Guns N' Roses manager Irving Azoff has responded to the Ulrich Schnauss lawsuit with this statement:
"The band vigorously contests these claims and intends to respond accordingly."
He added the band and production team’s legal reps will be responding SOON, as well.
YOU CAN DOWNLOAD AND READ THE FULL COMPLAINT HERE.
His full statement follows:
"The band believed when the record came out and still believes that there are no unauthorized samples on the track.
The snippets of ‘ambient noise’ in question were provided by a member of the album’s production team who has assured us that these few seconds of sound were obtained legitimately. Artists these days can’t read the minds of those they collaborate with and therefore are unfortunately vulnerable to claims like this one.
While the band resents the implication that they would ever use another artist’s work improperly and are assessing possible counterclaims, they are confident this situation will be satisfactorily resolved."
Two independent record labels sued U.S. rock band Guns N' Roses for $1 million, claiming the group used portions of two songs by a German musician on their last album Chinese Democracy.
Guns N' Roses and Universal Music Group's Interscope-Geffen A&M label were sued by British label Independiente and the US arm of Domino Recording Company, who own the licensing rights to songs by German electronic musician Ulrich Schnauss.
Singer Axl Rose and Guns N' Roses band members and album producers copied portions of two of Schnauss' songs -- "Wherever You Are" and "A Strangely Isolated Place" -- for a song used on the band's last album called "Riad N' the Bedouins," according to the lawsuit.
The lawsuit, filed on Friday but made available on Monday, seeks $1 million in damages. A spokesperson for Interscope-Geffen A&M, owned by Vivendi's Universal Music Group, was not available for comment.
Peter Hodgson at i heart guitar just conducted another new interview with Guns N' Rose master of P.R. and fan liason, Ron "Bumblefoot" Thal.
A brief excerpt follows. What are your memories of Australia on the Guns N' Roses tour?
Oh man, let’s start off with the flight to Australia. At first I was dreading the flight because it was a good 14 hours, but it was the most comfortable flight I’ve ever been on. It was the first time I actually had a full comfortable night’s sleep on an airplane in my entire life, so it’s the first time I ever experienced that. So it was off to a good start.
I think we landed in Sydney then shot all the way over to Perth. Then we drove up to Fremantle and visited Bon Scott’s grave, paid our respects. Just the little things you remember. I remember being on a train and there was a young girl who had part of her face painted – she was going to a football game and the way it looked was something different to what you see in America. She had a little flag painted under her eye. It’s the little things like that. I remember those things more than the shows. Just the normal, human moments. Those are the things that really stand out.
Y’know, the view from the hotel in Sydney overlooking the Opera House and the bridge and everything. Walking around with my wife, Sebastian Bach and a couple of guys from his band, and suddenly some guy in a trenchcoat comes running up to us going “Hey! Hey! Hey!” and he opens his coat up and pulls out Axl’s microphone. It turns out that the night before, when Axl through his microphone out, that’s the guy that caught it. Oh what else ... I remember also in Sydney eating in a really nice restaurant along the water at night… just the nice moments like that.
The shows are always ... how do you even describe a show? It starts and your brain is in this other mode, and next thing you know the show is over and it’s more like one of those hazish dreams: “Did I just play, or didn’t I?” So unless something very significant happens in the show, I don’t really remember the show in a very clear way. But it’s everything after.
Going back afterwards and meeting Chris Szkup and his girl, hanging with them. I can still picture seeing them and this nice drawing they gave me in a frame, which is hanging in my living room right now. It’s hanging over my wife’s head as she’s sitting on the couch right now watching Hell’s Kitchen on TiVo. So it’s little things like that. No matter what happens, good or bad, those are the fond memories that make it an endearing experience you cherish. The dinners, the hanging out.
Are there any plans for more GN'R touring?
There have been a lot of plans, it’s just that when it comes to battling the economy ... there are so many variables that could make it not work. I’m guessing at this point that if something is confirmed, management would let everyone know. So at this point if I said anything it would be premature, so I should just wait for them to say anything.
(As usual, this is just a short snippet. You can read the full interview here.)
GnREvolution: I would like to ask if your solos on "Shacklers" and "Riad" were influenced at all by Buckethead and did you secretly try to out do him?
Bumblefoot: Hahaha, no and no. Listen to my demos from 20 years ago and you'll find that I play the way I play, long before there were buckets on anyone's head or bumbles on anyone's feet. Guys from the same era like me, Bucket, Mattias Eklundh, Christophe Godin, Guthrie Govan, and plenty more, all have a similar thread in the spirit of what we do.
No one's copying each other, the same way most 70's blues rock guitarists aren't copying each other - but there was something in the air at the time their cast was solidifying, that affected how they expressed themselves. This happens throughout every era of music, and in our case, the transition from the fun gluttonous 80s into the tighten-your-belt 90s, a time when cultures began to merge, big hair rock turned toward funk rock, grunge, rap rock ... there was an open-mindedness, more of a multi-mindedness that occurred. Listen to any of our solo albums, you'll hear what I mean.
GnREvolution: Are there any songs on Chinese Democracy that nearly didn't make it? What can you tell us about the alternate album artwork and CD booklet?
Bumblefoot: Ah man, I never get into things that haven't happened - it can affect the final outcome of things, ya can't do that. It's like going up to a stranger and saying, "In 10 seconds I'm gonna try to steal your car." Guaranteed, the outcome won't be the same. So I never talk about plans, things that haven't happened yet - also, as I'm here typing this, managers could be walking out of a meeting in LA, and I don't know what's up until they tell me. Anything I'd say would be mis-information until it's so absolutely undeniably definite, in which case you'd probably find out from them soon after I did.
In my own band, there's less riding on things, it's OK to open the window and let everyone see inside. And I enjoy that, making videos in the studio as an album's being recorded, letting people know what I'm planning for myself - no biggie, if the plans don't happen, it's not like multi-million dollar companies have invested time and the work of hundreds of people are affected by the change. There's a need for protection and privacy when it comes to GN'R biz, or anything on that level. I know it can make you feel frustrated, invisible, abandoned - even though it sucks, I hope you understand that there's too much at stake to risk being irresponsible with information.
GnREvolution: Do you have anything to say about the chemistry of the members of Guns N' Roses, either person to person, or as a whole group? And what the hell happened with Robin, it's so weird he left on the eve of the album release?
Bumblefoot: I can't and won't speak on Robin's behalf, it's totally up to him if he wants to share anything about it. Me, I'm in touch almost daily with members of the band and crew, we hang when we can. I see Frank most often because we live near each other on the East Coast. But we all have phones, email, we're in touch pretty often.
GnREvolution: Did you work on any of these tracks which Axl confirmed as working titles of future GN'R Material or was your involvement in the recording process strictly limited to the songs which appear on Chinese Democracy? (Ides Of March, Berlin (Oklahoma), Atlas Shrugged, Oh My God, Silkworms, Down By The Ocean, Soul Monster (Leave Me Alone), Seven, The General, Thyme, Quick Song, Zodiac).
Did you contribute to writing any new material for GN'R that we won't hear until some possible future album? Is the material you've heard for the follow up albums heavier or is it pretty much the same ballad to rocker ratio as appears on CD? Basically anything you can tell us about any future GN'R material would be appreciated...
Bumblefoot: I played on a good handful of songs that weren't on Chinese Democracy. [I] can't predict what the fate of any of those songs will be. I haven't written any new songs with GN'R, [but I] would like to see it get to that point.
(This is but a short excerpt, you can read the full interview here.)
