Appetite for Destruction

REVIEW: Guns N’ Roses – Appetite For Destruction (Super Deluxe 2018)

GUNS N’ ROSES – Appetite For Destruction (Originally 1987, 2018 Universal 4 CD/1 Blu-ray super deluxe edition)

Of course Axl Rose would be late for his own 30th anniversary.  And why not?  This set obviously took time to prepare for release so it’s better we have something that is not rushed out.

As Appetite is one of the most influential rock albums of all time, a super deluxe expanded edition is expected by now.  This album launched a million bands back in the 80s and 90s, most of whom looked and sounded like knockoffs.  Now you can deconstruct the album and hear how simple the formula actually was.  (Liberal doses of Aerosmith with punk sprinkled on top.)

The first disc in this well-stuffed box set is the 5.1 Blu-ray.  Why just listen in stereo when you can go full-bore with a surround sound mix?

This disc answers that question.  It’s because you can tinker too much with a 5.1 mix, and come out with something that is too different for a beloved classic original like Appetite.  This album was the roughest sounding thing Guns ever released.  Unfortunately the 5.1 mix sounds clean.  Too clean.  An artefact of not having to cram all that music into just two channels?

“Welcome to the Jungle’s” guitars come from behind.  Slowly turning, Axl surrounds you.  Then the mix plays it straight, though backing vocals are more prominent.  Hear Steven Adler’s reckless abandon up close and personal, the ride cymbal like his accelerated heartbeat.

It’s a good mix but some will find it too gimmicky and inconsistent, with guitars and vocals jabbing you unexpectedly from here and there.  It varies from song to song and it’s all a matter of taste.  You want to hear the 5.1 mix, but not so much that it changes parts of what you liked in a song.  Some tracks are a mixture of both approaches.  The intro to “Paradise City” is immaculately layered and laid out around you.  Then things consolidate when it’s time to rock.  Man, can you hear those guitars though!  Every Les Paul can be noted clearly and separately in your mind.  So can every vocal track; and there are a few.

There are even 5.1 bonus tracks.  “Shadow of Your Love” is one of them, being the big song they were promoting for this box set. “Patience” benefits from the 5.1 re-examination.  It’s a gimmick-free mix with sparse arrangement that sounds natural and familiar — like a band jamming on acoustics in a room with you.  This makes it the best one on the whole disc.  Even “Used to Love Her” has more prominent differences from the stereo mix, as does the acoustic “You’re Crazy”.  The last bonus track is “Move to the City”, also acoustic, and sounding like a big party jam.

Finally the Blu-ray disc includes all the music videos and even one for “It’s So Easy” that was made just for them and not MTV!  It could be the first documented appearance of Axl Rose in a kilt.

Unfortunately the 5.1 mix will most likely get less play than the good old stereo version, remastered on CD 1.  What can be said about Appetite for Destruction that hasn’t been said before?  All that sonic power is on the verge of overload in just two channels.  If you imagine yourself back in 1987, you can hear why this album made the impact it did.  It steered rock and roll back into a less cartoony, more dangerous direction.  Classic single after classic single still command the airwaves today.  In an unlikely twist, the back-to-basics, loose guitars of Slash and Izzy Stradlin are studied now like old Stones riffs.

The second CD (“B-Sides N’ EPs”) is brimming with extra value.  Most of the followup EP, GNR Lies is included…all except “One In A Million”, that is, which Axl promised he’d delete approximately 20 years ago.  With that EP still in print, nobody misses the track here.  Adding the Lies material as bonus tracks is cheating a little bit, but I suppose that EP was part of the Appetite album cycle.  Even though one track is deleted, the Lies stuff is expanded with bonus songs.  A sharp “live” version of “Shadow of Your Love” follows “Mama Kin”.  There’s also an alternate acoustic take of “You’re Crazy”.  Once you’re past the acoustic songs including “Patience” you’ll get some vintage live B-sides.  “It’s So Easy” is more vicious than the original, and sounds really live unlike the previous Lies songs like “Nice Boys”.  The rare “Knocking on Heaven’s Door” is especially cool since it’s pre-Dizzy Reed and has no piano.  Otherwise the style of the eventual Illusions version is sketched out, right down to the “high, yai, yai yai yai” vocals.  Last on the CD is the live cover of AC/DC’s “Whole Lotta Rosie”, foreshadowing Axl’s future as frontman of the Australian institution.  This classic version has been heavily bootlegged, but remastered on CD, it sounds so fresh.

The final two discs are all unreleased sessions from the legendary Sound City (and other studios).  Most of the Appetite songs are present in demo form but some, like “It’s So Easy”, “Brownstone” and “Sweet Child” are not.  The shape of the album was already arranged down to most of the guitar solos.  It’s less frantic and more rehearsed but it’s there in very close to final shape.  Elements that wouldn’t make the final cut, like some of Axl’s scatting a-la Steven Tyler on “Jungle”, are here to examine.  In the 1970s these Sound City sessions would have been good enough to release as an album!  In the 80s, they needed Mike Clink to make the album stand out and they did that.

Non-album material is here a-plenty.  The Sound City version of “Shadow of Your Love” on CD 3 is the B-side from the old “Live and Let Die” CD single, my personal favourite version for its reckless abandon.  The cleaner one on CD 4 is the one released as a single in 2018.  Then there’s a trashy punk metal version of Elvis’ “Heartbreak Hotel” which could have been a fine B-side as well.  “Jumpin’ Jack Flash” on CD 3 is faster and different from the familiar bootlegged version (still unreleased).

The 4th CD is a mixed bag of demo sessions and unreleased songs, jams and acoustic versions.  Instrumental “Ain’t Going Down No More” sounds like an Aerosmith outtake riff, with cowbell out the wazoo.  “The Plague” has vocals but it’s quite clear why it was never released.  It could be the worst Guns N’ Roses song heard yet.  “New Work Tune” is just an acoustic riff that didn’t make it into anything.  There are, however, a couple tunes that did.  “Back Off Bitch” was reworked on Use Your Illusions, as was “November Rain”.  This old demo of “Back Off Bitch” is probably better than the final version because that’s Steven Adler on drums.  “November Rain” is particularly interesting because it’s present in both acoustic and piano forms.  You can hear how the song grew, but also that it wasn’t ready yet.

Three more versions of “Move to the City” (electric and two acoustic) are here in case you ever wanted a studio version of that song.  There are also studio takes of “Mama Kin” and “Reckless Life”.  It’s a bit much in terms of repeat, but at least all the versions are notably different from each other.  You’ll also have to hear an acoustic “You’re Crazy” one more time, but “Jumpin’ Jack Flash” is pretty cool and jam-like in acoustic form.

A box set at this price point always has paper extras inside:  replica posters, tickets, even Axl temporary tattoos.  Nothing of any particular value.  There are some posters and glossy photo prints.  There is even a reprint of the original controversial Robert WIlliams artwork.  What are you going to do with all this stuff? You’re not going to tape it to your walls. You’ll keep it safe and unseen in the box, of course.  That’s why it’s valueless to most of us.  There is also a massive hard cover photo book, in which you’ll find the CDs and Blu-ray.  It’s light on text but heavy on glossy photos and memorabilia scans.  (Within those scans, there’s plenty to read.)

The super deluxe Appetite For Destruction is of value to those who are going to listen to and appreciate all the different versions inside.  The 5.1 mix is disappointing but there will be those who love how different it sounds.  It’s not easy to consume all five discs in quick succession, but these bot sets rarely are.

4/5 stars

VHS Archives #38: Slash N’ Duff (GN’R) interview (1988)

MuchMusic’s Laurie Brown took over the Pepsi Power Hour in 1988, and for me personally, a lot of their best shows were from her era.

This interview with the young rockers named Duff McKagan and Slash (from some band called Guns N’ Roses) is definitely an anachronism.  Cigarettes lit, the guys seem fairly sedated though refreshingly authentic.  Their naivete is interesting in hindsight.  They clearly did not see themselves becoming the mega-phenom that they are.  “Guns N’ Roses is five kids, who pretty much don’t have a whole lot of influence on the rest of the world, as far as we know.”

Duff and Slash offer insight about their early years, getting signed, and touring with Iron Maiden.  It’s quite obvious they are not having a good time with Iron Maiden!  Laurie also asks them about the original cover to Appetite For Destruction.  “We didn’t see any rape thing going on,” insists Duff.  “Her bra fell off, what?” laughs Slash.  Slash mockingly relents.  “OK, alright fine.  We were generally promoting rape…I mean come on.”

What do you think of this old Guns interview?

REVIEW: Guns N’ Roses – Appetite for Destruction (1987)

GUNS N’ ROSES – Appetite For Destruction (1987 Geffen)

The first time I ever heard of Guns N’ Roses was from a rock magazine.  There was a picture of this weird looking lead singer with spiky red hair, and his name was “Axl”.  I immediately decided I didn’t like whoever he was, because he looked absolutely hammered, a complete mess.  And what kind of name was “Guns N’ Roses” for a band anyway?

MuchMusic began spinning their first video, “Welcome to the Jungle”, but only on the Pepsi Power Hour.  After a couple plays, I liked it.  I took Axl off the “banned” list and taped their video.  I asked my friend Scott if he liked Guns N’ Roses.  “They suck!” he answered.  A few months later, another video hit the airwaves and it was even better.  “Sweet Child O’ Mine” came out during the year of Bon Jovi and Def Leppard, but wasn’t like either band.  I loved the tune; this band had potential!  Before I knew it, school was out for the summer.

A funny thing happened on summer break.  Guns N’ Roses became huge.  When I returned to school in the fall, guess what band Scott was suddenly in to?  Guns N’ Roses.*  Everybody was.  And nobody believed me that I liked them first.  “You probably don’t even know the words,” said one kid.

That was 30 years ago.  Jesus Murphy…30 years!

I could yammer on and on about Appetite for Destruction.  For example, we could discuss these subjects:

  • How Guns went against the grain but changed the game.
  • Mike Clink’s sharp anti-80s production.  (Did you know Paul Stanley wanted to produce Appetite?)
  • The iconic album cover.
  • Slash’s immense influence on guitar players, including making the Gibson Les Paul the guitar to play again.
  • The under appreciated songwriting of Mr. Izzy Stradlin’.
  • The unstoppable rhythm section of Duff “Rose” McKagan and Steven “Popcorn” Adler.
  • That Duff McKagan is uber-talented and his backing vocals are a crucial part of Guns’ sound.
  • The single-minded, focused and unified direction of Appetite.
  • How their ample use of the “f word” drove the censors crazy.
  • Cowbell.
  • Riffs.
  • The all-important role of lead singer and frontman W. Axl Rose in their rise to stardom.
  • How Axl and Slash became the Steven Tyler and Joe Perry for a new generation.
  • That ten thousand bands followed in their wake when the sleazy side of the Sunset Strip became the hottest new trend.

We could talk about all those things until we’re blue in the face; each one would make for a fine subject for an article in their own right.  Or, perhaps I could talk about some of my more controversial opinions:

  • That Appetite is great, but Illusions are better.
  • The best song is not one of the singles, but in fact the last track, the sprawling “Rocket Queen”.
  • Even Appetite has filler, in this case “Anything Goes” and “Think About You”.
  • That Izzy was the most talented member.

I could do that, or I could even go through Appetite track by track.  It would be cool to analyze the riffage, anger and rock power of tracks like “It’s So Easy”, “Nightrain”, “Out Ta Get Me” and “You’re Crazy”.  We could discuss that Guns groove that is the basis of the legendary “Mr. Brownstone”.  The simmering , biting intensity of “My Michelle”.  We could, or you could click on any of the numerous articles from rock magazines that do the same thing.

Maybe yammering about Appetite isn’t as important as the memories associated with it.  I’ve shared this story before, but my favourite memory of this album goes back to highschool.  When the album hit it big, virtually everybody I knew had a copy.  One guy named Anand liked studying to Appetite.  He had strict parents.  One day he was down in the basement doing his homework with “Out Ta Get Me” playing.   His kid brother kept coming around to bug him, as kid brothers do.  He hung around long enough to learn the words to “Out Ta Get Me”, and returned upstairs.  When the parents heard the kid singing “They’re out to get me! I’m fucking innocent,” Anand got grounded.  (He got grounded a lot, though.)

Appetite for Destruction has sold 18 million copies in the US, with another few million sold overseas.  It’s one of the select albums to go Diamond (1 million copies) in Canada.  That’s a lot of people with memories of Appetite for Destruction (even though about five copies were actually bought by myself).  I’m not the only one with stories.  So how do I go about reviewing Appetite for Destruction?

Like anything else, I guess:  on a scale of 5:

4.5/5 stars

 

* Scott responds: “In my defence, I heard ‘Sweet Child of Mine’ first, and wasn’t into the power ballad thing. It was when I saw the video for ‘Welcome to the Jungle’ that I changed my opinion, and after getting the album — the imported banned cover — that I became a huge fan. I didn’t jump on no band wagon!”

 

REVIEW: Guns N’ Roses – New York, New York (Live at the Ritz 1988)

NEW RELEASE

GUNS N’ ROSES – New York, New York (Live at the Ritz 1988 – FM Radio Broadcast, Gossip)

SAM_1729‘Twas Scott who alerted me to the release of this classic Guns N’ Roses concert on CD.  A few tracks from the gig are missing, most notably “Shadow of Your Love”, but most of what I remember seeing on MuchMusic back in the 80’s is intact.  Although I do not recall seeing “Knockin’ On Heaven’s Door” on the TV version, I used to love this concert.  I watched it over and over.  I had seen it over half a dozen times before I even bought Appetite for Destruction.  I dubbed an audio version to cassette, before my buddy T-Rev recorded the entire show for me later on.  I used to know these versions better than the originals.  It’s a pleasure to finally have them on CD.

Remember the sound of the guitars being picked up in the darkness before Duff’s opening bassline to “It’s So Easy”?  I don’t think I’d seen a band on TV before who seemed so…dangerous.  The sound of Duff singing the backing vocals are another element I distinctly remember.  Axl could get pretty mobile on stage, and his vocals often fell apart mid-sentence, while Duff held it all together.  He was Guns’ secret weapon, Duff McKagan.   Up next in the spotlight is Slash with those chugging, scraping guitars on “Mr. Brownstone”.    Axl then delivers his first classic monologue of the evening:

“I don’t know what by chance the television audience will see…what anyone will see…but what we’ll see tonight…is that we wanna dedicate this song to the people who try to hold you back!  The people that tell you how to live!  People that tell you how to dress!  People that tell you how to talk!  People that tell you what you can say and what you can’t say.  I personally don’t need that!  Those are the kind of people that been getting me down.  They make me feel like somebody…somebody out there….is ‘Out Ta Get Me’!”

Funny story about this song.  I had a highschool buddy named Anand who was the first kid I knew in our class to get Appetite.  Anand had strict parents.  One day he was down in the basement studying, rocking out to Appetite.  His little brother strolled in during his homework, and kept coming around to bug him.  He hung around long enough to learn the words to some songs, and returned upstairs to his parents singing, “They’re out to get me! I’m fucking innocent!”  Anand got grounded.

Needless to say the chorus to this amazing song was beeped when I first saw it on TV.  I loved it anyway.  That Izzy Stradlin riff kicks it classic-style, while Duff once again holds down the backing vocals.  Slash is shambolic, losing control several times but always pulling it back together, cig in mouth the whole time.  I love this one big sour chord he hits at 2:25 into the song.  If I remember he almost fell at that moment in the show; the audience were pulling at his guitar, but all you can hear is this big awful chord. Then it happens again at 3:00!  And again at 3:10!  The whole solo is a fucking disaster, and that must have been fun for the people in the front row.  Guns N’ Roses were so in the face of the crowd that there was constant physical contact.  That’s a fucking concert.

“Sweet Child” comes early in the set, and obviously it’s not nearly as sweet as the album version, and Axl’s hoarse.   Still, Axl hoarse in 1988 is something very different from 2014, and it sounds great to these ears.  “My Michelle” is credited on the back cover as written by Rose and “Stardlin”, making obvious that this is not an official release.  I hope Izzy Stardlin gets paid his due royalties.  The band get more and more reckless/loose/inebriated as the concert goes on.  Again it’s McKagan who seems to be holding it together and cheerleading from behind.

A very intense version of “Knockin’ On Heaven’s Door” follows which I am less familiar with because it didn’t make the TV version I had seen.  Axl dedicates this to a friend named Todd who had “danced a little bit too hard with Mr. Brownstone”.  Needless to say, it’s very cool hearing this song played by the classic five piece lineup.  With Steven Adler on drums, it’s more to the point.  The arrangement is slightly different than what you know from the Use Your Illusion I album, but it still has the slow singalong  part that later evolved into the “reggae” section that they were known to play live later on.  Axl was a charismatic frontman and this was his moment to show off his power over an audience.

His next introduction was another memorable one:

 “About five or six years ago I hitchhiked here, and ended up stuck out…in the middle of this place.  Climbed up out of the freeway, and this little old black man comes up to me and my friend with our backpacks and about ten bucks between us…and he goes, ‘You know where you are?!  You in the jungle, baby!  You’re gonna die!’  That’s a true story, that ain’t no lie.  So ‘Welcome to the Jungle’, rats!”

This was the only tune of theirs that I knew really well back in early ’88.  It is played tight, possibly the only song of the night that is.  There’s magic in hearing this lineup play this song, their song.  And speaking of them, I always enjoy Axl’s band introductions:  Mr. Duff “Rose” McKagan on bass guitar.  Mr. Steven “Popcorn” Adler on the drums.  Mr. Izzy Stradlin on the white guitar.  Axl says he and Izzy have been together for 13 years.   He saves the most recognizable member for last:

“And last, but definitely not least…in a world that he did not create, but he will go through it as if it was his own making…half man, half beast…I’m not sure what it is, but whatever it is, it’s weird and it’s pissed off and it calls itself Slash.”


Slash then introduces a song about “a walk in the park”, called “Nightrain”.  Of the songs they played that night I thought “Nightrain” was a little less than great.  It always seems to be the one I wait to finish.  Then, Slash opens “Paradise City” with a little surf rock guitar before the classic opening lick.  This is the song where things got a little out of control for W. Axl Rose.  Doing his trademark slinky snake dance, he got a little too close to the crowd and was pulled in.  The band kept on playing and Slash took an extended solo, but you can see Axl trying to climb out. Security finally pulled him up, and then you can see Axl getting his bearings and checking himself over.  His shirt and several pieces of jewelry were ripped off, but as soon as Axl sees that he is OK, he resumes snake dancing and finishes the song!  Slash’s solo during Axl’s “down time” remains a show highlight, as does Axl’s quick recovery!

For encores you get Aerosmith’s “Mama Kin” (dedicated to Steven Tyler) and “Rocket Queen”.  The former is fast and tight, and the latter is epic and ominous.  It is a natural closer, especially with Slash’s extended soloing.  Axl delivers the closing in full-on ragged scream mode, as it should be.

I’m very glad to have this time capsule of a concert in my CD collection.  Highly recommended.

4/5 stars

LIVE AT THE RITZ_0002

DVD REVIEW: Guns N’ Roses – Live in Paradise City (2011)

GUNS N’ ROSES – Live in Paradise City (2011 Access All Areas DVD, from a television broadcast source)

Rock In Rio 4, Rio de Janeiro, Brazil, October 2, 2011.  Guns N’ Roses headlining the final night.

Paddington Rose

Paddington Rose

Rio loves Guns N’ Roses!  Always did, still do.  It’s pouring rain, but the fans are present and accounted for.  Good thing they are able to see the huge stage through three massive video screens, otherwise I don’t know how they’d tell one member from another.  Well, Axl’s blinding yellow Paddington Bear coat makes him easy enough to see.

“Chinese Democracy” opens the set, with bassist Tommy Stinson handling the backup vocals on the chorus.  Ron Thal’s playing a double neck (the top one is fretless)  and is rocking the samurai hair.  The solo is played by DJ Ashba, with Thal handling the outro shredding.  “Good evening! Good morning!” says Axl after the first song, before asking, “Do you know where the fuck you are?”  Of course that means “Jungle” is next.  Axl’s voice just sounds shredded, as he struggles high and thin through the hard notes, no grit left intact.  Once in a while the old Axl wails, but he was really off in Rio.

IMG_20141122_181521

THAL-1138

One thing about Guns N’ Roses new vs. old:  The old band looked unified in image.  All of them looked like Hollywood dirtbags.  In this band, you have the glam looking DJ Ashba, Frank Ferrer who looks like a trucker, Axl with his pimpstache, and a guy in a Stormtrooper helmet.  Admittedly though, Tommy Stinson looks the part as the punk rock bass player, and he also fills Duff’s role as backup singer.

“It’s So Easy” is up third, top loading the setlist with some serious Appetite heavy hitters.  Ashba doesn’t quite nail the solo, but the band are as tight as the originals.  Keyboardist Dizzy Reed looks weird as hell just hitting a tamborine to this sledgehammer tune.  As for rhythm guitarist Richard Fortus (a dead ringer for Izzy Stradlin), he seems to literally attack his instrument with every strum; looks more like he’s punching them!   Another Appetite classic, “Mr. Brownstone” follows.  It is here that I miss Slash for the first time.  His playing on “Brownstone” was always so greasy; so perfect.  Ashba’s playing is a bit too sophisticated.

IMG_20141122_183540

Ron “Bumblefoot” Thal

A bloated looking Axl is accompanied by Ron Thal for the opening to “Sorry”, a slow grinder from Chinese Democracy.  This changes the pace of the set.  The song fails to connect.  It’s more expressive live, but not interesting enough.  Time to pee.  Axl then introduces Richard Fortus on guitar who plays some blazing fast licks.  It makes me wonder why the hell this guy doesn’t play more leads.  He’s insanely fast.  This turns into a bit of a band jam, including the James Bond theme.  That strategically merges into “Live and Let Die”, the McCartney original of which was of course the theme of the same titled Bond movie.  The stage has flame throwers blasting, and the crowd goes wild.  Axl’s changed out of the raincoat, now sporting black leather and doing his trademark spinny-spinny dance.

IMG_20141122_193325

Frank Ferrer

After a brief pause, Frank Ferrer begins the familiar drum beat that opens “Rocket Queen”.  The fans know it and scream in anticipation.  Unfortunately Axl’s thin voice fails to impress.  Fortus does impress, handling the slide guitar solo himself.  “This I Love” is the next song, and the first ballad of the evening.  Axl struggles a bit with the vocal before he finds his stride part way in.  The dual keyboard concept can be best heard here.  Dizzy plays the piano, while second keyboardist Chris Pitman plays the orchestral arrangement.  But let’s face it: “This I Love” will never replace “November Rain” or “Estranged” as a concert favourite.  It fills that same epic ballad role,  but it just ain’t classic.

IMG_20141122_183523

DJ Ashba

DJ Ashba takes the opening lead guitar on the next Guns N’ Roses jam.  I don’t recognize the tune, but it sounds like another soundtrack piece.  I’ve heard some journalists complain that Guns play too many solos from band members that nobody cares about.  They couldn’t be more wrong.  These players are good; very very good.  These instrumental sections, apart from giving Axl a chance to rest his voice, are a showcase for the guys in the band that, like it or not, happen to be Guns N’ Roses.  The fans in Rio treat the members as if they were the originals.

IMG_20141122_185847

So once again, Jones, what was briefly yours is now mine.

Ashba breaks into the “Sweet Child O’ Mine” intro, and the fans lose their collective minds.  Rose dons a tan fedora, now looking a bit like René Belloq.  Thal nails that unforgettable wah-wah solo, no mean feat.  But then it’s time for “Estranged”, and Axl just can’t find the key. He pulls it together on the first verse, but this isn’t an easy song.  It does eventually fall into place with the help of some epic soloing.

I would say that the song “Better” from Chinese Democracy is well overdue in the set.  While undoubtedly modern sounding, I think it’s one of the best tunes.  It gives the band a chance to play around with a different kind of heavy.  Bumblefoot Thal plays the fast shreddy guitar part and does backing vocals.

Axl then introduces the band, aside from Bumblefoot and Ashba:

  • Chris “Mothergoose” Pitman
  • Frank “Thunderchucker” Ferrer (“I can never say that last name right. It’s like Ferarri, only different.” — Axl)
  • Mr. Richard Fortus (no nickname)
  • Mr. Tommy Stinson (also no nickname)
  • Mr. Dizzy Reed (I guess his nickname is Dizzy?)

This leads into a Dizzy piano segue on The Who’s “Baba O’Reilly”, as an intro to “Street of Dreams”.  I had made no secret of my love for this song.  I first heard it back in 2001, when Guns played Rio that year.  It was known as “The Blues” at the time.  It’s a concise version of the “epic Guns ballad” and it stands up on its own.  Then it’s time for “You Could Be Mine”.  Ferrer impressively nails the drum intro, and Thal plays the opening guitar moans on his fretless neck.  This great version is followed by Axl sitting at the piano himself, for…you got it…”November Rain”.  There are some sour moments, not least of which is Axl forgetting some of the words!

IMG_20141122_193202

Bumblefoot

Finally it’s time for one of my favourite moments of the set: Ron “Bumblefoot” Thal’s rendition of the “Pink Panther” theme (Henry Mancini) on double neck guitar.  It’s familiar melodies like this that keep the solo spots interesting to fans who don’t know the players all that well.  It’s easier for them to swallow.  It’s not like Axl is leaving the stage for some guy to go wheedle-wheedle-wheedle for four and a half minutes.  Guns give you quality for your time.

“Pink Panther” turns into a space age blues jam and back again, merging into “Knockin’ on Heaven’s Door”.  Axl sings this annoyingly nasal.  I will take this moment to point out the irritating habit of the camera to focus on a guitar player who is not the current soloist.  It’s Ashba playing these solos, but half the time the camera is on Fortus, as if they are not sure who is playing, so they guess.  Fortus does get to blaze a solo at the end, thankfully with the camera on him.  Axl playfully quotes Elmer Fudd:  “Be vewy vewy quiet!  I’m hunting wabbits!”  Why, I don’t know.  Maybe he was watching cartoons on the plane.  It’s as good an answer as any.

The main set closes with “Nightrain”, bringing it all back full circle to Appetite again.  In a cool moment, Ashba walks (with security personnel by his side) through a barricaded and secured pathway within the crowd.  “Nightrain” is a strong finish for a band that plays as long and hard as Guns N’ Roses play.  And soon they’re back on stage, acoustic guitars in hand, to play “Patience”.  The quiet tune is all but drowned out by thousands of screaming Brazilians, but even they cannot drown out “Paradise City”.  It’s a natural epic closer, and it’s perfectly awesome, right up until Axl leaves the stage…then the video and audio abruptly fade and that’s the end! Was the broadcast cut off?  I don’t know, but the end jam is cut out, as is the final bow.  That’s it that’s all.

Shoddy.  You can tell it’s not an official release.

3/5 stars