Showing posts with label jungle. Show all posts
Showing posts with label jungle. Show all posts

Thursday, March 25, 2010

London Calling


REVERB
For Guns N' Roses, London Called Early

By Duff McKagan, Thursday, 11 March 2010

I am in London this week looking at a bunch of unsigned bands for a new venture that I am part of. It is fresh and fun to see some of these bands: startled kids with huge and hopeful eyes that see a world that is theirs for the taking, energetic, unjaded, and full of piss and vinegar. I need to see this now and again to remind me what music should be all about. It also reminds me of the first time I came over here: It was with GN'R in July of '87, a few weeks before Appetite for Destruction came out.

The year before, we had put out the Live Like a Suicide EP. This fast and furious collection of songs sort of just died everywhere else in the world except for the UK. Unbeknownst to us, a cult following of fans was building over here who were chomping at the bit for any news on the band. When Kerrang magazine sent a photographer to Los Angeles to shoot us for the cover, we couldn't actually believe it. We had received press coverage in LA at this point, but KERRANG?! Are you kidding me?

After we finished Appetite and were waiting for its release and tour opportunities, we were approached to go to London and play the famous Marquee club. The only place I had been outside the US was Vancouver, BC, to play punk-rock shows with my various Seattle bands when I was a teenager. This was BIG! Huge! Magnificent!

I think it's assumed these days that GN'R kind of "broke" straight from the get-go after the release of AFD. Truth is, it took us nearly a year of straight touring before anyone paid attention to us in a significant manner--except for the UK.

An odd clash of circumstances occurred in Britain about a year before Live Like a Suicide came out. Back then and before the Internet, the youth over here would sort of latch on to one rock-and-roll band and identify it as their clarion light. That band was Hanoi Rocks, an amazing group of Finns who had relocated to England and were writing some of the best and dirtiest rock songs. When Hanoi finally came to tour America for the first time in 1985, their drummer Razzle died in a car crash while making a booze run with Vince Neil in LA I had just moved to Hollywood, and Slash and I had tickets to that Hanoi gig that never happened. It was an incredibly sad moment not only in rock and roll, but all the way around. Hanoi Rocks never quite recovered.

Flash forward to our gig in the UK, July 1987. After the first Marquee gig sold out in record time, they added a second date. That sold out just as fast, so they added a third. By the time we arrived here (we stayed at a rent-by-the-week apartment because it was much cheaper than a hotel), we were kind of like little mini-celebrities. There were times that people would stop us on the street and they actually knew who we were! It was quite weird, even on a small scale.



I learned to ride the tube everywhere, and it just seemed that there were great gigs every night we were there. Slash and I went out to a suburb one night to see the Replacements, and got so drunk that we lost track where we were. We caught a tube to somewhere that was not anywhere even close to our apartment in Kensington. We got into a drunken fight when we got to the end of the line, and realized that there were no more trains running and that we didn't have anything close to the amount of money to take a cab. Come to think of it, I doubt we even knew the address of where we were staying; we only knew how to get there from our local tube stop. To this day, I am not sure how we ever got back that night. Did we sleep in the train station? Ah, the luck and providence shown to the young and drunken and foolish!

But the real reason we were here, of course, was to fucking rock. I must say that back in that period of the band's career, nobody did it with more purpose, sneer, and reckless bad intent than us. This is not me bragging - it's just that we were hitting on all the right cylinders at the same time. When we walked to the Marquee on that first night, we were met by the crowd that was in line surrounding the block. We were absolutely fucking amazed that all these people came to see us. We hung out there in the street with them before and after those three gigs. We found that we had suddenly become "that" band that the youth of England had been looking for to fill the void left after Hanoi Rocks' tragic demise. Within four years, we would be headlining in stadiums here.

I am here now as a real grown-up, an adult doing very "adult-like" business and meeting with real-life businessmen. I am glad to be taken seriously in these meetings, and for certain feel that I have earned the right to be doing the things that I do outside of just playing music. Coming back to London, though, always puts a smile on my face. That first 10-day stay here as a young man will forever be a brilliant memory that will always keep me from becoming jaded.
REVERB

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

Monday, September 28, 2009

Jungle Live Video Shoot 8/2/1987


This was shot live on the day Guns did the "Jungle" video shoot.



Check out the GN'R club days book Reckless Road: Guns N' Roses and the Making of Appetite for Destruction. It covers Guns N' Roses' first 50 gigs from the Sunset Strip 1981-1987.

RecklessRoad.com for more info

Marc Canter's YouTube Channel

Monday, August 31, 2009

Adler's Appetite at Universal City Walk


This high quality footage was recorded last Friday night, August 28. That's Melrose Larry Green (of the Howard Stern show) pictured Steven Adler (above).



The next night, Steven and his buddy Slash jammed with Aces & Eights at the Viper Room.

Thanks to Blabbermouth.

Saturday, August 29, 2009

'Live From the Jungle' EP (1988)


1. It's So Easy
2. Shadow Of Your Love
3. Move to the City
4. Knockin' On Heaven's Door
5. Whole Lotta Rosie

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Live from the Jungle is an EP by Guns N' Roses that was only released in Japan. Tracks one, four and five were recorded live at London's Marquee Club on June 28, 1987.

This EP is referred to as Live from the Jungle even though the similarly titled song "Welcome to the Jungle" does not appear on the EP. It is named so because part of the large red text on the album's obi strip reads "raibu furomu za janguru", meaning "live from the jungle".

The cover art uses the banned Robert Williams artwork originally (but very briefly) used for Appetite for Destruction.



Thanks to Rock is Dead / R.I.P.