So. The long-rumoured hybrid Guns N’ Roses reunion line-up continues its steamrolling tour of enourmo-dome venues (at atrocious bastard prices), and for the price of three stars in the sky you can indeed see the sight of the GN’R ‘core’ – W. Axl Rose, Duff McKagan, and Slash – backed by a set of superbly able musicians, some from Axl’s recent ‘NewGNR’ lineups (hence the ‘hybrid’ term).

It’s most likely the closest we’ll get to a Guns N’ Roses reunion, nevertheless bearing in mind that Appetite for Destruction-era drummer Steven Adler and original rhythm guitarist Izzy Stradlin are not involved with the current touring and acivity, which in itself seemed utterly impossible for so long (a fact not lost on the band, titling the tour Not in this Lifetime, after a remark Rose made to a reporter regarding the deathless reunion question back in 2006).

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So, you might – in a fit of absolute boredom or musical nerdishness – be wondering exactly what’s happened with Axl for the last twenty years or so. Having been a GN’R message-board trawler since around 2006, I took a strange fascination with what happened to Guns N’ Roses since their dissolution in around 1994/5 onwards. Make no mistake, trying to make twenty years’ worth of anything into a concise and streamlined read is no mean feat, but the adventures of W. Axl Rose is a meaner one. Now, read on.

We begin with the murky mid-90’s. Guns N’ Roses as a colossus – not just a rock colossus, but as a music colossus, began to look outdated and outsmarted by the burgeoning grunge and alt-rock whippersnappers: bands made up of seemingly ordinary, relatable people with no egos. The ‘rock star’ itself as a term and as a deity was being radically redefined.

Some in the Guns camp were keeping closer eyes than others on the burgeoning new sounds of the era, from Faith No More’s indescribable funk-metal blitz to Nine Inch Nail’s bleeding-edge industrial. Despite the state of music around them, Axl would retrospectively describe the sorts of pre-album riffs Slash was laying down at the time as “The 2000s version of Aerosmith’s Rocks“.

As all players continued to feel out their preferred musical directions, the first of many splits began to emerge. Axl and Duff were at odds with what they saw as almost Southern-rock stylings on the new material, whereas Slash was fed up of epic balladry and Axl’s penchant for them. Axl would later allude to this in an onstage rant about Guns’ most famous ballads in Albany in 2002. ‘Well you don’t know what the fuck I went through to get that guy to play those songs. You don’t know about the argument we had at A&M studios, because Duff and Slash came to me going “We’re not gonna do that song Axl, we’re not gonna do this song, no, no, we’re just not gonna do it’.

1996 and ’97 would see Slash and Duff’s departures, respectively: Slash having taken a load of riffs and other musical odds n’ sods that Axl seemingly wasn’t interested in and fashioned them into the Slash’s Snakepit debut, It’s Five O’Clock Somewhere, with subsequent touring in support, almost proving a marked difference in musical approaches – Slash hungry for activity, Axl taking his sweet time with grand concepts.

Having begun to introduce outsiders early on to the Guns camp with the controversial presence of guitarist Paul Huge – a longtime Indiana buddy of Axl’s – the departures of key members would leave huge gaps, but not the sort to be utterly unfillable: with skinsman Matt Sorum and rhythm guitarist Gilby Clarke having already left as well, the repopulating of Axl’s professional music life was already well underway.

Occupying the drum stool for most of this period was session drummer Josh Freese, who would arguably be the band’s ‘main’ drummer after Matt Sorum. While Freese would eventually leave out of frustration at the project’s inability to come to a conclusion and its glacial progress (being the first of many, many more to do the same), swapping for Brian ‘Brain’ Mantia, he found the time to start the alt-rock outfit A Perfect Circle with Billy Howerdel, who had also been serving as musical technology enabler for Axl – both hitting it off over a shared love of technology’s increasing presence in music.

Howerdel would also recommend the multi-instrumentalist Chris Pitman, who would go on to provide all manner of extra techy bleeps and bloops not only for the new music, but as a touring member from 2001-2014.  Ex-Replacements bassist Tommy Stinson was now ‘in’ on the four-string, and Use Your Illusion-era keyboardist Dizzy Reed had managed to sidestep the mid-nineties meltdown of the original band by not being too close to the fire in the first place.

In 1999, one of the most controversial and impactful musicians in the band’s entire history joined the fray: Buckethead.

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Dressed in a boiler suit, freakishly tall without an upturned KFC bucket sitting atop his head, and hidden behind a white mask: this was Slash’s first significant replacement in the band, and it’s difficult to think of someone more different. Buckethead’s history is an essay in itself: one that human limitations cannot stretch to here. Nevertheless, the firey-fingered fucker was a contact of Robin Finck and was invited to audition with the band.

For those with a passing interest, he remains to this day a highly-respected virtuoso guitarist with a terrifyingly prolific release rate (making his involvement with Chinese Democracy ironic, to say the least), releasing hundreds of solo albums per year. No, really. On the finished album, that’s him providing the wonderfully cinematic solo at the end of There Was a Time, and the bluesy one in Sorry, among others. To say Axl brought out the best in him is a fair summation: despite the ‘act’ of Buckethead potentially putting off mild-mannered rock fans, his actual music and musicianship is well worth your time.

Here’s his take on the classic November Rain solo:

http://www.youtube.com/embed/WM9pWFBTdVc?version=3&rel=1&fs=1&autohide=2&showsearch=0&showinfo=1&iv_load_policy=1&wmode=transparent

 

Meanwhile, Axl’s first live appearance since 1994 would be an unannounced ‘sitting-in’ with Gilby, at Sunset Boulevard’s Cat Club in 2000. Clarke was heading a jam session with The Starfuckers, a band he had going with the club’s owner. ‘I guess he ran into some friends of mine at the Roger Waters show at Universal Amphitheater, and they told him that we were playing down there and he came by,’ Clarke would later explain to Rolling Stone. ‘Maybe he just wanted to have some fun.’

While the guest spot wouldn’t reignite any kind of creative partnership with Clarke, Axl was reportedly buzzing at the reaction. Appetite for Destruction had already been re-recorded the year before, as an exercise of sorts for getting the gradually solidified new line-up to further gel and to learn the songs anyway for an inevitable live return.

After a pair of warm-up shows in Las Vegas, Guns N’ Roses as a name made their major live comeback at the Rock In Rio festival in 2001. Visually as well as sonically, the band could not have looked more different. While the crowd’s rapturous response is clearly indicated, fuck only knows what critics and fans alike would have made of it. Nevertheless, it was a slick and polished unit and Axl was nothing if not spirited:

http://www.youtube.com/embed/JaV5ufYb5GA?version=3&rel=1&fs=1&autohide=2&showsearch=0&showinfo=1&iv_load_policy=1&wmode=transparent

Beginning a recurring habit of building up a head of steam and subsequently falling down, the band would go on to play odd dates and attempt tour legs, eventually playing the MTV Video Music Awards in 2002 – still with no album in sight. An ‘interesting’ vocal performance from Axl casted doubts on a major comeback happening, and there would be no further public activity from Guns for the next three years.

GN’R lineups seem to be recognised and remembered by the actual touring personnel, rather than whoever is floating around the recording studios, and so the 2001-2002 live band lineup would be defined by cancellations and obfuscations, along with their contemporary industrial-grunge freakshow aesthetic and, as ever, the state of Axl’s vocals. Hanging over the band’s every move was the ever-present question of the eventual new album, with vague assurances of the following year being offered.

While focussing on nerdish aspects like how does Axl sound exactly? is a consideration most probably lost on those losing their minds (and ears) down the front as he ran around in football jerseys, braids flailing, feature writers in the future are more likely to pick it up in retrospect when evaluating this immeasurably surreal chapter of the band.

Returning to the state of the album, by this point ‘it’ had had approximately more people involved than World War II. Different producers would bring different approaches, different musicians would bring different takes on existing songs, and Axl’s preference for the album to reflect the current personnel would necessitate the re-recording of songs that had long been in something resembling a finished state.

Let’s take the drums, for example – Josh Freese laid down the initial drum tracks for what seemed to be 80% of the songs that would eventually appear on the album proper. Yet, when he departed and Brian ‘Brain’ Mantia joined, Axl reportedly said to him: “I love what Josh did, but I want your feel”, with Brain subsequently transcribing as many of the in-progress songs as possible for his re-tracking, only for him to leave in 2006 due to his partner giving birth, to be replaced by Frank Ferrer – who would lay his own drums down too.

If that wasn’t enough, you’d theoretically have something on guitar that took root from something Slash might have written, to be possibly laid down on tape by him – to be recorded over by Paul Huge and ex-Nine Inch Nails guy Robin Finck, to be solo’d over by Buckethead, to be sonically fattened by Richard Fortus, to be bolstered by Ron ‘Bumblefoot’ Thal, to potentially be added-to by DJ Ashba. Fuck.

Producer extraordinaire Roy Thomas Baker reportedly requested re-recording during his brief tenure with the project in 2000, sprucing up the sound from a slightly industrial-tinged vibe reflective of the times to something more classic-sounding. The seemingly constant stream of interference started to understandably grate on some, especially considering the ever-evolving state of the music industry.

Tommy Stinson would later say in 2011, “It ended up coming back down to the same fucking songs that they were 10 years ago, except that now they were a super-dense mishmash of a bunch of instrumentation. That whole era pretty much sums up what happened to the record industry.”

Not to labour the point, but here’s the Wikipedia take on producing credits for the album:

Caram Costanzo – engineering and digital editing (all tracks), arrangements (tracks 2, 3, 6, 8 and 14), initial production (track 8), sub drums (track 13), production, mixing
Roy Thomas Baker – additional production and preproduction
Jeff “Critter” Newell – engineering
Dan Monti – engineering
Jeremy Blair – engineering
Eric Caudieux – digital editing (all tracks), drum machine and drum programming (track 5), arrangements (tracks 6), sub drums (track 13), additional production, Pro Tools engineering
Sean Beavan – recording and digital editing (tracks 1, 4–6, 9, 11, 12 and 14), arrangements (tracks 1, 4, 6, 9 and 11), initial production (tracks 4–6, 11 and 12), additional production
Youth – initial arrangement suggestions, Additional Demo Pre-production (track 12)
Pete Scaturro – arrangements and initial production (tracks 2 and 10), keyboards, digital editing and engineering (track 10)
Billy Howerdel – recording and editing (track 6), Logic Pro engineering
Stuart White – Logic Pro engineering
John O’Mahony – Pro Tools mixing
Okhee Kim – assistant engineer
Andy Gwynn – assistant engineer
Brian Monteath – assistant engineer
Dave Dominguez – assistant engineer
Jose Borges – assistant engineer
Joe Peluso – assistant engineer
Christian Baker – assistant engineer
James Musshorn – assistant engineer
Jan Petrov – assistant engineer
Jeff Robinette – assistant engineer
Bob Koszela – assistant engineer
Paul Payne – assistant engineer
Mark Gray – assistant engineer
Xavier Albira – assistant engineer
Dror Mohar – assistant engineer
Eric Tabala – assistant engineer
Shawn Berman – assistant engineer
Donald Clark – assistant engineer
Shinnosuke Miyazawa – assistant engineer
Vanessa Parr – assistant engineer
John Beene – assistant engineer
Al Perrotta – assistant engineer
Greg Morgenstein – additional Pro Tools
Paul DeCarli – additional Pro Tools
Billy Bowers – additional Pro Tools
Justin Walden – additional Pro Tools
Rail Jon Rogut – additional Pro Tools
Isaac Abolin – additional Pro Tools
Andy Wallace – mixing
Mike Scielzi – mixing assistance
Paul Suarez – mixing assistance
Bob Ludwig – mastering

 

Back in the 2003-2005 period, dubbed the ‘wall of silence’ by some messageboard hangers-on, Buckethead’s departure was confirmed, scuppering a reported booking at the 2004 Rock In Rio Lisboa festival, him joining an ever-growing list of frustrated contributors.

In a statement, Axl claimed: ‘The band has been put in an untenable position by guitarist Buckethead and his untimely departure. During his tenure with the band, Buckethead has been inconsistent and erratic in both his behavior and commitment, despite being under contract, creating uncertainty and confusion and making it virtually impossible to move forward with recording, rehearsals and live plans with confidence. His transient lifestyle has made it impossible for even his closest friends to have nearly any form of communication with him whatsoever.’

Geffen Records, who had been bankrolling the endeavour for the last thousand years, sought to recoup some widdled-away cash by throwing together a GN’R Greatest Hits CD, in spite of Axl, Slash and Duff’s combined legal counter-measures. It went on to sell a bajillion copies, and the following year Geffen washed its wallets of the perpetually-in-progress new album affair, stating “Having exceeded all budgeted and approved recording costs by millions of dollars, it is Mr. Rose’s obligation to fund and complete the album, not Geffen’s.”.

Tangible band activity would finally resume in 2006, with yet more talk of the new album and a replacement for the departed Buckethead. Drawing concern from those still pleasantly bewildered by the industrial freakshow of the 2001-2002 touring lineup, Buckethead’s successor would certainly live up to a history of GN’R axemen with intriguing stage names: Bumblefoot.

Born Ronald Jay Blumenthal, a New York native trading in excellently unpinnable guitar madness for twenty years already (he can play Eruption backwards and is one of a select few on the planet to have mastered the fretless guitar), Ron ‘Bumblefoot’ Thal contributed in no small part to what appeared to be Axl’s Great Comeback, proving his guitar prowess and ability to cooly peel off any guitar part handed to him with ease.

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Considerably depressed after the 2001-2002 weirdness and absolute silence from the Guns camp from 2003-2005, the announcement of four nights at New York’s Hammerstein Ballroom in 2006 was a light in the dark for the message board hardcore, desperate to see Axl regain some credibility and prove he still had it.

Thankfully, the revitalised New-GN’R lineup was now far more electrifying and palatable, looking and sounding like a kick-ass rock n’ roll travelling carnival. Guitarist Robin Finck had swapped the goth-metal look for Jesus-with-a-Les-Paul, and Axl Rose now sported cornrows, which a gentle Kerrang! review noted had him looking like ‘an albino Predator‘. Most importantly of all his classic wail was properly back – never to exactly resemble that of his youth, but a scuzzy, raspy yell to show he still had it.

Check out Jungle from their headlining slot at the 2006 Rock AM Ring festival:

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Successful touring campaigns followed, with some new-new songs being performed – possibly in reaction to some being leaked, such as the punchy rocker Better, along with new versions of the album’s title track, The Blues and There Was a Time, which were met with enthusiasm.

While all this sheer momentum surely seemed to be an inevitable precursor to the damn album coming out, it would eventually be 2008 before Chinese Democracy was released. With the majority of the tracks already available in various forms (Catcher In The Rye having first leaked around 1999, attesting to the age factor of the music), and the majority of the song’s writers no longer in the band, what should have been a monumental moment in Guns N’ Roses’ history (and, ideally, rock music) passed like a silent fart. The album was inexplicably streamed on MySpace, probably the last interesting thing to happen on the social networking site before the mass exodus of its user base to the growing rival Facebook.

In retrospect, the botchery of the album’s release actually makes perverted sense – or is marked by a lack of surprise – in the anything-goes world of Axl Rose. He would later allude to the album’s booklet actually being a draft, riddled with mistakes. Rumours pointed to Irving Azoff getting the album out by almost any means possible: in this case, a deal to initially exclusively sell the album at Best Buy.

Critically, Chinese Democracy received as many pats as stabs, with giggling piss-rags like Kerrang! gleefully pouring literary urine over it, having lined up to tear the album asunder for the best part of a decade. Classic Rock was more forgiving, awarding an 8/10 but stipulating that it ‘…isn’t a Guns N’ Roses album. It’s the first solo album from an artist named Axl Rose,’ showing some sense in fairly weighing up the music and making the separation between this work and the ‘classic’ Guns catalogue, with which Chinese Democracy shares about 2% of its DNA.

 

For reasons only known to the man himself (a sentence probably used to describe a thousand actions in the course of his career), Axl subsequently vanished for the rest of 2008 and the most of 2009. Where fans were hoping for the things normal bands do in promotion for an album, they got whispers of an aborted video for Better cobbled together from 2006/07 tour footage, with CD singles of Chinese Democracy, Better and The Blues – renamed Street of Dreams – intended for radio DJs surfaced on eBay in the time to come. There was to be no interviews from Axl whatsoever.

(What was purported to be the ‘official’ video for Better eventually leaked: while it attempted to introduce the GN’R team members somewhat, it inadvertently reflects the huge gestation period as members no longer in the band – guitarists Robin Finck and Buckethead – were featured, with most footage being sourced from 2006-2007 tour).

http://www.youtube.com/embed/uYcxEkospV4?version=3&rel=1&fs=1&autohide=2&showsearch=0&showinfo=1&iv_load_policy=1&wmode=transparent

 

To keep the stage-filling three-guitar setup rolling, DJ Ashba (who isn’t actually a DJ) was recruited in time for a return to touring in 2009. He made his mark by royally butchering the departed Robin Finck’s wondrous guitar solo in new track This I Love; initially excused as beginner’s nerves, Ashba would nevertheless go on to continuously irritate the forum-dwelling hardcore fans. This had not gone unnoticed by the axeman and entrepreneur: he subsequently wore a shirt onstage bearing the response ‘Fuck What People Think’, and sadly, continued to make howling mistakes while playing classic Guns tracks.

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Such complaints are not unwarranted and it is far more than a simple case of being unfair: Ashba carried the weight of being the lead guitar player in an entity that toured under the Guns N’ Roses banner, and was thus subject to the inevitable comparisons with Slash’s historic playing.

By operating under this band name, which still carried strong musical memories, a certain standard of musical ability was demanded of its personnel (a comment could also be made on Axl Rose’s hit-and-miss vocals in the declining years of the New-GN’R project from 2011-2014, which I will return to later). Ashba had proved himself a solid rhythm player, but also carried a growing shitlist of mistakes highlighted by watchful fans – mistakes, however, which went unnoticed by those simply turning up to the shows to have a good time.

These fans, it could be debated, were either Internet saddo nitpickers or the last bastion of people to truly care about Guns N’ Roses being a force to be reckoned with – God knows the rest of the people who turn up at the shows are going by the name alone, expectant of the hits and not giving two shits about a Chinese Democracy sequel.
There were several more factors to consider with the ‘DJ problem’, however: he stood onstage alongside Richard Fortus and Ron ‘Bumblefoot’ Thal, two immensely able stringsmen, who proved for several years that they could play the living shit out of the classic GN’R songs and the Chinese Democracy material.

Why, then, was he recruited as lead guitarist, pipping a pair of proven and talented players? More forgiving onlookers noted the bluesy touch to his playing, most noticeable on his solo-spot pieces, such as The Ballad of Death. They hoped that Axl, who had apparently been following Ashba’s career for some time, had plans for  DJ something special into the studio. Indeed, Ashba later enthused about having twelve tracks written for a potential new Guns N’ Roses album.

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This contrasted with starkly honest asides from Ron Thal, who admitted that that lineup of the band still hadn’t actually gotten together into a room to write, jam ideas, and even record. It was believed for some time that Thal had been itching to write new Guns N’ Roses music ever since he joined the fold in 2005/6.

Along with rumours of Ashba receiving a higher band salary, plus a coded Twitter exchange between him and Thal, a rather dark behind-the-scenes image began to emerge. Fan speculation turned a concerned flavour as people feared the prospect of Ashba recording over guitar tracks laid a million years ago by Robin Finck et. al. on now-mythical songs that still weren’t any closer to seeing the light of day.

There was also Ashba’s CV to consider: where Ron Thal’s solo output spread himself over rock guitar eccentricities and encompassed rap, pop and everything else, detractors painted Ashba as a purveyor of mediocre modern overproduced pop-rock. Which set of influences would have been better for a new Guns record?

It wasn’t all bad, mind: the extensive touring, with a dazzling stage show, built up momentum. Not even a farce at the Reading and Leeds Festivals, where the band arrived late played past curfews prompting the electricity to be cut off, could dampen what seemed to be something of a comeback for Rose and the name Guns N’ Roses.

http://www.youtube.com/embed/PdczsZesLI4?version=3&rel=1&fs=1&autohide=2&showsearch=0&showinfo=1&iv_load_policy=1&wmode=transparent

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And then it stopped.

2010 brought this ‘era’ from the album’s release onward to a close, and a whole lotta nothing happened afterwards, until the band were announced to headline 2011’s Rock In Rio festival. The ever-present forum diehards had hoped Axl’s excellent performances in 2010 were spurred on by the coming of a new album – except nothing materialised, despite rumours that he had handed in a new album to the record company in 2010.

Ever-hopeful, prayers for the debut of new songs at Rock In Rio were feverishly sent out, and that the momentum of 2010 would be built upon with a new album and general campaign.

Instead, it was one of the biggest lowpoints in the whole Nu-GN’R era.

Retrospectively, the night of infamy was one of pure bad luck. The preceding band’s preparations overran, enforcing a characteristically late entrance for Rose & Co. Ron Thal, in a typically light-hearted and well-intended gesture, put a stormtrooper helmet on during Welcome to the Jungle – only for it to obscure his vision, resulting in flubbed notes. It transpired later that Rose had problems with his in-ear monitors, which is one explanation for a number of missed lyrics: DJ Ashba meanwhile sadly built upon past criticisms of unforgivable mistakes.

Kind of like one of those shreds videos:

http://www.youtube.com/embed/mMWEe9ueX5E?version=3&rel=1&fs=1&autohide=2&showsearch=0&showinfo=1&iv_load_policy=1&wmode=transparent

 

2012-13 would see more sporadic touring, only with far less Chinese Democracy material, and an oddly-received announcement of a Las Vegas residency. This was befouled by hardcore fans as a symptom of reversal into a comfortable and less artistically challenging avenue, where Rose would trot out the hits and pick up a handsome dollar: there was still reportedly tons of unreleased new songs, more than enough for a follow-up to Chinese, so why not get another album out?

More forgiving types conceded that Rose was advancing in his years and was probably looking to wind down on intensive touring, amidst some retirement rumours – then again, contemporaries such as Bruces Sringsteen and Dickinson were actually older but were regularly performing with much more vim and vigour, belting out setlists that regularly provided variety in material, in stark contrast to the New-GN’R project that had followed the same core setlist ever since the first live performances of the ‘new’ band.

In 2014, Ron ‘Bumblefoot’ Thal appeared to have noted on his Twitter and Linkedin profiles that he was ‘Guns N’ Roses guitarist 2006-2014’. The inevitable speculation surmised that he had finally severed ties with the lumbering Frankenstein outfit. Characteristically, there was no official announcement from Guns/Axl: and 2014 would bow out without one.

Hope then rested on a new album, considering the constant talk of large amounts of songs recorded during the Chinese Democracy era (with mention of some being ‘ready to go’). But should Axl’s Guns have actually put out a follow-up to Chinese, would anyone really have given a shit? Chinese’s modest sales were bolstered by its mythical status. The question for those still lingering by this point was thus: would Axl have the energy and drive to give a potential new record its due promotion? Given the amount of wrangling and sheer arseache he apparently endured during the release of Chinese, he could almost be forgiven for settling down with his fortune.

It was at this point that longstanding reunion rumours finally solidified, with talk of Axl and Slash having mended fences, then the new-new-new-new-new-new lineup debuting at LA’s legendary Troubadour venue. Rumblings had long, um, rumbled as to the lineup being a ‘hybrid’ reunion of a ‘core’ of GN’R veterans complemented by choice graduates from Axl’s NewGNR project, and so the reunion lineup is thus (photo by Kevin Winter):

Duff McKagan, Axl and Slash: the ‘core’, with Use Your Illusion-vintage keyboardist Dizzy Reed present too (literally – just above Duff’s left shoulder). For those who take interest in such things, Axl is indeed pictured here on the borrowed ‘Guitar Throne’ used by Dave Grohl when he broke his own foot, in a picture of admirable rock n’ roll kinship.

Rhythm guitar: Richard Fortus, who joined the NewGNR venture in 2002.

http://www.youtube.com/embed/ZXuDS5t935g?version=3&rel=1&fs=1&autohide=2&showsearch=0&showinfo=1&iv_load_policy=1&wmode=transparent

 

Keys, loops, samples and shit: Melissa Reese, Guns’ first female member!

http://www.youtube.com/embed/eGu9NI6LUEE?version=3&rel=1&fs=1&autohide=2&showsearch=0&showinfo=1&iv_load_policy=1&wmode=transparent

Drums: Frank Ferrer, who joined in 2006

http://www.youtube.com/embed/FONoI_tiTGI?version=3&rel=1&fs=1&autohide=2&showsearch=0&showinfo=1&iv_load_policy=1&wmode=transparent

 

Nobody thought Chinese Democracy would come out, nobody thought one of rock’s greatest duos would ever share a kind word again, let alone a stage. With Planet Earth getting stranger by the minute, let us enjoy the fact that, for the price of a human soul, you can see Axl and Slash play kickass rock n’ roll together again.

 

Guns N’ Roses play London’s Olympic Stadium tonight, for the second of two dates. The ‘Not in This Lifetime’ tour will continue throughout Europe and North America for the rest of the year: see www.gunsnroses.com/tour.

The scribbler wishes to thank www.gnrevolution.com for their invaluable ‘Chinese Whispers’ collection of every useful quote, fact and rumour from the 1994-2008 period.

 

 

 

 

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