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Speaker 1: Hello everybody, and welcome to the Surely You Can't Be

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Serious Podcast. I am here with my good friend de Graves.

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We're about to dive into a matchup for the ages.

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This is a Titan versus a Titan, Guns n' Roses

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Appetite for Destruction versus acdc's Back in Black.

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Speaker 2: Hello everybody, and welcome to the Surely You Can't Be

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Serious Podcast, discussing and debating the iconic and the forgotten

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of eighties and nineties pop culture with your co hosts

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James D. Graves and Jason Kliban.

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Speaker 3: So today we're going to be talking about Appetite for

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Destruction first. Obviously Back in Black came out before Appetite

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for Destruction, but we just decided to shake things up

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a little bit and proceed with guns and Roses first. Today.

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Our next episode will be on acdc's Back in Black,

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and then we will talk final judgment at the end

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of that episode.

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Speaker 1: Yeah, these guys sort of took the world by storm

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out of nowhere. These guys brought an intensity and a

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grittiness and a power that I hadn't really experienced yet.

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You mentioned that this album came out in nineteen eighty seven,

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and for those of you who are listening and you

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start to think in your brain, you're like, wait a minute.

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And if you're like me, you attached songs to certain

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time periods, you're like, well, Sweet Child of Mine was

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popular with Summer of eighty eight. Paradise City really was

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popular at the beginning in sort of eighty nine. It

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took a long time. This was a slow builder. It

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would eventually become the largest selling debut album of all time.

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Speaker 3: So these are two powerhouses that we're talking about.

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Speaker 1: Well, let's let's dive in and see what happens.

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Speaker 3: Okay, So starting out history of the band, Interestingly, nobody

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goes by their given name. We're here to tell you

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a story about Jeffrey and William and Michael and Saul

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and other Michael. Nobody knows who those guys are. So yeah,

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you have Jeffrey Dean Isabelle who became Izzy. You have

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William Bruce Rose Junior, who was then William Bruce Bailey

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who was then w Period Axel Rose. And then you

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had Michael Andrew mccagan who was tough, and then you

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had Michael Coletti who became Steven Adler. And then finally

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you had Saul Hudson, who everybody knows as Slash.

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Speaker 1: Cool names cool.

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Speaker 3: Yes, Yeah, Slash I think has has a super interesting history.

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He was born over in the UK. He was born

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in England. His mom was a clothes designer and designed

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clothes for people like David Bowie and Janis Joplin and

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quite a few other famous folks. And his dad was

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an artist who designed album covers for Neil Young and

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Joni Mitchell. I mean, that's a pretty cool, pretty cool

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couple of parents. And so his mom moves out to

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LA to pursue her fashion career and he starts going

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to school in LA and they're friends with you know,

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a lot of different actors and entertainers and musicians, and

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an actor named Seymour Castle is the one who gave

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Slash his nickname. Yeah.

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Speaker 1: And one other little tidbit that I think was interesting

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about Slash's mom, in particular, she had a relationship with

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David Bowie. Slash actually walked in on them together doing

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The Wild Thing, which is interesting because later Axel Rose

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gets in a fistfight with David Bowie at one of

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his concerts.

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Speaker 3: So, oh really, I didn't know that. Oh yeah, So

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Slash starts going to school out in California and he

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becomes a kick butt BMX writer. Yeah, and there's a

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local school that has a really great place to either

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go skate if you're a skater, or go ride BMX

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bikes if you're a bmxer. And one day Slash is

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out there and he sees this kid go shooting up

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into the air and then come down face first into

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the concrete and he's like, oh gosh, and he runs over.

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He's like, are you okay, and kids like yeah yeah.

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He's like, man, let me help you. I'll take you

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home home, and he goes home with them. They become

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fast friends, and this kid shows him how to play

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the guitar. He's he's like, hey, I got this guitar.

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He's like, oh cool, can you show me how? And

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so this kid, Michael Coletti, who had been renamed Stevendler

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Appler Yes, showed Slash's first chords on the guitar.

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Speaker 1: That's It's incredible. What a moment in rock and roll

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history that Face Slam put together the bits that would

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become guns n' Roses.

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Speaker 3: Several hundred miles away in the middle of the country

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is he who was at that time Jeff, although I

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Axel says he was always easy to him. But I've

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heard different stories. But is he and Bill who becomes Axel?

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Is he and Axel both are going to school together

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in Lafayette, Indiana.

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Speaker 1: I think that's so interesting. Nobody from this band was

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from La No Yeah.

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Speaker 3: They all they in La Yeah, moved in at various

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times in their lives. Before Izzy moved out to LA

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he and Axel would play together in a garage band.

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And when I say in a garage band, I mean

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they only played in the garage. There were no they

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did no gigging because they're in Lafayette, Indiana.

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Speaker 1: There was not a hop in musical scene in Lafayette. No.

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Speaker 3: Axel had a rough childhood, you know, he did. He

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had some weird connection that I don't want to go

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into with his biological father. He thought that his stepfather

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was his biological father until he was seventeen. There was

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a lot of physical abuse, according to him, at the

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house and an extremely religious household. And I mean the

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benefit that came from that is that he got to

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he learned to play the piano, and he learned to

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sing in front of people. At his church. They call

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it the Bailey Trio. He and his brother and sister

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would sing together in the church.

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Speaker 1: You know, it's amazing when we go through this, how

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many artists get their start scene in church.

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Speaker 3: Unfortunately, I also developed a talent for getting in fights

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and stealing things and ended up getting arrested in the

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neighborhood of twenty different times as a juvenile delinquent. And

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so they were about to make him an habitual offender,

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and he said, I think it's time to move out

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to California. Just the year before, Izzy, who had graduated

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from high school was the only one who had graduated

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from high school with a impressive D average, had moved out.

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And he thought, I'm gonna go find my buddy Izzy,

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And so he hopped on a bus and made his

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way out to La So, while Axel had been getting

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in trouble with the law, Izzy had been trying to

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get together with a band in La And so shortly

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after he got there, he joined this band called Naughty Women,

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which was a punk band, and he played the drums

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for them. And then in the first show, the audience

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members suddenly rushed the stage and began attacking all of

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the musicians, and Izzy says, I just grabbed my symbol

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stand and stood with it like a bat, trying to

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find them off, yell and get the f away from

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That was his introduction to the rock scene in La.

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Speaker 1: You know, is he later on doesn't enjoy the chaotic

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rock and roll lifestyle no, which I was just gonna say.

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I respect him so much for this. You know, we'll

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talk about their history here a little bit. But he

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quits the band in ninety one at the peak of

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their popularity, and he's like, you know, let's screw this.

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Speaker 3: I'm out.

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Speaker 1: Yeah, I don't care. In my mind, I'm like, Okay,

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who is the most valuable member of this band? And

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I started going through it, I'm like, well, Axel provides

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all the attitude and the distinctive voice, and I mean,

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he is the star. Right then you take well Slash

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is this guitar god, And then you start to think, man,

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this guy contributed so much to just the sound of

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the band, right, Yeah, Well, Duff was songwriter, cohesive guy.

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He contributed songs. Is he is sort of the guy

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that flies under the raider, but he's the guy who

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wrote most of the album.

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Speaker 3: Oh he wrote Yeah, he wrote a ton of songs

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on the album, and he's the guy that put him

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together for the first time. Really, if you have to

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pick one as the founding member, it's going to be him.

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And you know, it's interesting because we just we just

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went through all of these people. And he mentioned after

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he left the band that Steven Adler left not too

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long before or not too much before him, because he

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had become too addicted to heroin and couldn't play well anymore.

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His last concert was far made in nineteen ninety, but

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they replaced him as a drummer, and Izzy said the

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band didn't sound the same anymore, and.

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Speaker 1: So Steven's contribution was huge, obviously not I mean, I

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don't know this. He said that, so these five guys

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came together and made a tight fist that they're all

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five irreplaceable.

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Speaker 3: So after Izzy's horrendous experience in his first punk show,

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he within just a couple of weeks says, and I'm

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not going to play with these guys. I'll join this

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other band, also a punk band called the Atoms, And

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within days he gets his drum kit stolen from his car,

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and so he's like, heck with punk. These guys are jerks.

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Is there a heavy metal band I can join? And

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so he finds his band called Shire and then he

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took up the guitar at that point because he didn't

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have any drums anymore. Nice, okay. So then in nineteen

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eighty three, Izzy forms Hollywood Rows with Axel Rose.

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Speaker 1: Anything goes as a song that makes it to Appetite

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for Destruction, that was originally a Hollywood Rose song. Yeah,

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when you listen to it's it's not the same. It's

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missing Slash's guitar, the lyrics are different. They had some

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grown up to do, so Hollywood Roses were the beginning.

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Speaker 3: So eighty three Hollywood Rose forms with Izzy and Axel

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and the remaining members of this other band called La Guns.

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La Guns was a band that included Tracy Guns, and

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so they took Hollywood Rose, they took La Guns. They

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put them together and it was Guns n' Roses, and

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so Tracy Guns is with them just long enough for

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the name Guns n' Roses to form before he leaves

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and reforms La Guns again. By this time, by eighty three, Steven,

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who had initially started, you know, with the guitar, had

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learned to play the drums and He and Slash had

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previously formed this band called road Crew, which was named

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after a Motorhead song called We Are the road Crew.

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And while in the road Crew they needed a bass player.

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They put out this ad in a magazine called Music Connection,

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and Duff McKagan is the one that answers that call. Now,

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Duff was a guy who had come from Seattle and

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decided to come down to LA and he didn't know

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what he's didn't know what he's gonna play. It's like

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I could play the drums, I could play the guitar,

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I could play the bass. They need a bass player,

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all right, I'll answer these guys, and so.

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Speaker 1: You can sing too.

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Speaker 3: Yeah. And so Slash, Duff and Steven together are in

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road Crew. Guns n' Roses forms and then quickly Tracy

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Guns leaves and then their drummer leaves, and quickly Slash

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and Steven and Duff are all joined together and we

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have our classic lineup Guns n' Roses. First show is

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March twenty sixth, nineteen eighty five, and that is with

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the Bassis all back. And you know he's the one

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that leaves. Why Duff joins up, and then Tracy and

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Axe will get into a fight, and so Tracy leaves,

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so they call Slash to replace Tracy. And then when

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the drummer, Rod Gardner quits, then they say, okay, we

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got Steven, let's bring him aboard. And then they rehearsed

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for two days and they did their debut show as

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the Classic lineup on June sixth, nineteen eighty five.

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Speaker 1: It's it's really interesting how these guys all kind of

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came together.

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Speaker 3: Yeah. Well, then, you know, Duff had left this Seattle

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band that he was with and they had previously booked

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some shows, but since his band didn't exist anymore, he said, hey, guys,

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I got these shows up in Seattle. Why don't we

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go play those shows. Hey, that sounds like a good idea.

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We can go, you know, travelo coast, it'll be great,

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except it's not the coast and get together have a

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few lifts. So they they start to venture up to

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the these clubs, and they're in two rickety old bands,

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which both break down along the way. They end up

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hitch hiking the rest of the way up to Seattle,

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only to arrive to find out that if you don't

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promote yourself, the venue's not going to promote you and

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nobody's going to come see your show. Well, like guys

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going to war. This created a bond among the members

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of the band and they became very tight knit group.

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And so they got back to la and they started

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playing clubs like the Whiskey a Go Go, the Roxy

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and the Troubadour, and this girl who's their pseudo manager

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at the time, says, you know, why don't you guys

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come live in my apartment. It's across the street from

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the Whiskey a Go Go, and you know will we'll

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make it work. And so they all five of the

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band members are living with her and another girl in

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this house and this is the you know these this

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is where you see the pizza boxes with the songs

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written on them. But they start playing these shows. And

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the way it works with bands in LA is if

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you're good enough on Wednesday, they put you on the

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Thursday rotation. You're good enough on Thursday, you go to Friday,

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and then if you're the best bands around, you get

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into play on Saturday nights and ultimately that's that's where

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they got Okay, So just just an aside, just to

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quicken aside. You know, these guys are poorer than dirt.

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They're living with somebody so that they can afford to

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have a place to stay. And so they'll get these

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jobs in various places. And one of the places that

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both Axel and Slash worked together was the video store.

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Can you imagine there's a point in your life you

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could have gone and rented a VHS copy of One

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Crazy Summer from Axel.

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Speaker 1: Roads Excuse me, Slash, can you tell me where you're

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a copy of The Goonies is.

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Speaker 3: So before one show, Slash sees a nice hat that

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he likes in a store, and so he gives himself

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a five finger discount for this felt top hat. And

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then it happens to pass by another store where he

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sees this kind of cool looking Native American style belt

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and he's like, hey, that'd look good on the hat,

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and so he takes the bell also for free and

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puts it on the hat, and that is where you

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get the Slash trademark look. So they are getting a

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following at this point. They put on an incredible show.

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If you can say anything about Axel Rosa that he

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is fully invested in the live performances that they do.

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And they start gathering and getting a lot of attention.

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They had several record labels come and look at them.

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But the A and R guy for Geffen is this

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guy named Tom and they call hims Zoots comes to

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the clubs. He actually got hired by Geffen because he

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was the guy who had initially signed Motley Crue and

279
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Geffen was looking for the next Motley Crue. So they party,

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of course, hey, we're going to get signed. This is

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going to be great. They're enjoying the fruits of their

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labor momentarily, and then the next morning, of course, they're

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running late, and then Axel loses his contacts and refuses

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to go in his glasses, and so he's scrambling. They're

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already late, they're already like an hour late, and he's scrambling,

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and so this girl is trying to help him find

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the contacts. Slash is trying to help him find the contest.

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They're looking all over and finally, like Slash pulls them

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out of this pair of jeans that actually been warring

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three days before. He's like, all right, we found him,

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and they look around and Axel's gone. He's just gone, Yeah,

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we found the contacts, but we lost Axel.

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Speaker 1: A little foreshadowing of events to come right, and.

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Speaker 3: So they're they're an hour and a half late. At

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this point, they finally look out the window at the

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whiskey of Go Go and Axel is sitting in this

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meditative state on the roof of the whiskey of Go Go.

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I just can't even imagine, just you know, like, hey,

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this is it, you know, this who home? So they

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kept David Geffen waiting for two hours for them to

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arrive to sign the contract. I can't even I mean this,

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these guys, you know, it's like we've heard all the warnings.

303
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Nobody else will sign them because of the volatility of

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the behavior of these guys. And they show up two

305
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hours late. But in a move that kind of staggers

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the imagination, David Geffen went ahead and signed them anyway, uh,

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and it turned out it worked out well far.

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Speaker 1: Okay, So let's just let's just review. We've got habitual criminal, criminals, criminals.

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We've got total debauchery, we've got drug use, yes, we've

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got late for performance. Yeah, we've got wild, dangerous looking band, yeah,

311
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not pretty. It all comes together beautifully. It makes a symphony,

312
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though I don't know.

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Speaker 3: The record label wants to take advantage of the fact

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that these guys are hot right now, at least taught

315
00:16:44,120 --> 00:16:47,840
in LA and so they put out an album called Live.

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Speaker 1: Like an F and Suicide. It's kind of like the

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Prince symbol. There's some symbolic like Hubert like symbols in

318
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the title of the album. So it's live and then

319
00:17:00,519 --> 00:17:04,119
live and then the Cubert sign and then like a Suicide. Yes,

320
00:17:04,319 --> 00:17:06,640
so we always thought it was Live like an F

321
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and Suicide, but the songs on this EP are reckless live.

322
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Nice Boys moved to the city in Mammachin. This is

323
00:17:14,799 --> 00:17:18,279
the first side of the Lies album. If you're familiar

324
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with GENR Lies.

325
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Speaker 3: So then the next problem to solve is who do

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we get to produce this album? And they worked with

327
00:17:26,400 --> 00:17:30,319
Spencer Prawfer, who had done Quiet Riot's Metal Health, which

328
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was the first metal album to ever reach the top

329
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ten on the pop charts, and he worked through several

330
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sessions with them. They considered Mutt Lang, who we've talked about,

331
00:17:42,599 --> 00:17:45,279
you know, with def Leppard and who was the producer

332
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of Back in Black, and ultimately they end up with

333
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this guy named Mike Klink.

334
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Speaker 1: You know, one of the producers that you didn't mention.

335
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One of the possible producers was Paul Stanley of Kiss.

336
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Speaker 3: Yeah, and oddly they decided not to go with him

337
00:18:00,559 --> 00:18:02,880
because he wanted to change up the drum set on

338
00:18:03,039 --> 00:18:05,920
Steven Adler's drums too much, and Steven was like, no,

339
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screw you, Paul Stanley, not changing my drums for you.

340
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Speaker 1: So basically, so far, if you're keeping score at home,

341
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Van Halen said few to Gene Simmons, and Guns and

342
00:18:18,680 --> 00:18:20,359
Roses said few to Paul Stanley.

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Speaker 3: Okay, yep. Did Ace Freely has he come in to

344
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play at all? Not yet?

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Speaker 1: Not yet, but we're still early on this.

346
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Speaker 3: I feel like he's going to I think Ace Freely actually,

347
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you know what. Ace Freely was the inspiration for the

348
00:18:32,359 --> 00:18:36,559
guitar solo by Mike McCready from She Is, where he

349
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gets the guitar solo for Alive.

350
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Speaker 1: All Right, Peter Chris pressures off.

351
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Speaker 3: So looking at Guns n' Roses not heavy metal. This

352
00:18:49,240 --> 00:18:51,759
is a hard rock band. It's hard hard rock band.

353
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Speaker 1: And when they when they advertise for a guitar player,

354
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they mentioned they looking for somebody with blues influence.

355
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Speaker 3: Yeah, and sashes slash as a unique style and it

356
00:19:05,519 --> 00:19:09,640
is very much a hard rock or the term that

357
00:19:09,880 --> 00:19:12,440
was coming out just about this time, a classic rock

358
00:19:12,559 --> 00:19:17,960
kind of style. And he actually, you know the guy

359
00:19:18,000 --> 00:19:20,599
who started managing the band at that point. When he

360
00:19:20,680 --> 00:19:23,880
showed up, he was just like, I don't think Slash

361
00:19:23,960 --> 00:19:27,319
had ever changed the strings on his guitar. So he

362
00:19:27,400 --> 00:19:32,000
goes out and buys him a fifty nine less Paul replica.

363
00:19:32,119 --> 00:19:34,400
This is not a Gibson less Paul. This is a

364
00:19:34,480 --> 00:19:38,720
replica that is built by Chris Derek. Now, replica doesn't

365
00:19:38,759 --> 00:19:43,839
mean to knockoff. It means that this guy, he was

366
00:19:43,880 --> 00:19:48,240
a handmade guitar maker. They called him luthierst but he

367
00:19:49,039 --> 00:19:51,720
I mean, he got the wood for this guitar from

368
00:19:51,759 --> 00:19:55,480
an old barn and he put it together himself, and

369
00:19:55,680 --> 00:19:59,759
this became the guitar. This is Slash's go to guitar

370
00:20:00,119 --> 00:20:04,400
he still owns today, and it had a sound that

371
00:20:04,519 --> 00:20:06,960
was different than anybody that was on the radio. Right

372
00:20:07,000 --> 00:20:11,920
then they did their recording at a studio called Darryld

373
00:20:12,039 --> 00:20:17,039
Dragan's Rumbo Records. You know who Darryl Dragan is, No,

374
00:20:17,920 --> 00:20:20,160
he's Captain from Captain And to Neil.

375
00:20:21,880 --> 00:20:26,960
Speaker 4: Just hearing it that one of the greatest hard Rock

376
00:20:27,000 --> 00:20:31,920
Albums of All Time was recorded in Captain's recording studio.

377
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Speaker 3: Just blows my mind.

378
00:20:33,680 --> 00:20:37,160
Speaker 1: Welcome to the Jungle was recorded at the place where

379
00:20:37,200 --> 00:20:38,160
this song is recorded.

380
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Speaker 3: Yes so, but as it turns out, it gives him

381
00:20:45,759 --> 00:20:50,000
a very authentic sound, and Clink does things the old

382
00:20:50,000 --> 00:20:52,720
fashioned way. I mean he spliced stuff together with a

383
00:20:52,799 --> 00:20:55,680
razor blade. So you know, we're getting into that point

384
00:20:55,680 --> 00:20:58,559
in history where digital recording is starting to take over,

385
00:20:58,640 --> 00:21:02,480
but this still has the true sound of real instruments

386
00:21:02,519 --> 00:21:04,359
that you hear on the album, which I think I

387
00:21:04,400 --> 00:21:06,359
think has to be a huge part of why it's

388
00:21:06,599 --> 00:21:09,200
so successful and continues to be so successful.

389
00:21:09,319 --> 00:21:12,839
Speaker 1: Before we talk about the songs that are on the album, yeah,

390
00:21:12,880 --> 00:21:14,759
I want to make a brief mention of the songs

391
00:21:14,799 --> 00:21:17,279
that did not make the album. So here you go.

392
00:21:17,319 --> 00:21:22,599
Here's the list. Back off Bitch, You Could Be Mine, Yeah,

393
00:21:22,680 --> 00:21:27,599
November Rain, Wow, and Don't Cry Wow. Those songs. Those

394
00:21:27,680 --> 00:21:29,839
four songs were left off kind of. I don't know

395
00:21:29,839 --> 00:21:32,880
if you remember back when we talked about Frontiers, the

396
00:21:32,920 --> 00:21:35,680
great songs were left off the Frontiers album. Yeah, I

397
00:21:35,759 --> 00:21:37,799
mean you had these songs show up again in the

398
00:21:37,880 --> 00:21:41,039
usual illusion albums. But I Mean Don't Cry was a hit,

399
00:21:41,119 --> 00:21:45,039
November Rain was humongous, and You Could Be Mine was

400
00:21:45,160 --> 00:21:47,400
a big song off the Terminator two soundtrack.

401
00:21:47,920 --> 00:21:52,599
Speaker 3: Yeah, and they still had the best best selling debut

402
00:21:52,640 --> 00:21:57,559
album in US history. Even leaving those songs off, they

403
00:21:57,599 --> 00:21:58,519
still managed to do it.

404
00:21:58,960 --> 00:22:02,680
Speaker 1: And unlike Frontiers, I'm not sure what you would pull

405
00:22:03,200 --> 00:22:07,960
to squeeze in those fantastic songs. Appatite for Destruction was

406
00:22:08,000 --> 00:22:11,839
released July twenty first, nineteen eighty seven. First song on

407
00:22:11,880 --> 00:22:47,440
the album maybe the best hard rock song of the eighties. Yes, okay, cool,

408
00:22:47,680 --> 00:22:51,519
This song has so many This song has so many

409
00:22:51,559 --> 00:22:54,319
great elements that makes a great hard rock set. Right.

410
00:22:54,799 --> 00:22:58,880
You have the amazing guitar right off the bat. Yes,

411
00:22:58,960 --> 00:23:03,680
you have this incredible Axel. Howel was just over the top.

412
00:23:03,920 --> 00:23:07,279
You have in the video, you have Axel doing his

413
00:23:07,400 --> 00:23:11,240
serpentine dance, which yeah, the whole world was emulating. After that,

414
00:23:12,000 --> 00:23:15,200
you have Slash his top hat, and the guitars are

415
00:23:15,480 --> 00:23:20,440
dirty and sleazy and irresistible. It's amazing.

416
00:23:21,160 --> 00:23:24,759
Speaker 3: And the song promptly does nothing.

417
00:23:24,920 --> 00:23:27,279
Speaker 1: Well, that's because MTV fought him the whole way.

418
00:23:27,920 --> 00:23:32,640
Speaker 3: Okay, So this song was the first single released in

419
00:23:32,720 --> 00:23:36,200
the US and the second single released in the UK.

420
00:23:36,680 --> 00:23:39,039
In the UK, before the album even came out, they

421
00:23:39,119 --> 00:23:42,480
released It's So Easy. It did not do well. Then

422
00:23:42,880 --> 00:23:46,400
the next month they released Welcome to the Jungle in

423
00:23:46,519 --> 00:23:50,880
both the US and the UK. Again, it still didn't

424
00:23:50,920 --> 00:23:53,680
do very well. I mean, they've got sales, but it's

425
00:23:53,720 --> 00:23:57,200
not you don't. You don't have the overnight success of

426
00:23:57,240 --> 00:23:59,000
the album that you expect to. I mean, when you're

427
00:23:59,039 --> 00:24:01,720
listening to this, holy Cow, people should have been blown

428
00:24:01,720 --> 00:24:04,920
away immediately. So the question then is why weren't they?

429
00:24:05,240 --> 00:24:08,319
And as you just said, MTV's not playing the video

430
00:24:08,680 --> 00:24:11,480
and the radio stations are not playing the song.

431
00:24:11,599 --> 00:24:14,079
Speaker 1: Okay, so let's let's dive into that because to me,

432
00:24:14,200 --> 00:24:18,200
that's a very interesting part here. So Geffen Records, actually,

433
00:24:18,319 --> 00:24:21,240
I mean David Geffen himself had to make a deal

434
00:24:21,279 --> 00:24:23,119
with MTV to play the song.

435
00:24:23,200 --> 00:24:24,880
Speaker 3: I don't know if you know this history, but there's

436
00:24:24,920 --> 00:24:27,799
a guy named John Malone is a very conservative guy,

437
00:24:27,880 --> 00:24:32,279
but he owned this little tiny company called Telecom, which

438
00:24:33,880 --> 00:24:37,079
was a pretty big friggin deal, and he flat out

439
00:24:37,119 --> 00:24:40,960
he said, he said, the MTV guys, do not play

440
00:24:41,000 --> 00:24:43,440
this band, or we're gonna take you off of all

441
00:24:43,480 --> 00:24:45,440
of our stations. I mean, Telecom is one of the

442
00:24:45,440 --> 00:24:48,240
biggest cable providers in the country, maybe the biggest at

443
00:24:48,240 --> 00:24:50,559
the time. And he said, if you play these guys,

444
00:24:50,920 --> 00:24:54,480
he just saw them as I suppose the spawns of

445
00:24:54,480 --> 00:24:57,400
Satan or something, and he said, don't play him, or

446
00:24:57,400 --> 00:24:59,279
we're going to take you off. We will take you

447
00:24:59,359 --> 00:25:02,720
off our cable network. That's a pretty big freaking deal.

448
00:25:02,960 --> 00:25:05,759
Speaker 1: So MTV said, we'll play at one time, at five

449
00:25:05,799 --> 00:25:07,720
AM on Sunday mornings.

450
00:25:08,359 --> 00:25:10,960
Speaker 3: Yeah, at the point that it had been a year,

451
00:25:11,160 --> 00:25:14,200
it had been a year since the single had been released,

452
00:25:14,799 --> 00:25:17,799
and the record had sold about two hundred thousand copies,

453
00:25:17,839 --> 00:25:21,920
maybe depending on your resource, maybe five hundred thousand copies,

454
00:25:22,119 --> 00:25:24,839
and it wasn't enough to be impressive to the record label.

455
00:25:24,839 --> 00:25:27,519
And the record label was pulling back. They're ready to say,

456
00:25:27,839 --> 00:25:30,440
we're ready to be done with these guys. And it

457
00:25:30,480 --> 00:25:33,039
was Coots, it was their A and R guy who

458
00:25:33,079 --> 00:25:36,519
believed in them, who fought for them, who said, if

459
00:25:36,599 --> 00:25:42,640
you played this video on MTV, this album will explode.

460
00:25:43,480 --> 00:25:46,960
But MTV refused to play it. He had to go

461
00:25:47,000 --> 00:25:50,119
to David Geffen. Now, David Geffen is no small fry

462
00:25:50,160 --> 00:25:52,519
at either, right, I mean, he's pretty big. I can

463
00:25:52,559 --> 00:25:55,400
imagine the guys from MTV and the struggle of we're

464
00:25:55,440 --> 00:25:58,119
going to get kicked off the all of these cable

465
00:25:58,160 --> 00:26:00,119
networks if we play this song, or we're going to

466
00:26:00,240 --> 00:26:03,359
make the guy who owns Geffen Records mad at us

467
00:26:03,680 --> 00:26:06,279
if we don't play the song, what are we gonna do?

468
00:26:06,960 --> 00:26:10,480
I get an idea, We'll play it at four am

469
00:26:10,759 --> 00:26:13,839
where nobody will hear it, and then we've satisfied nobody's

470
00:26:13,839 --> 00:26:16,759
getting you know, John Malone won't know what happened. Geffen

471
00:26:16,839 --> 00:26:19,359
will be satisfied that we gave it our go, and

472
00:26:19,400 --> 00:26:21,319
so no big deal. So they played the song. It

473
00:26:21,400 --> 00:26:24,240
was it was like depending on what place in the

474
00:26:24,240 --> 00:26:26,720
country you were, it was either going to be four am,

475
00:26:26,720 --> 00:26:28,799
three am, two am, or one am.

476
00:26:30,359 --> 00:26:33,599
Speaker 1: And people called in and said play that video more.

477
00:26:34,599 --> 00:26:37,400
Speaker 3: They not only did they call in, there were so

478
00:26:37,519 --> 00:26:41,960
many calls in that they melted the switchboard. I mean

479
00:26:41,960 --> 00:26:44,279
we talked in our van A Haley episode about how

480
00:26:44,400 --> 00:26:46,559
Eddie when he came in and played the guitar, set

481
00:26:46,599 --> 00:26:50,720
the sound monitors on fire. The phone calls set the

482
00:26:50,799 --> 00:26:54,400
switchboard on fire. That's when so many people called in

483
00:26:54,480 --> 00:26:57,400
to say play that video again, it is.

484
00:26:57,680 --> 00:27:00,640
Speaker 1: Almost lost appetite for construction before where it got off

485
00:27:00,640 --> 00:27:04,119
the ground? Which is which is? Which would have been tragic?

486
00:27:04,799 --> 00:27:07,240
I remember this. I remember when this song was popular

487
00:27:07,319 --> 00:27:10,039
the first time. Okay, so you had to kind of

488
00:27:10,039 --> 00:27:14,079
be an MTV watcher. So for me, this song reminds

489
00:27:14,119 --> 00:27:17,039
me of like Spring of eighty eight, right, so early

490
00:27:17,119 --> 00:27:20,039
eighty eight. Yeah, they actually released this song twice.

491
00:27:20,519 --> 00:27:22,200
Speaker 3: Yeah, they released they did.

492
00:27:22,039 --> 00:27:23,920
Speaker 1: And then they and then after the success of the

493
00:27:23,920 --> 00:27:25,400
Sweet Child of Mine, they released it again.

494
00:27:25,839 --> 00:27:28,200
Speaker 3: That could not find the exact and I look hard,

495
00:27:28,400 --> 00:27:30,440
could not find the exact date that Welcome to the

496
00:27:30,480 --> 00:27:32,920
Jungle got played on MTV for the first time. But

497
00:27:33,200 --> 00:27:37,480
it seems to me from my memory, I saw Welcome

498
00:27:37,480 --> 00:27:39,519
to the Jungle before I knew what Sweet Child of

499
00:27:39,519 --> 00:27:40,000
Mine was.

500
00:27:40,400 --> 00:27:43,720
Speaker 1: Yeah, well, it got rotation in early eighty eight.

501
00:27:43,599 --> 00:27:46,599
Speaker 3: For sure. Sweet Child of Mine came out in June

502
00:27:46,599 --> 00:27:50,039
of nineteen eighty eight, and by September tenth had hit

503
00:27:50,200 --> 00:27:52,440
number one. I know.

504
00:27:58,720 --> 00:28:00,160
Speaker 1: Here's the thing. When I was looking at it, So

505
00:28:00,200 --> 00:28:02,960
there's a story that goes along with this. And I've

506
00:28:03,000 --> 00:28:06,319
seen it said that it was New York. I've seen

507
00:28:06,359 --> 00:28:09,279
it say that it was Seattle. I've seen it said

508
00:28:09,279 --> 00:28:13,240
that it was la but Axel says that the inspirations

509
00:28:13,279 --> 00:28:15,480
for the lyrics came from an encounter that he and

510
00:28:15,519 --> 00:28:18,160
his friend had with a homeless man while they were

511
00:28:18,160 --> 00:28:19,240
getting off a bus.

512
00:28:19,440 --> 00:28:21,920
Speaker 3: Yeah, I believe that, he says Queen's. I think that

513
00:28:22,000 --> 00:28:24,920
the whole song has influences from those other towns. But

514
00:28:25,400 --> 00:28:28,079
Axel's story is this is when we ran away from

515
00:28:28,079 --> 00:28:29,960
home and we stepped off the bus in Queen's.

516
00:28:30,119 --> 00:28:33,119
Speaker 1: Okay, all right, So getting off the bus, there's a

517
00:28:33,119 --> 00:28:36,480
homeless guy there and trying to scare young runaways. The

518
00:28:36,519 --> 00:28:39,039
man yellows at him, do you know where you are?

519
00:28:39,720 --> 00:28:42,119
You're in the jungle, baby, and you're gonna die?

520
00:28:42,480 --> 00:28:42,880
Speaker 3: All right.

521
00:28:43,240 --> 00:28:44,640
Speaker 1: One thing I did want to mention. Have you ever

522
00:28:44,680 --> 00:28:45,799
seen the movie Deadpool?

523
00:28:46,039 --> 00:28:49,160
Speaker 3: Yeah, that's Clint east to a Deadpool, not the Ryan

524
00:28:49,200 --> 00:28:50,039
Reynolds Deadpool.

525
00:28:50,079 --> 00:28:53,119
Speaker 1: That's right, the dirty Harry Clint Easwood movie Deadpool.

526
00:28:53,559 --> 00:28:53,880
Speaker 3: Yeah.

527
00:28:53,960 --> 00:28:56,880
Speaker 1: At the beginning of the movie, there's a video shoot. Yes,

528
00:28:56,960 --> 00:29:01,200
and the director of the video is Liam Neeson. Yes,

529
00:29:01,200 --> 00:29:03,519
And the song that they use is Welcome to the Jungle.

530
00:29:03,680 --> 00:29:05,720
Speaker 3: And the lead singer is Jim Carrey.

531
00:29:07,000 --> 00:29:08,720
Speaker 1: Yes, that Jim Carrey.

532
00:29:10,359 --> 00:29:15,640
Speaker 3: Oh yeah, before Liam was huge, before Jim was huge,

533
00:29:15,880 --> 00:29:20,079
and about the time that Guns N' Roses became huge,

534
00:29:20,279 --> 00:29:21,440
all of that came together.

535
00:29:21,839 --> 00:29:24,400
Speaker 1: Those guys actually have a cameo in the movie.

536
00:29:24,559 --> 00:29:28,640
Speaker 3: So, yeah, they're at the funeral after Jim Carrey. Well,

537
00:29:28,839 --> 00:29:31,960
spoiler alert, spoiler alert, I'm sorry about to spoil the

538
00:29:32,000 --> 00:29:35,079
part in a thirty two year old movie when Jim

539
00:29:35,119 --> 00:29:38,200
Carrey dies. You know, they have the funeral and the

540
00:29:38,559 --> 00:29:41,319
band members are there. The Guns and Roses band members

541
00:29:41,400 --> 00:29:44,200
are play the parts of his band members at his funeral.

542
00:29:44,319 --> 00:29:47,400
Speaker 1: Slash said, that's the first song that Axel wrote the

543
00:29:47,480 --> 00:29:50,400
lyrics to that Slash came up with the riff part

544
00:29:50,440 --> 00:29:51,680
and they kind of wrote it together.

545
00:29:51,920 --> 00:29:57,400
Speaker 3: So the video was directed by a guy named Nigel Dick. Yes,

546
00:29:57,480 --> 00:29:59,160
that was his real name, Nigel Dick.

547
00:29:59,279 --> 00:30:00,319
Speaker 1: Could you say that one time?

548
00:30:00,640 --> 00:30:09,559
Speaker 3: Is Nigel Dick directed this video and his previous work

549
00:30:09,839 --> 00:30:13,480
included Shout By Tears for Fears. He did that video,

550
00:30:13,960 --> 00:30:17,039
then he did Welcome to the Jungle in eighty seven,

551
00:30:17,519 --> 00:30:21,759
he did Wonderwall in ninety five, and then he did

552
00:30:22,119 --> 00:30:25,240
Oops I did it again in two thousands. So this

553
00:30:25,400 --> 00:30:27,599
is only a handful. This guy is a very prolific

554
00:30:27,839 --> 00:30:30,119
video director. There are tons of videos that he's done.

555
00:30:30,160 --> 00:30:32,839
But the idea that we have Tears for Fears, Guns

556
00:30:32,920 --> 00:30:36,599
n' Roses, Oasis and Britney Spears in that catalog is

557
00:30:36,640 --> 00:30:37,519
pretty impressive.

558
00:30:37,799 --> 00:30:38,279
Speaker 2: Nice.

559
00:30:38,559 --> 00:30:40,519
Speaker 3: When they released this song as a single, they did

560
00:30:40,559 --> 00:30:43,079
a couple of times, and one of them was a

561
00:30:43,119 --> 00:30:45,559
Maxi single, which means it's not just an A side

562
00:30:45,960 --> 00:30:48,839
B side, it's you have a couple of songs on

563
00:30:48,920 --> 00:30:51,839
each side. And do you know what the backing song

564
00:30:52,079 --> 00:30:54,640
was for Welcome to the Jungle? It was this song

565
00:30:54,720 --> 00:30:58,119
called poll Lot a Rosie by a little band called

566
00:30:58,599 --> 00:31:13,319
ac DC. Guess what That will come into play later

567
00:31:13,359 --> 00:31:14,279
on and we get into.

568
00:31:14,119 --> 00:31:16,799
Speaker 1: The history of yes Love.

569
00:31:16,839 --> 00:31:22,839
Speaker 3: It also on the maxi single was It's So Easy

570
00:31:23,359 --> 00:31:25,400
and Knocking on Heaven's Door.

571
00:31:25,599 --> 00:31:29,319
Speaker 1: Wow, that's awesome. Nice. Okay, so we're done with Welcome

572
00:31:29,319 --> 00:31:31,839
to the Jungle. The next song on the album, track

573
00:31:31,920 --> 00:31:33,839
number two, is a song called.

574
00:31:33,839 --> 00:31:51,240
Speaker 5: It's So Easy.

575
00:31:52,680 --> 00:31:55,720
Speaker 3: The song is so good man, yeah yeah, and you

576
00:31:56,000 --> 00:31:58,400
could play it at any you know, church or social

577
00:31:58,400 --> 00:32:03,160
gathering whatever. You know. This stuff is so in your face.

578
00:32:03,200 --> 00:32:06,319
And this was this was I mean, here's here's a

579
00:32:06,599 --> 00:32:09,359
here's a song that screams why you don't get played

580
00:32:09,400 --> 00:32:16,400
on the radio. This song was actually written by Duff McKagan.

581
00:32:16,839 --> 00:32:20,920
It was written with his friend west Arkeene, who was

582
00:32:20,960 --> 00:32:24,279
also a co writer on Patients and the Garden and

583
00:32:24,480 --> 00:32:27,319
Yesterday's Duff. I got to read a bit of his

584
00:32:27,359 --> 00:32:29,559
biography and I got to recommend it to anybody who

585
00:32:29,559 --> 00:32:32,200
hasn't read it out there. Just what I've read so

586
00:32:32,319 --> 00:32:36,759
far is wonderfully written. It's engaging, it's it's a good book.

587
00:32:36,759 --> 00:32:40,000
You should pick it up. But Duff talks about early

588
00:32:40,119 --> 00:32:43,880
on whenever they were doing live sets and Axel would

589
00:32:43,920 --> 00:32:45,400
introduce him and he'd.

590
00:32:45,319 --> 00:32:51,680
Speaker 4: Say, and this is Duff the King of Bears, which is.

591
00:32:51,920 --> 00:32:54,680
Speaker 3: You know, I mean honestly, all of the guys had

592
00:32:54,680 --> 00:32:58,000
substance abuse issues and Duff was a heavy, heavy drinker

593
00:32:58,000 --> 00:33:01,279
and that's what that's what the circumstance his work. And

594
00:33:01,359 --> 00:33:04,640
so not too long after they just are starting to

595
00:33:04,680 --> 00:33:08,240
become famous, Duff gets this call from these guys who say, hey,

596
00:33:08,240 --> 00:33:12,119
we're doing this kind of like animated thing and we

597
00:33:12,319 --> 00:33:14,680
just were wondering, we were thinking about calling the beer

598
00:33:15,079 --> 00:33:18,039
Duff beer, Is that okay with you? And he was

599
00:33:18,079 --> 00:33:22,319
like sure, whatever you know, who cares? As it turns

600
00:33:22,359 --> 00:33:24,160
out that little animated thing happened to.

601
00:33:24,160 --> 00:33:36,240
Speaker 1: Be that's awesome. Okay, So this song is kind of

602
00:33:36,319 --> 00:33:40,319
known because actual scene is really low. Okay. He starts

603
00:33:40,359 --> 00:33:42,079
off the song singing super low.

604
00:33:42,279 --> 00:33:44,880
Speaker 3: He was always a baritone growing up, Like even when

605
00:33:44,880 --> 00:33:47,359
he was a younger kid, he would sing baritone. And

606
00:33:47,400 --> 00:33:51,200
that his more recognizable singing now is not what he

607
00:33:51,240 --> 00:33:53,720
would normally do. It was when he was he was

608
00:33:53,759 --> 00:33:56,519
playing early on before Guns N' Roses formed, But in

609
00:33:56,559 --> 00:34:01,400
those early Hollywood Roses sets, he at some point went

610
00:34:01,400 --> 00:34:04,000
into that higher register and all the guys in the

611
00:34:04,039 --> 00:34:07,759
band went, dude, that's the way you need to sing. Yeah,

612
00:34:07,839 --> 00:34:10,920
And so this is actually a sample of what he

613
00:34:10,960 --> 00:34:13,960
had sounded like before he found his signatures out.

614
00:34:14,360 --> 00:34:16,559
Speaker 1: When they asked him about it, he said, I sung

615
00:34:16,599 --> 00:34:19,639
it low because it fit the attitude of the song better.

616
00:34:19,719 --> 00:34:24,719
Speaker 3: Well, the song is about not about money because they

617
00:34:24,760 --> 00:34:29,960
hadn't become successful yet, so easy was getting the ladies.

618
00:34:30,440 --> 00:34:33,840
Speaker 1: Yeah, there can be hard to keep this family friendly

619
00:34:33,880 --> 00:34:36,880
with the subject matter we're going to cover throughout this album.

620
00:34:36,599 --> 00:34:39,800
Speaker 3: Right, Yes, especially some sampling that occurred on one of.

621
00:34:39,719 --> 00:34:45,039
Speaker 1: These I can't wait to talk about that, but okay,

622
00:34:45,159 --> 00:34:48,760
I'm really interested to talk about the video. Okay, okay,

623
00:34:49,079 --> 00:34:52,480
And when when people go, wait a minute, there's a video,

624
00:34:52,519 --> 00:34:54,599
there's a video to the song. There is a video

625
00:34:54,719 --> 00:34:58,599
to this song. Okay, it's it's incredible, all right. So

626
00:34:58,840 --> 00:35:03,880
the video was filmed October tenth, nineteen eighty nine. Okay.

627
00:35:04,280 --> 00:35:08,559
This was released July twenty first, nineteen eighty seven. This

628
00:35:08,599 --> 00:35:11,480
is two years after the release of the album Okay, right, and.

629
00:35:11,559 --> 00:35:14,800
Speaker 3: The single was released before the release of the album.

630
00:35:15,880 --> 00:35:19,159
Speaker 1: It's all out of whack, this whole album because they

631
00:35:19,280 --> 00:35:23,599
rode the wave for so long. Yeah, they had to

632
00:35:23,639 --> 00:35:27,480
keep pumping out videos. I mean, it's just amazing. So

633
00:35:27,920 --> 00:35:30,599
the video was shot October tenth, nineteen eighty nine, over

634
00:35:30,639 --> 00:35:33,840
two years after the release of the original single. The

635
00:35:33,880 --> 00:35:37,719
promo video was made at the Catouse in Hollywood.

636
00:35:37,960 --> 00:35:38,400
Speaker 3: Okay.

637
00:35:39,159 --> 00:35:44,239
Speaker 1: It's heavily edited because it shows Aaron Everley in bondage.

638
00:35:44,639 --> 00:35:47,800
Aaron Eveley, daughter of Don Everly of the Everly Brothers.

639
00:35:48,119 --> 00:35:51,440
That's who the song Sweet Child of Mine is written about. Yeah,

640
00:35:51,480 --> 00:35:53,760
and we'll talk about that more here in just a minute.

641
00:35:54,199 --> 00:35:57,960
But she is tied up, tied down up against the

642
00:35:58,000 --> 00:36:02,920
wall for the entire video. Okay, but here's the interesting thing. Okay,

643
00:36:03,199 --> 00:36:06,320
this is life with this band. Right before they shot

644
00:36:06,360 --> 00:36:08,760
this video, they have this big show at the cat House.

645
00:36:09,320 --> 00:36:11,679
Who shows up for the show, Well, Slash's mom shows

646
00:36:11,760 --> 00:36:17,239
up and a friend of hers, David Bowie. Yeah, okay,

647
00:36:17,840 --> 00:36:23,920
so David Bowie starts to hit on Aaron Everley. So

648
00:36:24,000 --> 00:36:26,800
he and Axel get in a fistfight before they shoot

649
00:36:26,840 --> 00:36:29,079
this video.

650
00:36:29,199 --> 00:36:29,599
Speaker 3: That's it.

651
00:36:29,719 --> 00:36:32,920
Speaker 1: Axel Rose David Bowie fistfight.

652
00:36:33,519 --> 00:36:34,280
Speaker 3: That's hilarious.

653
00:36:34,320 --> 00:36:37,199
Speaker 1: The release date of this video. Okay, this is not

654
00:36:37,280 --> 00:36:40,599
a typo. When you say I don't really remember this, well,

655
00:36:40,639 --> 00:36:44,480
that's because this video was released May twenty seventh, twenty eighteen.

656
00:36:45,119 --> 00:36:49,320
Speaker 3: Yeah. Yeah, it's hilarious because it They start off the

657
00:36:49,400 --> 00:36:54,400
video and they said, Axel says, we're making this for ourselves.

658
00:36:54,599 --> 00:36:57,400
If we made a nice video for MTV, we could

659
00:36:57,400 --> 00:37:01,239
put it out and sell my records and but instead,

660
00:37:01,360 --> 00:37:03,320
we're going to spend one hundred and fifty grand just

661
00:37:03,360 --> 00:37:07,320
to make something we want to see. And so that's

662
00:37:07,599 --> 00:37:10,599
what they got is nobody else saw it for another

663
00:37:11,000 --> 00:37:11,760
thirty years.

664
00:37:11,920 --> 00:37:15,840
Speaker 1: Apparently everybody wanted to see Aaron Everley with a ballgag

665
00:37:15,880 --> 00:37:16,320
in her mouth.

666
00:37:16,400 --> 00:37:20,480
Speaker 3: So it's horrible. That's terrible.

667
00:37:20,760 --> 00:37:24,719
Speaker 1: I know, I know, all right, Moving on to Nightrain.

668
00:37:35,519 --> 00:37:38,960
Speaker 3: Night Train is this very high quality wine that guns

669
00:37:39,000 --> 00:37:42,119
n' roses would enjoy after a long day of recording

670
00:37:42,119 --> 00:37:45,760
appetite for destruction. It is also enjoyed by other wine

671
00:37:45,800 --> 00:37:50,559
connoisseurs that we call whinos. I'm kidding. This is a

672
00:37:50,639 --> 00:37:53,599
very cheap wine. Night Train is a very cheap wine.

673
00:37:54,039 --> 00:37:55,960
And everything else that I said is true.

674
00:37:56,039 --> 00:37:59,119
Speaker 1: Okay, this is a this is this song is amazing, right,

675
00:37:59,239 --> 00:38:02,239
This is another great song. It's totally about getting drunk.

676
00:38:02,320 --> 00:38:05,119
This song was ranked eighth on Guitar World's list of

677
00:38:05,159 --> 00:38:11,360
top ten drinking songs. Right right, right, So they Slash

678
00:38:11,400 --> 00:38:13,360
talks about how they came up with this anthem right

679
00:38:13,400 --> 00:38:13,960
on the spot.

680
00:38:14,119 --> 00:38:14,320
Speaker 3: Right.

681
00:38:14,800 --> 00:38:17,800
Speaker 1: So Slash and Izzy wrote the main riff while they

682
00:38:17,840 --> 00:38:19,880
were sitting on the floor of the band practice room,

683
00:38:19,960 --> 00:38:22,880
but they didn't have any lyrics. So one night there

684
00:38:23,480 --> 00:38:26,880
they're wandering around Palm Avenue sharing a bottle of Night Train,

685
00:38:26,960 --> 00:38:30,639
and someone yelled, I'm on the night Train. Then the

686
00:38:30,679 --> 00:38:35,320
whole band jumped in and actually improvised the line bottoms up,

687
00:38:35,360 --> 00:38:38,960
fill my cup. Yeah, and there you have it. The

688
00:38:38,960 --> 00:38:40,199
rest is rock and roll history.

689
00:38:40,440 --> 00:38:42,920
Speaker 3: At some of the shows that they did in nineteen

690
00:38:42,960 --> 00:38:46,440
eighty seven, Axel would give drinking tips from the stage.

691
00:38:46,920 --> 00:38:50,119
He would introduce the song and then say, in these

692
00:38:50,159 --> 00:38:52,559
liquor stores that the Winos hit up right beside us

693
00:38:52,599 --> 00:38:56,119
the Thunderbird. Here, you're gonna find some night Train that'll

694
00:38:56,280 --> 00:38:58,960
f you up twice as bad as Thunderbird, and it's

695
00:38:59,000 --> 00:38:59,800
a lot cheaper.

696
00:39:01,239 --> 00:39:04,239
Speaker 1: So this song was released July twenty ninth of nineteen

697
00:39:04,320 --> 00:39:08,039
eighty nine, again, two years after the release of Appetite

698
00:39:08,039 --> 00:39:11,920
for Destruction and after the release of Patients. This is

699
00:39:12,639 --> 00:39:16,320
they're still writing Appetite for Destruction after they've released another album.

700
00:39:16,360 --> 00:39:18,760
Speaker 3: It's a grow awesome, Yeah, it's great when you have

701
00:39:18,840 --> 00:39:21,440
an album that is filled with so many great songs.

702
00:39:22,280 --> 00:39:25,480
Of course, you're just gonna keep churning out the hits. Yeah, absolutely,

703
00:39:25,599 --> 00:39:28,719
So we're done with night Train. Next on the album is.

704
00:39:29,159 --> 00:39:49,079
Speaker 1: A song called out to Get Me. These lyrics are

705
00:39:49,119 --> 00:39:53,320
about young Axel aka Billy Bailey being in and out

706
00:39:53,360 --> 00:39:54,000
of trouble this.

707
00:39:54,079 --> 00:39:58,199
Speaker 3: Entire life, Yeah, and about the police that we're out

708
00:39:58,199 --> 00:39:58,920
to get him. Right.

709
00:40:00,480 --> 00:40:03,280
Speaker 1: Slash talks about how this is the band being against

710
00:40:03,639 --> 00:40:05,760
the world. I don't buy it. I think this is

711
00:40:05,840 --> 00:40:10,559
legal trouble from Axel. Yes, yes, some of the lyrics

712
00:40:10,559 --> 00:40:14,719
in this I think are very accurate emotions for Axel.

713
00:40:14,800 --> 00:40:18,000
If you know anything about Axel, this doesn't really surprise you.

714
00:40:18,000 --> 00:40:21,639
You can tell this is deep seated anger in Axel.

715
00:40:21,760 --> 00:40:25,519
Speaker 3: Yeah. I mean he talks about how after shows, the

716
00:40:25,559 --> 00:40:27,559
rest of the guys in the band will, you know,

717
00:40:27,880 --> 00:40:30,519
go have a drink and ready to party and hang

718
00:40:30,559 --> 00:40:33,559
out with people. But he needs like an hour or

719
00:40:33,599 --> 00:40:37,119
two just to come down from the intensity that he

720
00:40:37,159 --> 00:40:40,480
builds up while he's singing these songs, because he lives

721
00:40:40,840 --> 00:40:43,559
in each song as he sings it. He remembers the

722
00:40:43,599 --> 00:40:47,199
motivation for the words behind the song, and he relives

723
00:40:47,239 --> 00:40:49,480
it as he's blowing our mind with it.

724
00:40:49,519 --> 00:40:51,239
Speaker 1: This song is great. This is a turn it up

725
00:40:51,280 --> 00:40:54,719
song as well. So I've got just to recap. I've

726
00:40:54,719 --> 00:40:56,760
got one, two, three, four songs in a row that

727
00:40:56,760 --> 00:40:57,400
I'm going to turn.

728
00:40:57,360 --> 00:41:00,320
Speaker 3: The radio up every single time. No Skipper yet, No

729
00:41:00,440 --> 00:41:01,079
Skipper yet.

730
00:41:08,280 --> 00:41:25,320
Speaker 1: Moving on to mister Brownstide. Incredible song.

731
00:41:26,079 --> 00:41:30,840
Speaker 3: Yes, freaking I love it. Yeah, it kicks all kinds

732
00:41:30,880 --> 00:41:33,679
of butt it and this is you know again, this

733
00:41:33,760 --> 00:41:36,840
is this is the band saying we're not going to

734
00:41:36,880 --> 00:41:39,920
sing about pretty things. We're not going to sing about

735
00:41:40,440 --> 00:41:42,639
uh love stories, although that does come up here later

736
00:41:42,679 --> 00:41:45,079
on in the album. But we're going to sing about

737
00:41:45,239 --> 00:41:47,800
the life that we've lived. You know, We've got Welcome

738
00:41:47,840 --> 00:41:51,440
to the Jungle, We've got it's so easy. You know.

739
00:41:51,519 --> 00:41:54,960
These life events built the song, and this one is

740
00:41:55,079 --> 00:41:57,559
definitely not only about the life that they had had

741
00:41:57,599 --> 00:42:00,000
in the past, but the life that they were currently leading.

742
00:42:00,079 --> 00:42:02,760
Speaker 1: Absolutely, I mean, mister Brownstone, this is a direct reference

743
00:42:02,760 --> 00:42:03,280
to Heroin.

744
00:42:03,440 --> 00:42:06,079
Speaker 3: So the lyric that we heard there at the beginning,

745
00:42:06,239 --> 00:42:09,400
the show usually starts around seven, we go on stage

746
00:42:09,400 --> 00:42:14,679
around nine. That was a direct reference and dig onto

747
00:42:14,920 --> 00:42:18,519
the guys who, because they were all shooting up Heroin,

748
00:42:19,000 --> 00:42:22,000
would show up two hours late for the show and

749
00:42:22,079 --> 00:42:27,119
so Axel would sit there and he's got this expectation

750
00:42:27,239 --> 00:42:29,559
to start at seven. He's got this energy built up

751
00:42:29,599 --> 00:42:31,960
so that he's ready to go. He knows that the

752
00:42:32,000 --> 00:42:35,000
crowd is expecting them at seven, and these guys keep

753
00:42:35,079 --> 00:42:38,360
him waiting there for two hours and it drives him

754
00:42:38,599 --> 00:42:43,519
absolutely nuts. And so that's I mean, this is that

755
00:42:43,639 --> 00:42:46,360
emotion coming out full force on the song.

756
00:42:46,599 --> 00:42:48,760
Speaker 1: So they all lived in their apartment together and they

757
00:42:48,800 --> 00:42:51,159
moved down and as they're moving out, Axle says he

758
00:42:51,239 --> 00:42:54,039
found a piece of yellow paper wadded up in the corner.

759
00:42:54,079 --> 00:42:56,960
This is where Izzian Stevens room was. He opens it

760
00:42:57,039 --> 00:42:58,960
up and had the lyrics to mister Brownstone on it.

761
00:42:59,559 --> 00:43:01,920
He read it and thought, man, this is this is great.

762
00:43:02,079 --> 00:43:04,880
Speaker 3: Whenever they were opening up for the Rolling Stones in

763
00:43:05,119 --> 00:43:08,000
La it was October of eighty nine, so they had

764
00:43:08,400 --> 00:43:11,679
they had been playing together for two solid years. And

765
00:43:12,159 --> 00:43:16,440
Axel comes out and says, unless certain people in this

766
00:43:16,599 --> 00:43:20,599
band get there together, these will be the last Guns

767
00:43:20,679 --> 00:43:24,119
n' Roses show you'll ever fing see, because I'm tired

768
00:43:24,119 --> 00:43:29,079
of too many people in this organization dancing with mister G. D. Brownstone.

769
00:43:29,400 --> 00:43:32,280
That was to get the attention of Slash and Izzy

770
00:43:32,440 --> 00:43:34,000
Stradlan and Steve Adler.

771
00:43:34,079 --> 00:43:37,639
Speaker 1: This was the beginning of the end for Guns n' Roses.

772
00:43:37,679 --> 00:43:41,760
Slash even though he was strung out, so that statement

773
00:43:41,800 --> 00:43:44,840
and that embarrassment, and he knew it was directed at him,

774
00:43:45,360 --> 00:43:48,000
and he said it made him hate Axel. Duff thought

775
00:43:48,000 --> 00:43:52,599
it was embarrassing for this to surface on stage and

776
00:43:52,800 --> 00:43:55,480
made him want to quit the band, so that public

777
00:43:55,519 --> 00:43:59,280
call out in October of eighty nine started the breakup.

778
00:43:59,400 --> 00:44:02,239
Speaker 3: Yeah, they actually kicked Steven Adler off for a while

779
00:44:02,519 --> 00:44:05,199
and only let him back in if he signed a

780
00:44:05,239 --> 00:44:09,119
contract promising never to do Heroin again, which he signed

781
00:44:09,679 --> 00:44:13,360
and then promptly broke, which is why he got fired

782
00:44:13,360 --> 00:44:13,920
from the band.

783
00:44:13,960 --> 00:44:16,679
Speaker 1: Fired in nineteen ninety. That's right, I love mister brownsone.

784
00:44:16,880 --> 00:44:19,800
It's a fantastic song. It's about Heroin. I don't care,

785
00:44:19,920 --> 00:44:21,000
I still love it.

786
00:44:21,199 --> 00:44:23,559
Speaker 3: Right, It's about Heroin, but you can dance to it.

787
00:44:25,480 --> 00:44:29,480
Speaker 1: This brings us to what every suburban kid in my

788
00:44:29,559 --> 00:44:33,519
neighborhood freaking loved in January eighty This is the sixth

789
00:44:33,559 --> 00:44:39,480
song on the album, This is Paradise City. If I

790
00:44:39,599 --> 00:44:42,360
say to you, d take me down to Paradise City,

791
00:44:42,719 --> 00:44:45,159
the grass is green or kind of throws are pig

792
00:44:45,480 --> 00:44:48,320
and you don't have a line after that, probably you

793
00:44:48,400 --> 00:44:51,159
know you're probably not enjoying this podcast at this point.

794
00:44:51,599 --> 00:44:54,880
Speaker 3: Yeah, I mean, it's it's interesting if you take if

795
00:44:54,920 --> 00:44:58,320
you take in some of these songs, some of these songs,

796
00:44:58,360 --> 00:45:00,679
not all of these songs, some of the if you

797
00:45:00,760 --> 00:45:04,239
take the lyrics away from the music and the attitude

798
00:45:04,880 --> 00:45:09,440
and the dirty tattooedness of it all and just put

799
00:45:09,480 --> 00:45:12,039
them down on a piece of paper. This is freaking poetry.

800
00:45:12,079 --> 00:45:17,119
Speaker 1: Man Captain America's fallen apart, He's court jester with a

801
00:45:17,159 --> 00:45:21,880
broken heart. This is one of the great sing along

802
00:45:22,440 --> 00:45:25,480
rock songs of the late eighties. This reached number five

803
00:45:25,559 --> 00:45:26,559
on the Hot one hundred.

804
00:45:27,559 --> 00:45:30,320
Speaker 3: So let me ask you this. When you and your

805
00:45:30,719 --> 00:45:33,440
junior high to high school friends were singing the song,

806
00:45:33,800 --> 00:45:39,639
would you change the lines? Because Slash wanted the chorus

807
00:45:39,679 --> 00:45:42,599
to be take me down to the Paradise City where

808
00:45:42,639 --> 00:45:48,480
the girls are fat and they got big titties, which

809
00:45:48,480 --> 00:45:51,719
I'm pretty sure I heard from some of my sophomoric friends.

810
00:45:55,199 --> 00:45:58,719
Speaker 1: That is definitely locker room stuff right there. They wisely

811
00:45:58,880 --> 00:46:02,400
changed the words, though, to make it a number five hit.

812
00:46:03,159 --> 00:46:05,719
Speaker 3: Yeah, it might not have gotten as much radio play

813
00:46:05,760 --> 00:46:08,880
with that line.

814
00:46:08,639 --> 00:46:12,280
Speaker 1: The guys out voted Slash on those lyrics. That's great.

815
00:46:13,239 --> 00:46:15,440
Slash has stated that this is his favorite Guns and

816
00:46:15,519 --> 00:46:16,039
Roses song.

817
00:46:16,400 --> 00:46:16,599
Speaker 5: Wow.

818
00:46:17,119 --> 00:46:19,760
Speaker 1: One of the things that he always comments is he says,

819
00:46:20,559 --> 00:46:24,280
our best work is the collaborative work. Guns and Roses

820
00:46:24,400 --> 00:46:27,360
was traveling. They were playing a gig in San franciscoing

821
00:46:27,400 --> 00:46:29,239
on the way back there, traveling in the van, kind

822
00:46:29,239 --> 00:46:31,360
of like what you were talking about earlier. He said

823
00:46:31,400 --> 00:46:32,880
that the band was in the back of the band,

824
00:46:33,079 --> 00:46:36,239
the back of the van, drinking and playing acoustic guitars

825
00:46:36,559 --> 00:46:39,719
when he came up with the intro yep, Duff and Is.

826
00:46:39,760 --> 00:46:43,000
He started playing along and Slash started to humming a melody,

827
00:46:43,719 --> 00:46:45,960
and that's when Axel sang take me down to the

828
00:46:45,960 --> 00:46:49,480
Paradise City. And then they just sort of were all together,

829
00:46:49,800 --> 00:46:53,199
threw in their bits and it became this wonderful rock anthem.

830
00:46:53,400 --> 00:46:56,719
Speaker 3: Yeah, this was This was actually the first song that

831
00:46:56,760 --> 00:46:58,400
they wrote together as a band.

832
00:47:00,679 --> 00:47:06,400
Speaker 1: I might this might be the best encore song of

833
00:47:06,440 --> 00:47:11,599
all time. Okay, when you leave, when you play Welcome

834
00:47:11,639 --> 00:47:14,199
to the Jungle and it's so easy and rocket Queen and

835
00:47:14,239 --> 00:47:17,079
you leave, you say thank you, Boston, We'll see you

836
00:47:17,119 --> 00:47:19,199
next time. Wait a minute, We're not done until we

837
00:47:19,199 --> 00:47:24,239
play Paradise City. All right? I did hear Axel talk

838
00:47:24,280 --> 00:47:27,800
about how the verses in Paradise City are about the jungle, right,

839
00:47:27,880 --> 00:47:31,320
the Captain America falling apart. He's a court juster with

840
00:47:31,360 --> 00:47:35,440
a broken heart. But the chorus is like the Midwest,

841
00:47:35,519 --> 00:47:40,800
the hopeful, feel good safe Indiana. Yeah, we're named the

842
00:47:40,800 --> 00:47:49,079
Dog Indiana. Yeah. Okay, we're done with Paradise City.

843
00:47:49,199 --> 00:47:51,679
Speaker 3: Man, I hate to be done with Paradise City because

844
00:47:51,719 --> 00:47:54,599
you have this. Okay, we're just gonna skip to the end.

845
00:47:54,840 --> 00:48:05,360
Here's the end. It's so awesome. I mean, ah, bag gum,

846
00:48:05,639 --> 00:48:07,559
what a great way to finish off the song.

847
00:48:07,840 --> 00:48:10,159
Speaker 1: It's timeless. It really anytime this comes on the radio,

848
00:48:10,159 --> 00:48:12,840
I've heard it ten thousand times. I'm turning it up,

849
00:48:12,880 --> 00:48:18,440
I'm singing along. I'm singing take me Home, all right,

850
00:48:18,840 --> 00:48:22,960
So stop your tape, hit Ejack, kick it out, flip

851
00:48:23,000 --> 00:48:25,920
it over to the other side. And as I mentioned that,

852
00:48:26,079 --> 00:48:29,599
I forgot to mention, there is no first side and

853
00:48:29,719 --> 00:48:32,000
second side on this tape. There is no A side

854
00:48:32,000 --> 00:48:36,920
and no B side, right G side and an R side. Nice,

855
00:48:37,559 --> 00:48:40,440
so flip your tape over to the R side, and

856
00:48:40,480 --> 00:48:58,480
here we go with Mike show bag gum.

857
00:48:58,519 --> 00:49:02,159
Speaker 3: It's such a good song, gritty. I mean, I just

858
00:49:02,199 --> 00:49:04,440
gotta say this. When you flip the tape over, I

859
00:49:04,679 --> 00:49:08,360
always had this trepidation, like We've just finished this fantastic

860
00:49:08,440 --> 00:49:10,920
side and I'm flipping over the other side and I'm

861
00:49:10,960 --> 00:49:13,079
just worried that they put all their crap on the

862
00:49:13,119 --> 00:49:16,320
second side, and then this song pops on and you're like,

863
00:49:16,800 --> 00:49:19,480
holy crap, this whole album is gonna be good.

864
00:49:19,920 --> 00:49:22,480
Speaker 1: Yeah. So Axel is writing in the in the car

865
00:49:22,519 --> 00:49:25,079
with a friend from high school, the girl named Michelle Young,

866
00:49:25,239 --> 00:49:28,360
and they're listening to Elton John on the radio and

867
00:49:28,400 --> 00:49:29,880
the song of your song comes on.

868
00:49:30,079 --> 00:49:34,599
Speaker 5: You planned here, right, and you can tell about it.

869
00:49:35,880 --> 00:49:36,639
This is this.

870
00:49:36,880 --> 00:49:41,480
Speaker 1: Song, beautiful song. And according to Axel Rose, he and

871
00:49:41,519 --> 00:49:44,280
Michelle were in the car together and she said she

872
00:49:44,400 --> 00:49:46,920
just happened to mention that she had always wanted someone

873
00:49:46,920 --> 00:49:50,559
to write a song about her, right, And so he

874
00:49:50,639 --> 00:49:51,880
kind of took that as a challenge.

875
00:49:51,960 --> 00:49:52,119
Speaker 3: Right.

876
00:49:52,559 --> 00:49:55,679
Speaker 1: The only problem was, this is a girl who had

877
00:49:55,880 --> 00:49:58,960
was addicted to drugs, her mom had died from a

878
00:49:58,960 --> 00:50:02,480
heroin overdose, and her dad was working in the pornography industry.

879
00:50:03,119 --> 00:50:04,599
Speaker 3: Yeah, it hard to come.

880
00:50:04,559 --> 00:50:08,079
Speaker 1: Up with a sweet little love sonet for that person.

881
00:50:08,639 --> 00:50:11,679
Speaker 3: Right, So they just for wrote it, honestly.

882
00:50:12,800 --> 00:50:17,199
Speaker 1: Well, actually, his first attempt was this sweet, romantic one

883
00:50:17,480 --> 00:50:20,480
that had absolutely almost nothing to do with the reality

884
00:50:20,480 --> 00:50:24,960
of her life, right, right, Yeah, And he was unhappy.

885
00:50:25,000 --> 00:50:27,719
He just felt dishonest about it. So he changed it

886
00:50:27,960 --> 00:50:30,159
to the honest version, right, and he brought it to

887
00:50:30,199 --> 00:50:32,079
members of the band and he's like, Slash, what do

888
00:50:32,119 --> 00:50:34,519
you think of this? Slash like, dude, you cannot play this.

889
00:50:34,559 --> 00:50:38,559
Speaker 3: I can't play this. Yeah, no, everybody everybody would be like, no,

890
00:50:38,920 --> 00:50:41,719
you can't do this. This is horrible. And so it's

891
00:50:41,719 --> 00:50:43,880
good that they do have some moral compass on this.

892
00:50:44,760 --> 00:50:48,519
But they end up actually ends up calling her and

893
00:50:49,079 --> 00:50:51,519
he's just honest. He's just like, hey, you know, I

894
00:50:51,519 --> 00:50:53,599
did what you wanted. I wrote you a song, but

895
00:50:53,679 --> 00:50:55,719
I don't know that you're gonna like the lyrics. And

896
00:50:55,760 --> 00:50:58,400
she ended up being okay with it. She was happy

897
00:50:58,480 --> 00:51:01,559
that they didn't sugarcoat it, and she was happy that

898
00:51:01,599 --> 00:51:04,679
it was honest and truthful to her horrible life.

899
00:51:04,840 --> 00:51:07,199
Speaker 1: I heard her talk about this. She went to a

900
00:51:07,280 --> 00:51:10,840
concert they played my Michelle. The whole place is going

901
00:51:10,920 --> 00:51:14,199
bonkers to a song written about her, and she's standing

902
00:51:14,239 --> 00:51:18,599
there in total anonymity and just marveling that this song

903
00:51:18,679 --> 00:51:20,199
is about her and nobody knows.

904
00:51:20,000 --> 00:51:22,920
Speaker 3: Who she is. She said later on that when they

905
00:51:22,960 --> 00:51:25,880
asked her about it, that she didn't care because she

906
00:51:26,079 --> 00:51:29,199
was so left up. But she said, either way, I

907
00:51:29,199 --> 00:51:32,239
can't deny that it's true. My dad does distribute porno

908
00:51:32,280 --> 00:51:35,639
films and my mom did die, So what do you

909
00:51:35,639 --> 00:51:38,800
you know? It's it's not slander.

910
00:51:40,599 --> 00:51:44,639
Speaker 1: It's true. This song is so good. I love it

911
00:51:44,719 --> 00:51:50,599
so once again, a full on, top down, turn it up.

912
00:51:51,079 --> 00:51:53,679
Speaker 3: Bang in your head. Yep, so you were banging your

913
00:51:53,719 --> 00:51:55,039
freaking head of this song.

914
00:51:55,000 --> 00:51:57,360
Speaker 1: All right after my Michelle. That brings us to a

915
00:51:57,440 --> 00:51:58,559
song called think about You.

916
00:52:09,320 --> 00:52:11,800
Speaker 3: It was written by Izzy and it actually was written

917
00:52:11,920 --> 00:52:16,280
before he joined up with Guns n' Roses and Tracy

918
00:52:16,320 --> 00:52:18,800
Gunns of course, who was a part of the band

919
00:52:18,880 --> 00:52:23,679
momentarily right, knew. I mean, Izzy comes in, you know,

920
00:52:23,800 --> 00:52:28,400
starts this band Hollywood Rose. They get together with Tracy Gunns,

921
00:52:28,480 --> 00:52:33,119
guns and Roses forms. But Tracy said, this song is

922
00:52:33,159 --> 00:52:39,719
about this woman named Monique Lewis, who we all quote

923
00:52:40,360 --> 00:52:47,280
unquote dated and actual actually has a tattoo of this

924
00:52:47,400 --> 00:52:48,480
lady on his arm.

925
00:52:49,000 --> 00:52:51,159
Speaker 1: Really, this is something I haven't heard yet. This is

926
00:52:51,239 --> 00:52:57,440
good story, okay story, and that's okay, that's a good story. Okay.

927
00:52:57,920 --> 00:53:01,719
I heard he say. It's a quick love song about drugs, sex,

928
00:53:01,960 --> 00:53:06,639
Hollywood and money, which is basically what Appetite.

929
00:53:06,199 --> 00:53:08,800
Speaker 3: For Destruction is about yeah, whole album.

930
00:53:09,800 --> 00:53:13,559
Speaker 1: To me, this is a good song that this is

931
00:53:13,599 --> 00:53:15,800
the weakest song on the album. This is the only

932
00:53:15,920 --> 00:53:18,559
song that I think might want to skip this one,

933
00:53:18,679 --> 00:53:20,199
But most of the time I listen to it anyway,

934
00:53:20,239 --> 00:53:20,800
it's still good.

935
00:53:20,960 --> 00:53:23,400
Speaker 3: So Actual has a tattoo of this girl on his arm.

936
00:53:23,760 --> 00:53:28,400
He also has on his arm a tattoo of across

937
00:53:28,880 --> 00:53:32,280
with faces on it, which you will recognize as the

938
00:53:32,320 --> 00:53:36,679
cover of this album. Right, Well, that wasn't the original

939
00:53:36,719 --> 00:53:40,159
album cover they had as the original album cover. This

940
00:53:40,599 --> 00:53:45,239
artwork again by a guy named Robert Williams. But it's

941
00:53:45,239 --> 00:53:49,639
this very kind of weird alien attack in our robot

942
00:53:49,760 --> 00:53:53,880
that's either raped or about to rape this girl and

943
00:53:53,960 --> 00:53:56,679
her panties are around her ankles, and it's I mean,

944
00:53:58,159 --> 00:54:00,880
you're just adding fuel to the fire of all those

945
00:54:00,960 --> 00:54:03,800
record companies and MTV executives who said, we are not

946
00:54:03,920 --> 00:54:07,199
interested in this band. They're too dangerous, we don't want them,

947
00:54:07,280 --> 00:54:09,679
And so ultimately they ended up saying we got to

948
00:54:09,760 --> 00:54:13,840
change the album cover. And Axel already had this tattoo

949
00:54:13,960 --> 00:54:17,400
on his arm, and so it You know, every time

950
00:54:17,480 --> 00:54:19,239
I saw it, I thought, oh, we got the tattoo

951
00:54:19,320 --> 00:54:22,280
because of the cover. Now the cover came from his tattoo.

952
00:54:22,719 --> 00:54:28,559
Speaker 1: The Yeah, the robot painting is strange.

953
00:54:27,760 --> 00:54:30,639
Speaker 3: Yeah, but I mean it the guy's famous. You know,

954
00:54:30,679 --> 00:54:34,679
there's there are there is a whole like segment of artists.

955
00:54:35,519 --> 00:54:37,400
Harry Kurum I think was the name of one of them.

956
00:54:37,519 --> 00:54:40,119
I mean, they would do these kind of graphic or

957
00:54:40,159 --> 00:54:45,320
pornographic almost comic artwork, but it was really popular like this.

958
00:54:45,559 --> 00:54:48,880
I remember seeing Axel talking about this painting selling for

959
00:54:48,920 --> 00:54:51,679
like ten thousand dollars whenever it was first produced.

960
00:54:51,920 --> 00:55:00,159
Speaker 1: Yeah, after think about you, we have sweet shot of mine.

961
00:55:11,159 --> 00:55:15,920
Speaker 3: Okay, so I know that you are thinking the same

962
00:55:15,960 --> 00:55:19,519
thing that I am thinking, which is this is awesome.

963
00:55:20,280 --> 00:55:26,000
That intro guitar is awesome. As it turns out, Slash

964
00:55:26,320 --> 00:55:27,719
played it as a joke.

965
00:55:28,320 --> 00:55:31,079
Speaker 1: That fact alone blows me away.

966
00:55:31,400 --> 00:55:34,239
Speaker 3: He was talking with Steven and he's like, I'm trying

967
00:55:34,280 --> 00:55:36,320
to Yeah, I'm trying to do a sound that sounds

968
00:55:36,320 --> 00:55:39,880
like a circus. And when you say that, you're like, okay, yeah,

969
00:55:39,880 --> 00:55:41,480
actually I can kind of hear that and what I'm

970
00:55:41,519 --> 00:55:44,400
playing there. But he's trying to make this goofy sound.

971
00:55:45,000 --> 00:55:47,920
But then the other guys end up liking it, and

972
00:55:47,960 --> 00:55:52,599
then Axel puts this these love song lyrics to this

973
00:55:53,400 --> 00:55:56,840
song that Slash started out with as a joke, and

974
00:55:56,920 --> 00:55:58,719
he hates this song.

975
00:55:59,840 --> 00:56:01,840
Speaker 1: He hates it, he said, he hated it for a

976
00:56:01,920 --> 00:56:04,800
long time, but he came to embrace it because the

977
00:56:04,800 --> 00:56:07,039
fans love it, and I think that's cool. I hate

978
00:56:07,039 --> 00:56:09,360
it when artists hate their own work. But Axel had

979
00:56:09,360 --> 00:56:12,679
this love poem that he had written for Aaron Everly

980
00:56:12,840 --> 00:56:15,360
daughter the Everly brothers Don Everly right.

981
00:56:15,440 --> 00:56:16,960
Speaker 3: It is such a love poem.

982
00:56:16,719 --> 00:56:20,920
Speaker 1: Actually actually married Aaron. Lasted about five minutes. This song

983
00:56:21,159 --> 00:56:23,960
reached number one September tenth, nineteen eighty eight.

984
00:56:24,199 --> 00:56:26,400
Speaker 3: You know, as I mentioned before, there's a little bit

985
00:56:26,440 --> 00:56:29,000
of discrepancy about whether it was the video for Welcome

986
00:56:29,039 --> 00:56:32,079
to the Jungle that brought them into the spotlight or

987
00:56:32,119 --> 00:56:35,320
whether it was this song. And I think I'm probably

988
00:56:35,360 --> 00:56:37,199
going to land on it was a combination of the two.

989
00:56:37,760 --> 00:56:40,239
I would not have been as interested in this song

990
00:56:40,400 --> 00:56:43,920
had I not seen the video. But then this song

991
00:56:44,039 --> 00:56:48,320
is flat out freaking amazing, and I can see how

992
00:56:48,559 --> 00:56:50,840
it was the lead in for other people to embrace them,

993
00:56:50,960 --> 00:56:55,079
because you got this band that is rough, rough, rough

994
00:56:55,440 --> 00:56:59,360
singing about the worst parts of life, and then they

995
00:56:59,400 --> 00:57:03,440
come out with this beautiful She's got eyes of the

996
00:57:03,480 --> 00:57:06,880
bluest s guies, and if they thought of rain, I'd

997
00:57:06,880 --> 00:57:09,840
hate to look into those hides and see an ounce

998
00:57:09,840 --> 00:57:13,119
of pain. Her hair reminds me of a warm, safe

999
00:57:13,159 --> 00:57:16,519
place where as a child eyed hide and pray for

1000
00:57:16,559 --> 00:57:21,440
the thunder and the rain, quiet lights. It's like freaking

1001
00:57:21,519 --> 00:57:23,559
Walt Whitman. I mean, it's just beautiful.

1002
00:57:23,719 --> 00:57:28,239
Speaker 1: It is it is. It's poetry, and it's tender and

1003
00:57:28,280 --> 00:57:33,760
it's genuine, and it's loving and it still rocks. The

1004
00:57:33,840 --> 00:57:38,880
guitar solo in this song is incredible, you know, it's interesting.

1005
00:57:38,960 --> 00:57:41,400
The end part of this song, Axel's sitting there and

1006
00:57:41,400 --> 00:57:43,320
he's talking to one of the guys who is helping

1007
00:57:43,360 --> 00:57:45,679
them produce the album. They got to the end and

1008
00:57:45,719 --> 00:57:47,719
they didn't know how to sort of close the song out,

1009
00:57:47,840 --> 00:57:49,679
and he said, I think we need to have a

1010
00:57:49,679 --> 00:57:52,159
breakdown at the end of the song. And Axel says, well,

1011
00:57:52,920 --> 00:57:55,280
where do we go? I mean, where do we go now?

1012
00:57:57,079 --> 00:57:58,920
The guy says, I think you god to sing that.

1013
00:57:59,360 --> 00:58:01,039
I've got something that's going to blow you away. You're

1014
00:58:01,039 --> 00:58:01,519
ready for this?

1015
00:58:02,159 --> 00:58:02,599
Speaker 3: Yeah?

1016
00:58:02,719 --> 00:58:07,320
Speaker 1: Have you heard the song unpublished critics from the Australian

1017
00:58:07,519 --> 00:58:09,320
band Australian Crawl.

1018
00:58:09,960 --> 00:58:11,639
Speaker 3: No, I have not.

1019
00:58:12,000 --> 00:58:12,920
Speaker 1: I'm going to play this for you.

1020
00:58:12,880 --> 00:58:13,599
Speaker 5: You ready for this?

1021
00:58:14,320 --> 00:58:16,440
Speaker 3: Yeah, okay, turn it up, all right?

1022
00:58:17,119 --> 00:58:36,519
Speaker 1: Nineteen eighty one song. Soitics my.

1023
00:58:40,800 --> 00:58:46,840
Speaker 3: Oh damn once you bought it the crics.

1024
00:58:49,519 --> 00:58:51,800
Speaker 1: Okay, so it's no Goodbye Blue Sky.

1025
00:58:52,800 --> 00:58:56,800
Speaker 6: But there are similarities, right, Okay, so the chord progression,

1026
00:58:56,800 --> 00:58:59,239
because as I was listening to it, and I'm thinking, okay,

1027
00:58:59,239 --> 00:59:02,000
but that's I mean, that's every country song, right, I mean,

1028
00:59:02,039 --> 00:59:04,320
that's also sweet Home Alabama.

1029
00:59:04,480 --> 00:59:06,760
Speaker 3: But when you got to the melody of the lyrics

1030
00:59:06,760 --> 00:59:09,880
in that one, I was like, ooh, there's a substantial

1031
00:59:09,920 --> 00:59:14,119
similarity to the melody and the lyrics there. That's that's cool,

1032
00:59:14,559 --> 00:59:18,400
I I yeah, my mind is reasonably blown.

1033
00:59:18,480 --> 00:59:19,400
Speaker 1: Yes, pretty cool?

1034
00:59:19,480 --> 00:59:19,719
Speaker 3: Huh?

1035
00:59:19,719 --> 00:59:22,199
Speaker 1: Pretty cool? Yeah? All right. I don't know what more

1036
00:59:22,480 --> 00:59:25,400
we can really say about this song other than the

1037
00:59:25,480 --> 00:59:28,119
summer of eighty eight, along with portion Sugar on Me

1038
00:59:28,199 --> 00:59:32,000
flashback to our Hysteria episode, this song ruled the airwaves

1039
00:59:32,079 --> 00:59:34,360
the summer of nineteen eighty eight. Incredible song.

1040
00:59:34,599 --> 00:59:39,079
Speaker 3: Okay, so are we done with Sweet Child of Mine?

1041
00:59:40,480 --> 00:59:42,480
Speaker 1: So good? It's so good.

1042
00:59:42,599 --> 00:59:43,119
Speaker 3: I love it.

1043
00:59:45,119 --> 00:59:47,440
Speaker 1: All right. So the beauty of Sweet Child of Mine

1044
00:59:47,599 --> 00:59:53,119
flows right into a heavy, fast paced, rock your socks

1045
00:59:53,199 --> 01:00:02,159
off song called You're Crazy.

1046
01:00:04,119 --> 01:00:08,159
Speaker 3: So the intro to this song is very, very similar

1047
01:00:08,239 --> 01:00:12,599
to the end of Paradise City, Like I don't I

1048
01:00:12,639 --> 01:00:14,400
don't know in the live show if they went from

1049
01:00:14,440 --> 01:00:15,960
one to the other, but I could sure see them

1050
01:00:16,000 --> 01:00:16,360
doing it.

1051
01:00:16,599 --> 01:00:21,079
Speaker 1: Yeah for sure, very fast paced, super in your face

1052
01:00:22,400 --> 01:00:27,400
mosh pit. Yeah, this is one of my favorite songs

1053
01:00:27,440 --> 01:00:29,840
on the album. The interesting thing to me about this

1054
01:00:29,920 --> 01:00:34,119
song is there's several different versions. Okay, so the one

1055
01:00:34,159 --> 01:00:38,280
that appears on Appetit for Destruction is super fast paced

1056
01:00:38,800 --> 01:00:42,159
and sort of a speed song, right. The version on

1057
01:00:42,440 --> 01:00:45,760
gen r Lies is it's acoustic, of course, but it's

1058
01:00:45,760 --> 01:00:54,320
slowed way down, and that's the way the song was

1059
01:00:54,320 --> 01:00:58,119
originally intended to be. Stephen Adler has said that he

1060
01:00:58,199 --> 01:01:00,559
perversed the slow version much better.

1061
01:01:01,360 --> 01:01:04,679
Speaker 3: Right, It's got a groove and a blues that the

1062
01:01:04,719 --> 01:01:08,119
other one that doesn't have the original release You're meant

1063
01:01:08,159 --> 01:01:11,239
to bang your head, the other one You're meant to

1064
01:01:11,280 --> 01:01:11,840
tap your foot.

1065
01:01:12,360 --> 01:01:16,639
Speaker 1: Axel's vocals on this song are amazing. He gives me

1066
01:01:16,639 --> 01:01:20,480
you like chills the way he can ride that wave

1067
01:01:20,840 --> 01:01:25,440
so high. After hearing his baritone on It's So Easy.

1068
01:01:25,840 --> 01:01:31,000
Speaker 3: You shared something with me about his voice, and a

1069
01:01:31,000 --> 01:01:33,480
survey that was taken tell me about that.

1070
01:01:34,039 --> 01:01:39,960
Speaker 1: Okay. So, according to Concerthotels dot Com, a survey that

1071
01:01:40,360 --> 01:01:43,079
you know, it's not Time magazine or anything, but they

1072
01:01:43,079 --> 01:01:46,239
came up with they determined that Axel Rose has the

1073
01:01:46,280 --> 01:01:50,000
widest range of any singer in pop music history. That's

1074
01:01:50,119 --> 01:01:52,760
wider than Mariah.

1075
01:01:52,320 --> 01:01:54,519
Speaker 3: Carey, wider than Freddie Mercury.

1076
01:01:55,480 --> 01:01:59,400
Speaker 1: According to the survey, because he goes so low and

1077
01:01:59,480 --> 01:02:03,960
can hit super high notes. It also determined that he

1078
01:02:04,079 --> 01:02:11,159
was the greatest singer in history. They asked him about this, right,

1079
01:02:11,199 --> 01:02:14,400
and I thought his comment was great. He's like, hey, thanks,

1080
01:02:14,480 --> 01:02:18,079
I'm honored. He's like, but I know, you know, there's

1081
01:02:18,079 --> 01:02:20,039
a little bit of a back backlash on this. He's like,

1082
01:02:20,039 --> 01:02:21,599
there are a lot of singers that I prefer to

1083
01:02:21,639 --> 01:02:23,840
hear sing other than me, But I'm honored.

1084
01:02:23,960 --> 01:02:25,480
Speaker 3: That's a good way to put that. Yeah, but I

1085
01:02:25,480 --> 01:02:27,840
wonder if he's mellowed a little bit in his old age.

1086
01:02:27,880 --> 01:02:33,599
Speaker 1: This song, in the chorus, it goes you're crazy, then

1087
01:02:33,639 --> 01:02:38,559
you're effing crazy. Right, But the song originally was written

1088
01:02:39,440 --> 01:02:42,039
as a possible single, so they wanted to leave the

1089
01:02:42,039 --> 01:02:45,119
curse words out of it, right, So they didn't add

1090
01:02:45,159 --> 01:02:48,800
the curse words until they were playing it live and

1091
01:02:48,840 --> 01:02:51,519
there was a girl that was throwing stuff at him

1092
01:02:51,559 --> 01:02:53,480
and trying to get on the stage, And as he

1093
01:02:53,559 --> 01:02:55,320
was singing this song, he was looking at it. He's like,

1094
01:02:55,599 --> 01:03:02,599
you're effing crazy. Moving on to a song called Anything Goes.

1095
01:03:10,920 --> 01:03:14,840
This song was originally performed, written and performed by Hollywood Rose.

1096
01:03:15,440 --> 01:03:18,840
Totally different song. They changed the lyrics, they changed the music.

1097
01:03:19,719 --> 01:03:22,760
Speaker 3: Okay, so the interer to this song, you notice the

1098
01:03:22,760 --> 01:03:26,480
guitar sounds way different than the other songs in the album, right, right,

1099
01:03:27,360 --> 01:03:31,199
So he is using something called a talk box. Slash

1100
01:03:31,559 --> 01:03:33,760
is using something called a talk box with his guitar.

1101
01:03:34,719 --> 01:03:37,039
If you are a bon Jovi fan, which I know

1102
01:03:37,119 --> 01:03:41,440
that you are, that's something that Richie Sambor uses all

1103
01:03:41,480 --> 01:03:46,760
of the time. Probably the most famous talk box example

1104
01:03:46,800 --> 01:03:49,480
that I can think of is from Frampton Comes Alive,

1105
01:03:49,719 --> 01:03:51,360
the song do you Feel like I Do?

1106
01:03:52,719 --> 01:03:52,840
Speaker 1: All?

1107
01:03:52,920 --> 01:03:53,039
Speaker 3: Right?

1108
01:03:53,079 --> 01:03:55,000
Speaker 1: I would argue that living on a Prayer is a

1109
01:03:55,000 --> 01:03:57,119
little more famous, but keep going.

1110
01:03:57,480 --> 01:04:00,119
Speaker 3: You'd be wrong, But that's okay.

1111
01:04:00,599 --> 01:04:03,400
Speaker 1: On next week's podcast, we'll be debating Living on a

1112
01:04:03,400 --> 01:04:04,800
Prayer versus Peter Frampton.

1113
01:04:06,079 --> 01:04:11,239
Speaker 3: Anyway, this is the only song on Appetite that Slash

1114
01:04:11,320 --> 01:04:13,320
uses the talk box on. It's that kind of weird.

1115
01:04:13,800 --> 01:04:17,559
You can hear him wabo wobbin to guitar as it's playing.

1116
01:04:18,039 --> 01:04:20,840
But it's a very unique sound. But yeah, I thought

1117
01:04:20,880 --> 01:04:23,559
you would enjoy the fact that he's doing that since

1118
01:04:23,599 --> 01:04:25,000
you like Richie Simboro so much.

1119
01:04:25,119 --> 01:04:27,800
Speaker 1: That's cool, that's cool. It's on the weaker side on

1120
01:04:27,840 --> 01:04:29,280
the album, but it's still one I love.

1121
01:04:29,880 --> 01:04:31,920
Speaker 3: Still great song for sure, all right.

1122
01:04:32,400 --> 01:04:34,280
Speaker 1: That brings us to the last song on the album,

1123
01:04:34,519 --> 01:04:45,519
song called rocket Me great intro, great guitars.

1124
01:04:46,079 --> 01:04:48,679
Speaker 3: Yeah, I mean, you know I talked about you listen

1125
01:04:48,760 --> 01:04:51,920
to the first song on the B side or the

1126
01:04:52,000 --> 01:04:54,840
R side in this case and think, Okay, these guys

1127
01:04:54,880 --> 01:04:56,599
are going to do well on the second side, and

1128
01:04:56,599 --> 01:04:58,800
then they finish it off with something like this and

1129
01:04:58,840 --> 01:05:03,920
it is awesome, like they bring it home just wonderfully. Yeah,

1130
01:05:03,960 --> 01:05:07,000
this song is amazing, amazing, good song.

1131
01:05:07,239 --> 01:05:11,159
Speaker 1: It's like two songs mashed together. Yeah, so you have

1132
01:05:11,239 --> 01:05:14,480
the first part and you have the here I am

1133
01:05:14,639 --> 01:05:18,519
I'm your Rocket Queen. Yeah, and then then it fished

1134
01:05:18,559 --> 01:05:21,679
out with this sort of a it's like a sweet

1135
01:05:21,760 --> 01:05:24,320
chilt of Mine like love song. It's really interesting.

1136
01:05:24,480 --> 01:05:27,519
Speaker 3: There are a couple of ladies involved with this particular song,

1137
01:05:27,559 --> 01:05:30,000
and the first one they mentioned in the liner notes.

1138
01:05:30,360 --> 01:05:35,760
Her name is Barbie van Grief, and she was somebody

1139
01:05:35,840 --> 01:05:39,239
who she was somebody who they crashed with, basically like

1140
01:05:40,000 --> 01:05:43,800
a lot of people. And she had another girl that

1141
01:05:44,280 --> 01:05:48,000
they had started a band together, and she wanted to

1142
01:05:48,000 --> 01:05:51,000
call the band rocket Queen. You know, she's just an

1143
01:05:51,000 --> 01:05:54,199
eighteen year old kid hanging out with these these guys,

1144
01:05:54,599 --> 01:05:58,280
but Slash referred to her as a queen of the

1145
01:05:58,360 --> 01:06:01,719
underground scene. But she was the one that they gave

1146
01:06:01,880 --> 01:06:04,519
they gave credit in the liner notes for, although I

1147
01:06:04,599 --> 01:06:07,400
don't know that she's the one that probably deserved the

1148
01:06:07,400 --> 01:06:08,559
most credit on the song.

1149
01:06:10,960 --> 01:06:12,920
Speaker 1: We have to talk about Adriana Smith.

1150
01:06:13,320 --> 01:06:22,000
Speaker 3: Yeah. So Adriana Smith was Stephen Adler's girlfriend kind of yeah, no,

1151
01:06:22,199 --> 01:06:24,519
she was. She was his girlfriend and she was mad

1152
01:06:24,519 --> 01:06:32,199
at him. She was his girlfriend and she was mad

1153
01:06:32,239 --> 01:06:37,039
at him. So she came and kind of offered herself

1154
01:06:37,119 --> 01:06:40,480
up to the band, I guess. And so Axel said, Hey,

1155
01:06:40,480 --> 01:06:43,760
you know, why don't we we record it for you know.

1156
01:06:44,119 --> 01:06:47,639
Speaker 1: Art, Hey, I've got a great idea.

1157
01:06:49,360 --> 01:06:54,679
Speaker 3: Yeah, oh my gosh.

1158
01:06:54,960 --> 01:06:59,639
Speaker 1: So so he said. He propositioned her, let's go have

1159
01:06:59,719 --> 01:07:03,960
sex in the vocal booth and we'll record the sounds

1160
01:07:05,280 --> 01:07:06,719
and we'll put it over the bridge of the song.

1161
01:07:08,079 --> 01:07:12,159
And she said, I'll do it for the band and

1162
01:07:12,199 --> 01:07:13,440
a bottle of Jack Daniels.

1163
01:07:13,679 --> 01:07:16,480
Speaker 3: That's what she got, along with some infamy. She said

1164
01:07:16,559 --> 01:07:19,519
later on that this weighed pretty heavily on her soul.

1165
01:07:19,880 --> 01:07:24,039
She only got a bottle of Jack out of it,

1166
01:07:24,440 --> 01:07:28,159
and then the band became famous, and that was all

1167
01:07:28,199 --> 01:07:32,079
she ended up with, and drug addiction and shame.

1168
01:07:34,559 --> 01:07:40,519
Speaker 1: Something to tell her grandkids about. Hey, come over here, kids,

1169
01:07:40,519 --> 01:07:41,920
and need you to listen to this song.

1170
01:07:44,840 --> 01:07:48,559
Speaker 3: Hear that sound. So that kind of brings up a

1171
01:07:48,599 --> 01:07:50,880
story that happened to me because I'm listening to this.

1172
01:07:50,960 --> 01:07:53,239
I'm listening to this album and I put it on

1173
01:07:53,679 --> 01:07:56,679
and call my twelve year olds in the car with me,

1174
01:07:57,440 --> 01:08:02,400
and it gets to the part where Axel's going and

1175
01:08:02,760 --> 01:08:07,880
Cole's like, it really bothers me when he does that.

1176
01:08:08,840 --> 01:08:13,159
Why He's like, Dad, I know what he's doing. And

1177
01:08:13,280 --> 01:08:16,119
he's like, oh man, the guys at school they make

1178
01:08:16,199 --> 01:08:18,159
that noise. It's just so gross.

1179
01:08:18,279 --> 01:08:23,800
Speaker 1: And he's not even pretending like they usually are.

1180
01:08:24,880 --> 01:08:26,880
Speaker 3: So, you know, they had to set up a mic

1181
01:08:26,960 --> 01:08:29,199
for this, right, they had to set up You can't

1182
01:08:29,279 --> 01:08:31,079
just you know, there's.

1183
01:08:31,600 --> 01:08:33,119
Speaker 1: I hope they set up a candle too.

1184
01:08:33,159 --> 01:08:36,800
Speaker 3: You know, they dimmed the lights, they set the mic up,

1185
01:08:37,079 --> 01:08:40,880
and then they exited the room. So the guy who

1186
01:08:40,920 --> 01:08:44,760
mixed the album, his name's Michael Barbiro, and he didn't

1187
01:08:44,760 --> 01:08:47,239
want to have anything to do with this, and so

1188
01:08:47,920 --> 01:08:51,600
he set up the microphones and then he left. He

1189
01:08:51,640 --> 01:08:55,479
had this assistant engineer named Victor Deglio record it, and

1190
01:08:55,560 --> 01:08:59,640
so on the album. In the notes, Deglio is listed

1191
01:08:59,760 --> 01:09:05,960
as as Victor quote, the fucking engineer Diglio because of

1192
01:09:06,000 --> 01:09:07,600
his contribut.

1193
01:09:11,880 --> 01:09:14,880
Speaker 1: That's a great man. Gosh, that's almost.

1194
01:09:16,119 --> 01:09:16,560
Speaker 3: Love that.

1195
01:09:16,640 --> 01:09:21,600
Speaker 1: It's hilarious. Oh, more embarrassing than what Adriana Smith has

1196
01:09:21,640 --> 01:09:22,079
to little with.

1197
01:09:25,479 --> 01:09:28,119
Speaker 3: So Rock and Queen was the song that they were

1198
01:09:28,159 --> 01:09:32,439
performing in Saint Louis in nineteen ninety one, when there

1199
01:09:32,520 --> 01:09:35,119
was a guy. You know, it's pretty commonplace these days

1200
01:09:35,239 --> 01:09:37,239
that people have cameras. It shows I mean, you can't

1201
01:09:37,239 --> 01:09:39,680
avoid it with. Everybody has a phone that has a

1202
01:09:39,720 --> 01:09:42,399
camera on it, but back in nineteen ninety one it

1203
01:09:42,680 --> 01:09:47,399
was rare and it was really frowned upon. And Axel

1204
01:09:47,439 --> 01:09:51,640
sees this guy taking pictures of him and tries to

1205
01:09:51,640 --> 01:09:53,520
get the security to do something about it. They don't

1206
01:09:53,560 --> 01:09:55,640
do anything, so he decides to take matters into his

1207
01:09:55,680 --> 01:09:58,680
own hands. He jumps out in the crowd, hits the

1208
01:09:58,720 --> 01:10:03,119
fan with the camera, kind of has to fight up

1209
01:10:03,159 --> 01:10:05,840
the security guys, gets thrown back up on the stage

1210
01:10:05,880 --> 01:10:09,439
and says, thanks to the lame ass security, I'm going home,

1211
01:10:09,560 --> 01:10:12,239
and he throws the mic down and walks off stage

1212
01:10:12,760 --> 01:10:15,840
and the rest of the band goes with him and

1213
01:10:16,159 --> 01:10:18,119
a full scale riot breaks out.

1214
01:10:19,079 --> 01:10:23,039
Speaker 1: There are some amazing, amazing stories that follow this band

1215
01:10:23,479 --> 01:10:28,039
post Appetite for Destruction, but those are a podcast for

1216
01:10:28,079 --> 01:10:31,319
a later day when we cover usual Illusion one and two.

1217
01:10:31,680 --> 01:10:36,239
I would love to hear anyone's suggestions for what goes

1218
01:10:36,680 --> 01:10:39,399
with USUER Illusion one and two. What's a good matchup

1219
01:10:39,439 --> 01:10:40,800
for it? We want to hear from you, guys. Hit

1220
01:10:40,880 --> 01:10:43,640
us up on Twitter, hit us up on Facebook, email

1221
01:10:43,720 --> 01:10:46,000
us let us know your suggestion for what is the

1222
01:10:46,000 --> 01:10:49,880
best matchup for USUER llusion one and two. All right,

1223
01:10:50,000 --> 01:10:53,279
so that wraps up Appetite for Destruction.

1224
01:10:53,640 --> 01:10:56,640
Speaker 3: Join us for part two of the Appetite for Destruction

1225
01:10:56,960 --> 01:11:00,720
versus Back in Black Podcast. We really appreciate all the

1226
01:11:00,720 --> 01:11:03,039
support you've been given us out there. We're overwhelmed by

1227
01:11:03,079 --> 01:11:07,319
how many people are listening and joining in and communicating

1228
01:11:07,319 --> 01:11:08,880
with us on Facebook. We're blown away.

1229
01:11:09,159 --> 01:11:09,800
Speaker 1: Thanks guys.

1230
01:11:09,920 --> 01:11:13,319
Speaker 3: Please please check us out on Facebook at Shirley Podcast

1231
01:11:13,439 --> 01:11:16,880
on Facebook or on Twitter at Shirley Podcast, or if

1232
01:11:16,880 --> 01:11:20,800
you want to, you can email us Shirlypodcast at gmail

1233
01:11:20,880 --> 01:11:23,039
dot com. All right, we'll see you guys next week.

1234
01:11:29,039 --> 01:11:34,039
Speaker 1: Okay, So according to this list, Axel's voice, I'm not

1235
01:11:34,079 --> 01:11:38,800
a musician, but it goes from super low F one.

1236
01:11:39,479 --> 01:11:40,600
I don't know what that means.

1237
01:11:40,920 --> 01:11:44,600
Speaker 3: Okay, I mean I know what. It's just a flower note,

1238
01:11:45,119 --> 01:11:46,239
a low F on the scale.

1239
01:11:46,319 --> 01:11:48,479
Speaker 1: Yeah, sure, a low F on the scale to a

1240
01:11:49,039 --> 01:11:51,439
high of B sharp six.

1241
01:11:51,960 --> 01:11:54,159
Speaker 3: Okay, there's no such thing as B.

1242
01:11:54,319 --> 01:12:02,359
Speaker 1: Sure, let's start over. Let's start this one over.

1243
01:12:06,119 --> 01:12:07,640
Speaker 3: Does it say be sharp?

1244
01:12:07,880 --> 01:12:10,840
Speaker 1: It has be and it has a little little note

1245
01:12:10,880 --> 01:12:11,560
thing by it.

1246
01:12:11,960 --> 01:12:13,720
Speaker 3: Okay, so it looks like another like.

1247
01:12:13,680 --> 01:12:15,680
Speaker 1: Little B right, a little baby bee.

1248
01:12:16,119 --> 01:12:18,239
Speaker 3: Okay, okay, good, good, all right, so you just you

1249
01:12:18,319 --> 01:12:24,560
misinterpreted the symbol. Let's be flat. I was really really

1250
01:12:24,600 --> 01:12:31,119
gonna judge contest be sharp. Okay, yeah, no, wonder they

1251
01:12:31,119 --> 01:12:32,159
thought he was great? Yeah?

1252
01:12:32,199 --> 01:12:35,520
Speaker 1: Really okay, I'm going to start this little conversation over

1253
01:12:35,600 --> 01:12:35,960
real quick.

1254
01:12:36,119 --> 01:12:37,600
Speaker 3: Okay, I think it's great.

1255
01:12:41,159 --> 01:12:43,119
Speaker 1: Okay. I don't know if you saw this, d but

1256
01:12:43,239 --> 01:12:47,079
there's a source out there called concert hootels dot com.

1257
01:12:47,159 --> 01:12:49,880
They came out with the list of greatest vocalists.

1258
01:12:50,000 --> 01:12:51,840
Speaker 3: Did you say concert hotels.

1259
01:12:51,439 --> 01:12:53,880
Speaker 1: Dot concert hotels dot com.

1260
01:12:54,039 --> 01:12:57,399
Speaker 3: Oh, if concert hotels dot com is speaking, you should listen.

1261
01:12:58,000 --> 01:13:01,199
Speaker 1: I'm just telling you. On this list, Steve Perry is

1262
01:13:01,359 --> 01:13:03,840
below Eminem.

1263
01:13:03,720 --> 01:13:09,159
Speaker 3: We're lily literally weeping right now. All music images and

1264
01:13:09,199 --> 01:13:11,560
movie clips are used for the purposes of commentary and

1265
01:13:11,680 --> 01:13:14,520
education in conjunction with the Fair Use Agreement under the

1266
01:13:14,600 --> 01:13:15,520
US copyright law.