 10% increase over the previous year.

Ticketmaster and Live Nation executives have argued that the merger would benefit consumers. "It will give us greater flexibility in how we promote, market and sell tickets to events," Ticketmaster's Azoff said in February at a Senate Judiciary Committee hearing looking into the deal. "It will give us a pathway to alternative pricing and fee structures."

The Justice Department took a differing view and refused to let the deal go through without significant revisions.

"I think the Department of Justice got a good settlement for the consumer and at the same time gave the businesses involved at least a chance at the promised efficiencies," said Jim Rill, a partner at the Howrey law firm, who served as assistant attorney general in charge of antitrust under President George H.W. Bush.

The proposed settlement would have to be approved by a federal judge after a 60-day comment period.

Based on Monday's closing prices, Ticketmaster shareholders would receive nearly $889 million of Live Nation stock, which would give them 50.01% control of the combined entity. Azoff will be its executive chairman. Michael Rapino, chief executive of Live Nation, will retain his title.

Some longtime critics of Ticketmaster and Live Nation welcomed the heightened scrutiny that the proposed 10-year settlement would bring the companies after they merge.

"This puts Live Nation Entertainment under a microscope, a place we wished Ticketmaster and Live Nation were under a long time ago," said Seth Hurwitz, a Washington, D.C., club owner and concert promoter.

LA Times

London - January 25



London, ONT - January 25

Chinese Democracy
Welcome to the Jungle
It's So Easy
Mr. Brownstone

Axl says you can drink vodka, rum, tequila, etc., as long as the headache is manageable....

Sorry
Better
Richard Fortus guitar solo
Live and Let Die
If the World
Dizzy Reed piano solo
Street of Dreams
Jam (a bit on ACDC's TNT)
Scraped
Rocket Queen
DJ Ashba guitar solo
Sweet Child O' Mine

AXL: Are you having a pleasant evening?

Jam/Axl Rose piano solo (Asshole Song/Someone Saved My Life Tonight)
November Rain
Ron Thal guitar solo
You Could Be Mine
Knockin' on Heaven's Door(Dedicated to Mojo, Dougie and Eduardo)

Axl: Come On You Bitches Sing!

Shackler's Revenge
Acoustic jam
Patience
Nightrain

ENCORE

Madagascar
This I Love(Axl's on the piano singing at the end and then jumps off for the final part.)
Paradise City

Monday, January 25, 2010

Hamilton - January 24


Chinese Democracy
Welcome to the Jungle
It's So Easy
Mr. Brownstone
Sorry
Better
Richard Fortus solo
Live and Let Die
If the World
Shackler's Revenge
Dizzy Reed solo
Street of Dreams
Jam
There Was a Time
Rocket Queen
You Could Be Mine
DJ Ashba solo(Ballad Of Death)
Sweet Child O' Mine
Jam (Another Brick in the Wall, Axl singing at piano)
Axl Rose piano solo(Someone Saved My Life Tonight)
November Rain(Gran Torino snippet/Axl plays piano with feet)
Jam
Ron Thal solo(Pink Panther)
Scraped
Knockin' on Heaven's Door
Nightrain

ENCORE

Madagascar
This I Love
Paradise City

Axl Fucking Rose Motherfucker



Thanks to Whattazzakra

Sunday, January 24, 2010

Duff Mckagan joining Jane's Addiction[?]


Janes' Addiction bass player, Eric Avery has quit the band (again), it's looking pretty much confirmed that Duff is going to be their new bass player / writing partner.

I have always loved Jane's Addiction, and I fully support this move (if true).

More details here.

Saturday, January 23, 2010

Appetite for Redemption


Canada.com
Axl Rose of Guns N' Roses plays the MTS Centre in Winnipeg Jan. 13. Axl and the boys come to Montreal's Bell Centre Jan. 27.

MONTREAL – Do you know where you are?!?!

You are in early 2010. Ready for the longest-delayed makeup gig in rock.

Guns N’ Roses have backstory everywhere, but they have a ... special history in Montreal. Plenty of Guns, no Roses. But take the long view: the Big O events of August 1992 were presaged years earlier, and confirmed every step of the way, with every release, every tour, every spittle-flecked pronouncement from singer, leader, Last Man Standing and GNR President for Life W. Axl Rose.

Hey, you knew what he was like when you married him.

Flashback: You are in the Verdun Auditorium in 1987, where headliners the Cult relax backstage while shirtless, sweat-gleaming hellions race from end to end of the stage. Slash races one way, brandishing a Les Paul like a weapon while Rose shrieks “They’re out ta get me!!” into the echobox of a venue. Sweet Child O’ Mine is still just an evil twinkle in the eye of the mass audience, but these unknown miscreants are not your parents’ metalheads. The review is somewhere in cyberspace, something on the order of “this band will be huge if they survive.”

That night, Guns N’ Roses announced the arrival of hard-rock modernism in Montreal, and the end of metal romanticism. No more dragons, demons and damsels. The Hollywood street rats injected the real – a seedy punk docu-dramedy detailing the victimization of the young by urban predators, drugs, violence, streetwalking succubi and the city itself – screeched with schadenfreude glee by a strawberry-blonde hayseed-turned-antihero. “Watch it bring you to your knees / I wanna watch you bleed!”

Who was this guy? He had a voice like a cobra that seemed to coil within it every warped, furtive, livid sentiment. Here, we would have the herald of the new heartland dysfunction, announcing the revenge of the children. And with Appetite for Destruction, we had a glimpse at justification for his future megalomania. Rose was a mini rock revolutionary, as singular in his way as Cobain was in his. In all the ugly, overamped realism, Rose was the FX.

Of course, with the real came the volatile. Rose may have been the latest offender to believe there was no-such-thing-as-bad-publicity, but as the years unfolded, he proved not to be acting, but acting out. These were genuine psycho-emotional wounds, and the press was eager to give them ink.

Endearingly, we still had the capacity for shock and outrage in 1988 when One In A Million delivered a catalogue of right-wing resentments, not only against cops but “immigrants,” “faggots” and “niggers.” Youtube is scattered with videos of an agitated Rose delivering onstage diatribes against the hustlers and pervs who abused him as a runaway, and he would frame the song as a personal plaint rather than manifesto ... which altered not at all the fact that he was enacting a classic victim-on-victim dogfight to the secret glee of the true oppressors.

And before Marilyn Manson, there was the real one, Charles, who finally landed that “record deal” in a sense when Rose covered his song Look At Your Game, Girl on The Spaghetti Incident in 1993.

And so, instead of a saviour rising from the streets, an avenger – or rather, a scourge. In the zany early ’90s, Rose was the perceived rival/opposite of Kurt Cobain, a conflict spurred in no small measure by the Widder Cobain, Courtney Love. In actuality, his opposite was Bono. One here to redeem, one with a heart full of hate intent on making you feel his pain.

And you would.

Do you know where you are?!?!

Flashback: You are in the Big O on August 8, 1992, 53,000 of you, anticipating a seven-hour riffathon. And seven hours you would get.

At the time, a friendly Slash had told The Gazette that neither medical issues – Rose had a hole in a vocal cord – nor the band’s “typhoon of chaos” could derail GNR’s first-ever headline gig here.

“It’s very much like that. It’s great for variety, hunh?” he’d laughed.

Boom! Metallica’s James Hetfield is headed to hospital with second-and-third-degree burns to his hands and face after a pyrotechnics misfire. And speaking of misfires …

Rose and Guns N’ Roses take the stage 135 minutes later, far too long after the abbreviated Metallica set. Rose is visibly disturbed, radiating his disorder vibe. The following day’s review ran:

Rose seemed agitated after the first few songs of the set, perhaps at a crowd that received the music enthusiastically but did not go ballistic.

Whatever the reasons, Rose followed a doper’s blues version of Bad Obsession with a speech about how the band had honed its act on a seven-week tour of Europe just to have it all fall apart last night.

“In case anybody here is interested,” Rose said, “this will be our last show for a long time.”

Cue the self-destruction as fans bonfire their own souvenir T-shirts, and the real destruction that follows, spilling into the cavernous corridors and out into the east end streets:

They overturned garbage containers, smashed concession stands, tables and a car in a glass display case.

One young girl was injured when she was slammed through a glass display case by the departing crowd. She was later taken away on a stretcher.

About 200 security guards cordoned off the crowd, extinguishing flames, forming a line and shepherding the fans toward the exits.

Olympic Stadium’s screens flashed the message: “The show is cancelled. Please check the media for news.”

The trouble spilled out on to the street where midnight ramblers overturned a police cruiser, lit trash can fires, smashed car windshields and slashed tires.

A phalanx of riot-equipped police took up positions on Pierre de Coubertin St. on the south side of the stadium.

In the post-show recriminations, it was important to remember, as I wrote at the time, that “Some (most of whom were not there) saw scary TV news footage of kids throwing rocks and jousting with police, heard tales of teens trashing concession stands and stealing Expos caps. Others saw a reaffirmation, albeit a twisted one, of the very power that makes rock ’n’ roll music our truest, realest art form.”

Mainly, after the ugliness, lack of apology and $400,000 in Big O damage, the OIB banned the group for life.

Scant weeks later, U2 is in the Big O, four songs into the set. “What time is it?” Bono asks the crowd. “We gotta go …” The crowd gets it – haha, a GNR reference. And as the band opens into One, Bono head-shakingly mutters “Axl …” So there’s another twist in their “relationship”: Bono as dad, ruefully watching the angry teen blow up his life.

And then – where does the time go? 14 Years that are gone forever / and I’ll never have again. Who knew that in the GNR lexicon, that wasn’t just a song but a time frame? Fourteen-odd years between Use Your Illusion and Chinese Democracy. In a preface to its release, I noted the cultural touchstones we had welcomed in that span: Pentium processors, MacBook, iPod, Blackberry, Segway, Viagra, Google, Yahoo, Youtube – hell, the Internet.

But perhaps to his credit, Rose once again needed to make an album that was bigger than hard rock or genre itself. When he could have made Welcome Back, Jungle in two years and wallpapered every Hollywood whorehouse with Benjamin Franklins, he went through half a lifetime, zillions of studio dollars, half that in whiz-bang guitarists and a dozen false release dates to release an album that bears forth a few great songs (Better, IRS) and the unavoidable bombast of something so delayed and overcooked it had to be Who’s Next Calling The Stairway to justify the wait and hype.

And to his discredit, he cannot simply have been motivated by some sublime Joycean artistic fire. The thing he needed the album to be bigger than was his ego.

It’s been awhile since the real Rose had to smell spicy buffalo wings in the air as he took the stage. But here we are in Times Square, in BB King’s Blues Club, anticipating November Rain in mid-January.

Why not ease into Wednesday’s real GNR gig with a little artifice? Here in BB King’s supper-club venue, cover bands are a staple: Black Dog, Tramps Like Us, Bobby and the Jets … Tonight, featuring a fat Slash and a doughy rest of the band, November Rain pays tribute to GNR.

“Good evening New York City. Hey, we’re New York City boys arselves” says not-Axl, using a southern accent for some secret tribute-band reason. And it soon becomes apparent which members of a rock tour they resemble: they look like roadies.

Their version of Mr. Brownstone is respectable. Paradise City is lugubrious and missing the high, frenzied edge. During Live and Let Die, some guy at the bar asks me if they’re lip-synching.

But then, after Don’t Cry, something remarkable. November Rain is cranking through the incred-ugly riff of Welcome to the Jungle to a solid response when a girl’s friends somehow compel her onstage. Awkward and in braces, she’s up there with no moves whatsoever, beaming with a tremulous confusion of over-adrenalin and please-let-me-hide. She waves her arms nerdishly behind fat Slash in a parody of rock ’n’ roll ecstacy … but then begins to open to the moment, to feel her place on the stage, to enjoy, and suddenly we have a cover-band revelation.

All the glamour and pretense dissolve as a band of non-Guns crunch through their long-lapsed dream of stardom while a girl has her gawky epiphany onstage, stripping away the veneer of cool to reveal the need and desire that power the rock ’n’ roll lust-dream. It may be a beautiful accident. But this is no illusion. These Xeroxes are delivering the real thing.

Back on Earth, what will Rose do? Some fans from their last Montreal headline gig have their own teenage kids (and second mortgages) now. What they never had was their GNR moment. Reviews of this latest leg of the real GNR tour, which opened in Winnipeg, have been positive. A thorough, expansive, professional performance, ending with explosions and Rose’s “We love you.” Equal parts Guns, and Roses. And 17 years after the interruption, Montreal deserves at least that.

Friday, January 22, 2010

Innocence Beyond Our Stares



Thanks to: Whattazzakra

Happy Birthday Steven!


Drummer Steven "Popcorn" Adler was born on this date (January 22) in 1965. Best known as the drummer on the fastest-selling debut album in history, Guns N' Roses' Appetite for Destruction, Steven now plays drums for his own band, Adler's Appetite, who are about to embark on another world tour.

In addition to the tour, Steven is planning a book and instructional DVD for 2010, as well as working on a second Adler's Appetite album.

Steven is also playing drums on a track off Slash's forthcoming solo album, due out in April.

Happy Birthday Steven!





http://www.myspace.com/stevenadlersite

http://www.facebook.com/stevenadlersite

Wednesday, January 20, 2010

January 20 - Regina


January 20 - Regina

1. Chinese Democracy
2. Welcome To The Jungle
3. It's So Easy
4. Mr. Brownstone

Axl says... "Good to be here with you tonight! I feel pretty good, considering how much tequila I did this morning"

5. Better
6. Sorry

Axl says.. "On the guitar from New York City, by way of St Louis.... Mr. Richard Fortus"

7. Fortus Solo
8. Live And Let Die

Axl says... "Thank you, you're too kind"

9. If The World
10. Jam
11. Band Introductions
12. Dizzy Solo
13. Street of Dreams
14. Jam
15. You Could Be Mine
16. DJ Ashba Solo
17. Sweet Child O' Mine
19. Jam (Duelling Banjos)
20. Shackler's Revenge
21. Jam
22. Axl Piano Solo (Someone Saved My Life Tonight)
23. November Rain

(Before the end of November Rain... Axl sings some verses from Gran Torino)

Axl says... "From the Jersey shore.... ladies & gentlemen.. On the guitar mr Ron Bumblefoot Thal!"

24. Bumblefoot Solo
25. Rocket Queen
26. Knockin' On Heaven's Door
27. Out Ta Get Me
28. Nightrain (Ashba plays the end of the song with a bra on his guitar neck until he tosses it back into the crowd)

ENCORE

29. Madagascar
30. Jam
31. This I Love
32. Bumblefoot Solo (Oh Canada)
33. Paradise City

Slash's Solo Album: March 24 in Japan


via Blabbermouth
Slash's debut solo album, Slash, will be released in Japan on March 24 via Universal Music.

A special edition of the CD will include a bonus DVD featuring making-of-the-album footage and a free poster in the first pressing.

Slash is scheduled for release in the US on April 6. The CD will be made available in Europe via Roadrunner Records.

Slash will see Roadrunner Records enter into a unique and innovative association with a UK media partner — the special-interest media group Future. In a brand new concept in record distribution, the standard album release will be preceded by a "Fan Pack," in which the Roadrunner Records album will be bundled together with a highly collectable, 132-page special issue of Future Publishing's Classic Rock magazine dedicated to Slash's career. This will be the first format of the album available anywhere in the world.

The partnership is a first for music and media industries, marking the first-time a major new album has been released this way. The partnership ensures that Slash's new album is available through over 4,000 UK retailers that stock Classic Rock — sidestepping the issue of dwindling high street music outlets and top 20 only stocking in supermarkets. Classic Rock is one of the UK's biggest rock music magazines and this year recorded its eighth consecutive circulation increase, the only paid-for music magazine to grow.

The Slash "Fan Pack" featuring his debut solo album from Roadrunner Records, along with a 132-page "Classic Rock Presents: Slash" special will have a cover price of £14.99.

Among the guests appearing on the album are Black Eyed Peas singer Fergie's (aka Stacy Ann Ferguson), Dave Grohl, Flea, Chris Cornell, Duff McKagan, Wolfmother's Andrew Stockdale, Iggy Pop, Alice Cooper, Nicole Scherzinger, Maroon 5's Adam Levine and Ozzy Osbourne, who contributes vocals to the first single.

Slash Album News (Updated in real-time)

Slash and Friends Setlists

January 19 - Saskatoon

January 19 - Saskatoon



Chinese Democracy
Welcome to the Jungle
It's So Easy
Mr. Brownstone
Shackler's Revenge
Sorry
Richard Fortus solo
Live and Let Die
If the World
You Could Be Mine
Catcher in the Rye
Ron Thal solo (Iron Maiden medley)
Dizzy Reed solo
Street of Dreams
Jam
Rocket Queen
I.R.S.
DJ Ashba Solo
Sweet Child O' Mine
Jam
Axl piano solo (Someone Saved My Life Tonight)
November Rain
Jam
Ron Thal solo
Out Ta Get Me
Knockin' on Heaven's Door
Whole Lotta Rosie
Paradise City

ENCORE

Madagascar (Extended Version)
Better
Patience
Nightrain (Feat. Sebastian Bach and Nick Sterling)

Tuesday, January 19, 2010

Slash at Canadian Music Week


Canadian Music Week 2010

March 10-14 Toronto

A musician, artist and iconic rock figure, Slash is recognized as an indelible force in the world of music today. Time Magazine recently chose him as one of the best electric guitarists of all time, along with Hendrix himself.

To us, he is the man who defined the sound of Guns N' Roses and the last great guitar god.

[NEW SLASH SONG AVAILABLE NOW]

With album sales nearing the 100 million mark, seven Grammy nominations, and countless music projects, Slash will be sharing memories and insights on life, love and playing loud during a very special in-depth celebrity interview at Canadian Music Week on Thursday, March 11, 2010.

CANADIAN MUSIC WEEK

New Slash Song Available Now


http://www.musicforrelief.org/

The song is called "Mother Maria" by Slash (featuring Beth Hart)

Monday, January 18, 2010

January 17 - Edmonton, Alberta



January 17 Edmonton, Alberta

Edmonton! At the Rexall. None of this "left at the hotel" sheott!! 2 concerned w/gettin' 2 the gig yday 2 tweet. Ready 2 wreak havoc!!

Chinese Democracy
Welcome to the Jungle
It's So Easy
Mr. Brownstone
Sorry
Better
Richard Fortus guitar solo (James Bond Theme)
Live and Let Die
If the World
Shackler's Revenge
Scraped
Band jam 1 (She'll Be Coming Round The Mountain)
Dizzy Read piano solo
Street of Dreams
Band jam 2
I.R.S.
DJ Ashba guitar solo
Sweet Child O' Mine
You Could Be Mine
Band jam 3
Axl Rose piano solo (Someone Saved My Life Tonight)
November Rain
Band jam 4
Ron Thal guitar solo (Pink Panther Theme)
Out Ta Get Me
Knockin' On Heaven's Door
This I Love
Nightrain

ENCORE

Madagascar
Whole Lotta Rosie
Acoustic band jam
Patience
Paradise City

Review: The Edmonton Sun





Sunday, January 17, 2010

Slash at NAMM


via Blabbermouth

Harmony Central conducted an interview with Slash at the Sabian booth at this year's NAMM (National Association Of Music Merchants) show, which is being held January 14-17, 2010 at the Anaheim Convention Center in Anaheim, California. Watch the chat below.

In 1987 Guns N' Roses released its debut album — Appetite For Destruction — and changed rock music forever.

Raw, unrelenting and "in-yer-face" from start to finish, this was the record that redefined rock music in the '80s. The lyrics were incisive and the music uncompromising, completed by Slash's inspired fretboard mastery and unique sound, regarded by many as the ultimate rock tone.

The intriguing history of the Marshall amp used by Slash on Appetite For Destruction and its subsequent disappearance has now passed into rock folklore. Widely believed to be a hot-rodded, 100-watt, pre-master volume model from the early '70s, this legendary amp was hired specifically for the Appetite sessions in 1986. Eager to hold on to the amplifier, Slash told rental company S.I.R. that it had been stolen, only to have it "stolen" back a year later during tour rehearsals. Ever since there has been little to no word on the whereabouts of that mysterious 100-watt head, synonymous with a true rock icon and one of greatest rock albums of all time.

Now Slash and Marshall Amplification have joined forces to re-create that revered "Appetite tone" with the announcement of the new Marshall AFD amplifier. Fans around the world will be able to track the development of this incredible project online, from drawing board to stadium.



In related news, Gibson Guitar will offer guests of NAMM a special sneak peek advance showing of the upcoming release of the latest Slash 2010 Appetite Les Paul.


Inspired by the axe that the legendary Guns N' Roses guitar hero played on the multi-platinum selling Appetite for Destruction album and practically every recording since, this may be the most highly anticipated guitar launch of the year.

Guns N' Roses Worth the Wait


SETLIST HERE

Calgary Sun
Axl Rose would never be accused of being the most punctual guy.

But the fact the Guns n’ Roses frontman made it to the stage at all Saturday night was something to celebrate.

The last time the band was in town, three years ago, Rose and co. didn’t start the show until almost 11:30 p.m. That they kicked into their first song, the title track from Chinese Democracy, at 10:15 p.m. was a downright miracle. But — and I have to say I wasn’t expecting much — the show was well worth the wait.

The group made a spectacular return to Calgary, playing to about 9,000 dedicated fans.

While G n’ R played several tracks from its latest CD, 2008’s Chinese Democracy, it was the hits from Appetite and its successful follow-ups 1988’s G n’R Lies, and 1991’s Use Your Illusion I and II that got the fists pumping.

“Do you know where you aaaarrre?” Rose screamed at the crowd during a killer version of the radio staple Welcome to the Jungle, early on in the set. The fans replied with an resounding affirmative roar.

One of the loudest singalongs of the night came courtesy of the band’s cover of Live & Let Die, originally performed by Paul McCartney and Wings and Knockin’ on Heaven’s Door, another cover, this one originally a Bob Dylan tune.

Axe-wielders Richard Fortus, DJ Ashba and Ron (Bumblefoot) Thal riffed and weaved their way through Guns n’ Roses extensive catalogue, while keyboardists Chris Pitman and Dizzy Reed added texture to the heavy metal bombast. And the excellent rhythm section of drummer Frank Ferrer and bassist Tommy Stinson kept things tight and tidy.

But it was apparent most of the 9,000 fans who took in the Saddledome show were there to see Rose.

Bounding on stage wearing jeans and black fedora, the 47-year-old singer was remarkably energetic and his voice was generally in good shape.

Toronto’s Danko Jones started the night off right with a blistering set of stripped-down rock and roll.

Sebastian Bach had more success getting the crowd revved up, but he also had the benefit of being the lead singer of one of the biggest hard rock acts of the 1980s — Skid Row.

Guns N' Roses in Calgary


Calgary, Alberta - January 16, 2010

Chinese Democracy
Welcome to the Jungle
It's So Easy
Mr. Brownstone
Sorry
Richard Fortus solo
Live and Let Die
If the World
Rocket Queen
Dizzy Reed Solo
Street of Dreams
You Could Be Mine
Knockin' On Heaven's Door
My Generation
I.R.S
Axl Rose piano solo (Someone Save My Life Tonight)
November Rain
Ron Thal Solo (Pink Panther)
Shackler's Revenge
Liquor & Whores (w/ Bubbles)
Out Ta Get Me
DJ Ashba solo
Sweet Child O' Mine
This I Love
Nightrain

ENCORE

Madagascar
Better
Patience
Paradise City
O Canada (Ron Thal solo)

Saturday, January 16, 2010

New Steven Adler Interview


Interview with Steven Adler (METALKRANT)
Hello Steven, how are you doing?

I am doing great! Looking forward to this new year! I have a lot of things I wanna do!

At moment you are on the road in the US, is there any chance you will visit Holland or Europe soon?

We just finished the second successful US tour of 2009. It was a great run. Our agent, ARM, is finalizing the details of the European tour. We are looking forward touring all of Europe. It looks like we will start in mid March, 2010, but believe me, my bags are already packed and I am ready to go! Holland will definitely be a stop and hello to everyone at the Bulldog Coffee House!

Adler's Appetite made some line-up changes through the years, are you satisfied with the current line-up

This is definitely the best line-up so far. I am happy to have such great players in my band. I am also talking to Mili of Steelheart about possibly doing some of the European dates with us. We will have to see how that unfolds.

Are you still recording new songs for maybe a new album?


Yes. We are working on several songs in the studio. It is our goal to have an album out later in the year. The first songs we have done kick ass!

Recently you did a performance with Slash and Duff at the LAYN Benefit. How was it to be onstage again with these guys after all these years?

I have not felt so comfortable in over 20 years. It was surreal. Like we have never stopped playing together. Like no time had passed and we had never been apart. Those guys are family.



You also recorded a song with Slash for his upcoming solo album, are you satisfied with the result and what kind of song can we expect?

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

Last year you were on Celebrity Rehab, has being on TV opened up new things for you?

Yes! I did a movie after that it is called Dahmer vs Gacey. Yes, it is about the two serial killers. It was really a fun project to be a part of.

I hear that you have an instructional drum DVD coming out?


Yes, I am really excited. It's called Steven Adler's Getting Started With Rock Drumming. It is the basics for beginners to start playing. I have so many fans from different age groups that always ask questions about starting out and advice. This DVD is to get everyone started on a life of drums! It is available everywhere. You can buy autographed copies through my MySpace or Facebook.

Thanks for the interview, any last words to our readers?


I want to thank my fans for the support! I appreciate all of you! Please go to my MySpace and Facebook profiles and add me. I post all the current things going on in my life and most importantly, we post the dates of upcoming shows. I don't want anyone to miss the shows!

http://www.myspace.com/stevenadlersite

http://www.facebook.com/pages/Steven-Adler/185609637445
http://www.facebook.com/adlersappetite

No One in the World Had Swagger Like Ax



"We want to dedicate this song to the people that try to hold you back, the people that tell you how to live, people that tell you how to dress, people that tell you how to talk, people that tell you what you can say, and what you can't say.

I personally don't need that! I don't need that shit in my life!

Those are the kind of people that get me down. They make me feel like somebody, somebody out there ... is out to get me!"

Gibson unveils Slash 2010 "Appetite" Les Paul


Music Radar
Gibson Guitar will offer guests of NAMM a special sneak peek advance showing of the upcoming release of the latest Slash 2010 Appetite Les Paul.

Inspired by the axe that the legendary Guns N' Roses guitar hero played on the multi-platinum selling Appetite for Destruction album and practically every recording since, this may be the most highly anticipated guitar launch of the year.

As a result Gibson is offering a sneak peek preview of this amazing work in progress at the Gibson/Monster Booth #4242 at the Anaheim Convention Center. Take a good look at the latest in a series of prototypes being skillfully constructed by the Gibson USA Division luthiers for Slash's, and your, inspection.

Slash will be visiting the Gibson/Monster booth on Saturday 16th January at 3:30pm to check out the guitar, take a few pictures and sign some autographs.

Included are the features one would expect to be included in a guitar of this magnitude from the traditional style weight relief mahogany body with AAA figured maple top to the new Seymour Duncan Slash Signature Alnico II pickups.

Special capacitors have been selected by Slash to create the vintage Les Paul sound he demands and "Tone Pro" hardware with historic machine heads, locking bridge and tailpiece to keep it all in tune and performing like a star.
Features

- Traditional style weight relief

- Mahogany body with AAA Figured Maple top

- Unique neck profile made for Slash features rounded 60's shape

- Rosewood fingerboard with trapezoid inlays

- Un-burst top with faded cherry back lacquer finish

- Slash signature smoking skull with top hat artwork for peghead face

- New Seymour Duncan Slash Signature Alnico II pickups

- Special capacitors selected by Slash for vintage tone

- Tone Pro hardware with historic machine heads, locking bridge and tailpiece

The Slash Appetite for Destruction Les Paul will be released in the coming weeks in limited quantities from Gibson USA, Gibson Custom Division and from Epiphone. Check Gibson's official site for further information and launch dates for this important series of guitars from the ultimate Guitar Icon.

Thursday, January 14, 2010

Winnipeg: The Rolling Stone Review


Guns N’ Roses Bring Chinese Democracy to North America With Marathon Winnipeg Gig
Sometimes with Axl Rose, all you need is just a little patience. Other times, you need a little more than a little. Guns N’ Roses’ Wednesday night concert in Winnipeg, Canada — their first North American date (and fifth show overall) since the release of Chinese Democracy in 2008 — was, thankfully, a case of the former. [Read the entire article here.]

Concert Review: Guns N' Roses


Photo: @anthonya
jam! SHOWBIZ
MTS Centre, Winnipeg - January 13, 2010
By DARRYL STERDAN - QMI Agency

WINNIPEG - There might be better ways to kick off your 2010 concert calendar.

But offhand, I can't think of any. Wednesday night's Guns N' Roses show at Winnipeg's MTS Centre wasn't just the first date of the band's latest North American tour. It was also their first gig on these shores (and only their fifth performance overall) since the 2008 release of Chinese Democracy.

And even though Axl Rose kept all of us waiting nearly two decades for the album, and another year-and-change for a tour, the moment he hit the stage shortly after 10:40 PM, all was forgiven. Supported by his latest version of GN'R - guitarists Richard Fortus, Ron "Bumblefoot" Thal and DJ Ashba, keyboardists Dizzy Reed and Chris Pitman, drummer Frank Ferrer and bassist Tommy Stinson (formerly of The Replacements) - the 47-year-old singer treated 7,500 fans to a fiery (in every sense of the word) three-hour set that wrapped up at 1:30 AM, and repeatedly rewarded fans (along with nearly everyone in his backing band) for their loyalty and patience along the way. Here's how it went down:

Chinese Democracy




After the intro music builds tension in the dark, one of the guitarists - I'm not sure who's who yet - is spotlit as he cranks out the opening power-chord riff. As the band kicks into gear and Axl growls the first verse, sparklers ringing the stage fire off and we get our first look at him. He's wearing a black fedora over a red bandanna, a pair of slim shades, well-worn blue jeans and a pinstripe work shirt open to his midriff to frame a large silver crucifix. Oh, and he's got a mustache! It's midway between pirate, biker, bandito and Morgan Spurlock. Kinda weird. But at least he's lost the dreads or cornrows or whatever they were. When Axl wails the final worlds, "All I've got is precious time!" there's a pyro burst and the lights fade, leaving him backlit. Two points for a killer opening.

Welcome to the Jungle

As another guitarist (still getting my bearings there) works the niggly little riff, Rose jumps the gun and does the, "do you know where you are? You're in the jungle, baybeee!" line. Actually, it's more like we're at the circus - and not just because percussion bombs and fireworks are going off in time with the music. The stage itself is a massive structure with three runways - in fact, it's so wide it overhangs the first five rows in the stands on both sides. It's covered in some sort of black vinyl or fabric and lined with glow-in- the-dark tape - from overhead, it almost looks like one of those blobby Keith Haring figures with his circular hands in the air. The circular theme is carried on throughout the set. There's a cat-eye drum riser at stage centre, with an illuminated staircase going up and around on either side. Behind that are two pods for the keyboard players. Hanging above are a series of concentric lighting trusses festooned with VariLights and wrapped in lighting curtains (or whatever you call them). More of those illuminated curtains flank the stage, hanging in half-columns in front of vertical lighting trusses and some of the several video screens scattered around the place. Say what you will about Axl, he does things big.

It's So Easy

Another Appetite for Destruction tune. So far, so good. Axl has already lost the fedora and the shades. He bolts up to the mic, grabs the stand and hurls it back the 10 metres or so to the drum riser. Just to make it clear he's not kidding around, I guess. Gotta admit, he looks fit. Sure, he's a little beefier around the middle than 20 years ago. Who isn't? But he hasn't slowed down. He's sprinting from one end of the stage to the other and pumping his leg hard enough to make Angus Young look sedate. More fireworks herald the end of the tune.

Mr. Brownstone

"Meanwhile, back in the jungle," cracks Axl as Ferrer pounds out a heavy tom-tom beat to go with the scraping guitar riff. As Rose does that snake-hip move he used to do back in the day, those circular lighting rigs dip down from the rafters at opposing angles. Interesting. Also interesting: Every time there's an instrumental break or a solo - even if it's only for 30 seconds - Rose sprints off the stage. Not sure why, though it looks like he's making sure the rest of the band get time in the spotlight.

Shackler's Revenge


After a few pleasantries from Axl -- including a simple, "nice to be here with you tonight" and a crack about the weather (which is actually unseasonably warm) - the electronica-rocker from Chinese Democracy lurches into a groove. White spotlights start twirling as if there's been a prison break, and the light trusses drift apart into arcs and tier up on different levels. Between the eight guys flying around the stage and the show, there's plenty to attract (and distract) your attention.

Richard Fortus Spotlight

After introducing Fortus, Rose takes a hike while the Izzy Stradlin-esque guitarist cranks out a twangy guitar-rock instrumental reminiscent of the James Bond and Peter Gunn themes. See what I meant about sharing the spotlight?

Live and Let Die

Flames and more grenades decorate and punctuate the Paul McCartney cover from Use Your Illusion. Axl has switched into a sleeveless shirt and the fedora is back. His rusted-siren vocals are strong and he's hitting all the notes solidly, though the PA isn't doing him any favours - if he isn't belting, you have to strain to hear him. After the song, bassist Stinson pitches a little hissy fit at some dude who apparently chucked something at him. "Don't throw shit at me, please; I'll fucking leave!" he complains. Guess he had enough crap heaved at him in the Mats to last a lifetime. Anyway, he takes off up onto the drum riser for the next song.

Sorry




This sluggish grinder is not one of my favourite Chinese Democracy cuts, but guitarist Ashba (now that I can tell him and Fortus apart, I'm good) serves up a blistering solo.

If the World

Still in Chinese Democracy land. Bumblefoot opens this slow-burning funk cut with the flamenco licks from the album. Gotta give the band credit; they're doing a decent job of recreating Rose's insanely detailed tracks. The sound is obviously nowhere near as crisp, but hey, you can't have everything.

Dizzy Reed Spotlight

A grand piano rolls out from beneath the drum riser so the stringy-haired keyboardist can throw down some solo chops. The song is familiar, but I can't place it - maybe because I'm too busy trying to figure out if that's supposed to be toes or fingernails or what painted on the piano lid. The sides, meanwhile, are covered in little mirror-ball tiles. It's like hippies broke into the Liberace museum or something.

Street of Dreams

Dizzy stays down at the piano for this Democracy power ballad. Rose emerges in shirt No. 3 - a shiny black number. No bandanna. After the tune ends, drummer Ferrer goes 'Boom, boom, boom-boom" on his bass drum again - he's been doing that between songs. Then I get it: It's so people will chant: "Guns N' Roses." Sneaky.

Better

The lighting trusses do more aerial ballet over the stage as the band works through another one of Rose's ballad-to-rocker numbers from Chinese Democracy. His right leg is kicking like Stompin' Tom on speed.

You Could be Mine


Finally, another classic. Or at least an oldie. This barnburner from Use Your Illusion II gets a solid treatment, with more concussion bombs for emphasis. And a silver-plated .45 swirling around on the video screens just for, um, I dunno, menace? Flames shoot up around the stage during the last chorus. Oh, Axl has a new bandanna: It's blue and white, FYI.

DJ Ashba Spotlight


After a few more pleasantries - including a belated, "Happy f-ucking holidays to you" - Rose vacates again so Ashba can peel off a blistering solo on his black sequined axe while the band lays down a slow, "There Was a Time"-style backbeat. Not sure which is more impressive: His playing, or his full-sleeve tats.

Sweet Child o' Mine

The crowd has been well behaved so far -- no moshing and little surfing -- but this hit brings them to their feet. While red and white lights bathe the stage, Rose debuts shirt No. 4: A red-checked V-neck pullover that looks intentionally dirty. I just noticed he also has red tape wrapped around his left hand - whether because of an injury or just because it matches his red microphone, I have no idea. Bumblefoot handles the wah-wah pedal guitar solo capably.

I.R.S.

If I were writing the set list, I might have tossed another oldie in here instead of this mid-tempo Chinese Democracy grinder. Especially since it sounds distractingly muddier than the album version.

Axl Piano Solo

That weird-looking keyboard rolls out again - all the way to the front of the stage - so Axl can tinkle the ivories. He's wearing a long-tailed burgundy coat with big buttons and a black leather fedora. You know, most people wouldn't be able to pull that off. Most people aren't Rose, of course.

November Rain

Rose stays at the 88 to lead the band through the Use Your Illusion epic. The three guitarists divide the solos, while the lighting trusses split and descend, and sparklers go off at the back of the drum riser and on the stairs. Not sure how rain and sparklers go together, but it looks nice anyway.

Scraped

Instead of the layered vocals on the album, the Chinese Democracy cut opens with tribal tom-tom drumming. The rest of the tune is pretty much the same - but Bumblefoot's solo on the fretless half of his double-neck guitar is impressive. Axl has a different blue-and-white bandanna. How many of these things does this guy own?

Bumblefoot Spotlight


The other guitarists showed off. Bumblefoot plays to the crowd - first he does a Hendrix-style version of "O Canada," then he makes with a rocked-up take on the "Pink Panther theme." Nice to see a rocker with a sense of humour.

Out Ta Get Me

Back to the oldies. More fireworks and sparklers illuminate Rose's latest ensemble: A black-and-red lumberjack number. This guy changes more often than Beyonce - and it looks like almost all of his outfits came from Mark's Work Warehouse. The spotlights do their prison-break thing again, and the concussion blast at the end of the song makes me jump. You'd think I would be used to them by now.

Knockin' on Heaven's Door

"This is dedicated to the people who hate us," is what I think Axl says before Dylan's classic. Though I'm not sure what antagonists he's referring to, or who exactly they hate. Anyway, he launches into a long shaggy-dog story (which is actually about a dog named Mojo) in the middle of the song. I only catch about half of it. I'm not sure I missed anything important. We have now passed the two-hour mark.

Nightrain

A train-whistle (natch) introduces the cowbell-rock ode to cheap wine. Bumblefoot whips off another fretless solo, the band fires on all cylinders and charges toward the end - which is marked by yet another explosion. "Good night," says Axl and bolts - as do a decent chunk of the audience (it's already after midnight on a school night).

Madagascar

The encore begins with this ambitious Chinese Democracy number, which features Rose's mid-song sonic collage of Martin Luther King, Mississippi Burning, Cool Hand Luke, Braveheart and others. The video screens show MLK graphics and footage to go with. Thankfully, I don't see any Braveheart footage.

This I Love


The piano rolls out one last time for another Chinese Democracy ballad. At the end, Rose fesses up that he: "kinda fucked that up in the beginning." I'm too tired to notice.

Frank Ferrer Drum Solo

Mercifully brief. Nothing against him; it's just getting really freaking late.

Rocket Queen

But not late enough to miss this Appetite for Destruction gem. Axl straightarms the mic below his waist and does a two-step while Ashba handles the slide solo. Just like old times. Almost.

My Generation

Bassist Stinson tackles The Who's classic for his spotlight tune. His vocals are suitably snotty - and he doesn't embarrass himself on the John Entwistle solo either. For the record, everybody but second keyboardist Chris Pitman has now had a solo. Sorry Chris; your goofy straw hat is the problem.

Patience

Rose draws cheers as soon as he starts whistling the opening. But once he begins singing the mellow part, his voice sounds a little ragged. Which is no surprise, since he's been going full throttle for more than two-and-a-half hours. Maybe they need to move this up in the set list. Oh, and he has now changed into a white T-shirt with a filthy slogan on it. I have officially lost count of his outfits. And I'm pretty sure I missed at least one in there.

Paradise City

All the stops come out: The lighting trusses dance, bombs go off, the lights are cranked, the confetti cannons erupt, coloured mini- fireworks burst forth - and as the song whams to a close with one final explosion, silver streamers are launched over the crowd. Cheapskates. "Oh won't you please take me home?" sings Rose. Well, no - but we will go home ourselves. And we'll go satisfied. And very, very tired.

Set List:

Chinese Democracy
Welcome to the Jungle
It's So Easy
Mr. Brownstone
Shackler's Revenge
Richard Fortus Spotlight
Live and Let Die
Sorry
If the World
Dizzy Reed Solo
Street of Dreams
Better
You Could Be Mine
DJ Ashba Spotlight
Sweet Child o' Mine
I.R.S.
Axl Rose Piano Solo
November Rain
Scraped
O Canada / Pink Panther (Bumblefoot Spotlight)
Out Ta Get Me
Knockin' on Heaven's Door
Nightrain

Encore:
Madagascar
This I Love
Frank Ferrer Drum Solo
Rocket Queen
My Generation (Tommy Stinson Spotlight)
Patience
Paradise City

jam! SHOWBIZ

GN'R Show a Massive Rock N' Roll Spectacle


Photo: @anthonya
Winnipeg Free Press
Axl Rose and Guns N' Roses toured in support of Chinese Democracy four times before the album was finally released in November, 2008, 17 years after the last album of GN'R originals.

Then nothing. No tour to support the album and only one promotional media interview from the reclusive frontman.

Guns N' Roses
Jan 13, 2010
MTS Centre
Attendance: 7,500
4 stars out of five

At least a bunch of people in America got a free Dr. Pepper.

A year later Rose announced he was ready to hit the road in support of the long-awaited album with four shows in Asia and 13 in Canada, the first in Winnipeg at the MTS Centre on Wednesday where they last played in December, 2006.

Why they chose to tour Canada in January, and start in Winnipeg, is anybody's guess, but the 2010 live version of Guns N' Roses is a sight to behold. The show is a massive rock 'n' roll spectacle as 7,500 fans witnessed Wednesday during a two-hour and 50-minute show featuring most of the new album and the band's greatest hits.

The unofficial over/under betting line on the band's start time was 10:30 PM, and anyone who knows anything about GN'R would have had their money on over. The group took the stage at the perfectly decent time of 10:45 PM, 75 minutes earlier than in 2006, but still more than an hour after opener Sebastian Bach left the stage.

A series of fireworks encircling the stage exploded to start the show before the opening chords of "Chinese Democracy" kicked in and Rose ran on stage zigzagging his way through his seven-piece band. He was in constant motion throughout the whole song, looking a little like Kid Rock in jeans, a white shirt and fedora, albeit with more facial hair.

More explosions signaled the end of the opener before the familiar riff to "Welcome to the Jungle" rang out and a huge roar erupted from the crowd as Rose screeched, "do you know where you are? You're in the jungle, baby. You're gonna diiiiiieeee."

He dumped the hat to reveal a red bandana (and no cornrows!) during the song and showed off his two favourite dance moves - that weird serpentine slither and a series of herky-jerky bounce steps - which would be repeated numerous times throughout the night whenever the 47-year-old wasn't running around on the massive stage shaped like the top half of a chalk outline of a body with fluorescent orange tape providing the piping. The circular "head" jutted out from the main body and two "arms" extended out on either side, curving slightly when they hit the seats. The drums were on a riser on the stage's torso flanked by two sets of stairs which ran up behind it while a set of circular lighting rigs with its own LED system moved vertically above it.

Rose's distinctive nasally whine is still in fine form, as he displayed on the swaggering "It's So Easy" and the drug ode, "Mr. Brownstone," two classics from the band's 1987 debut, Appetite for Destruction, that help open the show. He looked and sounded as good as ever, but still relies on TelePrompTers to help out in case he forgets some lyrics.

And he even appeared to be enjoying himself, flashing the occasional smile and offering up some between song banter with the crowd.

"It's nice to be with you tonight. It's nice of you to turn up the heat for us while we're here," he said, referencing the warm weather, before launching into the new "Shackler's Revenge," which gave his three guitarists - Ron "Bumblefoot" Thal, Richard Fortus and DJ Ashba - a chance to show off some riffs Slash didn't write and allowed Rose to head backstage, something he did often throughout the night.

Massive flames shot in the air and concussion bombs exploded for the band's wall-of-guitars cover of "Live and Let Die" before they slowed things down with "Sorry," "If the World" and "Street of Dreams," three new songs that show off Rose's two best-known sides: ticked off and tender.

They got back into the hard rock boogie with "Better," before pulling out some more old faves, with the caustic "You Could Be Mine," "Sweet Child O' Mine" and "November Rain," featuring Rose playing a grand piano at centre stage. Each song was given extra heft by the sheer amount of musicians on stage, each of whom got his own solo.

The metal-blues drinking anthem "Nightrain" finished the main 130-minute set before the band returned for a six-song encore, highlighted by "Rocket Queen," the ballad "Patience" and customary show closer "Paradise City," climaxing with confetti being shot into the audience and more explosions.

"Have a good night, be safe. We love you and we'll see you again," Rose said after he and his band mates took a bow.

Knowing Rose, anything is possible.

Winnipeg Free Press

Wednesday, January 13, 2010

Guns N' Roses Blow Into Winnipeg


Photo: "The Bay" © Bryan Scott
"Yo Vancouver!! D'oh!! Bkstage in Winnipeg, Danko's on, 26F HEATWAVE!! Excited 2 get this rolling. In r off time we'll b helping Mounties flush out Al Qaeda. (What's that aboot, Eh? jk) Good 2 see Baz! LET'S DO THIS!!!

On a side note, pretty low n' selfish usin' the devastation in Haiti 2 start (false) reunion rumors. R hearts n' prayers go out to the Haitian people."
-Axl Rose

Winnipeg, Manitoba - January 13, 2010

Intro
Chinese Democracy
Welcome to the Jungle
It's So Easy
Mr. Brownstone
Shackler's Revenge
Richard Fortus solo
Live and Let Die
Sorry
If the World
Dizzy Reed solo
Street of Dreams
Jam
Better
You Could Be Mine
DJ Ashba solo
Sweet Child O' Mine
I.R.S.
Jam
Axl Rose piano solo
November Rain
Jam
Scraped
Ron Thal solo
Out Ta Get Me
Knockin' on Heaven's Door
Nightrain

--- ENCORE ---

Madagascar
Jam
This I Love
Frank Ferrer solo
Rocket Queen
My Generation
Patience
Paradise City

Thanks to Here Today ... Gone to Hell! for the updates.

Tuesday, January 12, 2010

Countdown to Canada



Guns N' Roses Chinese Democracy Tour 2010: Canadian dates

January 13 - Winnipeg
January 16 - Calagary
January 17 - Edmonton
January 19 - Saskatoon
January 20 - Regina
January 24 - Hamilton
January 25 - London
January 27 - Montreal
January 28 - Toronto
January 31 - Ottawa

February 1 - Quebec City
February 3 - Moncton
February 4 - Halifax

Rick Richards Has Got Soul

EDIT: Rick Richards is an amazing and talented guitarist, who does indeed "have soul," but unfortunately, he is NOT playing on this track.
Very nice and all but that ain't Rick Richards playing the solo, it's Ronnie Wood himself.. he's guesting on that Izzy track w/ guitar and vocals. They recorded it live at 4 am after first watching 'Spartacus' at Ronnie's place.

There's an old JJH live bootleg track where they're covering the Faces' My Fault, that one has an incredible guitar solo played by Rick Richards, who also sang the song live. That one truly has soul.
-IzzyDutch

"Take A Look At The Guy" is from Ron Wood's 1974 I've Got My Own Album to Do.

video

For more information:
The Georgia Satellites Official Site
Izzy Stradlin Fan Site
Izzy Stradlin Forum
Ronnie Wood