Altri rumors, ormai a getto continuo...
Stavolta si vocifera ke i Guns dovrebbero partecipare a una manifestazione cui sono molto legati, il 'Rock In Rio'. Per loro, già 3 partecipazioni: all'edizione numero 2 nella UYI Era (fu la prima uscita ufficiale con i GN'R di Matt Sorum e Dizzy Reed), nel 2001 x il trionfale ritorno sulle scene di Axl con la nuova band e alla seconda edizione in terra portoghese, a Lisbona. Questa volta la manifestazione si terrà a Madrid, in Spagna, nei giorni 4,5,10,11 e 12 giugno all'Arganda del Rey.
E l'Italia?! Noi continuiamo a sperare...
lunedì 22 febbraio 2010
venerdì 19 febbraio 2010
A breve l'annuncio del tour europeo?!
Dopo la partecipazione al festival svedese (confermata, sarà la serata finale del 12 giugno), ecco una nuova data europea x i Guns N' Roses.
Axl e soci saranno ad Helsinki, Finlandia sabato 5 giugno 2010, all'Helsinki Live! - One Day Rock Festival, ke si terrà al Käpylän Urheilupuisto.
Che queste due date siano il preludio all'annuncio di un tour europeo?!?
Inoltre si vocifera ke il 13 giugno saranno ad Aalborg, in Danimarca e si parla con insistenza dei Festival di Reading e Leeds, in Inghilterra...
Axl e soci saranno ad Helsinki, Finlandia sabato 5 giugno 2010, all'Helsinki Live! - One Day Rock Festival, ke si terrà al Käpylän Urheilupuisto.
Che queste due date siano il preludio all'annuncio di un tour europeo?!?
Inoltre si vocifera ke il 13 giugno saranno ad Aalborg, in Danimarca e si parla con insistenza dei Festival di Reading e Leeds, in Inghilterra...
lunedì 15 febbraio 2010
Live futuri e sopresa...
News sempre più interessanti dal mondo GN'R...
Aggiunta un'altra data x il tour sudamericano, il 27 marzo all' Hipódromo La Rinconada di Caracas, Venezuela.
Inoltre i Guns N' Roses sono in cartellone x lo Sweden Rock Festival, ke si terrà a Soelvesborg, appunto in Svezia, tra il 9 e il 12 giugno.
Nel frattempo Axl e soci hanno tenuto due concerti sopresa a New York; il primo nell'ex CBGB's, il mitico tempio del punk americano. Il secondo, ironia del destino, al Rose Bar.
Aggiunta un'altra data x il tour sudamericano, il 27 marzo all' Hipódromo La Rinconada di Caracas, Venezuela.
Inoltre i Guns N' Roses sono in cartellone x lo Sweden Rock Festival, ke si terrà a Soelvesborg, appunto in Svezia, tra il 9 e il 12 giugno.
Nel frattempo Axl e soci hanno tenuto due concerti sopresa a New York; il primo nell'ex CBGB's, il mitico tempio del punk americano. Il secondo, ironia del destino, al Rose Bar.
mercoledì 3 febbraio 2010
Altre 2 date x il Sudamerica!
Secondo i media locali, i GN'R suoneranno al Simon Bolivar Park di Bogotà, Colombia, il 30 marzo.
The band è data inoltre in programma all'Estadio Olimpico Atahualpa di Quito, Ecuador, il primo aprile.
The band è data inoltre in programma all'Estadio Olimpico Atahualpa di Quito, Ecuador, il primo aprile.
martedì 2 febbraio 2010
'Slash': artwork & tracklist
Secondo 'Ultimate Guitar', questi dovrebbero essere la copertina e la trackist del disco solista di Slash, intolato semplicemente col nome del leggendario chitarrista...
01. Ghost (Ian Astbury/feat. Izzy Stradlin')
02. Beautiful Dangerous (Fergie)
03. Nothing To Say (M. Shadows of Avenged Sevenfold)
04. Crucify The Dead (Ozzy Osbourne)
05. Promise (Chris Cornell)
06. By The Sword (Andrew Stockdale of WOLFMOTHER)
07. Doctor Alibi (Lemmy Kilmeister)
08. Saint Is A Sinner Too (Rocco De Luca)
09. Watch This (Dave Grohl/Duff McKagan)
10. I Hold On (Kid Rock)
11. Gotten (Adam Levine)
12. We're All Gonna Die (Iggy Pop)
13. Starlight (Myles Kennedy)
01. Ghost (Ian Astbury/feat. Izzy Stradlin')
02. Beautiful Dangerous (Fergie)
03. Nothing To Say (M. Shadows of Avenged Sevenfold)
04. Crucify The Dead (Ozzy Osbourne)
05. Promise (Chris Cornell)
06. By The Sword (Andrew Stockdale of WOLFMOTHER)
07. Doctor Alibi (Lemmy Kilmeister)
08. Saint Is A Sinner Too (Rocco De Luca)
09. Watch This (Dave Grohl/Duff McKagan)
10. I Hold On (Kid Rock)
11. Gotten (Adam Levine)
12. We're All Gonna Die (Iggy Pop)
13. Starlight (Myles Kennedy)
Review: Guns N' Roses in Ottawa
"Is he an only child," the 20-something woman asks about Axl Rose, who by this point on Sunday at Scotiabank Place has kept 8,000 fans waiting for almost 90 minutes. "Hurry the f-ck up man, people are waiting," says the young woman, who, like her mother standing next to her, has a sloshing cup of frothy draught beer in her hand. “I’ve wanted to see this show for 20 years,” her mother says. So what’s another half hour?
Axl Rose has made such a business of keeping fans waiting that they'd probably be disappointed if he did show up on time. It was almost midnight when he took the stage here a few years ago. It was 11:15 p.m. Sunday when he finally appeared with his latest version of Guns N’ Roses – though calling it that seems silly, liking watching Paul McCartney and pretending you saw the Beatles. Not that the fans seem to mind, as they often roared “GUNS-AND-ROSES!” during the two-hour-and-45-minute set, a performance so long that it started in one month and ended in another.
It began with Chinese Democracy, and the song, like the album of the same name that was 13 years or so in the making, hardly seemed worth the wait. None of the songs that Rose has written since Slash and Izzy Stradlin left the band can stand with the earlier work. No better evidence was needed than the skittering guitar line that told the crowd the next song was Welcome to the Jungle, the monster from their 1987 breakthrough album Appetite for Destruction.
This was the trade-off that fans got all night long – a song from 2008’s Chinese Democracy and then a song from the back catalogue. Next came 1987’s It’s So Easy, complete with chest-constricting explosions on stage, and then another vintage GNR track, Mr. Brownstone. “The show usually starts around seven/ We go on stage around nine,” the song goes. Who says Rose has no sense of humour?
Rose seemed in high spirits, running full-out from one wing of the large stage to the other, rather impressively for a 47-year-old man who’s had his share of decadent living. He was talkative, too. After one of many wardrobe changes he told us he’d ripped his pants. “I blew my ass out.” This knowledge made it a bit scarier when he tried that serpentine shuffle he used to do so well back in the day, when he was younger and more limber.
They played Sorry and Better, two more from Chinese Democracy, before guitarist Richard Fortus kicked into Live and Let Die. This cover of McCartney’s song has long been a highlight of any GNR show, but the limitations of Rose’s voice were uncharacteristically apparent. He can still twist out that raspy howl, but his vocal cords, which serve an intensely demanding master, were crapping out on the high end, and elsewhere.
Sweet Child o’ Mine was his greatest test. Rose, in yet another new shirt, audibly clipped the first “whooaaaaaa, sweet child o’ mine,” but the crowd picked up the vocal slack quick enough.
The crowd was into it, though by 12:30 Monday morning it was a long way from 8 p.m., when most fans had arrived to see openers Danko Jones and Sebastian Bach. By 1:00 some fans were putting on their coats and leaving, thinking about work in a few hours, no doubt. Too bad. They missed Bubbles, from Trailer Park Boys, and they missed Guns’ classics such as the ballistic You Could Be Mine, Patience, and Paradise City, which closed the show at 2 a.m.
Rose stuck around and served shots of booze to a couple of fans down front. It was like he didn’t want to leave, and why would he? He’s a classic rocker, and if there’s one thing Ottawa loves more than politics, it’s classic rock.
Source: Ottawa Citizen
Axl Rose has made such a business of keeping fans waiting that they'd probably be disappointed if he did show up on time. It was almost midnight when he took the stage here a few years ago. It was 11:15 p.m. Sunday when he finally appeared with his latest version of Guns N’ Roses – though calling it that seems silly, liking watching Paul McCartney and pretending you saw the Beatles. Not that the fans seem to mind, as they often roared “GUNS-AND-ROSES!” during the two-hour-and-45-minute set, a performance so long that it started in one month and ended in another.
It began with Chinese Democracy, and the song, like the album of the same name that was 13 years or so in the making, hardly seemed worth the wait. None of the songs that Rose has written since Slash and Izzy Stradlin left the band can stand with the earlier work. No better evidence was needed than the skittering guitar line that told the crowd the next song was Welcome to the Jungle, the monster from their 1987 breakthrough album Appetite for Destruction.
This was the trade-off that fans got all night long – a song from 2008’s Chinese Democracy and then a song from the back catalogue. Next came 1987’s It’s So Easy, complete with chest-constricting explosions on stage, and then another vintage GNR track, Mr. Brownstone. “The show usually starts around seven/ We go on stage around nine,” the song goes. Who says Rose has no sense of humour?
Rose seemed in high spirits, running full-out from one wing of the large stage to the other, rather impressively for a 47-year-old man who’s had his share of decadent living. He was talkative, too. After one of many wardrobe changes he told us he’d ripped his pants. “I blew my ass out.” This knowledge made it a bit scarier when he tried that serpentine shuffle he used to do so well back in the day, when he was younger and more limber.
They played Sorry and Better, two more from Chinese Democracy, before guitarist Richard Fortus kicked into Live and Let Die. This cover of McCartney’s song has long been a highlight of any GNR show, but the limitations of Rose’s voice were uncharacteristically apparent. He can still twist out that raspy howl, but his vocal cords, which serve an intensely demanding master, were crapping out on the high end, and elsewhere.
Sweet Child o’ Mine was his greatest test. Rose, in yet another new shirt, audibly clipped the first “whooaaaaaa, sweet child o’ mine,” but the crowd picked up the vocal slack quick enough.
The crowd was into it, though by 12:30 Monday morning it was a long way from 8 p.m., when most fans had arrived to see openers Danko Jones and Sebastian Bach. By 1:00 some fans were putting on their coats and leaving, thinking about work in a few hours, no doubt. Too bad. They missed Bubbles, from Trailer Park Boys, and they missed Guns’ classics such as the ballistic You Could Be Mine, Patience, and Paradise City, which closed the show at 2 a.m.
Rose stuck around and served shots of booze to a couple of fans down front. It was like he didn’t want to leave, and why would he? He’s a classic rocker, and if there’s one thing Ottawa loves more than politics, it’s classic rock.
Source: Ottawa Citizen
Guns N' Roses show worth the wait
By JANE STEVENSON, Toronto Sun
How do you know you're at a Guns N' Roses concert?
You have to wait a really long time for the show begin.
And so it went on Thursday night at the Air Canada Centre as a crowd of about 21,000 waited for frontman Axl Rose to begin just over two hours past the scheduled start time - would you believe at 11:25 p.m.? - following sets by homegrown opening acts Danko Jones and Sebastian Bach.
Somebody needs to grease Axl's wheels. Seriously.
Of course, waiting for the 47-year-old Rose is nothing new.
He made fans wait some 17 years for the latest GN'R release of original music, Chinese Democracy, which came out in November 2008, and for which Rose is currently touring the world, including some 13 dates in Canada in January and February.
While fans cooled their heels at the ACC, women in the stands - either in various states of undress or making out with each other - were shown to huge cheers but time dragged on and there were boos as the crowd's impatience grew.
By the time Rose and the latest lineup of Gunners - guitarists Richard Fortus, Ron "Bumblefoot" Thal and DJ Ashba, keyboardists Dizzy Reed and Chris Pitman, drummer Frank Ferrer and one-time Replacements bassist Tommy Stinson - opened with Chinese Democracy's title track, it felt underwhelming.
Especially since Rose made his entrance in a wheelchair, wearing a black fedora over his red scarf and sunglasses (the fedora and glasses he eventually ditched), his blond hair now shoulder length and sporting a moustache, dressed in an unbuttoned shirt and jeans with a large cross and heavy necklaces adorning his chest.
"Sorry about the time delay," said Rose after that first song. "We got a little carried away .... last night. But anyway, we're here."
He even joked later that some local deejay had predicted the band wouldn't go on until 2 a.m.
"I'm early," he cracked.
Thankfully, Rose and company got the crowd quickly on side with the second song, an explosion-heavy version of the GN'R classic Welcome To The Jungle.
Other song highlights were no surprise: A fiery, explosion-laced version of Live and Let Die; the GN'R signature song, Sweet Child O' Mine featuring stellar guitar work by Ashba; the heartfelt ballad November Rain with Rose at the piano; the propulsive You Could Be Mine; a great cover of Bob Dylan's Knockin' On Heaven's Door that included an audience singalong; the anthemic Night Train and the show-ending Paradise City complete with more explosions pink confetti and silver streamers. (It's 1:55 a.m when they finally leave the stage although Axl returns to take a bow with his band and distribute shots to some people in the crowd and throw flowers out into the audience.)
Less effective was much of the Chinese Democracy material save for the soulful mid-tempo rocker Street Of Dreams; the dramatic power ballads Madagascar and This I Love, the latter featuring Rose standing on top of Reed's piano.
On the plus side, Rose proved to be a non-stop man in motion, constantly running around his enormous stage that was adorned with large video screens and lighting columns, two circular staircases, three mini-catwalks, and elevating platforms for the guitarists to play on.
He also performed his trademark side-to-side dance moves and stomped his right leg so hard, it's no wonder he kept running off to a little black tent at the side of the stage where he changed his sweat-soaked shirts.
Rose was generous frontman too, sharing the spotlight with nearly all of his musicians who were given extended solos with special mention to Reed on a mirrored grand piano and the heavily-tattooed Ashba on a glittery black guitar.
Axl even performed his own instrumental piano medley of Elton John songs.
So far the best reported sidebar about this tour is that the Rose has banned Guns N' Roses fans from wearing Slash T-shirts or top hats (I'm pretty sure Ashba was symbolically wearing a squished one) at the shows.
The incredibly silly move has been denied by Rose's camp even though TMZ claims a member of the concert security team has confirmed it.
Rose and Slash has been at odds since the guitarist left GN'R in 1996 and then wrote about their feud in his 2007 autobiography.
Someone will have to ask the former GN'R axeman, who will release a solo album later this year, what he makes of it all when the guitarist shows up at Canadian Music Week in Toronto in mid-March to be a keynote speaker and play some tunes.
Or not.
Can't we all just get along?
How do you know you're at a Guns N' Roses concert?
You have to wait a really long time for the show begin.
And so it went on Thursday night at the Air Canada Centre as a crowd of about 21,000 waited for frontman Axl Rose to begin just over two hours past the scheduled start time - would you believe at 11:25 p.m.? - following sets by homegrown opening acts Danko Jones and Sebastian Bach.
Somebody needs to grease Axl's wheels. Seriously.
Of course, waiting for the 47-year-old Rose is nothing new.
He made fans wait some 17 years for the latest GN'R release of original music, Chinese Democracy, which came out in November 2008, and for which Rose is currently touring the world, including some 13 dates in Canada in January and February.
While fans cooled their heels at the ACC, women in the stands - either in various states of undress or making out with each other - were shown to huge cheers but time dragged on and there were boos as the crowd's impatience grew.
By the time Rose and the latest lineup of Gunners - guitarists Richard Fortus, Ron "Bumblefoot" Thal and DJ Ashba, keyboardists Dizzy Reed and Chris Pitman, drummer Frank Ferrer and one-time Replacements bassist Tommy Stinson - opened with Chinese Democracy's title track, it felt underwhelming.
Especially since Rose made his entrance in a wheelchair, wearing a black fedora over his red scarf and sunglasses (the fedora and glasses he eventually ditched), his blond hair now shoulder length and sporting a moustache, dressed in an unbuttoned shirt and jeans with a large cross and heavy necklaces adorning his chest.
"Sorry about the time delay," said Rose after that first song. "We got a little carried away .... last night. But anyway, we're here."
He even joked later that some local deejay had predicted the band wouldn't go on until 2 a.m.
"I'm early," he cracked.
Thankfully, Rose and company got the crowd quickly on side with the second song, an explosion-heavy version of the GN'R classic Welcome To The Jungle.
Other song highlights were no surprise: A fiery, explosion-laced version of Live and Let Die; the GN'R signature song, Sweet Child O' Mine featuring stellar guitar work by Ashba; the heartfelt ballad November Rain with Rose at the piano; the propulsive You Could Be Mine; a great cover of Bob Dylan's Knockin' On Heaven's Door that included an audience singalong; the anthemic Night Train and the show-ending Paradise City complete with more explosions pink confetti and silver streamers. (It's 1:55 a.m when they finally leave the stage although Axl returns to take a bow with his band and distribute shots to some people in the crowd and throw flowers out into the audience.)
Less effective was much of the Chinese Democracy material save for the soulful mid-tempo rocker Street Of Dreams; the dramatic power ballads Madagascar and This I Love, the latter featuring Rose standing on top of Reed's piano.
On the plus side, Rose proved to be a non-stop man in motion, constantly running around his enormous stage that was adorned with large video screens and lighting columns, two circular staircases, three mini-catwalks, and elevating platforms for the guitarists to play on.
He also performed his trademark side-to-side dance moves and stomped his right leg so hard, it's no wonder he kept running off to a little black tent at the side of the stage where he changed his sweat-soaked shirts.
Rose was generous frontman too, sharing the spotlight with nearly all of his musicians who were given extended solos with special mention to Reed on a mirrored grand piano and the heavily-tattooed Ashba on a glittery black guitar.
Axl even performed his own instrumental piano medley of Elton John songs.
So far the best reported sidebar about this tour is that the Rose has banned Guns N' Roses fans from wearing Slash T-shirts or top hats (I'm pretty sure Ashba was symbolically wearing a squished one) at the shows.
The incredibly silly move has been denied by Rose's camp even though TMZ claims a member of the concert security team has confirmed it.
Rose and Slash has been at odds since the guitarist left GN'R in 1996 and then wrote about their feud in his 2007 autobiography.
Someone will have to ask the former GN'R axeman, who will release a solo album later this year, what he makes of it all when the guitarist shows up at Canadian Music Week in Toronto in mid-March to be a keynote speaker and play some tunes.
Or not.
Can't we all just get along?
GN'R Bring Chinese Democracy Tour Across Canada
(HoundsTV – Toronto) If there is one thing Guns N’ Roses 2010 Canadian tour has confirmed – Axl Rose still lives and loves the rock star lifestyle – relentless touring, late night partying, and lots of pretty ladies.
Axl and his Guns N’ Roses mates have been in eastern Canada the last week finishing up a 13 show trek across Canada to kick off a 2010 world tour in support of Chinese Democracy – Axl’s long awaited, and massively under-appreciated gem of a GN’R album.
The talk among many, many, many of the reviews has been the unpredictable late start to the GN’R shows occurring each night. For the Hamilton, London, and Montreal shows – Axl has been taking the stage around 10:30 and playing 2 1/2 hour sets ending around 1 a.m. We are not quite sure why so many people have been whining about the late starts -
BUT PEOPLE! Its a Guns N’ Fuckin’ Roses concert – not Disney on ice. So what if Axl is taking the stage at 10, 11 or 12?
But up here in Canada, venue officials and police do have concerns about rock concert crowds spilling out into the streets at very late hours. So all Canadian arenas have bylaw curfews (usually 11:59 p.m.) where the music is supposed to end or the concert promoter starts paying heavy penalties. The promoters and management of the GN’R tour surely paid some big penalties that night in Toronto when Rose was still on stage past 2 a.m.
In fact, when Guns N’ Roses took the stage at 11:30 in Toronto, discussions did occur with venue officials and GN’R management about cutting the set significantly shorter – to maybe 1 1/2 hours to help get the ACC crowd out still by about 1 a.m. Rose’s management refused. In the end, one or two songs were cut from the planned set list to try for a 2 a.m. finish. The word through Axl’s people was the GN’R set was minimum 2 1/2 hours and they were giving the fans ONLY a full set – no matter how late or whatever financial penalties they would incur.
So why did Guns N’ Roses take the stage so late in Toronto? It might have something to do with the fact Axl didn’t leave his downtown Toronto hotel till 11:15 p.m. for the show.
And why wasn’t Rose ready for the Toronto stage? Perhaps it had something to do with a very good time Axl and his GN’R mates had in Montreal the night before (actually, more the morning of..)
Rose made light reference to his previous night of Montreal debauchery kicking off the Toronto set, “Sorry about the time delay. I got carried away jumping off shit last night…I actually don’t remember a thing..”
After GN’R’s Montreal show the previous night, the band hit up a private club in old Montreal eventually emerging from the club at 6:30am in quite the high spirits. From there, it was time to head back to Toronto for the Air Canada Centre show that evening. And that evening started with
Rose going from his Toronto hotel room at 11:15 pm – to an awaiting vehicle speeding through traffic the ten minute drive south to the ACC – and joining his GN’R mates on the Air Canada Centre stage with the lights dimming just before 11:30 pm.
And the rush showed in a very uninspired opening of Chinese Democracy where Axl’s voice was clearly a little off. Rose exited halfway through the song to switch mics. The second song of the night, Welcome to the Jungle, was better and the songs familiarity helped to get the crowd going – but it was clear Axl’s voice was still ramping up (and Rose was maybe still waking up?)
By the time Live and Let Die rolled around forty-five minutes into the set – Rose was surely finding his voice and it was sounding strong. Axl and the band did a great version of Catcher in the Rye – in honor of J.D. Salinger who passed away that day (remarked by Rose.)
But its when the GN’R set passed the 1 a.m. mark and Axl delivered You Could Be Mine, Knockin on Heaven’s door, and November Rain you knew you were seeing classic Axl, in almost perfert form – and well worth the wait.
After the ACC show. Axl, his Guns N’ Roses bandmates, Sebastian Bach and many more partied well into the wee morning hours at a King St. Toronto club.
Guns N’ Roses wraps up the 2010 Chinese Democracy Canadian tour with three final dates out east in Quebec City, Moncton, and Halifax this week.
Thanks: Richard
Photo Credit: Richard Budman
Source: HoundsTV.com
Axl and his Guns N’ Roses mates have been in eastern Canada the last week finishing up a 13 show trek across Canada to kick off a 2010 world tour in support of Chinese Democracy – Axl’s long awaited, and massively under-appreciated gem of a GN’R album.
The talk among many, many, many of the reviews has been the unpredictable late start to the GN’R shows occurring each night. For the Hamilton, London, and Montreal shows – Axl has been taking the stage around 10:30 and playing 2 1/2 hour sets ending around 1 a.m. We are not quite sure why so many people have been whining about the late starts -
BUT PEOPLE! Its a Guns N’ Fuckin’ Roses concert – not Disney on ice. So what if Axl is taking the stage at 10, 11 or 12?
But up here in Canada, venue officials and police do have concerns about rock concert crowds spilling out into the streets at very late hours. So all Canadian arenas have bylaw curfews (usually 11:59 p.m.) where the music is supposed to end or the concert promoter starts paying heavy penalties. The promoters and management of the GN’R tour surely paid some big penalties that night in Toronto when Rose was still on stage past 2 a.m.
In fact, when Guns N’ Roses took the stage at 11:30 in Toronto, discussions did occur with venue officials and GN’R management about cutting the set significantly shorter – to maybe 1 1/2 hours to help get the ACC crowd out still by about 1 a.m. Rose’s management refused. In the end, one or two songs were cut from the planned set list to try for a 2 a.m. finish. The word through Axl’s people was the GN’R set was minimum 2 1/2 hours and they were giving the fans ONLY a full set – no matter how late or whatever financial penalties they would incur.
So why did Guns N’ Roses take the stage so late in Toronto? It might have something to do with the fact Axl didn’t leave his downtown Toronto hotel till 11:15 p.m. for the show.
And why wasn’t Rose ready for the Toronto stage? Perhaps it had something to do with a very good time Axl and his GN’R mates had in Montreal the night before (actually, more the morning of..)
Rose made light reference to his previous night of Montreal debauchery kicking off the Toronto set, “Sorry about the time delay. I got carried away jumping off shit last night…I actually don’t remember a thing..”
After GN’R’s Montreal show the previous night, the band hit up a private club in old Montreal eventually emerging from the club at 6:30am in quite the high spirits. From there, it was time to head back to Toronto for the Air Canada Centre show that evening. And that evening started with
Rose going from his Toronto hotel room at 11:15 pm – to an awaiting vehicle speeding through traffic the ten minute drive south to the ACC – and joining his GN’R mates on the Air Canada Centre stage with the lights dimming just before 11:30 pm.
And the rush showed in a very uninspired opening of Chinese Democracy where Axl’s voice was clearly a little off. Rose exited halfway through the song to switch mics. The second song of the night, Welcome to the Jungle, was better and the songs familiarity helped to get the crowd going – but it was clear Axl’s voice was still ramping up (and Rose was maybe still waking up?)
By the time Live and Let Die rolled around forty-five minutes into the set – Rose was surely finding his voice and it was sounding strong. Axl and the band did a great version of Catcher in the Rye – in honor of J.D. Salinger who passed away that day (remarked by Rose.)
But its when the GN’R set passed the 1 a.m. mark and Axl delivered You Could Be Mine, Knockin on Heaven’s door, and November Rain you knew you were seeing classic Axl, in almost perfert form – and well worth the wait.
After the ACC show. Axl, his Guns N’ Roses bandmates, Sebastian Bach and many more partied well into the wee morning hours at a King St. Toronto club.
Guns N’ Roses wraps up the 2010 Chinese Democracy Canadian tour with three final dates out east in Quebec City, Moncton, and Halifax this week.
Thanks: Richard
Photo Credit: Richard Budman
Source: HoundsTV.com
lunedì 1 febbraio 2010
Montreal 2010 Reviews
Review: Guns N' Roses Rock Montreal Fans
MONTREAL - There’s waiting, and then there’s waiting.
There’s a teenage lifetime of dashed expectations, a lot of Patience, and an eventual 10:30 start time attending some kind of payment on an old debt.
And there’s Axl Rose, so toss the script aside and let’s see what flag we’re flying when we take ‘er home.
Guns N’ Roses finally made it back to Montreal, 17 years after a Big O riot, minus all other original members save the singer. But there would be no angry recriminations, or formal addressing of a past event that many in the crowd only heard about from their tattoed parents or older siblings. There would be a huge three-guitar arena show for just under 12,000, with enough happy pyro for a Vegas New Year’s Eve, a run through the hard rock touchstones from a 28-million-selling debut album, and the professionalism and honest rock’n’roll bonhomie we’ve come to expect from Axl Rose…
But the surprises would mark this as something else, something… unexpected: witty musical nods to Elton John, Henry Mancini and the Immigrant Song, a self-deprecating story about being winded, a reference to Kid Rock, sly references to 17 years ago, a masterfully-avoided apology, a song called Sorry, and 2 ½ hours of what can only be described as a likeable Axl Rose earning a barely-qualified win in the Bell Centre.
Let’s get to the explosions.
They came early, late and often. Chinese Democracy opened with a guitarist (either DJ Ashba or Richard Fortus) riffing atop the drum/keyboard riser, Axl running out in pin-striped shirt, jeans and fedora as the pyro went off. The stuttering guitar of Welcome to the Jungle brought the crowd up, Rose striking his fire-eater pose with
the mic. It’s So Easy brought more kabooms, bassist Tommy Stinson taking backing vocals. Still, there was a sense of much to live up to, or live down.
After Mr. Brownstone, Axl said “I think I recognize some of you… yeah, that’s right. That’s right.”
It might be reading too much into the ballad that followed – Sorry – but who can blame us?
During Live and Let Die, you noticed he was beefier (but who isn’t?).
During Street of Dreams, his Bruce-anthem move, you could finally confirm that either the screech-yowl had lost some puissance in the lower register, or the mic wasn’t picking it up. I’ll actually lean toward the latter, because for all Axl’s mini-exits during guitar solos (three of ‘em, including Ron Bumblefoot Thal’s speedfingers Pink Panther) for quick offstage shirt-changes (about six of ‘em), his energy never flagged.
And incredibly, neither did his humour. You know what’s funny? Those snake-hipped moves and stomps seemed fun rather than angry now.
You know what else is funny? The story Axl told about being chased by cops and mistaken for Kid Rock while trying to get into an MTV Awards ceremony.
At about this point, the pacing seemed off, as Rose began trimming songs from the set list – a good half dozen of them by my sheet.
The late start? Some warning about the Metro closing at 1 a.m.? No idea, but that set list was flipped around. The burbling If the World was a brave choice in this arena/hard rock context, but then, that was the point of all this band-recreation and endless recording, wasn’t it?
Better was as remarkable live as on record, revealing Stinson to be the absolute anchor of this band of whiz-bang guitarists. Rose keyed on him, drawing energy or balance from the former Replacements member.
You Could Be Mine brought the first crowd explosion, and justly so.
Sweet Child O’ Mine brought the next. And the friendly, lighthearted demeanour proved to be genuine. When he segued from an oblique reference to a ridiculous press rumour about top hats being banned at GNR shows into “You fuckers just like to tear shit up, doncha? That’s okay, I get that way myself sometimes,” you realized he had just kinda referred to the Big O while somehow bonding with the crowd and blaming no one – including, especially himself. And you were in the presence of stagecraft brilliance.
Naturally, he had to almost blow it. After the whistlin’ Patience, after Out Ta Get Me (kablammo!) and Night Train, a ballad-heavy encore had some fans heading for the exits.
When they finally pulled into Paradise City terminus at 1 a.m. (!), all those fans came streaming back to see Axl draping himself in a Fleur-de-Lis flag to the biggest roar of the night, tossing a whistle into the crowd, and kicking and roaring and beaming his way to the front of the stage. The fans had their moment, Axl had his, and it had only taken 17 years and 2 ½ hours.
markjlepage@yahoo.com
© Copyright (c) The Montreal Gazette
--
Classic Rock Montreal Review
Come inside for a review of Axl and co’s performance in Quebec, Canada on January 27.
Guns N’ Roses/Sebastian Bach/Danko Jones
Montreal Bell Centre
“All I’ve got is precious time,” Axl Rose tellingly proclaims in tonight’s opening track, the title song of Chinese Democracy. After all, why else would he seem to revel in keeping fans waiting, whether for his infamously late on stage arrivals, an album of mythical proportions that was nearly two decades in the making, or – perhaps most curiously – the overdue kickoff of the subsequent world tour?
Although the timing is perplexing, coming more than a year after the record’s release, there is one upside – it calls for a fresh reconsideration of the album’s merits: the driving chorus of Shackler’s Revenge; the unmistakable vocal cadence of the verses in Better; and the heart-wrenching ride-out of There Was A Time, among others.
It also, however, serves as a reminder of Chinese Democracy’s flaws – namely, the lack of timeless, memorable hooks that people will still pay to hear performed live in 23 years. That’s how long it’s now been since the release of Appetite For Destruction, the recording that rightfully made Guns N’ Roses an overnight sensation. Its material provides the brightest moments tonight, GN’R’s first performance in Montreal since a disastrous 1992 concert halfway through the marathon Use Your Illusion tour during which Axl left the stage after singing only nine songs, prompting a massive riot.
In contrast, tonight’s show – part of a winter tour of Canadian hockey barns, the group’s first performances in their home continent since the release of Chinese Democracy – goes off without incident. Openers Danko Jones, perhaps rock’s best-kept secret, deliver a libido-fuelled 30-minute set that drips with swaggering confidence, while ex-Skid Row front man Sebastian Bach – who seems content continuing to play a Robin- or Dr. Watson-like foil for Rose – gamely energizes the crowd with a 10-song performance culled primarily from his former band’s self-titled debut.
As for the headliner, it’s instantly clear that GN’R is now little different than any number of classic hard rock acts with only one remaining original member. Having surrounded himself in recent years with a revolving door of competent yet ultimately faceless replacements, Rose has, perhaps unwittingly, turned the spotlight even more on himself, no matter how many solos he lets his band members enjoy tonight. (His frequent wardrobe changes don’t help.)
Still, Rose – sporting a Fu Manchu, and flanked by video screens and LED back drops – admirably avoids the easy path of nostalgia taken regularly by so many of his peers, as tonight’s workmanlike, nearly three-hour set is split almost evenly between older and recent material. One only wishes he’d take to heart the most basic tenet of democracy: give the people what they want. All too often, the Chinese Democracy material falls flat next to classics such as Welcome To The Jungle and You Could Be Mine, but the magnetic presence of the slithering, itinerant front man holds your interest nonetheless.
His only overt references to the riot come during Knockin’ On Heaven’s Door – “You fuckers just like to tear shit up,” he playfully prods the crowd before thanking them genuinely for their support – and after the show-closing Paradise City, when he gives a tantalisingly cryptic tease before exiting: “You deserve the truth, but tonight’s not the time.” More proof that the King Of The Jungle sets his own hours.
Source: Classic Rock
MONTREAL - There’s waiting, and then there’s waiting.
There’s a teenage lifetime of dashed expectations, a lot of Patience, and an eventual 10:30 start time attending some kind of payment on an old debt.
And there’s Axl Rose, so toss the script aside and let’s see what flag we’re flying when we take ‘er home.
Guns N’ Roses finally made it back to Montreal, 17 years after a Big O riot, minus all other original members save the singer. But there would be no angry recriminations, or formal addressing of a past event that many in the crowd only heard about from their tattoed parents or older siblings. There would be a huge three-guitar arena show for just under 12,000, with enough happy pyro for a Vegas New Year’s Eve, a run through the hard rock touchstones from a 28-million-selling debut album, and the professionalism and honest rock’n’roll bonhomie we’ve come to expect from Axl Rose…
But the surprises would mark this as something else, something… unexpected: witty musical nods to Elton John, Henry Mancini and the Immigrant Song, a self-deprecating story about being winded, a reference to Kid Rock, sly references to 17 years ago, a masterfully-avoided apology, a song called Sorry, and 2 ½ hours of what can only be described as a likeable Axl Rose earning a barely-qualified win in the Bell Centre.
Let’s get to the explosions.
They came early, late and often. Chinese Democracy opened with a guitarist (either DJ Ashba or Richard Fortus) riffing atop the drum/keyboard riser, Axl running out in pin-striped shirt, jeans and fedora as the pyro went off. The stuttering guitar of Welcome to the Jungle brought the crowd up, Rose striking his fire-eater pose with
the mic. It’s So Easy brought more kabooms, bassist Tommy Stinson taking backing vocals. Still, there was a sense of much to live up to, or live down.
After Mr. Brownstone, Axl said “I think I recognize some of you… yeah, that’s right. That’s right.”
It might be reading too much into the ballad that followed – Sorry – but who can blame us?
During Live and Let Die, you noticed he was beefier (but who isn’t?).
During Street of Dreams, his Bruce-anthem move, you could finally confirm that either the screech-yowl had lost some puissance in the lower register, or the mic wasn’t picking it up. I’ll actually lean toward the latter, because for all Axl’s mini-exits during guitar solos (three of ‘em, including Ron Bumblefoot Thal’s speedfingers Pink Panther) for quick offstage shirt-changes (about six of ‘em), his energy never flagged.
And incredibly, neither did his humour. You know what’s funny? Those snake-hipped moves and stomps seemed fun rather than angry now.
You know what else is funny? The story Axl told about being chased by cops and mistaken for Kid Rock while trying to get into an MTV Awards ceremony.
At about this point, the pacing seemed off, as Rose began trimming songs from the set list – a good half dozen of them by my sheet.
The late start? Some warning about the Metro closing at 1 a.m.? No idea, but that set list was flipped around. The burbling If the World was a brave choice in this arena/hard rock context, but then, that was the point of all this band-recreation and endless recording, wasn’t it?
Better was as remarkable live as on record, revealing Stinson to be the absolute anchor of this band of whiz-bang guitarists. Rose keyed on him, drawing energy or balance from the former Replacements member.
You Could Be Mine brought the first crowd explosion, and justly so.
Sweet Child O’ Mine brought the next. And the friendly, lighthearted demeanour proved to be genuine. When he segued from an oblique reference to a ridiculous press rumour about top hats being banned at GNR shows into “You fuckers just like to tear shit up, doncha? That’s okay, I get that way myself sometimes,” you realized he had just kinda referred to the Big O while somehow bonding with the crowd and blaming no one – including, especially himself. And you were in the presence of stagecraft brilliance.
Naturally, he had to almost blow it. After the whistlin’ Patience, after Out Ta Get Me (kablammo!) and Night Train, a ballad-heavy encore had some fans heading for the exits.
When they finally pulled into Paradise City terminus at 1 a.m. (!), all those fans came streaming back to see Axl draping himself in a Fleur-de-Lis flag to the biggest roar of the night, tossing a whistle into the crowd, and kicking and roaring and beaming his way to the front of the stage. The fans had their moment, Axl had his, and it had only taken 17 years and 2 ½ hours.
markjlepage@yahoo.com
© Copyright (c) The Montreal Gazette
--
Classic Rock Montreal Review
Come inside for a review of Axl and co’s performance in Quebec, Canada on January 27.
Guns N’ Roses/Sebastian Bach/Danko Jones
Montreal Bell Centre
“All I’ve got is precious time,” Axl Rose tellingly proclaims in tonight’s opening track, the title song of Chinese Democracy. After all, why else would he seem to revel in keeping fans waiting, whether for his infamously late on stage arrivals, an album of mythical proportions that was nearly two decades in the making, or – perhaps most curiously – the overdue kickoff of the subsequent world tour?
Although the timing is perplexing, coming more than a year after the record’s release, there is one upside – it calls for a fresh reconsideration of the album’s merits: the driving chorus of Shackler’s Revenge; the unmistakable vocal cadence of the verses in Better; and the heart-wrenching ride-out of There Was A Time, among others.
It also, however, serves as a reminder of Chinese Democracy’s flaws – namely, the lack of timeless, memorable hooks that people will still pay to hear performed live in 23 years. That’s how long it’s now been since the release of Appetite For Destruction, the recording that rightfully made Guns N’ Roses an overnight sensation. Its material provides the brightest moments tonight, GN’R’s first performance in Montreal since a disastrous 1992 concert halfway through the marathon Use Your Illusion tour during which Axl left the stage after singing only nine songs, prompting a massive riot.
In contrast, tonight’s show – part of a winter tour of Canadian hockey barns, the group’s first performances in their home continent since the release of Chinese Democracy – goes off without incident. Openers Danko Jones, perhaps rock’s best-kept secret, deliver a libido-fuelled 30-minute set that drips with swaggering confidence, while ex-Skid Row front man Sebastian Bach – who seems content continuing to play a Robin- or Dr. Watson-like foil for Rose – gamely energizes the crowd with a 10-song performance culled primarily from his former band’s self-titled debut.
As for the headliner, it’s instantly clear that GN’R is now little different than any number of classic hard rock acts with only one remaining original member. Having surrounded himself in recent years with a revolving door of competent yet ultimately faceless replacements, Rose has, perhaps unwittingly, turned the spotlight even more on himself, no matter how many solos he lets his band members enjoy tonight. (His frequent wardrobe changes don’t help.)
Still, Rose – sporting a Fu Manchu, and flanked by video screens and LED back drops – admirably avoids the easy path of nostalgia taken regularly by so many of his peers, as tonight’s workmanlike, nearly three-hour set is split almost evenly between older and recent material. One only wishes he’d take to heart the most basic tenet of democracy: give the people what they want. All too often, the Chinese Democracy material falls flat next to classics such as Welcome To The Jungle and You Could Be Mine, but the magnetic presence of the slithering, itinerant front man holds your interest nonetheless.
His only overt references to the riot come during Knockin’ On Heaven’s Door – “You fuckers just like to tear shit up,” he playfully prods the crowd before thanking them genuinely for their support – and after the show-closing Paradise City, when he gives a tantalisingly cryptic tease before exiting: “You deserve the truth, but tonight’s not the time.” More proof that the King Of The Jungle sets his own hours.
Source: Classic Rock
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