Tuesday, November 17, 2009

What the Spies Said



Notes from the arena dress rehearsals in LA:

Richard Fortus is playing through a 1973 Jose Marshall along with a Friedman "Marsha" amp and some modified Randall modules, all driven by a Randall RT-2 power amp. His pedals are incorporated with all of the above (pictured) and are racked and switched through a custom system built by Dave Friedman of Rack Systems Ltd. Fortus has 2 Randall isolation cabinets with Celestion Golds and Celestion G12H loudspeakers. He's playing a Chet Atkins Gretsch guitar, a Gibson ES-335 and a bunch of Fender Telecasters and Gibson Les Pauls.

DJ is also using a "Marsha," as well as a Mesa Boogie Dual Rectifier tube amp. The Mesa Boogie plugs into a 4x12 with Golds and the Marsha is using V30's. DJ has a ton of different Les Paul's he's playing with.

Ron is sticking with his Engl heads played through Marshall 4x12s. He's using Vigier guitars. He has a double-neck Vigier with a fretless.

... And, just in case you were wondering, the lineup is still: Axl, Dizzy, Tommy, Chris, Richard, Ron, DJ and Frank

http://www.thegearpage.net/board/showthread.php?t=628969

GN'R VIP Packs Cancelled - Or Are They?


Yesterday afternoon, the following message was sent out by the team at I Love All Access:
Due to unforeseen circumstances, there will not be an Ultimate fan package on the Guns N’ Roses tour in January 2010.

You have two options:

Option 1: Keep your Toronto general admission ticket(s) only. We will refund the difference between the ticket price ($87.32 USD, at today’s exchange rate) and the package price ($207.68 USD per package), to the credit card used to make your purchase. Your ticket will be available at the box office on the day of the show. There is no priority access.

Option 2: Choose a full refund and cancel your order entirely. We will refund your order to the credit card used to make your purchase.

Please note it may take 5-10 business days to credit to your account.

Please let us know your preference by Friday November 20th, 2009 at 5pm Pacific time via e-mail to info@iloveallaccess.com, or simply reply to this e-mail. If we do not hear from you by this time, we will process option 1 for you.
However, in a surprising(?) turn-of-events, Guns N' Roses issued a statement late last night via their new means of communication Facebook and MySpace:
Canadian VIP packages
There's been a miscommunication between us and I Love Access regarding the VIP packages for the Canadian tour. Just sit tight while we work it out.
So, what's the deal? I don't know. Stay tuned.

Discuss.

Monday, November 16, 2009

Happy Birthday Chris!


Guns N' Roses synth and keyboards player Chris Pitman turns 48 today.

Happy Birthday to the dude who made Chinese Democracy sparkle like a star.

We love you Chris.

... and a big blast from the past ...

Sunday, November 15, 2009

Charlie Sheen and Slash to Appear on 'Lopez Tonight'


Lopez Tonight

Charlie Sheen and Slash will appear on George Lopez's new TBS talk show, Lopez Tonight, on Monday, November 16 at 11 PM Eastern time.

Sheen, who has always been open about his years of excess drugs, drink and promiscuous sex, said that he once got some surprising advice from his rocker pal, Slash.

Sheen said, "One of my fondest memories is when Slash from Guns N' Roses sat me down at his house and said, 'You've got to clean up your act.' You know you've gone too far when Slash is saying, 'Look, you've got to get into rehab, you have to shut it down. You're going to die.' "He's a terrific guy and I love him - he's a buddy of mine - but I had to step back from that situation and go, 'Yeah, but you're Slash. Whaddya mean?'"

Saturday, November 14, 2009

Welcome to the Ballpark, Axl Rose


By Dave DeLand

I've always assumed that even when Axl Rose is a bald, toothless old man (which may be a few years) and has faded into complete professional obscurity (which has already happened), he'll still be raking in the royalties because of how often the introductory riff of "Welcome To The Jungle" gets played at professional sporting events.

I've also assumed that the Guns N' Roses rock anthem that Rose's band recorded 22 years ago must be just about the most frequently played song (or at least the most frequently played opening 15 seconds) in sports history.

It has blared out of the Metrodome's speakers about a dozen times at every Minnesota Vikings home game for the past two decades, and it seemingly gets more exposure at sports venues than any other song.

But as it turns out, it's not even in the Top 10.

That's according to the folks at Broadcast Music, Inc., the organization that licenses much of the music played in the United States and keeps track of such things — meticulously.

"That's how we pay the songwriters. In fact, when songwriters get their royalty statement, it tells them which team plays their song," said BMI publicist Jerry Bailey.

BMI annually releases its Top 10 list of music most frequently played at National Football League, Major League Baseball and National Hockey League games. But it charts everything that gets played.

"We paid on 13,476 titles during that distribution period (July 1, 2008-June 30, 2009)," Bailey said. "Some of those titles, if they're very heavily played by a certain team, that can move it up."

One word of caution before we get into the details of the list: If you're a Baby Boomer like myself, this list might make you feel sort of old (I was completely unfamiliar with Nos. 2, 3, 7, 8, 9 and 10).

So here, without further delay, is the Top 10 (and the performing artists) for the 2008-09 cycle:

No. 1 — "We Will Rock You" (Queen). This 32-year-old favorite has always been popular at sporting events because of its "stomp stomp clap" element, and nobody knows that better than Minnesotans — the two teams that played it the most were the Minnesota Wild and the Dallas Cowboys. (Funny: You'd think the Cowboys would trend toward "Jailhouse Rock").

"Did you watch much of the World Series? You could hear the 'stomp stomp clap' in every game," Bailey said. "Crowds just love to do that 'stomp stomp clap'."

No. 2 — "Pump It" (Black Eyed Peas). It was No. 1 in the previous year, although even after listening to it on YouTube it didn't ring a bell for me.

(Apparently, 53-year-olds aren't the Peas' target pod).

No. 3 — "Twilight Zone" (2 Unlimited). At first I thought this was the 1982 song by Golden Earring, but as it turns out it's a techno number by another Dutch band. It's often used when starting lineups are introduced.

"Teams are trying to cover all demographics," Bailey said. "Some songs just become ingrained in the minds of sports fans. It's a similar phenomenon to Christmas music in a way."

No. 4 — "Song 2" (Blur). Thanks to the ultra-thick English accent of the lead singer, this song's only recognizable lyrics are "Whee Hoo." But that works at the arena, obviously.

No. 5 — "Rock and Roll Parts 1 and 2" (Gary Glitter). Another song with minimal lyrics (the only discernable word is "Hey"), this has been a sporting venue staple since 1972.

No. 6 — "Black Betty" (Ram Jam). I hated this version when it came out in 1977, and it hasn't gotten any better since then.

No. 7 — "Cowboys from Hell" (Pantera). Pantera isn't exactly easy listening, and you probably wouldn't play this for your grandmother (unless Granny is really into heavy metal). This would sound more at home at OzzFest than at a baseball game.

"What you're looking at on that Top 10 list is a mash between baseball, hockey and football," Bailey said. "Teams in different leagues play very different music. Hockey teams have a long season, and they play more music than football teams."

No. 8 — "Stronger" (Kanye West). I'm not familiar with this one, or the following two: A little bit of techno rap goes a long way with me.

"Generally, the music is selected to rally the fans," Bailey said. "Most of this music is music that really makes you want to dance or clap."

No. 9 — "Let It Rock" (Kevin Rudolf featuring Lil Wayne). Sorry, don't know it. I listened to 30 seconds of it on YouTube: That's enough.

No. 10 — "Put On" (Young Jeezy featuring Lil Wayne). Ditto. Lil Wayne gets around, huh?

I don't have strong opinions about a lot of the songs in this year's Top 10, although I'm sure I could get sick of them all fairly easily.

Some others that aren't in this year's Top 10 — many of them Baby Boomer mainstays — have already fallen onto my "never need to hear this again" list, largely because of overplaying at sports arenas:

"Old Time Rock N' Roll" (Bob Seger). Seger is kind of hit-or-miss, and when he hits he can knock it out of the park. This, however, isn't one of them, and the Twins played this song to death in the '80s and '90s.

"Start Me Up" (Rolling Stones). Again, I know this is targeted at Boomers like me, but these guys should have retired 30 years ago.

"Glory Days" (Bruce Springsteen). I love The Boss, but this has gotten so overplayed that it's just a cliche.

"Bittersweet Symphony" (The Verve). This is actually the official team song of the Seattle Seahawks. But it's a little too symphonic to be good sports arena music, and I have issues with anybody who calls themselves "The Verve."

"Welcome To The Jungle" (Guns N' Roses). Enough, already. I like ice cream, but after 20 gallons or so I tend to get sick of it. I also own this CD, but I'll probably never play it again because I've heard that opening riff 847,000,000 times.

But Axl probably doesn't mind — as long as the royalty checks keep coming.

sctimes.com

Friday, November 13, 2009

Bob Dylan, the Creative Process and the Media


I borrowed a stack of CDs from the library this week. A mixture of old and new stuff: a Hollies anthology, the Franz Ferdinand disc (which I'd never heard and I like a lot), and a very good, live, Faces set.

One of them was Bob Dylan: No Direction Home: The Soundtrack. The liner notes are fantastic, and I had to share the following piece, written by musician Al Kooper, which I found to be particularly enlightening, especially this passage:

"With the success of the Highway 61 Revisited album, the pressure was on. New producer Bob Johnston suggested that Bob record the follow-up in Nashville with players that Johnston would handpick.

Dylan agreed to this gamble but insisted on bringing Robbie Robertson and myself along so that he would feel "comfortable" recording away from New York City.

Bob was still completing many of the songs when we arrived in Tennessee. A piano was installed in his hotel room. During the days, I was summoned to Bob's room. Bob would teach me the song he was trying to complete, and like a not-yet-invented cassette machine, I would sit at the piano and play the song over and over again, while he finished the lyrics. After a day of this, I made a suggestion to him:

'Bob, why don't you come to the session an hour late tonight? I will get there and teach the band this song and any others we worked on today. That way, you can just walk in, and we will know at least one or two songs that you won't have to sit through while we learn them.'

He assented; it worked out great that first night, and became the modus operandi of the rest of the sessions.

However the reverse could and would happen from time to time. Bob would arrive, go to the piano in the studio and start changing a lyric.

Sometimes he would be in there for four or five hour stretches. The band took it in good humor and played pool and ping pong, watched TV and catnapped.

One night a journalist somehow slipped in with a friend and was asked to come back later as Bob was writing. He returned four hours later and Bob appeared to be in the exact same position at the piano as when the journalist was originally expelled.

'Man...what is he ON?' the reporter asked no one in particular in a loud voice.

'Columbia Records.' Albert Grossman, Bob's manager replied as he showed the gentleman to the door."



The point is, at least for me, that the creative process is something that takes it's own time, and that the media (myself included) is always looking for the sensational story.

Now obviously one cannot compare the creative output of a writer as prolific as Bob Dylan (34 studio albums) with someone like Axl Rose who took 14 years to put out one record - but the point still stands, and it's food for thought.

Tuesday, November 10, 2009

Slash's "Sahara" and "Paradise City"




"One of the benefits of being the Music Director of WAAF, is hearing new music WAY before anyone else! Today I got a chance to hear some of the new Slash album that will be released in March of 2010.

We should have the new single (which is going to feature Ozzy on lead vocals) in January!

This song was AWESOME!

And, the lyrics are going to piss off Axl & Black Sabbath!"
[Mistress Carrie]

According to Reckless Road author Marc Canter, "The song sounds like the 1972 Ozzy and it's heavy!"

Thanks to Blabbermouth