Guns N' Roses "Appetite for Destruction" (1987): Track by Track

<v Speaker 1>This is Pat from the thirty something Movie podcast, and
<v Speaker 1>you're listening to my most excellent friends Jason and d
<v Speaker 1>from the Shurley You Can't Be Serious Podcast.
<v Speaker 2>Hello everybody, and welcome to the Shurly you Can't Be
<v Speaker 2>Serious Podcast. I am here with my good friend de Graves.
<v Speaker 2>We're about to dive into a matchup for the ages.
<v Speaker 2>This is a Titan versus a Titan, Guns n' Roses
<v Speaker 2>Appetite for Destruction versus acdc's.
<v Speaker 1>Back in Black.
<v Speaker 3>Hello everybody, and welcome to the Surely you Can't Be
<v Speaker 3>Serious Podcast, discussing and debating the iconic and the forgotten
<v Speaker 3>of eighties and nineties pop culture with your co hosts
<v Speaker 3>James D. Graves and Jason Colliban.
<v Speaker 4>So today we're going to be talking about Appetite for
<v Speaker 4>Destruction first. Obviously Back in Black came out before Appetite
<v Speaker 4>for Destruction, but we just decided to shake things up
<v Speaker 4>a little bit and proceed with guns and Roses first.
<v Speaker 5>Today.
<v Speaker 4>Our next episode will be on acdc's Back in Black
<v Speaker 4>and then we will talk final judgment at the end
<v Speaker 4>of that episode.
<v Speaker 2>Yeah, these guys sort of took the world by storm
<v Speaker 2>out of nowhere. These guys brought an intensity and a
<v Speaker 2>grittiness and a power that I hadn't really experienced yet.
<v Speaker 2>You mentioned that this album came out in nineteen eighty seven,
<v Speaker 2>And for those of you who are listening and you
<v Speaker 2>start to think in your brain, you're like, wait a minute.
<v Speaker 2>If you're like me, you attached songs to certain time periods,
<v Speaker 2>you're like, well, Sweet Child of Mine was popular with
<v Speaker 2>Summer of eighty eight. Paradise City really was popular at
<v Speaker 2>the beginning in sort.
<v Speaker 5>Of eighty nine.
<v Speaker 2>It took a long time. This was a slow builder.
<v Speaker 2>It would eventually become the largest selling debut album of
<v Speaker 2>all time.
<v Speaker 5>So these are two powerhouses that we're talking about.
<v Speaker 2>Well, let's dive in and see what happens.
<v Speaker 4>Okay, So starting out history of the band, Interestingly, nobody
<v Speaker 4>goes by their given name. We're here to tell you
<v Speaker 4>a story about Jeffrey and William and Michael and Saul
<v Speaker 4>and Michael. Nobody knows who those guys are. So yeah,
<v Speaker 4>you have you have Jeffrey Dean Isabelle, who became Izzy.
<v Speaker 4>You have William Bruce Rose Junior, who was then William
<v Speaker 4>Bruce Bailey, who was then w Period Axel Rose and
<v Speaker 4>then you had Michael Andrew mccagan, who was tough, and
<v Speaker 4>then you had Michael cole Letti, who became Steven Adler,
<v Speaker 4>and then finally you had Saul Hudson, who everybody knows
<v Speaker 4>as Slash. Cool names cool, Yes, Yeah, Slash I think
<v Speaker 4>has has a super interesting history. He was born over
<v Speaker 4>in the UK. He was born in England. His mom
<v Speaker 4>was a clothes designer and designed clothes for people like
<v Speaker 4>David Bowie and Janis Joplin and quite a few other
<v Speaker 4>famous folks. And his dad was an artist who designed
<v Speaker 4>album covers for Neil Young and Joni Mitchell.
<v Speaker 5>I mean, that's a pretty cool, pretty cool couple of grants.
<v Speaker 4>And so his mom moves out to to pursue her
<v Speaker 4>fashion career and he starts going to school in LA
<v Speaker 4>and they're friends with you know, a lot of different
<v Speaker 4>actors and entertainers and musicians, and an actor named Seymour
<v Speaker 4>Castle is the one who gave Slash his nickname.
<v Speaker 5>Yeah.
<v Speaker 2>And one other little tidbit that I think was interesting
<v Speaker 2>about Slash's mom, in particular, she had a relationship with
<v Speaker 2>David Bowie. Slash actually walked in on them together doing
<v Speaker 2>the Wild Thing which is interesting because later Axel Rose
<v Speaker 2>gets in a fistfight with David Bowie at one of
<v Speaker 2>his concerts, So.
<v Speaker 5>Oh really, I didn't know that.
<v Speaker 2>Oh yeah.
<v Speaker 4>So Slash starts going to school out in California and
<v Speaker 4>he becomes a kick butt BMX writer. Yeah, and there's
<v Speaker 4>a local school that has a really great place to
<v Speaker 4>either go skate if you're a skater, or go ride
<v Speaker 4>BMX bikes if you're a bmxer. And one day Slash
<v Speaker 4>is out there and he sees this kid go shooting
<v Speaker 4>up into the air and then come down face first
<v Speaker 4>into the concrete and he's like, oh gosh, and he
<v Speaker 4>runs over. He's like, are you okay, and kids like
<v Speaker 4>yeah yeah. He's like, man, let me help you. I'll
<v Speaker 4>take you home, and he goes home with them. They
<v Speaker 4>become fast friends, and this kid shows him how to
<v Speaker 4>play the guitar. He's he's like, hey, I got this guitar.
<v Speaker 4>He's like, oh cool, can you show me how? And
<v Speaker 4>so this kid, Michael Coletti, who had been renamed stevenler
<v Speaker 4>Apler Yes, showed Slash's first chords.
<v Speaker 5>On the guitar.
<v Speaker 2>That's it's incredible. What a moment in rock and roll
<v Speaker 2>history that face Slam put together the bits that would
<v Speaker 2>become Guns n'.
<v Speaker 4>Roses several hundred miles away in the middle of the country.
<v Speaker 4>Is he who was at that time Jeff although I
<v Speaker 4>Axel says he was always easy to him. But I've
<v Speaker 4>heard different stories. But is he and Bill who becomes Axel?
<v Speaker 4>Isy and Axel both are going to school together in Lafayette, Indiana.
<v Speaker 2>I think that's so interesting. Nobody from this band was
<v Speaker 2>from La No.
<v Speaker 4>Yeah, they all they all in La Yeah, moved in
<v Speaker 4>at various times in their lives. Before Izzy moved out
<v Speaker 4>to LA he and Axel would play together in a
<v Speaker 4>garage band. And when I say in a garage band,
<v Speaker 4>I mean they only played in the garage. There were
<v Speaker 4>no they did no gigging because they're in Lafayette, Indiana.
<v Speaker 2>There was not a hop in musical scene in Lafayette.
<v Speaker 5>No.
<v Speaker 4>Axel had a rough childhood, you know he did. He
<v Speaker 4>had some weird connection that I don't want to go
<v Speaker 4>into with his biological father. He thought that his stepfather
<v Speaker 4>was his biological father until he was seventeen. There was
<v Speaker 4>a lot of physical abuse, according to him, at the house,
<v Speaker 4>and an extremely religious household. And I mean the benefit
<v Speaker 4>that came from that is that he got to he
<v Speaker 4>learned to play the piano, and he learned to sing
<v Speaker 4>in front of people at his church. They call it
<v Speaker 4>the Bailey trio. He and his brother and sister would
<v Speaker 4>sing together in the church.
<v Speaker 2>You know, it's amazing when we go through this, how
<v Speaker 2>many artists get their start scene.
<v Speaker 4>In Unfortunately, I also developed a talent for getting in
<v Speaker 4>fights and stealing things and ended up getting arrested in
<v Speaker 4>the neighborhood of twenty different times as a juvenile delinquent.
<v Speaker 4>And so they were about to make him an habitual offender,
<v Speaker 4>and he said, I think it's time to move out
<v Speaker 4>to California. Just the year before, Izzy, who had graduated
<v Speaker 4>from high school was the only one who had graduated
<v Speaker 4>from high school with a impressive D average, had moved out.
<v Speaker 4>And he thought, I'm going to go find my buddy Izzy.
<v Speaker 4>And so he hopped on a bus and made his
<v Speaker 4>way out to La So, while Axel had been getting
<v Speaker 4>in trouble with the law, Izzy had been trying to
<v Speaker 4>get together with a band in la And so shortly
<v Speaker 4>after he got there, he joined this band called Naughty Women,
<v Speaker 4>which was a punk band and he played the drums
<v Speaker 4>for them, and then in the first show, the audience
<v Speaker 4>members suddenly rushed the stage and began attacking all of
<v Speaker 4>the musicians, and Izzy said, I just grabbed my symbol
<v Speaker 4>stand and stood with it like a bat, trying to
<v Speaker 4>fin them off. Yell and get the f away from me.
<v Speaker 4>And that was his introduction to the rock scene in La.
<v Speaker 2>You know, is he later on doesn't enjoy the chaotic
<v Speaker 2>rock and roll lifestyle, no, which I was just gonna say.
<v Speaker 2>I respect him so much for this. You know, we'll
<v Speaker 2>talk about their history here a little bit. But he
<v Speaker 2>quits the band in ninety one at the peak of
<v Speaker 2>their popularity, and he's like, you know, let's screw this.
<v Speaker 2>I'm out, Yeah, I don't care. In my mind, I'm like, Okay,
<v Speaker 2>who is the most valuable member of this band? And
<v Speaker 2>I started going through it. I'm like, well, Axel provides
<v Speaker 2>all the attitude and the distinctive voice, and I mean,
<v Speaker 2>he is the star. Right Then you take well, Slash
<v Speaker 2>is this guitar god? And then you start to think, man,
<v Speaker 2>this guy contributed so much to just the sound of
<v Speaker 2>the band, right, Yeah, Well, Duff was songwriter cohesive guy.
<v Speaker 2>He contributed songs is he is sort of the guy
<v Speaker 2>that flies under the raider. But he's the guy who
<v Speaker 2>wrote most of the album.
<v Speaker 4>He wrote, Yeah, he wrote a ton of songs on
<v Speaker 4>the album. And he's the guy that put him together
<v Speaker 4>for the first time. Really, if you have to pick
<v Speaker 4>one as the founding member, it's going to be him.
<v Speaker 4>And you know, it's interesting because we just we just
<v Speaker 4>went through all of these people. And he mentioned after
<v Speaker 4>he left the band that Steven Adler left not too
<v Speaker 4>long before or not too much before him because he
<v Speaker 4>had become too addicted to heroin and couldn't play well anymore.
<v Speaker 4>His last concert was far made in nineteen ninety, but
<v Speaker 4>they replaced him as a drummer, and Izzy said the
<v Speaker 4>band didn't sound the same.
<v Speaker 2>Anymore, and so Steven's contribution was huge, obviously not I mean,
<v Speaker 2>I don't know this. He said that, so these five
<v Speaker 2>guys came together and made a tight fist that they're
<v Speaker 2>all five irreplaceable.
<v Speaker 4>So after Izzy's horrendous experience in his first punk show,
<v Speaker 4>he within just a couple of weeks says.
<v Speaker 5>And I'm not going to play with these guys.
<v Speaker 4>I'll more join this other band, also a punk band
<v Speaker 4>called the Atoms, and within days he gets his drum
<v Speaker 4>kit stolen from his call and so he's like, heck
<v Speaker 4>with punk, these guys are jerks.
<v Speaker 5>Is there a heavy metal band I can join?
<v Speaker 4>And so he finds his band called Shire and then
<v Speaker 4>he took up the guitar at that point because he
<v Speaker 4>didn't have any drums anymore.
<v Speaker 5>Nice, okay.
<v Speaker 4>So then in nineteen eighty three, Izzy forms Hollywood Rows
<v Speaker 4>with Axel Rose.
<v Speaker 2>Anything goes as a song that makes it to Appetite
<v Speaker 2>for Destruction that was originally a Hollywood Rose song. Yeah,
<v Speaker 2>when you listen to it, it's it's not the same.
<v Speaker 2>It's missing Slash's guitar, the lyrics are different. They had
<v Speaker 2>some grown up to do, so Hollywood Roses for the beginning.
<v Speaker 4>So eighty three Hollywood Rose forms with Izzy and Axel
<v Speaker 4>and the remaining members of this other band called La Guns.
<v Speaker 4>La Guns was a band that included Tracy Guns and
<v Speaker 4>so they took Hollywood Rose, they took La Guns. They
<v Speaker 4>put them together and it was Guns n' Roses, and
<v Speaker 4>so Tracy Guns is with them just long enough for
<v Speaker 4>the name Guns n' Roses to form before he leaves
<v Speaker 4>and reforms La Guns again. By this time, by eighty three, Steven,
<v Speaker 4>who had initially started, you know with the guitar, had
<v Speaker 4>learned to play the drums, and he and Slash had
<v Speaker 4>previously formed this band called road Crew, which was named
<v Speaker 4>after a Motorhead song called We Are the road Crew.
<v Speaker 5>And while in the.
<v Speaker 4>Road Crew they needed a bass player. They put out
<v Speaker 4>this ad in a magazine called Music Connection, and Duff
<v Speaker 4>McKagan is the one that answers that call.
<v Speaker 5>Now.
<v Speaker 4>Duff was a guy who had come from Seattle and
<v Speaker 4>decided to come down to LA and he didn't know
<v Speaker 4>what he didn't know what he's gonna play. He's like,
<v Speaker 4>I could play the drums, I could play the guitar,
<v Speaker 4>I could play the bass. They need a bass player,
<v Speaker 4>all right, I'll answer these guys. And so he can
<v Speaker 4>sing too, yeah. And so Slash, Duff and Steven together
<v Speaker 4>are in road Crew. Guns and Roses forms, and then
<v Speaker 4>quickly Tracy Guns leaves, and then their drummer leaves, and
<v Speaker 4>quickly Slash and Steven and Duff are all joined together
<v Speaker 4>and we have our classic lineup Guns n' Roses. First
<v Speaker 4>show is March twenty sixth, nineteen eighty five, and that
<v Speaker 4>is with the bassis all Beck and you know he's
<v Speaker 4>the one that leaves and why Duff joins up. And
<v Speaker 4>then Tracy and Axe will get into a fight, and
<v Speaker 4>so Tracy leaves, so they call Slash to replace Tracy.
<v Speaker 4>And then when the drummer Rod Gardner quits, then they say, okay,
<v Speaker 4>we got Steven, let's bring him aboard. And then they
<v Speaker 4>rehearsed for two days and they did their debut show
<v Speaker 4>as the classic lineup on June sixth, nineteen eighty five.
<v Speaker 2>Its it's really interesting how these guys all kind of
<v Speaker 2>came together. Yeah.
<v Speaker 4>Well then you know, Duff had left this Seattle band
<v Speaker 4>that he was with and they had previously booked some shows,
<v Speaker 4>but since his band didn't exist anymore, he said, hey, guys,
<v Speaker 4>I got these shows up in Seattle. Why don't we
<v Speaker 4>go play those shows? Hey, that sounds like a good idea.
<v Speaker 4>We can go you know, Traveler Cohast, it'll be great,
<v Speaker 4>except it's not the coast and get together have a
<v Speaker 4>few lifts. So they they start to venture up to
<v Speaker 4>these clubs and they're in two rickety old vans which
<v Speaker 4>both break down along the way. They end up hitch
<v Speaker 4>hiking the rest of the way up to Seattle, only
<v Speaker 4>to arrive to find out that if you don't promote yourself,
<v Speaker 4>the venue's not going to promote you, and nobody's going
<v Speaker 4>to come see your show. Well, like guys going to War.
<v Speaker 4>This created a bond among the members of the band
<v Speaker 4>and they became very tight knit group. And so they
<v Speaker 4>got back to la and they started playing clubs like
<v Speaker 4>the Whiskey a Go Go, the Roxy and the Troubadour,
<v Speaker 4>and this girl who's their pseudo manager at the time, says,
<v Speaker 4>you know, why don't you guys come live in my apartment.
<v Speaker 4>It's across the street from the Whiskey a Go Go,
<v Speaker 4>and you know, we'll we'll.
<v Speaker 5>Make it work.
<v Speaker 4>And so they all five of the band members are
<v Speaker 4>living with her and another girl in this house and
<v Speaker 4>this is the you know these this is where you
<v Speaker 4>see the pizza b with.
<v Speaker 5>The songs written on them.
<v Speaker 4>But they start playing these shows, and the way it
<v Speaker 4>works with bands in LA is if you're good enough
<v Speaker 4>on Wednesday, they put you on the Thursday rotation. You're
<v Speaker 4>good enough on Thursday, you go to Friday. And then
<v Speaker 4>if you're the best bands around you get into play
<v Speaker 4>on Saturday nights and ultimately that's that's where they got Okay,
<v Speaker 4>So just an aside, just to quicken aside. You know,
<v Speaker 4>these guys are poorer than dirt. They're living with somebody
<v Speaker 4>so that they can afford to have a place to stay,
<v Speaker 4>and so they'll get these jobs in various places. And
<v Speaker 4>one of the places that both Axel and Slash worked
<v Speaker 4>together was the video store. Can you imagine there's a
<v Speaker 4>point in your life you could have gone and rented
<v Speaker 4>a VHS copy of One Crazy Summer from Axel Rods.
<v Speaker 2>Excuse me, Slash, can you tell me where were your
<v Speaker 2>copy of The Goonies is?
<v Speaker 4>So before one show, Slash sees a nice hat that
<v Speaker 4>he likes in a store and so he gives himself
<v Speaker 4>a five finger discount for this felt top hat. And
<v Speaker 4>then it happens to pass by another store where he
<v Speaker 4>sees this kind of cool looking Native American style belt
<v Speaker 4>and he's like, hey, that look good on the hat,
<v Speaker 4>and so he takes the belt also for free and
<v Speaker 4>puts it on the hat, and that is where you
<v Speaker 4>get the Slash trademark.
<v Speaker 5>Look.
<v Speaker 4>So they are getting a following at this point. They
<v Speaker 4>put on an incredible show. If you can say anything
<v Speaker 4>about Axel Rosa that he is fully invested in the
<v Speaker 4>live performances that they do. And they start gathering and
<v Speaker 4>getting a lot of attention. They had several record labels
<v Speaker 4>come and look at them. But the A and R
<v Speaker 4>guy for Geffen is this guy named Tom and they
<v Speaker 4>call him Zoots. Zoots comes to the clubs. He actually
<v Speaker 4>got hired by Geffen because he was the guy who
<v Speaker 4>had initially signed Motley Crue and Geffen was looking for
<v Speaker 4>the next Motley Crue. So they party, of course, hey,
<v Speaker 4>we're gonna get signed. This is going to be great,
<v Speaker 4>enjoying the fruits of their labor momentarily, and then the
<v Speaker 4>next more of course, they're running late, and then Axel
<v Speaker 4>loses his contacts and refuses to go in his glasses,
<v Speaker 4>and so he's scrambling. They're already late, They're already like
<v Speaker 4>an hour late, and he's scrambling, and so this girl
<v Speaker 4>is trying to help him find the contacts. Slash is
<v Speaker 4>trying to help him find the context. They're looking all
<v Speaker 4>over and finally, like Slash pulls them out of this
<v Speaker 4>pair of jeans that actually been warring three days before
<v Speaker 4>he's like, all right, we found him.
<v Speaker 5>And they look around and Axel's.
<v Speaker 4>Gone, yeah, He's just gone, yeah, we found the contacts,
<v Speaker 4>but we lost Axel.
<v Speaker 2>A little foreshadowing of events to come.
<v Speaker 4>Right, And so they're they're an hour and a half late.
<v Speaker 4>At this point, they finally look out the window at
<v Speaker 4>the whiskey of Go Go and Axel is sitting in
<v Speaker 4>this meditative state on the roof of the whiskey of
<v Speaker 4>Go Go. I just can't even imagine, just you know, like, hey,
<v Speaker 4>this is it, you know, this who home? So they
<v Speaker 4>kept David Geffen waiting for were two hours for them
<v Speaker 4>to arrive to sign the contract. I can't even I mean,
<v Speaker 4>these guys, you know, it's like we've heard all the warnings.
<v Speaker 4>Nobody else will sign them because of the volatility of
<v Speaker 4>the behavior of these guys. And they show up two
<v Speaker 4>hours late. But in a move that kind of staggers
<v Speaker 4>the imagination, David Geffen went ahead and signed them anyway. Uh,
<v Speaker 4>and it turned out it worked out well.
<v Speaker 2>Fun. Okay, so let's just let's just review. We've got
<v Speaker 2>habitual criminal criminals, criminals, we've got total debauchery, we've got
<v Speaker 2>drug use. Yes, we've got late for performance. Yeah, we've
<v Speaker 2>got wild, dangerous looking band.
<v Speaker 5>Yeah, not pretty.
<v Speaker 2>It all comes together beautifully makes a symphony, though I
<v Speaker 2>don't know.
<v Speaker 4>Yeah, the record label wants to take advantage of the
<v Speaker 4>fact that these guys are hot right now, at least
<v Speaker 4>taught in LA and so they put out an album called.
<v Speaker 2>Live Like an F and Suicide. It's kind of like
<v Speaker 2>the Prince symbol. There's some symbolic like Hubert like symbols
<v Speaker 2>in the title of the album. So it's live and
<v Speaker 2>then Hubert live and then the Kubert sign and then
<v Speaker 2>like a Suicide. Yes, so we always thought it was
<v Speaker 2>live like n F and Suicide, but the songs on
<v Speaker 2>this EP are reckless live. Nice boys moved to the
<v Speaker 2>city in Mammachin. This is the first side of the
<v Speaker 2>Lies album. If you're familiar with GENR Lies.
<v Speaker 4>So then the next problem to solve is who do
<v Speaker 4>we get to produce this album? And they worked with
<v Speaker 4>Spencer Prawfer, who had done Quiet Riot's Metal Health, which
<v Speaker 4>was the first metal album to ever reach the top
<v Speaker 4>ten on the pop charts, and he worked through several
<v Speaker 4>sessions with them. They considered Mutt Lang, who we've talked about,
<v Speaker 4>you know, with def Leppard and who was the producer
<v Speaker 4>of Back in Black, And ultimately they end up with
<v Speaker 4>this guy named my Clink.
<v Speaker 2>You know. One of the producers that you didn't mention.
<v Speaker 2>One of the possible producers was Paul Stanley of Kiss.
<v Speaker 4>Yeah, And oddly they decided not to go with him
<v Speaker 4>because he wanted to change up the drum set on
<v Speaker 4>Steven Adler's drums too much, and Steven was like, no,
<v Speaker 4>screw you, Paul Stanley, not changing my drums for you.
<v Speaker 2>So basically, so far, if you're keeping score at home,
<v Speaker 2>Van Halen said few to Gene Simmons, and Guns and
<v Speaker 2>Roses said few to Paul Stanley.
<v Speaker 5>Okay, yep.
<v Speaker 4>Did Ace Freely has he come in to play at all?
<v Speaker 2>Not yet, not yet, but we're still early on this.
<v Speaker 4>I feel like he's going to. I think Ace Freely actually,
<v Speaker 4>you know what. Ace Freely was the inspiration for the
<v Speaker 4>guitar solo by Mike McCready from She Is, where he
<v Speaker 4>gets the guitar solo for Alive.
<v Speaker 2>All right, Peter Chris pressures off.
<v Speaker 4>So looking at Guns n' Roses, not heavy metal. This
<v Speaker 4>is a hard rock band. It's hard hard rock.
<v Speaker 2>And when they When they advertise for a guitar player,
<v Speaker 2>they mentioned they looking for somebody with blues influence.
<v Speaker 4>Yeah, and slashes Slash as a unique style and it
<v Speaker 4>is very much a hard rock or the term that
<v Speaker 4>was coming out just about this time, a classic rock
<v Speaker 4>kind of style. And he actually, you know, the guy
<v Speaker 4>who started managing the band at that point, when he
<v Speaker 4>showed up, he was just like, I don't think Slash
<v Speaker 4>had ever changed the strings on his guitar. So he
<v Speaker 4>goes out and buys him a fifty nine Less Paul replica.
<v Speaker 4>This is not a Gibson less Paul. This is a
<v Speaker 4>replica that is built by Chris Derek. Now, replica doesn't
<v Speaker 4>mean to knockoff. It means that this guy his he
<v Speaker 4>was a handmade guitar maker. They called him luthierst but
<v Speaker 4>he I mean, he got the wood for this guitar
<v Speaker 4>from an old barn and he put it together himself,
<v Speaker 4>and this became the guitar. This is Slash's go to
<v Speaker 4>guitar that he still owns today, and it had a
<v Speaker 4>sound that was different than anybody that was on the radio.
<v Speaker 4>Right then they did their recording at a studio called
<v Speaker 4>darryld Dragan's Rumbo Records. You know who Darryl Dragan is, No,
<v Speaker 4>He's Captain from Captain and to Neil.
<v Speaker 5>Just hearing it.
<v Speaker 4>That one of the greatest hard rock albums of all
<v Speaker 4>time was recorded in Captain's recording studio just blows my mind.
<v Speaker 2>Welcome to the Jungle was recorded at the place where this
<v Speaker 2>song is recorded.
<v Speaker 4>Yes, so, but as it turns out, it gives him
<v Speaker 4>a very authentic sound, and Clink does things the old
<v Speaker 4>fashioned way. I mean he's spliced stuff together with a
<v Speaker 4>razor blade. So you know, we're getting into that point
<v Speaker 4>in history where digital recording is starting to take over,
<v Speaker 4>but this still has the true sound of real instruments
<v Speaker 4>that you hear on the album, which I think I
<v Speaker 4>think has to be a huge part of why it's
<v Speaker 4>so successful and continues to be so successful.
<v Speaker 2>Before we talk about the songs that are on the album, yeah,
<v Speaker 2>I want to make a brief mention of the songs
<v Speaker 2>that did not make the album. So here you go.
<v Speaker 2>Here's the list. Back off, Bitch, You Could Be Mine, Yeah,
<v Speaker 2>November Rain, Wow, and Don't Cry Wow. Those songs. Those
<v Speaker 2>four songs were left off kind of I don't know
<v Speaker 2>if you remember back when we talked about Frontiers, the
<v Speaker 2>great songs were left off the Frontiers album. Yeah, I
<v Speaker 2>mean you had these songs show up again in the
<v Speaker 2>usual illusion albums. But I mean, Don't Cry was a hit,
<v Speaker 2>November Rain was humongous, and You Could Be Mine was
<v Speaker 2>a big song off the Terminator two soundtrack.
<v Speaker 4>Yeah, and they still had the best selling debut album
<v Speaker 4>in US history, And leaving those songs off, they still
<v Speaker 4>managed to do it.
<v Speaker 2>And unlike Frontiers, I'm not sure what you would pull
<v Speaker 2>to squeeze in those fantastic songs. Appatite for Destruction was
<v Speaker 2>released July twenty first, nineteen eighty seven. First song on
<v Speaker 2>the album maybe the best hard rock song of the eighties.
<v Speaker 5>Yes, okay, cool.
<v Speaker 2>This song has so many this song has there's so
<v Speaker 2>many great elements that makes a great hard rock sun.
<v Speaker 5>Right.
<v Speaker 2>You have the amazing guitar right off the bat. Yes,
<v Speaker 2>you have this incredible Axel howl. It was just over
<v Speaker 2>the top. You have the in the video, you have
<v Speaker 2>Axle doing his serpentine dance, which the whole world was emulating.
<v Speaker 2>After that, you have Slash's top hat, and the guitars
<v Speaker 2>are dirty and sleazy and irresistible, it's amazing.
<v Speaker 4>And the song promptly does nothing well.
<v Speaker 2>That's because MTV fought him the whole way.
<v Speaker 4>Okay, so this, this song was the first single released
<v Speaker 4>in the US and the second single released in the UK.
<v Speaker 4>In the UK, before the album even came out, they
<v Speaker 4>released It's So Easy.
<v Speaker 5>It did not do well.
<v Speaker 4>Then the next month they released Welcome to the Jungle
<v Speaker 4>in both the US and the UK. Again, it's still
<v Speaker 4>did do very well. I mean, they've got sales, but
<v Speaker 4>it's not you don't. You don't have the overnight success
<v Speaker 4>of the album that you expect to. I mean, when
<v Speaker 4>you're listening to this, holy cow, people should have been
<v Speaker 4>blown away immediately. So the question then is why weren't they?
<v Speaker 4>And as you just said, MTV's not playing the video
<v Speaker 4>and the radio stations are not playing the song.
<v Speaker 2>Okay, so let's let's dive into that because to me,
<v Speaker 2>that's a very interesting part here. So Geffen Records, actually,
<v Speaker 2>i mean David Geffen himself had to make a deal
<v Speaker 2>with MTV to play the song.
<v Speaker 4>I don't know if you know this history, but there's
<v Speaker 4>a guy named John Malone. He's a very conservative guy,
<v Speaker 4>but he owned this little tiny company called Telecom.
<v Speaker 5>Which.
<v Speaker 4>Was a pretty big friggin deal, and he flat out
<v Speaker 4>he said, he said, the MTV guys, do not play
<v Speaker 4>this band, or we're going to take you off of
<v Speaker 4>all of our stations. I mean, Telecom is one of
<v Speaker 4>the biggest cable providers in the country, maybe the biggest
<v Speaker 4>at the time. And he said, if you play these guys,
<v Speaker 4>he just saw them as I suppose the spawns of
<v Speaker 4>Satan or something, and he said, don't play him, or
<v Speaker 4>we're going to take you off. We will take you
<v Speaker 4>off our cable network. That's a pretty big freaking deal.
<v Speaker 2>So MTV said, we'll play at one time, at five
<v Speaker 2>am on Sunday mornings.
<v Speaker 5>Yeah.
<v Speaker 4>At the point, it had been a year. It had
<v Speaker 4>been a year since the single had been released, and
<v Speaker 4>the record had sold about two hundred thousand copies, maybe
<v Speaker 4>depending on your resource, maybe five hundred thousand copies, and
<v Speaker 4>it wasn't enough to be impressive to the record label.
<v Speaker 4>And the record label was pulling back. They're ready to say,
<v Speaker 4>we're ready to be done with these guys. And it
<v Speaker 4>was Coots, it was their A and R guy who
<v Speaker 4>believed in them, who fought for them, who said if
<v Speaker 4>you played this video on MTV, this album will explode.
<v Speaker 4>But MTV refused to play it. He had to go
<v Speaker 4>to David Geffen. Now, David Geffen is no small fry
<v Speaker 4>at either. I mean, he's pretty big. I can imagine
<v Speaker 4>the guys from MTV and the struggle of we're going
<v Speaker 4>to get kicked off the all of these cable networks
<v Speaker 4>if we play this song, or we're gonna make the
<v Speaker 4>guy who owns Geffen Records mad at us if we
<v Speaker 4>don't play the.
<v Speaker 5>Song, what are we gonna do?
<v Speaker 4>I get an idea, we'll play it at four am
<v Speaker 4>where nobody will hear it, and then we've satisfied nobody's
<v Speaker 4>getting you know, John Malone will know what happened. Geffen
<v Speaker 4>will be satisfied that we gave it our go, and
<v Speaker 4>so no big deal.
<v Speaker 5>So they played the song.
<v Speaker 4>It was it was like depending on what place in
<v Speaker 4>the country you were, it was either going to be
<v Speaker 4>four am, three am, two am, or one am.
<v Speaker 2>And people called in and said play that video more.
<v Speaker 4>They not only did they call in, there were so
<v Speaker 4>many calls in that they melted the switchboard. I mean
<v Speaker 4>we talked in our Van Haley episode about how Eddie
<v Speaker 4>when he came in and played the guitar, set the
<v Speaker 4>sound monitors on fire. The phone calls, set the witchboard
<v Speaker 4>on fire. That's when so many people called in to
<v Speaker 4>say play that video again.
<v Speaker 2>It is almost lost appetite for destruction before it got
<v Speaker 2>off the ground. Which is which is? Which would have
<v Speaker 2>been tragic. I remember this. I remember when this song
<v Speaker 2>was popular the first time. Okay, so you had to
<v Speaker 2>kind of be an MTV watcher. So for me, this
<v Speaker 2>song reminds me of like Spring of eighty eight, right,
<v Speaker 2>so early eighty eight. Yeah, they actually released this song twice. Yeah,
<v Speaker 2>they released it and then they and then after the
<v Speaker 2>success of the Sweet Child of Mind, they released it again.
<v Speaker 4>That could not find the exact and I look hard,
<v Speaker 4>could not find the exact date that Welcome to the
<v Speaker 4>Jungle got played on MTV for the first time. But
<v Speaker 4>it seems to me from my memory, I saw Welcome
<v Speaker 4>to the Jungle before I knew what Sweet Child of
<v Speaker 4>Mine was.
<v Speaker 2>Yeah, well, it got rotation in early eighty eight, for sure.
<v Speaker 4>Sweet Child of Mine came out in June of nineteen
<v Speaker 4>eighty eight, and by September tenth had hit number one.
<v Speaker 2>Here's the thing, when I was looking at it. So
<v Speaker 2>there's a story that goes along with this. And I've
<v Speaker 2>seen it said that it was New York. I've seen
<v Speaker 2>it say that it was Seattle. I've seen it said
<v Speaker 2>that it was La. But Axel says that the inspirations
<v Speaker 2>for the lyrics came from an encounter that he and
<v Speaker 2>his friend had with a homeless man while they were
<v Speaker 2>getting off a bus.
<v Speaker 4>Yeah, I believe that, he says Queens. I think that
<v Speaker 4>the whole song has influences from those other towns. But
<v Speaker 4>Axel's story is, this is when we ran away from
<v Speaker 4>home and we stepped off the bus in Queen's.
<v Speaker 2>Okay, all right, So getting off the bus, there's a
<v Speaker 2>homeless guy there and trying to scare young runaways. The
<v Speaker 2>man yellows at him, do you know where you are?
<v Speaker 2>You're in the jungle, baby, and you're gonna die? All right.
<v Speaker 2>One thing I did want to mention. Have you ever
<v Speaker 2>seen the movie Deadpool?
<v Speaker 4>Yeah, thats Clint east to a Deadpool, not the Ryan
<v Speaker 4>Reynolds Deadpool.
<v Speaker 2>That's right, Harry Clint Eastwood movie Deadpool. Yeah, at the
<v Speaker 2>beginning of the movie, there's a video shoot.
<v Speaker 4>Yes, and the.
<v Speaker 2>Director of the video is Liam Neeson, yes, and the
<v Speaker 2>song that they use is Welcome to the Jungle, and
<v Speaker 2>the lead singer is Jim Carrey. Yes, that Jim Carrey.
<v Speaker 4>Oh yeah, before Liam was huge, before Jim was huge,
<v Speaker 4>and about the time that Guns n' Roses became huge,
<v Speaker 4>all of that came together.
<v Speaker 2>Those guys actually have a cameo in the movie.
<v Speaker 4>So yeah, they're they're at the funeral after Jim Carrey. Well,
<v Speaker 4>spoiler alert, spoiler alert, I'm sorry about to spoil the
<v Speaker 4>part in a thirty two year old movie when Jim
<v Speaker 4>Carrey dies. You know, they have the funeral and the
<v Speaker 4>band members are there. The Guns n' Roses band members
<v Speaker 4>are play the parts of his band members at his funeral.
<v Speaker 2>Slash said, that's the first song that Axel wrote the
<v Speaker 2>lyrics to that Slash came up with the riff part
<v Speaker 2>and they kind of I wrote it together.
<v Speaker 4>So the video was directed by a guy named Nigel Dick. Yes,
<v Speaker 4>that was his real name, Nigel Dick.
<v Speaker 2>Could you say that one more time?
<v Speaker 5>Is Nigel.
<v Speaker 4>Dick directed this video and his previous work included shout
<v Speaker 4>by Tears for Fears. He did that video, then he
<v Speaker 4>did Welcome to the Jungle in eighty seven. He did
<v Speaker 4>Wonderwall in ninety five, and then he did Oops I
<v Speaker 4>did it again in two thousands, So this is only
<v Speaker 4>a handful. This guy is a very prolific video director.
<v Speaker 4>There are tons of videos that he's done. But the
<v Speaker 4>idea that we have Tears for Fears, Guns n' Roses,
<v Speaker 4>Oasis and Britney Spears in that catalog is pretty impressive.
<v Speaker 3>Nice.
<v Speaker 4>When they released this song as a single, they did
<v Speaker 4>a couple of times, and one of them was a
<v Speaker 4>Maxi single, which means it's not just an A side
<v Speaker 4>B side, it's you have a couple of songs on
<v Speaker 4>each side. And you know what the back looking song
<v Speaker 4>was for Welcome to the Jungle. It was a song
<v Speaker 4>called pull Out of Rosie by a little band called
<v Speaker 4>a c DC. Guess what That will come into play
<v Speaker 4>later on when we get into the.
<v Speaker 2>History of Yes Love.
<v Speaker 4>It also on the maxi single was It's So Easy
<v Speaker 4>and Knocking on Heaven's Door.
<v Speaker 2>Wow, that's awesome. Nice. Okay, So we're done with Welcome
<v Speaker 2>to the Jungle. The next song on the album, track
<v Speaker 2>number two, is a song called It's So Easy.
<v Speaker 4>The song is so good man, Yeah, yeah, and you
<v Speaker 4>could play it at any you know, church or social
<v Speaker 4>gathering whatever. You know, this stuff is so in your face.
<v Speaker 4>And this was this was I mean, here's here's a
<v Speaker 4>here's a song that screams why you don't get played
<v Speaker 4>on the radio. This song was actually written by Duff McKagan.
<v Speaker 4>It was written with his friend west Arkeene, who was
<v Speaker 4>also a co writer on Patients and the Garden and
<v Speaker 4>Yesterday's Duff. I got to read a bit of his
<v Speaker 4>biography and I got to recommend it to anybody who hasn't.
<v Speaker 5>Read it out there.
<v Speaker 4>Just what I've read so far is wonderfully written. It's engaging,
<v Speaker 4>it's it's a good book.
<v Speaker 5>You should pick it up.
<v Speaker 4>But Duff talks about early on whenever they were doing
<v Speaker 4>live sets and Axel would introduce him and he'd say, and.
<v Speaker 2>This is Duff the King of Bears, which is you.
<v Speaker 4>Know, I mean, honestly, all of the guys had substance
<v Speaker 4>abuse issues, and Duff was a heavy, heavy drinker and
<v Speaker 4>that's what that's what the circumstances were. And so not
<v Speaker 4>too long after they just are starting to become famous,
<v Speaker 4>Duff gets this call from these guys who say, hey,
<v Speaker 4>we're doing this kind of like animated thing, and we
<v Speaker 4>just were wondering. We were thinking about calling the beer
<v Speaker 4>duff beer. Is that okay with you? And he was like, sure, whatever,
<v Speaker 4>you know, who cares? As it turns out that little
<v Speaker 4>animated thing happened to.
<v Speaker 2>Be that's awesome. Okay. So this song is kind of
<v Speaker 2>known because actual sings really low. Okay. He starts off
<v Speaker 2>the song singing super low.
<v Speaker 4>He was always a baritone growing up, like even when
<v Speaker 4>he was a younger kid, he would sing baritone, and
<v Speaker 4>that his more recognizable singing now.
<v Speaker 5>Is not what he would normally do.
<v Speaker 4>It was when he was he was playing early on
<v Speaker 4>before guns n' Roses form, but in those early Hollywood
<v Speaker 4>Roses sets that he at some point went into that
<v Speaker 4>higher register and all the guys in the band went, dude,
<v Speaker 4>that's the way you need to sing. And so this
<v Speaker 4>is actually a sample of what he had sounded like
<v Speaker 4>before he found his signatures out.
<v Speaker 2>When they asked him about it, he said, I sung
<v Speaker 2>it low because it fit the attitude of the song better.
<v Speaker 5>Well.
<v Speaker 4>The song is about not about money, because they hadn't
<v Speaker 4>become successful yet, so easy was getting the ladies there will.
<v Speaker 2>Be hard to keep this family friendly with the subject
<v Speaker 2>matter we're going to cover throughout this album.
<v Speaker 4>Right, Yes, especially some sampling that occurred on one of these.
<v Speaker 2>I can't wait to talk about that. But okay, I'm
<v Speaker 2>really interested to talk about the video.
<v Speaker 5>Okay, okay.
<v Speaker 2>And when when people go, wait a minute, there's a video,
<v Speaker 2>there's a video to the song, there is a video
<v Speaker 2>to this song. Okay. It's it's incredible, all right. So
<v Speaker 2>the video was filmed October tenth, nineteen eighty nine. Okay.
<v Speaker 2>This was released July twenty first, nineteen eighty seven. This
<v Speaker 2>is two years after the release of the album Okay, right, and.
<v Speaker 5>The single was released before the release of the album.
<v Speaker 2>It's all out of whack, this whole album because they
<v Speaker 2>rode the wave for so long. Yeah, they had to
<v Speaker 2>keep pumping out videos. I mean, it's just amazing. So
<v Speaker 2>the video was shot October tenth, nineteen eighty nine, over
<v Speaker 2>two years after the release of the original single. The
<v Speaker 2>promo video was made at the Catouse in Hollywood.
<v Speaker 5>Okay.
<v Speaker 2>It's heavily edited because it shows Aaron Everley in bondage.
<v Speaker 2>Aaron Eveley, daughter of Don Everly of the Everly Brothers.
<v Speaker 2>That's who the song sweet Child of Mine is written about. Yeah,
<v Speaker 2>and we'll talk about that more here in just a minute.
<v Speaker 2>But she is tied up, tied down up against the
<v Speaker 2>wall for the entire video. Okay, but here's the interesting thing. Okay,
<v Speaker 2>this is life with this band. Right before they shot
<v Speaker 2>this video, they have this big show at the cat House.
<v Speaker 2>Who shows up for the show, Well, Slash's mom shows
<v Speaker 2>up and a friend of hers, David Bowie. Yeah, okay,
<v Speaker 2>so David Bowie starts to hit on Aaron Everley, so
<v Speaker 2>he and Axel get in a fistfight before they shoot
<v Speaker 2>this video. That's it, Axel Rose David Bowie fistfight.
<v Speaker 5>That's hilarious.
<v Speaker 2>The release date of this video, Okay, this is not
<v Speaker 2>a typo. When you say I don't really remember this, well,
<v Speaker 2>that's because this video was released May twenty seventh, twenty eighteen.
<v Speaker 5>Yeah.
<v Speaker 4>Yeah, it's hilarious because it They start off the video
<v Speaker 4>and they said, Axel says, we're making this for ourselves.
<v Speaker 4>If we made a nice video for MTV, we could
<v Speaker 4>put it out and sell my records. But instead we're
<v Speaker 4>going to spend one hundred and fifty grand just to
<v Speaker 4>make something we want to see, and so that's what
<v Speaker 4>they got. Is nobody else saw it for another thirty years.
<v Speaker 2>Apparently everybody axe wanted to see Aaron Everley with a
<v Speaker 2>ballgag in her mouth.
<v Speaker 5>So horrible.
<v Speaker 2>That's terrible, I know, I know, all right, Moving on
<v Speaker 2>to Nightrain.
<v Speaker 4>Night Train is this very high quality wine that guns
<v Speaker 4>n' roses would enjoy after a long day of recording
<v Speaker 4>appetite for destruction. It is also enjoyed by other wine
<v Speaker 4>connoisseurs that we call whinos.
<v Speaker 5>I'm kidding.
<v Speaker 4>This is a very cheap wine. Night Train is a
<v Speaker 4>very cheap wine. And everything else that I said is true.
<v Speaker 2>Okay, this is a This song is amazing, right, This
<v Speaker 2>is another great song. It's totally about getting drunk. This
<v Speaker 2>song was ranked eighth on Guitar World's list of top
<v Speaker 2>ten drinking songs. Right right, right, So they Slash talks
<v Speaker 2>about how they came up with this anthem right on
<v Speaker 2>the spot. Right. So Slash and Izzy wrote the main
<v Speaker 2>riff while they were sitting on the floor of the
<v Speaker 2>band practice room, but they didn't have any lyrics. So
<v Speaker 2>one night there they're wandering around Palm Avenue sharing a
<v Speaker 2>bottle of Night Train, and someone yelled I'm on the
<v Speaker 2>night Train. Then the whole band jumped in and actually
<v Speaker 2>improvised the line bottoms up, fill my cup, yeah, and
<v Speaker 2>there you have it. The rest is rock and roll history.
<v Speaker 4>At some of the shows that they did in nineteen
<v Speaker 4>eighty seven, Axel would give drinking tips from the stage.
<v Speaker 4>He would introduce the song and then say, in these
<v Speaker 4>liquor stores, the Wino's hit up right beside us the Thunderbird. Here,
<v Speaker 4>you're gonna find some night Train that'll f you up
<v Speaker 4>twice as bad as Thunderbird, and it's a lot cheaper.
<v Speaker 2>So this song was released July twenty ninth of nineteen
<v Speaker 2>eighty nine, again, two years after the release of Appetite
<v Speaker 2>for Destruction and after the release of Patients. This is
<v Speaker 2>they're still writing Appetite for Destruction after they've released another album.
<v Speaker 4>It's a great, awesome, Yeah, it's great when you have
<v Speaker 4>an album that is filled with so many great songs.
<v Speaker 4>Of course you're just gonna keep churning out the hits. Yeah, absolutely,
<v Speaker 4>So we're done with night Train.
<v Speaker 5>Next on the album is.
<v Speaker 2>A song called out to Get Me. These lyrics are
<v Speaker 2>about young Axel, a a billy Bailey being in and
<v Speaker 2>out of trouble his entire life.
<v Speaker 4>Yeah, and about the police that we're out to get
<v Speaker 4>him right.
<v Speaker 2>Slash talks about how this is the band being against
<v Speaker 2>the world. I don't buy it. I think this is
<v Speaker 2>legal trouble from Axel. Yes. Yes, some of the lyrics
<v Speaker 2>in this I think are very accurate emotions for Axel.
<v Speaker 2>If you know anything about Axel, this doesn't really surprise you.
<v Speaker 2>You can tell this is deep seated anger in Axel.
<v Speaker 5>Yeah.
<v Speaker 4>I mean he talks about how after shows, the rest
<v Speaker 4>of the guys in the band will, you know, go
<v Speaker 4>have a drink and ready to party and hang out
<v Speaker 4>with people. But he needs like an hour or two
<v Speaker 4>just to come down from the intensity that he builds
<v Speaker 4>up while he's singing these songs, because he lives in
<v Speaker 4>each song as he sings it. He remembers the motivation
<v Speaker 4>for the words behind the song, and he relives it
<v Speaker 4>as he's blowing our mind with it.
<v Speaker 2>This song's great, this is so as well. So I've
<v Speaker 2>got just just to recap. I've got one, two, three,
<v Speaker 2>four songs in a row that I'm going to turn
<v Speaker 2>the radio.
<v Speaker 5>Up every single time. No Skipper yet, No Skipper.
<v Speaker 2>Yet moving on to mister Brownside, incredible song.
<v Speaker 5>Yes freaking love it.
<v Speaker 4>Yeah, it kicks all kinds of butt it And this
<v Speaker 4>is you know again, this is this is the band
<v Speaker 4>saying we're not going to sing about pretty things. We're
<v Speaker 4>not going to sing about love stories, although that does
<v Speaker 4>come up here later on in the album. But we're
<v Speaker 4>going to sing about the life that we've lived. You know,
<v Speaker 4>We've got Welcome to the jungle, We've got It's so easy.
<v Speaker 5>You know.
<v Speaker 4>These life events built the song, and this one is
<v Speaker 4>definitely not only about the life that they had in
<v Speaker 4>the past, but the life that they were currently leading.
<v Speaker 2>Absolutely, I mean, mister Brownstone, this is a direct reference
<v Speaker 2>to Heroin.
<v Speaker 4>So the lyric that we heard there at the beginning,
<v Speaker 4>the show usually starts around seven, we go on stage
<v Speaker 4>around nine. That was a direct reference and dig onto
<v Speaker 4>the guys who, because they were all shooting up Heroin
<v Speaker 4>would show up two hours late for the show, and
<v Speaker 4>so Axel would sit there and he's got this expectation
<v Speaker 4>to start at seven. He's got this energy built up
<v Speaker 4>so that he's ready to go. He knows that the
<v Speaker 4>crowd is expecting them at seven, and these guys keep
<v Speaker 4>him waiting there for two hours and it drives him
<v Speaker 4>absolutely nuts. And so that's I mean, this is that
<v Speaker 4>emotion coming out full force on this song.
<v Speaker 2>So they all lived in the apartment together and they
<v Speaker 2>moved out. And as they're moving out access as he
<v Speaker 2>found a piece of yellow paper wadded up in the
<v Speaker 2>corner this is where Izzy and Stevens room was. He
<v Speaker 2>opens it up and had the lyrics to mister Brownstone
<v Speaker 2>on it. He read it and thought, man, this is
<v Speaker 2>this is great.
<v Speaker 4>Whenever they were opening up for the Rolling Stones in
<v Speaker 4>La it was October of eighty nine, so they had
<v Speaker 4>they had been playing together for two solid years. And
<v Speaker 4>Axel comes out and says, unless certain people in this
<v Speaker 4>band get there together, these will be the last Guns
<v Speaker 4>n' Roses show you'll ever fing see, because I'm tired
<v Speaker 4>of too many people in this organization dancing with mister G. D.
<v Speaker 5>Brownstone.
<v Speaker 4>That was to get the attention of Slash and Izzy
<v Speaker 4>Stradlin and Steve Adler.
<v Speaker 2>This was the beginning of the end for Guns n' Roses. Yes, Slash,
<v Speaker 2>even though he was strung out, so that statement and
<v Speaker 2>that embarrassment, and he knew it was directed at him,
<v Speaker 2>and he said it made him hate Axel Duff thought
<v Speaker 2>it was embarrassing for this to surface on stage and
<v Speaker 2>made him want to quit the band, so that public
<v Speaker 2>call out in October of eighty nine started the breakup.
<v Speaker 4>Yeah, they actually kicked Steven Adler off for a while
<v Speaker 4>and only let him back in if he signed a
<v Speaker 4>contract promising never to do Heroin again, which he signed
<v Speaker 4>and then promptly broke, which is why he got fired
<v Speaker 4>from the band.
<v Speaker 2>Fired in nineteen ninety. That's right, I love mister brown Zone.
<v Speaker 2>It's a fantastic song. It's about Heroin. I don't care.
<v Speaker 2>I still love it.
<v Speaker 5>It's about Heroin, but you can dance to it.
<v Speaker 2>This brings us to what every suburban kid in my
<v Speaker 2>neighborhood freaking loved in January of eighty nineteen. This is
<v Speaker 2>the sixth song on the album This is Paradise City.
<v Speaker 2>If I say to U, d take me down to
<v Speaker 2>Paradise City, the grass is green or rosar pit and
<v Speaker 2>you don't have a line after that, you're probably not
<v Speaker 2>enjoying this podcast at this point.
<v Speaker 5>Yeah.
<v Speaker 4>I mean it's it's interesting if you take if you
<v Speaker 4>take in some of these songs, some of these songs.
<v Speaker 5>Not all of these songs, some of these songs.
<v Speaker 4>If you take the lyrics away from the music and
<v Speaker 4>the attitude and the dirty tattooedness of it all and
<v Speaker 4>just put them down on a piece of paper, this
<v Speaker 4>is freaking poetry.
<v Speaker 2>Man Captain America's falling apart. He's a court jester with
<v Speaker 2>a broken heart. This is one of the great sing
<v Speaker 2>along rock songs of the late eighties. This reached number
<v Speaker 2>five on the Hot one hundred.
<v Speaker 4>So let me ask you this, when you and your
<v Speaker 4>junior high to high school friends were singing the song,
<v Speaker 4>would you change the lines? Because Slash wanted the chorus
<v Speaker 4>to be take me down to the Paradise City where
<v Speaker 4>the girls are fat and they got big titties. But
<v Speaker 4>I'm pretty sure I heard from some of my work friends.
<v Speaker 2>That is definitely locker room stuff right there. They wisely
<v Speaker 2>changed the words, though, to make it a number five hit.
<v Speaker 4>Yeah, it might not have gotten as much radio play
<v Speaker 4>with that line.
<v Speaker 2>The guys outvoted Slash on those lyrics. That's great. Slash
<v Speaker 2>has stated that this is his favorite Guns and Roses song.
<v Speaker 2>One of the things that he always comments is he says,
<v Speaker 2>our best work is the collaborative work Guns and Roses
<v Speaker 2>was traveling. They were playing a gig in San franciscoing
<v Speaker 2>on the way back there, traveling in the van, kind
<v Speaker 2>of like what you were talking about earlier. He said
<v Speaker 2>that the band was in the back of the band,
<v Speaker 2>back of the van, drinking and playing acoustic guitars when
<v Speaker 2>he came up with the intro yep duff and Is.
<v Speaker 2>He started playing along and Slash started to humming a
<v Speaker 2>melody and that's when Axel sang take me down to
<v Speaker 2>the Paradise City. And then they just sort of were
<v Speaker 2>all together, threw in their bits and it became this
<v Speaker 2>wonderful rock anthem.
<v Speaker 4>Yeah, this was This was actually the first song that
<v Speaker 4>they wrote together as a band.
<v Speaker 2>I might this might be the best encore song of
<v Speaker 2>all time. Okay, when you leave, when you play Welcome
<v Speaker 2>to the Jungle and it's so easy and Rocket Queen
<v Speaker 2>and you leave, you say thank you, Boston, We'll see
<v Speaker 2>you next time. Wait a minute, We're not done until
<v Speaker 2>we play Paradise City. All right? I did hear Axel
<v Speaker 2>talk about how the verses in Paradise City are about
<v Speaker 2>the jungle?
<v Speaker 5>Right?
<v Speaker 2>The Captain America falling apart. He's a court juster with
<v Speaker 2>a broken heart. But the chorus is like the Midwest,
<v Speaker 2>the hopeful, feel good, safe Indiana. Yeah, we named the
<v Speaker 2>dog Indiana.
<v Speaker 5>Yeah.
<v Speaker 2>Okay, we're done with Paradise City.
<v Speaker 4>Man, I hate to be done with Paradise City because
<v Speaker 4>you have this. Okay, we're just gonna skip to the end.
<v Speaker 4>Here's the end.
<v Speaker 5>It's so awesome.
<v Speaker 4>I mean, ah, dad gum, what a great way to
<v Speaker 4>finish off the song.
<v Speaker 2>It's timeless. It really anytime this comes on the radio,
<v Speaker 2>I've heard it ten thousand times. I'm turning it up.
<v Speaker 2>I'm singing along. I'm singing take me Home, all right,
<v Speaker 2>So stop your tape, hit Ejack, kick it out, flip
<v Speaker 2>it over to the other side. And as I mentioned that,
<v Speaker 2>I forgot to mention, there is no first side and
<v Speaker 2>second side on this tape. There is no A side
<v Speaker 2>and no B side, right G side and an R side.
<v Speaker 6>Nice, So flip your tape over to the R side,
<v Speaker 6>and here we go with my show.
<v Speaker 4>Thank com It's such a good song, gritty.
<v Speaker 5>I mean, I just gotta say this.
<v Speaker 4>When you flip the tape over, I always had this trepidation,
<v Speaker 4>like we've just finished this fantastic side and I'm flipping
<v Speaker 4>over the other side and I'm just worried that they
<v Speaker 4>put all their crap on the second side. And then
<v Speaker 4>this song pops on and You're like, holy crap, this
<v Speaker 4>whole album is gonna be good.
<v Speaker 2>Yeah. So Axel is writing in the in the car
<v Speaker 2>with a friend from high school, girl named Michelle Young,
<v Speaker 2>and they're listening to Elton John on the radio and
<v Speaker 2>the song of your song comes one.
<v Speaker 4>Hearing Me right and you can tell about it?
<v Speaker 1>This is this song.
<v Speaker 2>Beautiful song. And according to Axel Rose, he and Michelle
<v Speaker 2>were in the car together and she said she just
<v Speaker 2>happened to mention that she had always wanted someone to
<v Speaker 2>write a song about her, right, And so he kind
<v Speaker 2>of took that as a challenge.
<v Speaker 5>Right.
<v Speaker 2>The only problem was, this is a girl who had
<v Speaker 2>was addicted to drugs, her mom had died from a
<v Speaker 2>heroin overdose, and her dad was working in the pornography industry.
<v Speaker 5>Yeah, it had.
<v Speaker 2>Hard to come up with a sweet little love sonnet.
<v Speaker 4>For for that person, right, So they just wrote it, honestly.
<v Speaker 2>Well, actually, his first attempt was this sweet, romantic one
<v Speaker 2>that had absolutely almost nothing to do with the reality
<v Speaker 2>of her life, right, right, Yeah, and he was unhappy.
<v Speaker 2>He just felt dishonest about it, so he changed it
<v Speaker 2>to the honest version, right, and he brought it to
<v Speaker 2>members of the band, and he's like, Slash, what do
<v Speaker 2>you think of this? Slash like, dude, you cannot play.
<v Speaker 5>This, play this.
<v Speaker 4>Yeah, no, everybody everybody would be like, no, you can't
<v Speaker 4>do this.
<v Speaker 5>This is horrible.
<v Speaker 4>And so it's good that they do have some moral
<v Speaker 4>compass on this. But they end up actually ends up
<v Speaker 4>calling her and he's just honest. He's just like, hey,
<v Speaker 4>you know, I did what she wanted. I wrote you
<v Speaker 4>a song, but I don't know that you're gonna like
<v Speaker 4>the lyrics. And she ended up being okay with it.
<v Speaker 4>She was happy that they didn't sugarcoat it, and she
<v Speaker 4>was happy that it was honest and truthful to her
<v Speaker 4>horrible life.
<v Speaker 2>I heard her talk about this. She went to a
<v Speaker 2>concert they played my Michelle. The whole place is going
<v Speaker 2>bonkers to a song written about her, and she's standing
<v Speaker 2>there in total anemity and just marveling that this song
<v Speaker 2>is about her and nobody knows who she is.
<v Speaker 5>She said later on when they asked her about it.
<v Speaker 4>That she didn't care because she was so efed up,
<v Speaker 4>but she said, either way, I can't deny that it's true.
<v Speaker 4>My dad does distribute porno films and my mom did die.
<v Speaker 4>So what do you you know? It's it's not slander.
<v Speaker 5>It's true.
<v Speaker 2>This song is so good. I love it once again,
<v Speaker 2>a full on, top down, turn.
<v Speaker 4>It up, banging your head yep, so you're banging your
<v Speaker 4>freaking head of this song.
<v Speaker 2>All right after my Michelle. That brings us to a
<v Speaker 2>song called think about You.
<v Speaker 4>It was written by Izzy and it actually was written
<v Speaker 4>before he joined up with Guns n' Roses and Tracy
<v Speaker 4>Guns of course, who was a part of the band
<v Speaker 4>momentarily right, knew, I mean, I is he comes in,
<v Speaker 4>you know, starts this band Hollywood Rose. They get together
<v Speaker 4>with Tracy Guns, Guns and Roses forms. But Tracy said,
<v Speaker 4>this song is about this woman named Monique Lewis, who
<v Speaker 4>we all quote unquote dated and actual, actually has a
<v Speaker 4>tattoo of this lady on his arm.
<v Speaker 2>Really, this is something I haven't heard yet.
<v Speaker 5>This is a good stay.
<v Speaker 2>Yeah, okay, I heard his story. Hey, that's okay, that's
<v Speaker 2>a good story. Okay, I heard is They say it's
<v Speaker 2>a quick love song about drugs, sex, Hollywood and money,
<v Speaker 2>which is basically what Appetite for Destruction is about.
<v Speaker 5>Yeah, whole album.
<v Speaker 2>To me, this is a good song. But this is
<v Speaker 2>the weakest song on the album. This is the only
<v Speaker 2>song that I think might want to skip this one,
<v Speaker 2>But most of the time I listen to it anyway,
<v Speaker 2>it's still good.
<v Speaker 4>So actual has a tattoo of this girl on his arm.
<v Speaker 4>He also has on his arm a tattoo of across
<v Speaker 4>with faces on it, which you will recognize as.
<v Speaker 5>The cover of this album. Right.
<v Speaker 4>Well, this that wasn't the original album cover they had
<v Speaker 4>as the original album cover. This artwork by again by
<v Speaker 4>a guy named Robert Williams.
<v Speaker 5>But it's this.
<v Speaker 4>Very kind of weird alien attack in our robot that's
<v Speaker 4>a either raped or about to rape this girl and
<v Speaker 4>her panties are around her ankles, and it's I mean,
<v Speaker 4>you're just adding fuel to the fire of all those
<v Speaker 4>record companies and MTV executives who said, we are not
<v Speaker 4>interested in this band. They're too dangerous, we don't want them,
<v Speaker 4>And so ultimately they ended up saying we got to
<v Speaker 4>change the album cover. And Axel already had this tattoo
<v Speaker 4>on his arm and so it. You know, every time
<v Speaker 4>I saw it, I thought, oh, we got the tattoo
<v Speaker 4>because of the cover. Now the cover came from his tattoo.
<v Speaker 2>The Yeah, the robot painting is strange.
<v Speaker 4>Yeah, but I mean it.
<v Speaker 5>The guy's famous.
<v Speaker 4>You know, there's there are There was a whole like
<v Speaker 4>segment of artists. Harry Krum I think was the name
<v Speaker 4>of one of them. I mean they would do these
<v Speaker 4>kind of graphic or pornographic almost comic artwork, but it.
<v Speaker 5>Was really popular like this.
<v Speaker 4>I remember seeing Axel talking about this painting selling for
<v Speaker 4>like ten thousand dollars whenever it was first produced.
<v Speaker 2>Yeah, after thinking about you, we have sweet shot of mine.
<v Speaker 4>Okay, so I know that you are thinking the same
<v Speaker 4>thing that I am thinking, which is this is awesome.
<v Speaker 4>That intro guitar is awesome. As it turns out, Slash
<v Speaker 4>played it as a joke.
<v Speaker 2>That fact alone blows me away.
<v Speaker 4>He was talking with Steven and he's like, I'm trying
<v Speaker 4>to Yeah, I'm trying to do a sound that sounds
<v Speaker 4>like a circus. And when you say that, you're like, okay, yeah,
<v Speaker 4>actually I can kind of hear that. And what I'm
<v Speaker 4>playing there, but he's trying to make this goofy sound.
<v Speaker 4>But then the other guys end up liking it. And
<v Speaker 4>then Axel puts this these love song lyrics to this
<v Speaker 4>song that Slash started out with as a joke, and
<v Speaker 4>he hates this song.
<v Speaker 5>He hates it.
<v Speaker 2>He said he hated it for a long time, but
<v Speaker 2>he came to embrace it because the fans love it,
<v Speaker 2>and I think that's cool. I hate it when artists
<v Speaker 2>hate their own work. But Axel had this love poem
<v Speaker 2>that he had written for Aaron every daughter the Everly
<v Speaker 2>brothers Don Everly right.
<v Speaker 4>It is such a love poem.
<v Speaker 2>Actually actually married Aaron. Lasted about five minutes. This song
<v Speaker 2>reached number one September tenth, nineteen eighty eight.
<v Speaker 4>You know, as I mentioned before, there's a little bit
<v Speaker 4>of discrepancy about whether it was the video for Welcome
<v Speaker 4>to the Jungle that brought them into the spotflight or
<v Speaker 4>whether it was this song. And I think I'm probably
<v Speaker 4>going to land on it was a combination of the two.
<v Speaker 4>I would not have been as interested in this song
<v Speaker 4>had I not seen the video, But then this song
<v Speaker 4>is flat out freaking amazing, and I can see how
<v Speaker 4>it was the lead in for other people to embrace them,
<v Speaker 4>because you got this band that is rough, rough, rough,
<v Speaker 4>singing about the worst parts of life, and then they
<v Speaker 4>come out with this beautiful She's got eyes of the
<v Speaker 4>bluest skies, and if they thought of rain, I'd hate
<v Speaker 4>to look into those hides and see an ounce of pain.
<v Speaker 4>Her hair reminds me of a warm, safe place where
<v Speaker 4>as a child eyed hide and pray for the thunder
<v Speaker 4>and the rain to quiet.
<v Speaker 2>Light less by.
<v Speaker 5>It's like freaking Walt Whitman. I mean, it's just beautiful.
<v Speaker 2>It is.
<v Speaker 5>It is.
<v Speaker 2>It's poetry and it's tender and it's genuine and it's
<v Speaker 2>loving and it's still rocks. The guitar solo in this
<v Speaker 2>song is incredible, you know, it's interesting. The end part
<v Speaker 2>of this song, Axel's sitting there and he's talking to
<v Speaker 2>one of the guys who is helping them produce the album.
<v Speaker 2>They got to the end and they didn't know how
<v Speaker 2>to sort of close the song out, and he said,
<v Speaker 2>I think we need to have a breakdown at the
<v Speaker 2>end of the song. And Axel says, well, where do
<v Speaker 2>we go? I mean, where do we go? Now? Guy says,
<v Speaker 2>I think you have to sing that I've got something
<v Speaker 2>that's going to blow you away? You ready for this?
<v Speaker 5>Yeah?
<v Speaker 2>Have you heard the song unpublished critics from the Australian
<v Speaker 2>band Australian Crawl.
<v Speaker 5>No, I have not.
<v Speaker 2>I'm going to play this for you. You ready for this?
<v Speaker 5>Yeah? Okay, turn it up.
<v Speaker 2>Right, nineteen eighty one song.
<v Speaker 4>Oh damn once you fought it from the critics.
<v Speaker 2>Okay, so it's no Goodbye Blue Sky. But there are similarities, right.
<v Speaker 4>Okay, so the chord progression, because as I was listening
<v Speaker 4>to it, and I'm thinking, okay, but that's I mean,
<v Speaker 4>that's every country song, right, I mean, that's also Sweet
<v Speaker 4>Home Alabama. But when you got to the melody of
<v Speaker 4>the lyrics in that one, I was like, ooh, there's
<v Speaker 4>a substantial similarity to the melody and the lyrics there.
<v Speaker 5>That's that's cool. I I yeah, my mind is reasonably blown.
<v Speaker 2>Yes, pretty cool?
<v Speaker 1>Huh?
<v Speaker 2>Pretty cool?
<v Speaker 5>Yeah?
<v Speaker 4>All right.
<v Speaker 2>I don't know what more we can really say about
<v Speaker 2>this song other than the Summer of eighty eight, along
<v Speaker 2>with portion Sugar on Me flashback to our Hysteria episode,
<v Speaker 2>this song ruled the air waves the summer of nineteen
<v Speaker 2>eighty eight incredible song.
<v Speaker 4>Okay, so are we done with Sweet Child of Mine's
<v Speaker 4>so good?
<v Speaker 2>It's so good.
<v Speaker 5>I love it.
<v Speaker 2>All right, So the beauty of Sweet Child of Mine
<v Speaker 2>flows right into a heavy, fast paced, rock your socks
<v Speaker 2>off song called You're Crazy.
<v Speaker 4>So the intro to this song is very, very similar
<v Speaker 4>to the end of Paradise City, Like I don't I
<v Speaker 4>don't know in the live show if they went from
<v Speaker 4>one to the other, but I could sure see them
<v Speaker 4>doing it.
<v Speaker 2>Yeah for sure. Very fast paced, super in your face
<v Speaker 2>mosh pit. Yeah, this is one of my favorite songs
<v Speaker 2>on the album. The interesting thing to me about this
<v Speaker 2>song is there's several different versions. Okay, so the one
<v Speaker 2>that appears on Appetit for Destruction is super fast paced
<v Speaker 2>and sort of a speed song, right. The version on
<v Speaker 2>gen r Lies is it's acoustic, of course, but it's
<v Speaker 2>slowed way down, and that's the way the song was
<v Speaker 2>originally intended to be. Stephen Adler has said that he
<v Speaker 2>perversed the slow version much better.
<v Speaker 4>Right, it's got a groove and a blues that the
<v Speaker 4>other one that doesn't have the original release. You're meant
<v Speaker 4>to bang your head. The other one You're meant to
<v Speaker 4>Tap your Foot.
<v Speaker 2>Axel's vocals on this song are amazing. He gives me
<v Speaker 2>like chills the way he can ride that wave so high.
<v Speaker 2>After hearing his baritone on It's So Easy.
<v Speaker 4>You shared something with me about his voice, and a
<v Speaker 4>survey that was taken tell me about that.
<v Speaker 2>Okay. So, according to concerthotels dot Com, a survey that
<v Speaker 2>you know, it's not Time magazine or anything, but they
<v Speaker 2>came up with. They determined that Axel Rose has the
<v Speaker 2>widest range of any singer in pop music history. That's
<v Speaker 2>wider than Mariah.
<v Speaker 5>Carey, wider than Freddy Mercury.
<v Speaker 2>According to the survey, because he goes so low and
<v Speaker 2>can hit those super high notes. It also determined that
<v Speaker 2>he was the greatest singer in history. They asked him
<v Speaker 2>about this, right, and I thought his comment was great.
<v Speaker 2>He's like, hey, thanks, I'm honored. He's like, but I know,
<v Speaker 2>you know, there's a little bit of a back backlash
<v Speaker 2>on this. He's like, there are a lot of singers
<v Speaker 2>that I prefer to hear sing other than me.
<v Speaker 5>But I'm honored. That's a good way to put that.
<v Speaker 4>Yeah, but I wonder if he's mellowed a little bit
<v Speaker 4>in his old age.
<v Speaker 2>This song. In the chorus it goes You're crazy, then
<v Speaker 2>You're effing crazy. Right, But the song originally was written
<v Speaker 2>as a possible single, so they wanted to leave the
<v Speaker 2>curse words out of it, right, So they didn't add
<v Speaker 2>the curse words until they were playing it live and
<v Speaker 2>there was a girl that was throwing stuff at him
<v Speaker 2>and trying to get on the stage. And as he
<v Speaker 2>was singing this song, he was looking at it. He's like,
<v Speaker 2>you're effing crazy. Moving on to a song called anything Goes.
<v Speaker 2>This song was originally performed, written and performed by Hollywood Rose,
<v Speaker 2>a totally different song. They changed the lyrics, they changed
<v Speaker 2>the music.
<v Speaker 4>Okay, so the interer to this song, you noticed the
<v Speaker 4>guitar sounds way different than the other songs in the album,
<v Speaker 4>right right, So he is using something called a talk box.
<v Speaker 4>Slash is using something called a talk box with his guitar.
<v Speaker 4>If you are a bon Jovi fan, which I know
<v Speaker 4>that you are, that's something that Richie Sambor uses all
<v Speaker 4>of the time. Probably the most famous talk box example
<v Speaker 4>that I can think of is from Frampton Comes Alive,
<v Speaker 4>the song do you Feel like I Do?
<v Speaker 5>All Right?
<v Speaker 2>I would argue that Living on a Prayer is a
<v Speaker 2>little more famous, but keep going.
<v Speaker 5>You'd be wrong, but that's okay.
<v Speaker 2>On next week's podcast, we'll be debating Living on a
<v Speaker 2>Prayer versus Peter Frampton.
<v Speaker 4>Anyway, this is the only song on Appetite that Slash
<v Speaker 4>uses the talk box on.
<v Speaker 5>It's that kind of weird.
<v Speaker 4>You can hear him wabo wobbin to guitar as it's playing,
<v Speaker 4>but it's a very unique sound. But yeah, I thought
<v Speaker 4>you would enjoy the fact that he's doing that since
<v Speaker 4>you like Ritchie Samborer so much.
<v Speaker 2>That's cool, that's cool. It's on the weaker side on
<v Speaker 2>the album, but it's still one I love.
<v Speaker 5>Still great song for sure.
<v Speaker 2>All Right. That brings us to the last song on
<v Speaker 2>the album, song called Rocket, great intro, great guitars.
<v Speaker 4>Yeah, I mean, you know I talked about you listen
<v Speaker 4>to the first song on the B side or the
<v Speaker 4>R side in this case and think, Okay, these guys
<v Speaker 4>are gonna do well on the second side, and then
<v Speaker 4>they finish it off with something like this and it
<v Speaker 4>is awesome, like they bring it home just wonderfully. Yeah,
<v Speaker 4>this song is amazing, amazing, good song.
<v Speaker 2>It's like two songs smashed together. Yeah, so you have
<v Speaker 2>the first part and you have the here I am,
<v Speaker 2>I'm your Rocket Queen. Yeah, and then then it fished
<v Speaker 2>out with this sort of a it's like a sweet
<v Speaker 2>Child of Mine like love song. It's really interesting.
<v Speaker 4>There are a couple of ladies involved with this particular song,
<v Speaker 4>and the first one they mentioned in the liner notes.
<v Speaker 4>Her name is Barbie von Grief, and she was somebody
<v Speaker 4>who she was somebody who they crashed with, basically like
<v Speaker 4>a lot of people. And she had another girl that
<v Speaker 4>they had started a band together, and she wanted to
<v Speaker 4>call the band Rocket Queen. You know, she just an
<v Speaker 4>eighteen year old kid hanging out with these these guys,
<v Speaker 4>but Slash referred to her as a queen of the
<v Speaker 4>underground scene. But she was the one that they gave
<v Speaker 4>they gave credit in the liner notes for although I
<v Speaker 4>don't know that she's the one that probably deserved the
<v Speaker 4>most credit on the song.
<v Speaker 2>We have to talk about Adriana Smith.
<v Speaker 4>Yeah, so Adriana Smith was Stephen Adler's girlfriend.
<v Speaker 5>Kind of Yeah, no, she was. She was his girlfriend
<v Speaker 5>and she was mad at him.
<v Speaker 4>She was his girlfriend and she was mad at him,
<v Speaker 4>so she came and kind of offered herself up to
<v Speaker 4>the band, I guess, and so Axel said, Hey, you know,
<v Speaker 4>why don't we we record it for you know, Art.
<v Speaker 2>Hey, I've got a great idea.
<v Speaker 5>Yeah, this was just what we're about to do. Oh
<v Speaker 5>my gosh.
<v Speaker 2>So so he said, he prepositioned her, let's go have
<v Speaker 2>sex in the vocal booth and we'll record the sounds
<v Speaker 2>and we'll put it over the bridge of the song.
<v Speaker 2>And she said, I'll do it for the band and
<v Speaker 2>a bottle of Jack Daniels.
<v Speaker 4>And that's what she got, along with some infamy. She
<v Speaker 4>said later on that this weighed pretty heavily on her soul.
<v Speaker 5>She only got a bottle.
<v Speaker 4>Of Jack out of it, and then the band became famous,
<v Speaker 4>and that was all she ended up with, and drug
<v Speaker 4>addiction and shame.
<v Speaker 2>Something to tell her grandkids about. Come over here, kids
<v Speaker 2>and need you to listen to this song. Hear that sound,
<v Speaker 2>so that that kind of brings up a story that
<v Speaker 2>happened to me because I'm listening to this I'm listening
<v Speaker 2>to this album and I put it on and Cole,
<v Speaker 2>my twelve year olds in the car with me, and
<v Speaker 2>it gets to the part where Axel's going, and Cole's like,
<v Speaker 2>it really bothers me when he does that.
<v Speaker 4>Why He's like, Dad, I know what he's doing. And
<v Speaker 4>he's like, oh, man, the guys at school they make
<v Speaker 4>that noise.
<v Speaker 5>It's just so gross, and say, oh.
<v Speaker 2>He's not even pretending like they usually are.
<v Speaker 4>So, you know, they had to set up a mic
<v Speaker 4>for this, right, they had to set up You can't
<v Speaker 4>just you know, there's.
<v Speaker 2>I hope they set up a candle too.
<v Speaker 5>You know.
<v Speaker 4>They dimmed the lights, they set the mic up, and
<v Speaker 4>then they.
<v Speaker 5>Exited the room.
<v Speaker 4>So the guy who mixed the album, his name's Michael Barbiro,
<v Speaker 4>and he didn't want to have anything to do with this,
<v Speaker 4>and so he set up the microphones and then he left.
<v Speaker 4>He had this assistant engineer named Victor Deglio record it,
<v Speaker 4>and so on the album. In the notes, Deglio is
<v Speaker 4>listed as Victor quote, the fucking engineer Deglio because of
<v Speaker 4>his contribution.
<v Speaker 2>That's a great man. Gosh, that's almost.
<v Speaker 6>That.
<v Speaker 2>It's hilarious. Oh, more embarrassing than what Adriana Smith has
<v Speaker 2>a little with.
<v Speaker 4>So Rock and Queen was the song that they were
<v Speaker 4>performing in Saint Louis in nineteen ninety one when there
<v Speaker 4>was a guy. You know, it's pretty commonplace these days
<v Speaker 4>that people have cameras. It shows, I mean, you can't
<v Speaker 4>avoid it with everybody has a phone that has a
<v Speaker 4>camera on it. But back in nineteen ninety one, it
<v Speaker 4>was rare and it was really frowned upon. And Axel
<v Speaker 4>sees this guy taking pictures of him and tries to
<v Speaker 4>get the security to do something about it. If they
<v Speaker 4>don't do anything, so he decides to take matters into
<v Speaker 4>his own hands. He jumps out in the crowd, hits
<v Speaker 4>the fan with the camera, kind of has to fight
<v Speaker 4>up the security guys, gets thrown back up on the
<v Speaker 4>stage and says, thanks to the lame ass security, I'm
<v Speaker 4>going home, and he throws the mic down and walks
<v Speaker 4>off stage and the rest of the band goes with
<v Speaker 4>him and a full scale riot breaks out.
<v Speaker 2>There are some amazing, amazing stories that follow this band
<v Speaker 2>post Appetite for Destruction, but those are a podcast for
<v Speaker 2>a later day when we cover Usual Illusion one and two.
<v Speaker 2>I would love to hear anyone's suggestions for what goes
<v Speaker 2>with Usual Illusion one and two. What's a good matchup
<v Speaker 2>for it? We want to hear from you guys. Hit
<v Speaker 2>us up on Twitter, hit us up on Facebook, email
<v Speaker 2>us let us know your suggestion for what is the
<v Speaker 2>best matchup for you usual illusion one and two. All right,
<v Speaker 2>so that apps Appetite for Destruction.
<v Speaker 4>Join us for part two of the Appetite for Destruction
<v Speaker 4>versus Back in Black Podcast. We really appreciate all the
<v Speaker 4>support you've been given us out there. We're overwhelmed by
<v Speaker 4>how many people are listening and.
<v Speaker 5>Joining in and communicating with us on Facebook. We're blown away.
<v Speaker 2>Thanks guys.
<v Speaker 4>Please please check us out on Facebook at Shirley Podcast
<v Speaker 4>on Facebook or on Twitter at Shirley Podcast, or if
<v Speaker 4>you want to, you can email us Surely Podcast at
<v Speaker 4>gmail dot com. All right, we'll see you guys next week.
<v Speaker 2>Okay, so according to this list, Axel's voice, I'm not
<v Speaker 2>a musician, but it goes from super low F one.
<v Speaker 2>I don't know what that means.
<v Speaker 5>Okay, I mean I know what.
<v Speaker 4>It's just an flower note a low F on the scale.
<v Speaker 5>Yeah, sure, a low f.
<v Speaker 2>On the scale to a high of B sharp six.
<v Speaker 4>Okay, there's no such thing as be sharp.
<v Speaker 2>Let's start over. Let's start this one over.
<v Speaker 5>Does it say B sharp?
<v Speaker 2>It has be and it has a little little note
<v Speaker 2>thing by it.
<v Speaker 4>Okay, so it looks like another like little b right,
<v Speaker 4>a little baby be okay, okay, good good, all right,
<v Speaker 4>so you just you misinterpreted the symbol. Let's be flat.
<v Speaker 4>I was really really gonna judge.
<v Speaker 5>Be sharp. Okay, yeah, no, wonder they thought he was great?
<v Speaker 2>Yeah really, okay, I'm gonna start this little conversation.
<v Speaker 5>Over real quick. Okay, I think it's great.
<v Speaker 2>Okay. I don't know if you saw this, d but
<v Speaker 2>there's a source out there called concert hootels dot com.
<v Speaker 2>They came out with the list of greatest vocalists.
<v Speaker 5>Did you say concert Hotels.
<v Speaker 2>Dot concert hotels dot com.
<v Speaker 4>Oh, if concert hotels dot com is speaking, you should listen.
<v Speaker 2>I'm just telling you. On this list, Steve Perry is
<v Speaker 2>below Eminem We're lily literally weeping.
<v Speaker 5>Right now below.
<v Speaker 4>All music images and movie clips are used for the
<v Speaker 4>purposes of commentary and education in conjunction with the fair
<v Speaker 4>Use agreement under the US copyright law.