Slash Ranks #2 Among World's Top 10 Electric Guitar Players

Time Magazine's list of "10 Greatest Electric Guitar Players" named Slash number two, just behind Jimi Hendrix.

1. Jimi Hendrix
The greatest of all time? Maybe. No one merged the blues, rock and psychedelia with as much ease, or wielded his guitar with as much charisma.

2. Slash
A remarkably precise player who had to put up with more crap from his lead singer than any guitarist on this list. Does he make the cut partially because of the hat? Yes. Yes he does.

3. BB King
He doesn't call his guitar Lucille to be cute. With King's emphasis on vibrato, she sounds like a real woman singing the blues.

4. Keith Richards
The most notable of Chuck Berry's many disciples is also the creator of more memorable riffs—"(I Can't Get No) Satisfaction," "Jumpin' Jack Flash," "Gimme Shelter," "Start Me Up," etc.— than anyone in rock and roll.

5. Eric Clapton
Fluent in every blues style, Clapton is probably best known as the king of the Tulsa Sound. He's also among the most melodic of guitarists, using his solos to move a song along instead of stopping it cold.

6. Jimmy Page
Page's guitar sounds like six guitars, and the heaviness of his right hand is key to the instant recognizability of Led Zeppelin's sound.

7. Chuck Berry
The father of rock and roll guitar, his staccato influence is still heard on most songs today.

8. Les Paul
An amazingly talented guitarist, Paul had a series of futuristic sounding hits in the 1950s. But his music has been superseded by his invention: Paul pioneered the design and construction of the modern electric guitar, which made everyone else on this list very rich.

9. Yngwie Malmsteen
The Swede's superfast "neo-Classical" style —he credits Bach and Paganini as influences—is a blur of scales and technical precision. It almost makes you forget that the great bulk of his music is so fast that it's unlistenable.

10. Prince
He does a little singing, but Prince also plays a mean lead guitar. The solo on "Let's Go Crazy" is a frequently cited example of his frenetic style, but covers of "Just My Imagination" and "While My Guitar Gently Weeps" prove he can also play under control.

11. Johnny Ramone
No one hated guitar solos more than Johnny Ramone, so it's not surprising he perfected the Punk style, packing chords together tightly and leaving no space for freelancing.

TIME

August 1989 Interview With Axl Rose

20 years ago, Axl Rose gave one of his most quotable interviews ever to Rolling Stone magazine. The August '89 issue sat in my bedroom all Summer, as I read and re-read it, before signing up for a slew of business classes at school that Fall. I was 16.

The Rolling Stone Interview With Axl Rose
Rolling Stone, August 1989
by Del James

Sitting on a black Persian rug, chain-smoking Marlboros and sipping Corona beers, the singer welcomes any and all questions about the band. His onstage roar is replaced by a soft-spoken tone, but nonetheless he can be brutal in his honesty.

A few years ago you were a poor kid in a struggling rock band, and today you're in one of the most popular groups in the world. How have you adjusted to your success?

Trying to handle success is a pain in the ass. It's really strange and takes some getting used to. I've never had my own place to live before, never had to deal with the amount of money we've made and not get ripped off, never understood doing your taxes and all these things. I was hating it a few months ago, trying to get organized and trying to get a place to live and to get a grip on everything. But now things are coming together. I've wanted to be here my whole life.

Did you ever in your wildest dreams think your first album Appetite For Destruction would do as well as it did?

Thought about it a lot.

Besides dreaming about it, did you ever believe it had a real chance to sell 9 million copies?

No, but it was like this: I thought about trying to sell more records than Boston's first album. I always thought that and never let up. Everything was directed at trying to achieve the sales without sacrificing the credibility of our music. We worked real hard to sell this many records. The album wasn't just a fluke. Maybe Appetite will be the only good album we make, but it wasn't just a fluke.

Does the business end of rock & roll ever interfere with your creative attitude?

Not for us. This is music, this is art. It's definitely a good business, but that should be second to the art, not first. I was figuring it out, and I'm like the president of a company that's worth between $125 million and a quarter billion dollars. If you add up record sales based on the low figure and a certain price for T-shirts and royalties and publishing, you come up with at least $125 million, which I get less than two percent of.

I like being successful. I was always starving. On the other side. When it came to people with money, it was always "The rich? Fuck them!" But I left one group and joined another. I escaped from one group where I was looked down on for being a poor kid that doesn't know shit, and now I'm like, a rich, successful asshole. I don't like that. I'm still just me, and with a lot of people's help, the group was able to become a huge financial success. None of us were the popular kids in school - we were all outcasts who got together and pooled our talents.

Is there any lesson you've learned that you wish you knew a few years ago?

What I'd tell any kid in high school is "Take business classes." I don't care what else you're gonna do, if you're gonna do art or anything, take business classes. You can say, "Well, I don't want to get commercial," but if you do anything to make any money, you're doing something commercial. You can be flipping hamburgers at McDonald's, but you're a commercial burger flipper.

Now that the band is getting ready to work on the follow-up to Appetite and the GN'R Lies EP, what's your frame of mind?

As my friend Dave puts it, I'm jacking off [laughs]. We're trying to regroup. I'm ready to work. I'm creating, and finally I have an environment in which I can work. I haven't had that for a long time, since three years ago, when we all used to live in one room, sitting around writing songs. Until recently, I haven't had peace of mind. There were always distractions, but now it's like we can finally work on our songs.


Do you feel heavy pressure to sell as many copies with your next album as Appetite?

We have two records out, both of them in the Top Ten, and everybody wants another record immediately. They all say, "Let's milk this sucker." It'd be nice to outsell that album. A lot of groups are trying to outsell it. For a debut, it was the highest-selling album in the history of rock and roll. Definitely in America, but I'm not sure that's true worldwide. I read where Bon Jovi was saying nobody's out done their biggie, Slippery When Wet. He knew it was their biggie, and he didn't know if New Jersey would be as big. Of course, you're gonna want to outdo it. What I want to do is just grow as an artist and feel proud of these new songs.

Although you're only in the pre-production stages of the next album, how do you feel it will compare with the others?

The next record will definitely be much more emotional. I try to write so the audience can understand what emotions I was feeling. Also, I think the songs are worded in a way that a great number of people will be able to relate to the experiences; it's not so personalized that it's only my weird, twisted point of view. We hope to make a very long record. It'd be nice to make one that's seventy-six minutes long, A seventy-six-minute CD, with varied styles.

The most important songs at this point are the ones with piano, the ballads, because we haven't really explored that side of the band yet. They're also the most difficult songs to do - not difficult to play, but to write and pull out of ourselves. The beautiful music is what really makes me feel like an artist. The other, heavier stuff also makes me feel like an artist and can be difficult to write. But it's harder to write about serious emotions, describing them as best as possible rather than trying to write a syrupy ballad just to sell records.

Any specific titles for the next album you can talk about?

Well, there's a song called "November Rain" and another one called "Breakdown." There's also a song tentatively titled "Without You." Last night, I wrote a whole new intro to that. It just appeared out of nowhere, like the verses - just little pieces that have come whole.

How do write complete songs from separate bits and pieces?

They'll just show up. I keep them on file in my brain and then add them together. Like, I'll be brushing my teeth and all of a sudden a prechorus will come, and I won't know why. Then a bridge came about a year ago. Six months ago another part came. Last night a whole intro came. When I was writing it, I wasn't planning on putting it with this song, but all of a sudden it just flowed.


The GN'R Lies EP surprised a lot of people because of it's emphasis on acoustic material. Aren't you afraid that some people may be turned off by the band straying from the sound that got them on top?

We're not getting away from hard rock. Our basic root is hard rock, a bit heavier than the Stones, more in a vein like Aerosmith, Draw the Line type stuff. We love loud guitars. George Michael was telling me he really loved our melodies and wondered why we covered so much of it up with loud guitars, and I said because we love that. I told him he should put some more loud guitars in his music. He has such beautiful melodies, and it'd be nice to hear some loud guitars in there. At the same time, I have my favorite symphony pieces, orchestra pieces if you will.

I've always looked at things in a versatile sense because of Queen, ELO, Elton John, especially early Elton John and groups like that. With Queen, I have my favorite: Queen II. Whenever their newest record would come out and have all these other kinds of music on it, at first I'd only like this song or that song. But after a period of time listening to it, it would open my mind up to so many different styles. I really appreciate them for that. That's something I've always wanted to be able to achieve. It's important to show people all forms of music, basically try to give people a broader point of view.

Speaking of versatility, you're known primarily as a singer, but you've been playing piano quite a bit lately.

I've been playing piano my whole life. I took lessons, but I only really played my lesson on the day of the lesson. All week long, I'd sit down at the piano and just make up stuff. To this day, I still can't really play other people's songs, only my own. I haven't had a piano for years. I couldn't afford one. I couldn't figure out where I was sleeping at night, let alone try to have a place for a piano. So I had to put it aside and have the dream that I'd get into it. Now I really want to bring the piano out.



So far the song that's inspired the most controversy in the band's short career has been "One in a Million." How did you come to write that song?

"One in a Million" was written while sitting in the apartment of my friend West Arkeen, who's like the sixth member of the band. I wrote it at his house, sitting around bored watching TV. I can't really play guitar too well, I only play the top two strings, and I would write a little piece at a time. I started writing about wanting to get out of LA , getting away for a little while. I'd been down to the downtown-LA Greyhound bus station. If you haven't been there, you can't say shit to me about what goes on and about my point of view. There are a large number of black men selling stolen jewelry, crack, heroin and pot, and most of the drugs are bogus. Rip-off artists selling parking spaces to parking lots that there's no charge for. Trying to misguide every kid that gets off the bus and doesn't quite know where he's at or where to go, trying to take the person for whatever they've got. That's how I hit town. The thing with "One in a Million" is, basically, we're all one in a million, we're all here on this earth. We're one fish in a sea. Let's quit fucking with each other, fucking with me.

The lyrics have incited a lot of protest, so let's go over them line by line. Let's start with one of the verses, "Police and niggers, that's right/Get outta my way/Don't need to buy none/ Of your gold chains today."

I used words like police and niggers because you're not allowed to use the word nigger. Why can black people go up to each other and say, "Nigger," but when a white guy does it all of a sudden it's a big put-down. I don't like boundaries of any kind. I don't like being told what I can and what I can't say. I used the word nigger because it's a word to describe somebody that is basically a pain in your life, a problem. The word nigger doesn't necessarily mean black. Doesn't John Lennon have a song "Woman Is the Nigger of the World"? There's a rap group, N.W.A., Niggers with Attitude. I mean, they're proud of that word. More power to them. Guns N' Roses ain't bad ... N.W.A. is baad! Mr. Bob Goldthwait said the only reason we put these lyrics on the record was because it would cause controversy and we'd sell a million albums. Fuck him! Why'd he put us in his skit? We don't just do something to get the controversy, the press.

How about the next verse? Immigrants and faggots/They make no sense to me/ They come to our country/And think they'll do as they please/ Like start some mini-Iran or spread some fuckin' disease." Why that reference to immigrants?

When I use the word immigrants, what I'm talking about is going to a 7-11 or Village pantries - a lot of people from countries like Iran, Pakistan, China, Japan et cetera, get jobs in these convenience stores and gas stations. Then they treat you as if you don't belong here. I've been chased out of a store with Slash by a six-foot-tall Iranian with a butcher knife because he didn't like the way we were dressed. Scared me to death. All I could see in my mind was a picture of my arm on the ground, blood going everywhere. When I get scared, I get mad. I grabbed the top of one of these big orange garbage cans and went back at him with this shield, going, "Come on!" I didn't want to back down from this guy. Anyway that's why I wrote about immigrants. Maybe I should have been more specific and said, "Joe Schmoladoo at the 7-11 and faggots make no sense to me." That's ridiculous! I summed it up simply and said, "Immigrants."

How about the use of the word "faggots"?

I've had some very bad experiences with homosexuals. When I was first coming to Los Angeles, I was about eighteen or nineteen. On my first hitchhiking ride, this guy told me I could crash at his hotel. I went to sleep and woke up while this guy was trying to rape me. I threw him down on the floor. He came at me again. I went running for the door. He came at me. I pinned him between the door and the wall. I had a straight razor, and I pulled the razor and said, "Don't ever touch me! Don't ever think about touching me! Don't touch yourself and think about me! Nothing!" Then I grabbed my stuff and split with no place to go, no sleep, in the middle of nowhere outside of St. Louis. That's why I have the attitude I have.

Are you anti-homosexual then?

I'm pro-heterosexual. I can't get enough of women, and I don't see the same thing that other men can see in men. I'm not into gay or bisexual experiences. But that's hypocritical of me, because I'd rather see two women together than just about anything else. That happens to be my personal, favorite thing.

How about gay-bashing? Have you ever beaten up somebody simply because of their sexual preference?

No! I never have. The most I do is, like, on the way to the Troubadour in "Boystown," on Santa Monica Boulevard, I'll yell out the car window, "Why don't you guys like pussy?" 'Cause I'm confused. I don't understand it. Anti-homosexual? I'm not against them doing what they want to do as long as it's not hurting anybody else and they're not forcing it upon me. I don't need them in my face or, pardon the pun, up my ass about it.

The "One in a Million" lyrics about "faggots" who "spread some fuckin' disease" got GN'R bounced from an AIDS benefit in New York by the Gay Men's Health Crisis, one of the groups that was involved with putting on the show. How did you feel about that?

We're in no way associated with the Gay Men's Health Crisis, except that David Geffen is on the board of directors for the concert and he's the owner of our record company. We were asked to do this, and we wanted to contribute some money to help stop a deadly disease that's killing humans of all kinds. A friend of mine who's homosexual and was largely responsible for the record companies taking notice of us was upset about it because we didn't even get a chance to clear ourselves, to make good. AIDS is something very scary. The concert was something we wanted to do and felt it was important to do but we were denied the opportunity. We were even denied the opportunity to say anything about it. It was just publicly announced that we weren't allowed to do it because the Gay Men's Health Crisis wouldn't let us. I don't feel they have the right to deny the money and attention they would have gotten from us playing. It's pride, it's ignorant and it's childish.

Women seem to be one of the more popular subjects with Guns N' Roses. Are you a romantic kind of guy?

I'm a person that has a lot of different relationships. It's really hard to maintain a one-on-one relationship if the other person is not going to allow me to be with other people. I have a real open, hedonistic, sexual attitude. Just 'cause you're not totally in love with a person doesn't mean you don't like them. You can think they're attractive, and you want to touch them, have a great time with them. Maybe at that moment you are in love. I think love and lust go hand in hand, like good and evil. One without the other is not complete, But I don't tell someone I'm in love with them if I'm not. I never have.

You'd describe yourself as promiscuous then?

I have sex as often as possible.

Don't you ever think of contracting AIDS?

Yeah, but I also live in a city that's supposed to get the big quake any day. You can get killed on the freeway in drive-by shooting, the foods irradiated, there's a million ways to go out. A lot of times, sexual situations are very spontaneous, but I try not to be overly careless.

So you practice safe sex?

Practicing safe sex ... I like the word practice. It means keep doing it, keep repeating the process, get it right. Practice makes perfect. I don't know if it'll get perfect. But you can get a lot better. Just keep practicing.


What about drugs? Everyone and their mother seems to have a GN'R story involving junkie debauchery ...

I'm not and never have been a junkie. The last interview in RIP Magazine got taken out of context about me talking openly about my drug use. That was over two years ago and was only for a few weeks when there was nothing to do. I was also very safe about it. That doesn't mean that at some point I won't get really sick of life and choose to OD. Then people will go, "He was always a junkie." That's not the case, but you can believe what you want, I don't give a fuck. No one's really gonna believe anything I say anyway as far as what I do or don't do with drugs, 'cause it's such a taboo subject. Lately I've been drinking champagne for fun, a few beers, you know. Right now drugs get in the way of my dreams and goals. I really don't want drugs around me now, I'm not necessarily against the use of drugs, they just don't fit in my life right now. Then again, I could be out on tour for six months and a blast might be what cheers me up that night.

Do you ever think these excesses might hurt other members of the group?

I don't want to see drugs tear up this band. I'm against when it goes too far. Right now, for me, a line of coke is too far. A line of coke puts my voice out of commission for a week. I don't know why. Maybe it's because I did a lot of stuff before. Maybe it's guilt and it's relocated in my throat. All I know is it's not healthy for me right now. And if somebody goes, "Oh, man, he's not a partyer anymore," hey, fuck you! Do you want a record or not?

With all the misconceptions floating around about G N'R, the biggest misconceptions seem to come from magazine interviews you've granted.

That's just a lot of sensationalism. People out there don't know what's real or not. Things are always going to get changed or taken out of context, but some magazines will make up an interview just to sell issues. One's written that Slash said I run over dogs. I think it sucks when a kid has three bucks and he buys a candy bar, a soda and a magazine because he's really into Guns N' Roses, and he gets bad photos and an interview that's not true. It's not fair. Unfortunately, it probably will never change.

Some schools have banned GN'R t-shirts, and organizations like the Parents Music Resource Center (PMRC) have objected to what they feel is the band's glorification of a degenerate lifestyle. When you sing to a younger audience, do you think you have any responsibility as their idol?

It's just a record. . . . I don't know. You have to go through your own changes sand growth. I'm not trying to influence anybody in a negative way. Also, I'm not raising your kid. You're the parent. The PRMC? Who are they? A TV show, like AM/PM?

If you had a young son, say Axl Rose II, how would you feel if he brought home an album with lyrics about "niggers" and "faggots"?

Right now I don't want to have a child, because I can't give it enough time. But I'd want him to talk about what he listened to with me, and have him show me new things, and me show him new things. He could play me the Screaming Banshees From Hell, and I could play him Jimi Hendrix or something. We could talk about the music. We'd talk about things together. I think it's a parents job to raise their child. My father likes "Welcome to the Jungle." Ten years ago, if a song like that was caught in our house, man, it was over. But I can't hold how he once felt against him.

Let's go back to your childhood. Were you a bad student?

No. On the placement tests in school, I was always in the top three percent. I dropped out in the eleventh grade, went back as a senior, then dropped out again.

Why did you drop out?

'Cause I couldn't make school work for me. I was having to read books, sing songs, draw pictures of things that didn't stimulate or excite me. It just didn't do anything for me. So I dropped out and started drawing and painting at home and spending a lot of my time in the library. Basically I started putting myself through Axl's school of subjects that I wanted to learn about.

You grew up in Lafayette, Indiana. What influence do you thing your small town had in shaping you?

It made me despise people with closed minds. It made me want to break out.

What about small-town values?

That's a load of shit.

Were you in trouble a lot?

Me and my friends were always in trouble. We got in trouble for fun. It finally reached a point where I realized I was gonna end up in jail, 'cause I kept fucking with the system. This guy and I got into a fight. We became friends afterwards, and he dropped charges against me, but the state kept on pressing charges. Those charges didn't work, so they tried other ones. I spent three months in jail and finally got out. But once you've pissed off a detective, it's a vengeance rap back there. They tried everything. They busted me illegally in my own back yard for drinking. They tried to get me as a habitual criminal, which can mean a life in prison. My lawyer got the case thrown out of court. I left and came to California. They told me not to leave, but I left anyway. My lawyer took care of it. I didn't go back for a long time. Now when I go back to see my family, I avoid the police there. I try to avoid all police in general.

What happens when you go back now as a celebrity instead of an outcast?

It gets a little bit out of hand. I can't really go any where. I just go to my friends' houses, but people I don't know show up wanting autographs. People that I used to go to school with, people that used to hate my guts, want me to invest money in this and that. People say shit like "Axl thinks he's too cool to party with us." But those people never wanted to party with me before, The people who are offended by this comment are the ones who should be.

How do you explain your volatile nature?

When I get stressed, I get violent and take it out on myself. I've pulled razor blades on myself but then realized that having a scar is more detrimental than not having a stereo. I'd rather kick my stereo in than go punch somebody in the face. When I get mad or upset or emotional, sometimes I'll walk over and play my piano.

Your own music has been diluted somewhat by radio stations that play different, shorter versions of GN'R songs. How do you feel when you music is cut to suit the airwaves?

Not that any of our songs compare, but if you hear a short version of "Layla," I think you're gonna be pissed off, especially if you're planning on hearing the big piano part at the end. I hate the edit of "Sweet Child o' Mine." Radio stations said, "Well, your vocals aren't cut." My favorite part of the song is Slash's slow solo; it's the heaviest part for me. There's no reason for it to be missing except to create more space for commercials, so the radio-station owners can get more advertising dollars. When you get the chopped version of "Paradise City" or half of "Sweet Child" and "Patience" cut, you're getting screwed.

What kind of music and bands do you enjoy?

That's always the hardest question. Lately I've been listening to Derek and the Dominos, the Bar-Kays. I really like the first Patti Smith. I'm just starting to discover the Cure. I keep trying to find things to open myself up to. I enjoy Soundgarden. The singer just buries me. The guy sings so great. On the club circuit, I like Saigon Saloon a lot.

Today, my favorite record is Todd Rundgren's Something/Anything . I just got turned on to it. I've still got my favorites and things like the Pistols, ELO and Queen. The two records I always buy if there's a cassette deck around and I don't have the tapes in my bag are Never Mind the Bollocks and Queen II . I think I'd be in a bind to figure out which one I'd want if I was stranded on a desert island. I might go with the Pistols, because maybe a boat would hear me if I played it.

You are also a Rolling Stones fan. There were some rumors floating around about G n' R possibly opening for them on their upcoming tour. What happened?

No formal offer has been made. I'd love to open for the Stones, but at the same time I really want to do my own record. We'll probably go back on the road sometime next year. I don't know exactly when.

Do you consider yourself the leader of the band?

That's a good question. I'm gonna do what I want to do. That may be selfish, but it's the best way for the most to come out of me. When we write a song, nobody in this band plays anything they don't really want to. When we write a song, the bass player plays his line and it ends up being what he wants to do on bass. It ends up working that way and fitting, so we end up with a set of songs that everybody likes. I couldn't say I'm the leader, like "We're gone do what I say." It doesn't work that way.

Earlier you touched on the rock-star image and people falling into the music just because it adheres to a certain attitude and look. What about Axl Rose's longhaired, tattooed, pierced-nipple image?

What about it?

Is it just an image?

It's part of me. When I put on my clothes or do a photo session, I want to look the best I can. If you're going on a date, you want to look good for that person or for yourself. I've got enough money now to buy a suit I like and wear it the way I want. I don't wear suits every damn day now. Maybe I'm gonna shave and wear makeup and do my hair fuckin' way up. We're definitely image conscious. I think if Izzy came wearing a clown suit to a photo session, we'd want to know how he could validate his presence in a clown suit [Laughs]. But if he could back it up and convince us there was a reason, then it would be cool. Otherwise, it wouldn't be. Steven has his own way of dressing, in the latest commercial-rock fashions. Steven enjoys the hell out of the clothes he wears, whereas Slash and I wouldn't be caught dead in either. It's just different personalities. If we're gonna do a show, I wear a headband because my hair gets in my face. When we do a photo session, a lot of the time I'll wear a headband because that's how I am onstage. If I feel real dominant and decadent, I'm gonna be wearing my jack-boots and stuff like that. I try to express myself through my clothes. It's another form of the art. I'm not afraid of what people think about different ways I look. I'm gonna do what I want to do.

Do you really get hassled much when you go out locally in LA?

I really only go to clubs where I know the people who work there, so I can have some privacy and hang out. It's hard when you go to a club with 600 people and you end up having to talk to 400 people. You have no time of your own to have fun. Maybe if I haven't gone out for a week, I'll go to the Cathouse, because I know some friends are gonna be there. I just want to be around my friends, even if we don't talk about anything. I just need it. You have all these people asking you for an autograph, and it gets kind of embarrassing. I don't want to be a prick to people and go, "Get away from me." But I don't enjoy going someplace and just signing autographs all the time. It comes with the fame, but sometimes it gets out of hand and people can be very rude and obnoxious about it. I've had people break into my hotel room with cameras, waking me up and taking photos. People find out where I live and show up at my building. I've never asked anyone for an autograph.

Having to deal with autographs doesn't seem like it's the worst thing in the world. At this point in your life, what's your biggest regret?

That I didn't talk to Todd Crew before he went to New York. [Crew, the bassist in the band Jetboy, was a close friend of the band's who died due to an alcohol-related overdose.] I felt a massive need to talk to him out of concern for his well-being. But I wasn't aware enough to realize I didn't have the time I thought I did. I thought I'd have time later ...

You seem to have an exceptionally strong bond with your friends. Do you think your values have changed any since you've become a rich rock star?

I saw a guy last night, a homeless guy on the beach. I hate panhandlers 'cause I've never done that. I just couldn't, it would have felt too weird. I walked past the man and realized I had some money in my pocket. It's not that I give everybody I see money. I don't at all. But I handed him twenty bucks and he was like "Thanks, man, I appreciate it." He can have breakfast tomorrow. I could have just walked away, but I could tell in my heart that the guy could really use the money. He wasn't trying to scam. He looked like he was gonna get up tomorrow and look for a job or something to survive. I felt good about that, and I'm wondering if he's all right now. I don't know. The next day I was hoping he didn't go buy crack with it.

HTGTH

Duff McKagan's Loaded Re-Loads for Another Round

According to his twitter page, Duff "will be writing new LOADED songs tonite and tomorrow. Some great ideas and riffs have come on this latest tour. Excited for sure!"

This is bittersweet news for many of Duff's fans. In my opinion, it implies that Velvet Revolver is indeed staying parked on the back burner. 2010 will see Slash's solo album and I presume, an ensuing tour. Loaded, in turn, will likely cycle through another period of songwriting, recording, touring, etc. I imagine it will be a few years before VR convenes again, if ever.

Later today, Duff tweeted:

"VR will continue our search for our singer. It WILL happen! When I speak of Loaded, I am certainly not speaking against VR!"

Okay.

I've been listening to Loaded's latest Sick, and while I do enjoy it, it's a little to happy and upbeat for my tastes. I prefer their 2001 release, Dark Days.

There are some great songs on this record though. "Sick" has aggressive lyrics and a crazy guitar solo. "Forgive Me" is a perfect little alt-pop-rock song that crystallizes Loaded's sound quite well. Duff's vocals sound great on that track. "Wasted Heart" wouldn't sound out of place on the Stones' Beggars Banquet LP. "No More" is probably the catchiest tune on the disc.

In an interview with Guitar World Magazine, Duff explained that the band decided to write a new album when, at a Christmas benefit gig, they realized how many good unrecorded songs they had.

Although Duff wrote most of the songs on Dark Days, much of Sick was composed by the band or with other writers. One track, the somber “Mothers Day,” took shape from McKagan and Rouse jamming together on bass guitars. It was called “Two Basses” until McKagan wrote lyrics about friends he’s lost to drugs.

Surprisingly, although doing time in GN’R and Velvet Revolver cemented his association with Slash, McKagan credits former Gunner Izzy Stradlin as the guitarist that most influenced his own rhythm playing. “I think from Izzy I learned where a rhythm guitar player should be, within the band,” McKagan says. “As a result, I don’t overthink it.”

Bumblefoot Interview - Brazilian Guitar Player Magazine

There's a "new" Bumblefoot interview in the current issue of Brazilian Guitar Player Magazine (with Joe Satriani on the cover).

It's pretty much the same Bumblefoot interview we've read several times before - but at least he's talking!

Guns N' Roses' Ron "Bumblefoot" Thal
by Henrique Inglez de Souza

Delayed, expensive, polemic. Those are some of the most common words for Chinese Democracy, the so spoken of latest album from Guns N' Roses. Released at the end of 2008, it was the first studio record in 15 years and brought significant changes. Among other things, the band is really different from the time they had Slash. The band's hard rock added eletronic music elements and now has not only two, but three guitar players - the current ones are Ron "Bumblefoot" Thal, Richard Fortus and DJ Ashba.

Putting aside comparsions, Chinese Democracy is historic. Now you can read this exclusive interview with Bumblefoot, one of the five guitar players who recorded the album.

How do you join Guns N' Roses?

In 2004, Joe Satriani put me in contact with managers, producers and band members.

When did you record your parts for Chinese Democracy?

Before the North-American tour in 2006, in Los Angeles studios. After the tour, we finished in New York, in the begining of 2007.

What was your work?

When I joined the band, the songs were already written and recorded. I added my parts and some new stuff, like the fretless guitar in the title-track verses. We spent 10 hours or more a day in the studio. I recorded everything I brought, testing different ideas with the fretless guitar for rhythm and solos. At the end of each day, we heard the material and decided the final touches.

What was your gear in those recordings?

For the most part, I kept a simple setup: Gibson Les Paul plugged in a Marshall JCM800. Sometimes I used a wah-wah (Vox or Dunlop) or distortion (Boss Blues Driver). I used a lot of the fretless guitar Vigier Surfreter.

Your tone mixes rawness with some blues.

Yeah, it's a classic rock very simple, which creates a good contrast and balance with the other guitar tones in the album. We tried some amps and also different guitars and pickups setups for each song. We tried everything and we chose the best tones. Credit goes to the sound engineer guys and producers, they were amazing.

Are there songs for two more albums besides Chinese Democracy? Are you making some kind of trilogy?

I wouldn't expect a trilogy because I learned that each album gets its own life and it doesn't matter if we want to plan this kind of thing. It doesn't always work. The songs on Chinese Democracy were not all of what we recorded. There's more and we expect to use it on the next albums.

Which of the old songs do you like to play live?

Some because of its energy and groove, like "My Michelle" and "It's So Easy," others for the solos, like "Nightrain" and "November Rain," besides the ones the crowd loves like "Welcome to the Jungle" and "Paradise City."

Do you keep the original line or come up with something new in the old songs solos?

In some I keep faithful to the original because there is solos that are more than just solos. They are an important melody and gives an identity to the song. To change it would be like changing the lyrics. This is the case in "November Rain" ending solo. But in songs like "Nightrain" and "Paradise City" I can jam something different every night, playing with my inspiration.

How do you, Fortus and DJ share the guitar parts?

In a general way, I do the most crazy stuff, DJ gets the melodic parts and Fortus plays something in the middle of all this. It's a good way of keep our identity in this wall of guitars. We do something like that in the rhythm, when I play the low tonic of the chords and riffs with the bass. Fortus fills up the rest of the chords while DJ puts something on top of that. This is the general idea, but it all depends on what sound better for each song. We're getting along well and working a lot on our guitar sounds. We tried different instruments and heads. We're polishing the sound that the crowd will hear, which is very important. After all, whats the use of getting a great guitar tone on stage if the sound that makes to the crowd is bad? Everyone, band and staff, worked hard to make sure that the sound that people hear will be the best.

Is there a solo on the new album that could be as classic as Sweet Child O' Mine?

Oh, I don't know! The current band and the old one sound different. It's hard to say. I'm more of a fan of the song as a whole than the solos. To me, "Sorry" and "This I Love" stand out from the others in a general way. "Better" could also be the song of this album. It starts with a remarkable riff. It has a cool sound.

Are you inspired by any of the Guns N' Roses ex-guitarists?

I try not to be. Not to be direspectful, but because I want everything to be authentic, untied and without any influence in relation to how a particular guitar player would play. Otherwise I wouldn't be truthful to myself. Integrity is everything in life. I've already met Gilby Clarke a few times and Izzy Stradlin was with us in the 2006 tour. They are both great guys. If it was to be inspired by them, it would be in a personal level in a way I could play with integrity and still be myself.

How is to work with Axl Rose?

Axl has a vision of work in which I believe. Part of it is to let your bandmates be themselves, creativity-wise and letting them do what they have in mind. It's great!

From the things we hear and read about Axl, what is not true?

Almost everything. [laughs] Don't believe in half of what you read and doubt the other half. People don't want the truth, but instead they want to be entertained. They believe and repeat whatever story is entertaining, even if it trashes a person's name. Don't believe it unless you have seen it with your own eyes.

Thanks to Voodoochild at HTGTH.

Part II of NEW Bumblefoot Interview

A HUGE "Thank-you" goes out to eye2eye at the Chinese Democracy Forum.


Q : Which song on Chinese Democracy did you contribute the most to?

Ron : Oh, that's not an easy question. In "Shackler's Revenge" there is of course my solo. But sometimes I played things normal listener won't hear. For example in the song "I.R.S". I don't play solos on this, but I laid down a lot of guitars in the background, the most among the Chinese Democracy songs. They're not heard at first, but they're there for sure. Only know, when we start to play those songs during rehearsals, I start to remember how many guitars I recorded. I totally forgotten about them. Hmm, if I have to point songs with my biggest contributions I'd choose "Shackler's Revenge", "Catcher in the Rye" and "Chinese Democracy" on that one my rhythm parts changed song a lot. I also used fretless guitar on "Scraped". Those songs really show my guitar playing. Also I add small parts here and there, for example short bluesy solo at the end of the second verse of "Better". Generally I really like my rhythm parts, for me they're the most important think I recorded, they changed a lot. After those parts songs became more rock n' roll than industrial.

Q: What do relationships inside the band look like? Is it democracy inside or it is "Chinese democracy" with one man rule?

Ron: I'd say that there is democracy inside. We all have great contributions to the band, we share opinions, ideas. We all make choices...People from outside like to make theories, that in GN'R there is only one man ruling. It's not true. Of course, Axl has all the rights to the name. If some is to make a definitive decision, of course it's up to him. But it's not a dictatorship. He treats as all very well. And we respect it. I won't run all over the world with statement that Guns N' Roses is my band and everyone do what I tell to do. We won't behave that way, Axl as well not. As far as ideas - musical or other are concerned everyone gives opinions and we all are interested in all points of view, others feelings.

Q: Do you meet each other outside the studio?

Ron : Of course. There are weeks, when we go out together almost every day, sitting whole night and going into trouble (laugh). We're in touch all the time. For example last week I went to San Diego to play charity show with Nashville country artists. I played on acoustic guitar with them, then as a band member. It was all for navy veterans. On the way there I exchanged about 30 messages with Axl , basically doing jokes all the time. It's how it look like. Last night, phone rings, I reach for it and I see funny message from Axl I replied immediately. And we write to each other like this all the time almost without stop. Or Richard sent us all e-mails in which he was making fun of George Bush. Yesterday I, Frank and guys from the band were at the hotel and started a party. Customers made a lot complains about noise , co we have to go down to continue party in the lobby. We all make such things as it happens in the pack of friends.

Q: How often do you make rehearsals?

Ron : I've been in L.A. since January. At first we had try-outs for new guitar players. Then I took care of my equipment: amps, etc. I was checking what would be the best for the tour, it took some time. Also we needed some tweaks when DJ joined us. Those months were very intense, because of practicing all the stuff. I hope we'll move our asses and start touring.

Q: Is there any new material played on those rehearsals?

Ron : At the moment no. We're focused on Chinese Democracy. We must played that material through before we do something new. I feel that we are not finished with it - no matter how stupid it sounds. We didn't do everything what is right, with that album. We didn't make a tour, some other things lacked. So before we start something new, we must be sure that we did everything he could with that album.

Q: There were information about Chinese Democracy being first part of trilogy, It is rumored that the material has been already recorded. Or maybe you started recording something new in that line-up?

Ron : I would like it to be that way, to create together. But I played on many other songs, I added solos, rhythm parts, fills some of them didn't make it on the album. I don't know if it be a trilogy out of this or it was only a rumour , which gone out of control. Maybe there was such idea, but ideas change. When you record an record, you start with one idea, but finish with something totally different and have to discard previous ideas. It's hard to say, maybe on the one stage there were plans of doing trilogy, but as far as I'm concerned I don't think it will happen. But it is possible it was an idea or it was only loud thinking and someone took it as a definitive plan. It happened with my albums as well. Last one was supposed to be double - one CD with heavy stuff, second with ballads. I discarded that idea and I created Abnormal.

PART I

ANOTHER New Bumblefoot Interview

Thanks to eye2eye @ the Chinese Democracy Forum.

Q : Having this in mind. I want to know how you share guitar duties in Guns N' Roses. In the past it was simple : there was guy who played solos, and there was guy who played rythm. Now there are three guitar players...

Ron : You're right, in the post there was rythm and solo player. Now you got three solo players, and every with totally different style. DJ is someone like Slash, he plays melodic parts, but also can play very fast. He is very talented guy. Richard Fortus can play everything on awesome level. I'm also very flexible considering style, but I play usually all weird stuff - tapping, untypical sounds etc. So I think that I am responsible in GN'R for all the crazy, weird, new parts, DJ is for melodies and Richard has a share in everything. We share it that way, but it is also why I don't play as much melodic parts as I am able to. But that is how it works in Gn'R.

Q: Does the proportions changed when DJ joined the band ?

Ron : Not really. We tried to keep it as it worked in the past. By the way some songs have as much as three solos so everyone plays one in that case.

Q: And how it looked like on Chinese Democracy?

Ron : I played a lot of things. Many rythm parts, many solos. In some songs, solos had been recorded for years. And after such time it seemed that playing anythind different in that place wouldn't be a good idea. We simply left it as it was. Live I play all the parts, orginally written and recorded by Buckethead and those, which I recorded myself. DJ will take Robin parts along with Richard. Richard of course plays his parts as well. Guitar wise there is a lot of interesting things on Chinese Democracy.

There's much more to this interview here.