photo & text by nacrowe
for all the sex and drugs rolled out in his eponymous titled memoir SLASH (HARPERCOLLINS, 2007), the guitarist SAUL HUDSON provides an unexpected narrative that highlights the value of family. written more than a decade before his reunion with GUNS N' ROSES and resolving his differences with singer AXL ROSE, this memoir outlines the dissolution of the band.
its interesting, success for GUNS N' ROSES had an inverse effect on the internal relationships within the band, which ultimately resulted in the departure of HUDSON in 1996. at the outset, long before they had any chart success (people forget that "SWEET CHILD O MINE" propelled the album a year after its release), they were struggling. HUDSON goes into detail about a hastily booked early tour, in true PUNK ROCK fashion, utilizing DUFF MCKAGAN's contacts back in his hometown of SEATTLE to open a house party for THE FASTBACKS. on the way the van broke down and they had to hitchhike. it was a trial by fire, as the band members that survived the trip and didn't quite had a sense of fierce camaraderie that survived the early years of their existence.
it was because this internal bond was so tight among the members, almost like a gang in its intensity, that when things began to unravel through the battle of attrition that was touring life, drugs, firings, departures and internal power shifts; it feels rather traumatic for HUDSON.
First drummer STEVEN ADLER was fired for his drug abuse in 1990, which is laughable. Getting fired for substance abuse in GUNS N' ROSES. seems like an oxymoron. Guitarist IZZY STRADLIN departed shortly thereafter in 1991 for business reasons, citing an unequal share of recording royalties. ROSE, MCKAGAN & HUDSON in essence where the remaining core original members and during the USE YOUR ILLUSION sessions ROSE took creative control, expanding the sonic palette of the band to incorporate piano ballads (a la ELTON JOHN) and long, multi-layered epics that came from god knows where. i like the albums but its a departure from the meat and potatoes badass-ness of their debauched debut album. it was like the scion of all things THE STOOGES decided they wanted to be QUEEN instead. just odd.
before the next tour AXL made the remaining members legally sign away their claim to the GUNS N' ROSES name and copyrights as requisite for his involvement. this power grab sealed the death of the band, which took a few years to manifest. what i read in this book is a sense of bitterness and betrayal at ROSE's willingness to dismantle not only a legendary band still on the ascent, but the brotherhood that undergirded it. all of this in the name of ego and hubris.
MCKAGAN in his memoir IT'S SO EASY: AND OTHER LIES (review linked HERE) takes a slightly less strident approach to his indictment of ROSE, instead feeling rather sorry for him. MCKAGAN had independently got his life back together, kicked hard drugs, went back to school, trained his body manically, started a family and essentially saw ROSE as an isolated figure who squandered his heyday. i didn't get that vibe off of HUDSON, despite having a similar personal trajectory as MCKAGAN, losing GUNS N' ROSES deprived him an identity that was only partially revived with VELVET REVOLVER, only to be squandered by another erratic singer, SCOTT WEILAND.
having seen them on their reunion tour and having read his memoir, i'm glad GUNS N' ROSES are a touring and recording unit again, only because one of the great ROCK & ROLL guitar players still feels he has something to prove.
and that is a gift to all of us.
photo manipulation by nacrowe
arguably the greatest parody film of all-time and the most painful for touring musicians to watch. i can't even count the amount of musicians in interviews i've read who namecheck this film as the most painful thing they've ever seen. SLASH himself said that THIS IS SPINAL TAP (MGM, 1984) ruined an entire GUNS N' ROSES tour for him since it hit the mark with such precision.
where this film excels is in its mocking of the utter ridiculousness of nearly all forward-facing aspects of ROCK N ROLL, everything from album covers, lyrics, gear, stage set design to JESUS-complex surrounding musicians that drank the kool-aid on their image.
in my estimation all the classic lines of this film have that core ribbing as its moral center. i remember once GENE SIMMONS saying that all bands (at the time he was referencing the then-current GRUNGE bands out of SEATTLE) were in the KISS business. they all sold records and merchandise. such is true. no matter how "serious" or "artistic" your band is and no matter how respected they are by those whose opinion carries sway, at the end of the day you are a product that is being sold. THIS IS SPINAL TAP showcases a band that didn't get that memo and seemingly trample over every fault-line a band has to negotiate throughout their recording and touring cycles. having been around musicians in studios to some extent, the ridiculous nature of it all has never been lost on me. that is what makes it compelling and not part of the straight world.
the music is also classic. its obvious they are mocking specifically post-OZZY BLACK SABBATH and DEEP PURPLE and late 70s/early 80s METAL in general with their silly set designs and focus on the macabre. but my favorite song in the movie is their send-up of BRITISH INVASION-era songwriting in "GIMME SOME MONEY." never fails to make me smile.
classic movie with classic lines that still stings its subjects. quite an accomplishment.
art by nacrowe
greatest music video moment ever? that part in the GUNS N' ROSES "Estranged" video when SLASH plays a ripping solo after AXL ROSE swims with the dolphins after inexplicably jumping off an oil tanker.
don't believe me? watch it below (starts at 8:02 mark):
thing i appreciate the most about SLASH and GUNS N' ROSES is there lack of boundaries. having boundaries isn't necessarily a bad thing, some things you probably shouldn't do, like having your guitarist rise from an ocean jesus-style because you obviously didn't think out your video well in advance. listen, im not complaining, OBVIOUSLY I LOVE THAT video and especially that part (as well as that other part at 6:15 during the video when SLASH levitates down the SUNSET STRIP passing the RAINBOW and other clubs while a dolphin swims in the street).
when others say no, GUNS N' ROSES say yes and then some, regardless if its byeond moronic.
when i look at bands today everything seems very contained and safe. SLASH's playing in particular reminds me a lot of JOE PERRY from AEROSMITH in that if you've ever watched live footage of the dude, it seems like he is riffing off and in his own world when playing live. he's exploring his own musicality and isn't too concerned with presenting a note-for-note performance of a memorable solo on wax. i love that. i love when musicians are going for it. SLASH did that in spades and in the tradition of JOE PERRY, JIMMY PAGE and of course JEFF BECK.
SLASH is a blues-based rock guitar player, but within that box he experiments like crazy. now my personal taste leans more towards the artier, indie side of bands from that late 80s period, my hands-down favorite being JANE'S ADDICTION. guitarist DAVE NAVARRO similarly shares the same influences (with some post-punk sprinkled in) and a predilection to experiment live, but SLASH for me is the more INTENSE musician. i only came to that conclusion after seeing both live.
years ago i saw GUNS N' ROSES play the new GIANTS STADIUM (or whatever they call it now) when a friend from VENEZUELA was in town and needed somebody to take him. i didn't go into it expecting much, but i have to say without embarrassment, best rock show i have ever seen aside from the time i saw PRINCE at MADISON SQURE GARDEN. i've seen JANE'S ADDICTION several times live and while their music means more to me, GUNS N' ROSES was almost a religious experience. it was boogie, it was sloppy, it was sweaty, it was amazing.
yes lots of their lyrics are misogynist and yeah AXL ROSE is a total backwater hick. but all that being acknowledged. they're an amazing live band.