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Speaker 1: This is Pat from the thirty something Movie podcast, and

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you're listening to my most excellent friends Jason and d

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from the Shurley You Can't Be Serious Podcast.

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Speaker 2: Hello everybody, and welcome to the Shurly 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.

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Speaker 1: Back in Black.

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Speaker 3: 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 Colliban.

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Speaker 4: 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.

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Speaker 5: Today.

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Speaker 4: 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 2: 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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If you're like me, you attached songs to certain time periods,

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you're like, well, Sweet Child of Mine was popular with

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Summer of eighty eight. Paradise City really was popular at

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the beginning in sort.

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Speaker 5: Of eighty nine.

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Speaker 2: It took a long time. This was a slow builder.

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It would eventually become the largest selling debut album of

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all time.

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Speaker 5: So these are two powerhouses that we're talking about.

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Speaker 2: Well, let's dive in and see what happens.

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Speaker 4: 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 Michael. Nobody knows who those guys are. So yeah,

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you have you have Jeffrey Dean Isabelle, who became Izzy.

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You have William Bruce Rose Junior, who was then William

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Bruce Bailey, who was then w Period Axel Rose and

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then you had Michael Andrew mccagan, who was tough, and

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then you had Michael cole Letti, who became Steven Adler,

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and then finally you had Saul Hudson, who everybody knows

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as Slash. Cool names cool, Yes, Yeah, Slash I think

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has has a super interesting history. He was born over

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in the UK. He was born in England. His mom

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was a clothes designer and designed clothes for people like

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David Bowie and Janis Joplin and quite a few other

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famous folks. And his dad was an artist who designed

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album covers for Neil Young and Joni Mitchell.

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Speaker 5: I mean, that's a pretty cool, pretty cool couple of grants.

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Speaker 4: And so his mom moves out to to pursue her

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fashion career and he starts going to school in LA

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and they're friends with you know, a lot of different

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actors and entertainers and musicians, and an actor named Seymour

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Castle is the one who gave Slash his nickname.

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Speaker 5: Yeah.

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Speaker 2: 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, So.

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Speaker 5: Oh really, I didn't know that.

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Speaker 2: Oh yeah.

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Speaker 4: So Slash starts going to school out in California and

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

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a local school that has a really great place to

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

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

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is out there and he sees this kid go shooting

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up into the air and then come down face first

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into the concrete and he's like, oh gosh, and he

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runs over. He's like, are you okay, and kids like

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

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take you home, and he goes home with them. They

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become fast friends, and this kid shows him how to

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play 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 stevenler

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Apler Yes, showed Slash's first chords.

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Speaker 5: On the guitar.

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Speaker 2: 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'.

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Speaker 4: Roses 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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Isy and Axel both are going to school together in Lafayette, Indiana.

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Speaker 2: I think that's so interesting. Nobody from this band was

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from La No.

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Speaker 4: Yeah, they all they all in La Yeah, moved in

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at various times in their lives. Before Izzy moved out

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to LA he and Axel would play together in a

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garage band. And when I say in a garage band,

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I mean they only played in the garage. There were

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

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Speaker 2: There was not a hop in musical scene in Lafayette.

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Speaker 5: No.

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Speaker 4: 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 house,

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and an extremely religious household. And I mean the benefit

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that came from that is that he got to he

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learned to play the piano, and he learned to sing

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in front of people at his church. They call it

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the Bailey trio. He and his brother and sister would

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sing together in the church.

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Speaker 2: You know, it's amazing when we go through this, how

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many artists get their start scene.

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Speaker 4: In Unfortunately, I also developed a talent for getting in

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fights and stealing things and ended up getting arrested in

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the neighborhood of twenty different times as a juvenile delinquent.

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And 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 going to 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 said, I just grabbed my symbol

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stand and stood with it like a bat, trying to

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fin them off. Yell and get the f away from me.

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And that was his introduction to the rock scene in La.

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Speaker 2: 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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I'm out, 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 4: He wrote, Yeah, he wrote a ton of songs on

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the album. And he's the guy that put him together

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

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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.

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Speaker 2: Anymore, and so Steven's contribution was huge, obviously not I mean,

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

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

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all five irreplaceable.

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Speaker 4: So after Izzy's horrendous experience in his first punk show,

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he within just a couple of weeks says.

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Speaker 5: And I'm not going to play with these guys.

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Speaker 4: I'll more join this other band, also a punk band

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called the Atoms, and within days he gets his drum

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kit stolen from his call and so he's like, heck

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with punk, these guys are jerks.

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Speaker 5: Is there a heavy metal band I can join?

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Speaker 4: And so he finds his band called Shire and then

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he took up the guitar at that point because he

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didn't have any drums anymore.

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Speaker 5: Nice, okay.

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Speaker 4: So then in nineteen eighty three, Izzy forms Hollywood Rows

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with Axel Rose.

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Speaker 2: 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, it's it's not the same.

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

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some grown up to do, so Hollywood Roses for the beginning.

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Speaker 4: 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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Speaker 5: And while in the.

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Speaker 4: Road Crew they needed a bass player. They put out

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this ad in a magazine called Music Connection, and Duff

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McKagan is the one that answers that call.

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Speaker 5: Now.

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Speaker 4: 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 didn't know what he's gonna play. He'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 he can

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sing too, yeah. And so Slash, Duff and Steven together

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are in road Crew. Guns and Roses forms, and then

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quickly Tracy Guns leaves, and then their drummer leaves, and

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quickly Slash and Steven and Duff are all joined together

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and we have our classic lineup Guns n' Roses. First

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

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is with the bassis all Beck and you know he's

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the one that leaves and why Duff joins up. And

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then Tracy and Axe will get into a fight, and

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so Tracy leaves, so they call Slash to replace Tracy.

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And then when the drummer Rod Gardner quits, then they say, okay,

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

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rehearsed for two days and they did their debut show

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as the classic lineup on June sixth, nineteen eighty five.

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Speaker 2: Its it's really interesting how these guys all kind of

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came together. Yeah.

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Speaker 4: Well then you know, Duff had left this Seattle band

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that he was with and they had previously booked some shows,

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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, Traveler Cohast, 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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these clubs and they're in two rickety old vans which

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both break down along the way. They end up hitch

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hiking the rest of the way up to Seattle, only

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to arrive to find out that if you don't promote yourself,

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the venue's not going to promote you, and nobody's going

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to come see your show. Well, like guys going to War.

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This created a bond among the members of the band

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and they became very tight knit group. And so they

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got back to la and they started playing clubs like

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the Whiskey a Go Go, the Roxy and the Troubadour,

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and this girl who's their pseudo manager at the time, says,

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you know, why don't you guys come live in my apartment.

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It's across the street from the Whiskey a Go Go,

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and you know, we'll we'll.

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Speaker 5: Make it work.

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Speaker 4: And so they all five of the band members are

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living with her and another girl in this house and

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this is the you know these this is where you

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see the pizza b with.

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Speaker 5: The songs written on them.

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Speaker 4: But they start playing these shows, and the way it

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works with bands in LA is if you're good enough

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on Wednesday, they put you on the Thursday rotation. You're

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good enough on Thursday, you go to Friday. And then

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if you're the best bands around you get into play

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on Saturday nights and ultimately that's that's where they got Okay,

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So just an aside, just to quicken aside. You know,

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these guys are poorer than dirt. They're living with somebody

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so that they can afford to have a place to stay,

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and so they'll get these jobs in various places. And

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one of the places that both Axel and Slash worked

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together was the video store. Can you imagine there's a

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point in your life you could have gone and rented

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a VHS copy of One Crazy Summer from Axel Rods.

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Speaker 2: Excuse me, Slash, can you tell me where were your

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copy of The Goonies is?

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Speaker 4: 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 look good on the hat,

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and so he takes the belt 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.

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Speaker 5: Look.

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Speaker 4: So they are getting a following at this point. They

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put on an incredible show. If you can say anything

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about Axel Rosa that he is fully invested in the

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live performances that they do. And they start gathering and

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getting a lot of attention. They had several record labels

289
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come and look at them. But the A and R

290
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guy for Geffen is this guy named Tom and they

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call him Zoots. Zoots comes to the clubs. He actually

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got hired by Geffen because he was the guy who

293
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had initially signed Motley Crue and Geffen was looking for

294
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the next Motley Crue. So they party, of course, hey,

295
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we're gonna get signed. This is going to be great,

296
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enjoying the fruits of their labor momentarily, and then the

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next more of course, they're running late, and then Axel

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loses his contacts and refuses to go in his glasses,

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and so he's scrambling. They're already late, They're already like

300
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an hour late, and he's scrambling, and so this girl

301
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is trying to help him find the contacts. Slash is

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trying to help him find the context. They're looking all

303
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over and finally, like Slash pulls them out of this

304
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pair of jeans that actually been warring three days before

305
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he's like, all right, we found him.

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Speaker 5: And they look around and Axel's.

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Speaker 4: Gone, yeah, He's just gone, yeah, we found the contacts,

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but we lost Axel.

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Speaker 2: A little foreshadowing of events to come.

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Speaker 4: Right, And so they're they're an hour and a half late.

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At this point, they finally look out the window at

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the whiskey of Go Go and Axel is sitting in

313
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this meditative state on the roof of the whiskey of

314
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Go Go. I just can't even imagine, just you know, like, hey,

315
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this is it, you know, this who home? So they

316
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kept David Geffen waiting for were two hours for them

317
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to arrive to sign the contract. I can't even I mean,

318
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these guys, you know, it's like we've heard all the warnings.

319
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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

321
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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,

323
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and it turned out it worked out well.

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Speaker 2: Fun. Okay, so let's just let's just review. We've got

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habitual criminal criminals, criminals, we've got total debauchery, we've got

326
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drug use. Yes, we've got late for performance. Yeah, we've

327
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got wild, dangerous looking band.

328
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Speaker 5: Yeah, not pretty.

329
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Speaker 2: It all comes together beautifully makes a symphony, though I

330
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don't know.

331
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Speaker 4: Yeah, the record label wants to take advantage of the

332
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fact that these guys are hot right now, at least

333
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taught in LA and so they put out an album called.

334
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Speaker 2: Live Like an F and Suicide. It's kind of like

335
00:16:59,440 --> 00:17:03,440
the Prince symbol. There's some symbolic like Hubert like symbols

336
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in the title of the album. So it's live and

337
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then Hubert live and then the Kubert sign and then

338
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like a Suicide. Yes, so we always thought it was

339
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live like n F and Suicide, but the songs on

340
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this EP are reckless live. Nice boys moved to the

341
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city in Mammachin. This is the first side of the

342
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Lies album. If you're familiar with GENR Lies.

343
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Speaker 4: So then the next problem to solve is who do

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we get to produce this album? And they worked with

345
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Spencer Prawfer, who had done Quiet Riot's Metal Health, which

346
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was the first metal album to ever reach the top

347
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ten on the pop charts, and he worked through several

348
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sessions with them. They considered Mutt Lang, who we've talked about,

349
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you know, with def Leppard and who was the producer

350
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of Back in Black, And ultimately they end up with

351
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this guy named my Clink.

352
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Speaker 2: You know. One of the producers that you didn't mention.

353
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One of the possible producers was Paul Stanley of Kiss.

354
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Speaker 4: Yeah, And oddly they decided not to go with him

355
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because he wanted to change up the drum set on

356
00:18:12,160 --> 00:18:15,039
Steven Adler's drums too much, and Steven was like, no,

357
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screw you, Paul Stanley, not changing my drums for you.

358
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Speaker 2: So basically, so far, if you're keeping score at home,

359
00:18:23,559 --> 00:18:27,759
Van Halen said few to Gene Simmons, and Guns and

360
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Roses said few to Paul Stanley.

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Speaker 5: Okay, yep.

362
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Speaker 4: Did Ace Freely has he come in to play at all?

363
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Speaker 2: Not yet, not yet, but we're still early on this.

364
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Speaker 4: I feel like he's going to. I think Ace Freely actually,

365
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you know what. Ace Freely was the inspiration for the

366
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guitar solo by Mike McCready from She Is, where he

367
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gets the guitar solo for Alive.

368
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Speaker 2: All right, Peter Chris pressures off.

369
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Speaker 4: So looking at Guns n' Roses, not heavy metal. This

370
00:18:58,400 --> 00:19:00,640
is a hard rock band. It's hard hard rock.

371
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Speaker 2: And when they When they advertise for a guitar player,

372
00:19:04,880 --> 00:19:08,200
they mentioned they looking for somebody with blues influence.

373
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Speaker 4: Yeah, and slashes Slash as a unique style and it

374
00:19:14,640 --> 00:19:18,759
is very much a hard rock or the term that

375
00:19:19,000 --> 00:19:21,559
was coming out just about this time, a classic rock

376
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kind of style. And he actually, you know, the guy

377
00:19:27,119 --> 00:19:29,759
who started managing the band at that point, when he

378
00:19:29,839 --> 00:19:33,000
showed up, he was just like, I don't think Slash

379
00:19:33,079 --> 00:19:36,480
had ever changed the strings on his guitar. So he

380
00:19:36,559 --> 00:19:41,160
goes out and buys him a fifty nine Less Paul replica.

381
00:19:41,279 --> 00:19:43,559
This is not a Gibson less Paul. This is a

382
00:19:43,599 --> 00:19:47,880
replica that is built by Chris Derek. Now, replica doesn't

383
00:19:47,880 --> 00:19:52,720
mean to knockoff. It means that this guy his he

384
00:19:52,920 --> 00:19:56,880
was a handmade guitar maker. They called him luthierst but

385
00:19:57,279 --> 00:20:00,640
he I mean, he got the wood for this guitar

386
00:20:00,720 --> 00:20:04,039
from an old barn and he put it together himself,

387
00:20:04,480 --> 00:20:08,440
and this became the guitar. This is Slash's go to

388
00:20:08,599 --> 00:20:13,119
guitar that he still owns today, and it had a

389
00:20:13,200 --> 00:20:15,880
sound that was different than anybody that was on the radio.

390
00:20:15,960 --> 00:20:20,400
Right then they did their recording at a studio called

391
00:20:20,640 --> 00:20:26,200
darryld Dragan's Rumbo Records. You know who Darryl Dragan is, No,

392
00:20:27,039 --> 00:20:29,039
He's Captain from Captain and to Neil.

393
00:20:31,000 --> 00:20:31,920
Speaker 5: Just hearing it.

394
00:20:33,599 --> 00:20:36,960
Speaker 4: That one of the greatest hard rock albums of all

395
00:20:37,079 --> 00:20:42,519
time was recorded in Captain's recording studio just blows my mind.

396
00:20:42,839 --> 00:20:46,400
Speaker 2: Welcome to the Jungle was recorded at the place where this

397
00:20:46,480 --> 00:20:47,279
song is recorded.

398
00:20:51,799 --> 00:20:54,880
Speaker 4: Yes, so, but as it turns out, it gives him

399
00:20:54,880 --> 00:20:59,119
a very authentic sound, and Clink does things the old

400
00:20:59,119 --> 00:21:01,839
fashioned way. I mean he's spliced stuff together with a

401
00:21:01,960 --> 00:21:04,799
razor blade. So you know, we're getting into that point

402
00:21:04,839 --> 00:21:07,680
in history where digital recording is starting to take over,

403
00:21:07,759 --> 00:21:11,599
but this still has the true sound of real instruments

404
00:21:11,680 --> 00:21:13,480
that you hear on the album, which I think I

405
00:21:13,519 --> 00:21:15,400
think has to be a huge part of why it's

406
00:21:15,720 --> 00:21:18,319
so successful and continues to be so successful.

407
00:21:18,480 --> 00:21:22,000
Speaker 2: Before we talk about the songs that are on the album, yeah,

408
00:21:22,000 --> 00:21:23,880
I want to make a brief mention of the songs

409
00:21:23,920 --> 00:21:26,400
that did not make the album. So here you go.

410
00:21:26,440 --> 00:21:31,400
Here's the list. Back off, Bitch, You Could Be Mine, Yeah,

411
00:21:31,799 --> 00:21:36,799
November Rain, Wow, and Don't Cry Wow. Those songs. Those

412
00:21:36,799 --> 00:21:38,960
four songs were left off kind of I don't know

413
00:21:39,000 --> 00:21:42,039
if you remember back when we talked about Frontiers, the

414
00:21:42,039 --> 00:21:44,880
great songs were left off the Frontiers album. Yeah, I

415
00:21:44,880 --> 00:21:46,960
mean you had these songs show up again in the

416
00:21:47,039 --> 00:21:50,160
usual illusion albums. But I mean, Don't Cry was a hit,

417
00:21:50,240 --> 00:21:53,759
November Rain was humongous, and You Could Be Mine was

418
00:21:54,279 --> 00:21:56,519
a big song off the Terminator two soundtrack.

419
00:21:57,039 --> 00:22:02,480
Speaker 4: Yeah, and they still had the best selling debut album

420
00:22:02,519 --> 00:22:06,960
in US history, And leaving those songs off, they still

421
00:22:07,000 --> 00:22:07,680
managed to do it.

422
00:22:08,079 --> 00:22:11,799
Speaker 2: And unlike Frontiers, I'm not sure what you would pull

423
00:22:12,359 --> 00:22:17,119
to squeeze in those fantastic songs. Appatite for Destruction was

424
00:22:17,119 --> 00:22:20,960
released July twenty first, nineteen eighty seven. First song on

425
00:22:21,039 --> 00:22:23,799
the album maybe the best hard rock song of the eighties.

426
00:22:54,559 --> 00:22:55,519
Speaker 5: Yes, okay, cool.

427
00:22:56,799 --> 00:23:00,279
Speaker 2: This song has so many this song has there's so

428
00:23:00,400 --> 00:23:03,160
many great elements that makes a great hard rock sun.

429
00:23:03,319 --> 00:23:03,440
Speaker 5: Right.

430
00:23:03,960 --> 00:23:08,000
Speaker 2: You have the amazing guitar right off the bat. Yes,

431
00:23:08,119 --> 00:23:12,359
you have this incredible Axel howl. It was just over

432
00:23:12,440 --> 00:23:15,519
the top. You have the in the video, you have

433
00:23:15,640 --> 00:23:19,960
Axle doing his serpentine dance, which the whole world was emulating.

434
00:23:20,000 --> 00:23:24,119
After that, you have Slash's top hat, and the guitars

435
00:23:24,200 --> 00:23:30,279
are dirty and sleazy and irresistible, it's amazing.

436
00:23:30,319 --> 00:23:34,319
Speaker 4: And the song promptly does nothing well.

437
00:23:34,519 --> 00:23:36,400
Speaker 2: That's because MTV fought him the whole way.

438
00:23:37,039 --> 00:23:41,519
Speaker 4: Okay, so this, this song was the first single released

439
00:23:41,680 --> 00:23:45,359
in the US and the second single released in the UK.

440
00:23:45,839 --> 00:23:48,200
In the UK, before the album even came out, they

441
00:23:48,240 --> 00:23:49,559
released It's So Easy.

442
00:23:49,880 --> 00:23:50,880
Speaker 5: It did not do well.

443
00:23:51,400 --> 00:23:55,039
Speaker 4: Then the next month they released Welcome to the Jungle

444
00:23:55,359 --> 00:23:59,720
in both the US and the UK. Again, it's still

445
00:23:59,759 --> 00:24:02,240
did do very well. I mean, they've got sales, but

446
00:24:02,359 --> 00:24:06,240
it's not you don't. You don't have the overnight success

447
00:24:06,279 --> 00:24:07,960
of the album that you expect to. I mean, when

448
00:24:08,000 --> 00:24:10,559
you're listening to this, holy cow, people should have been

449
00:24:10,599 --> 00:24:14,039
blown away immediately. So the question then is why weren't they?

450
00:24:14,400 --> 00:24:17,400
And as you just said, MTV's not playing the video

451
00:24:17,839 --> 00:24:20,599
and the radio stations are not playing the song.

452
00:24:20,720 --> 00:24:23,240
Speaker 2: Okay, so let's let's dive into that because to me,

453
00:24:23,359 --> 00:24:27,359
that's a very interesting part here. So Geffen Records, actually,

454
00:24:27,480 --> 00:24:30,359
i mean David Geffen himself had to make a deal

455
00:24:30,440 --> 00:24:32,240
with MTV to play the song.

456
00:24:32,319 --> 00:24:34,000
Speaker 4: I don't know if you know this history, but there's

457
00:24:34,039 --> 00:24:36,960
a guy named John Malone. He's a very conservative guy,

458
00:24:37,000 --> 00:24:41,960
but he owned this little tiny company called Telecom.

459
00:24:41,160 --> 00:24:41,720
Speaker 5: Which.

460
00:24:43,000 --> 00:24:46,240
Speaker 4: Was a pretty big friggin deal, and he flat out

461
00:24:46,240 --> 00:24:50,079
he said, he said, the MTV guys, do not play

462
00:24:50,119 --> 00:24:52,400
this band, or we're going to take you off of

463
00:24:52,440 --> 00:24:54,519
all of our stations. I mean, Telecom is one of

464
00:24:54,519 --> 00:24:57,240
the biggest cable providers in the country, maybe the biggest

465
00:24:57,279 --> 00:24:59,680
at the time. And he said, if you play these guys,

466
00:25:00,119 --> 00:25:03,599
he just saw them as I suppose the spawns of

467
00:25:03,640 --> 00:25:06,519
Satan or something, and he said, don't play him, or

468
00:25:06,559 --> 00:25:08,440
we're going to take you off. We will take you

469
00:25:08,519 --> 00:25:11,839
off our cable network. That's a pretty big freaking deal.

470
00:25:12,119 --> 00:25:14,880
Speaker 2: So MTV said, we'll play at one time, at five

471
00:25:14,960 --> 00:25:16,839
am on Sunday mornings.

472
00:25:17,480 --> 00:25:17,759
Speaker 5: Yeah.

473
00:25:18,039 --> 00:25:20,559
Speaker 4: At the point, it had been a year. It had

474
00:25:20,599 --> 00:25:24,279
been a year since the single had been released, and

475
00:25:24,680 --> 00:25:27,279
the record had sold about two hundred thousand copies, maybe

476
00:25:27,799 --> 00:25:31,400
depending on your resource, maybe five hundred thousand copies, and

477
00:25:31,440 --> 00:25:33,960
it wasn't enough to be impressive to the record label.

478
00:25:34,000 --> 00:25:36,640
And the record label was pulling back. They're ready to say,

479
00:25:37,000 --> 00:25:39,559
we're ready to be done with these guys. And it

480
00:25:39,599 --> 00:25:42,160
was Coots, it was their A and R guy who

481
00:25:42,200 --> 00:25:45,640
believed in them, who fought for them, who said if

482
00:25:45,759 --> 00:25:51,759
you played this video on MTV, this album will explode.

483
00:25:52,599 --> 00:25:56,079
But MTV refused to play it. He had to go

484
00:25:56,160 --> 00:25:59,240
to David Geffen. Now, David Geffen is no small fry

485
00:25:59,319 --> 00:26:02,119
at either. I mean, he's pretty big. I can imagine

486
00:26:02,119 --> 00:26:04,640
the guys from MTV and the struggle of we're going

487
00:26:04,720 --> 00:26:07,680
to get kicked off the all of these cable networks

488
00:26:07,680 --> 00:26:09,920
if we play this song, or we're gonna make the

489
00:26:09,960 --> 00:26:13,079
guy who owns Geffen Records mad at us if we

490
00:26:13,200 --> 00:26:13,920
don't play the.

491
00:26:13,920 --> 00:26:15,400
Speaker 5: Song, what are we gonna do?

492
00:26:16,079 --> 00:26:19,640
Speaker 4: I get an idea, we'll play it at four am

493
00:26:19,880 --> 00:26:22,960
where nobody will hear it, and then we've satisfied nobody's

494
00:26:23,000 --> 00:26:25,920
getting you know, John Malone will know what happened. Geffen

495
00:26:26,000 --> 00:26:28,480
will be satisfied that we gave it our go, and

496
00:26:28,559 --> 00:26:29,279
so no big deal.

497
00:26:29,359 --> 00:26:30,279
Speaker 5: So they played the song.

498
00:26:30,359 --> 00:26:33,240
Speaker 4: It was it was like depending on what place in

499
00:26:33,279 --> 00:26:35,039
the country you were, it was either going to be

500
00:26:35,240 --> 00:26:37,920
four am, three am, two am, or one am.

501
00:26:39,480 --> 00:26:42,759
Speaker 2: And people called in and said play that video more.

502
00:26:43,720 --> 00:26:46,559
Speaker 4: They not only did they call in, there were so

503
00:26:46,680 --> 00:26:51,039
many calls in that they melted the switchboard. I mean

504
00:26:51,119 --> 00:26:53,759
we talked in our Van Haley episode about how Eddie

505
00:26:53,759 --> 00:26:55,839
when he came in and played the guitar, set the

506
00:26:55,880 --> 00:27:00,640
sound monitors on fire. The phone calls, set the witchboard

507
00:27:00,680 --> 00:27:03,720
on fire. That's when so many people called in to

508
00:27:03,759 --> 00:27:05,920
say play that video again.

509
00:27:06,200 --> 00:27:09,559
Speaker 2: It is almost lost appetite for destruction before it got

510
00:27:09,559 --> 00:27:12,440
off the ground. Which is which is? Which would have

511
00:27:12,480 --> 00:27:15,759
been tragic. I remember this. I remember when this song

512
00:27:15,839 --> 00:27:18,759
was popular the first time. Okay, so you had to

513
00:27:18,880 --> 00:27:22,039
kind of be an MTV watcher. So for me, this

514
00:27:22,160 --> 00:27:25,400
song reminds me of like Spring of eighty eight, right,

515
00:27:25,519 --> 00:27:30,079
so early eighty eight. Yeah, they actually released this song twice. Yeah,

516
00:27:30,119 --> 00:27:32,599
they released it and then they and then after the

517
00:27:32,599 --> 00:27:34,519
success of the Sweet Child of Mind, they released it again.

518
00:27:34,960 --> 00:27:37,359
Speaker 4: That could not find the exact and I look hard,

519
00:27:37,559 --> 00:27:39,559
could not find the exact date that Welcome to the

520
00:27:39,640 --> 00:27:42,079
Jungle got played on MTV for the first time. But

521
00:27:42,359 --> 00:27:46,599
it seems to me from my memory, I saw Welcome

522
00:27:46,640 --> 00:27:48,640
to the Jungle before I knew what Sweet Child of

523
00:27:48,680 --> 00:27:49,119
Mine was.

524
00:27:49,519 --> 00:27:53,119
Speaker 2: Yeah, well, it got rotation in early eighty eight, for sure.

525
00:27:53,359 --> 00:27:56,400
Speaker 4: Sweet Child of Mine came out in June of nineteen

526
00:27:56,480 --> 00:28:01,000
eighty eight, and by September tenth had hit number one.

527
00:28:07,880 --> 00:28:09,279
Speaker 2: Here's the thing, when I was looking at it. So

528
00:28:09,319 --> 00:28:12,119
there's a story that goes along with this. And I've

529
00:28:12,160 --> 00:28:15,440
seen it said that it was New York. I've seen

530
00:28:15,480 --> 00:28:18,440
it say that it was Seattle. I've seen it said

531
00:28:18,440 --> 00:28:22,440
that it was La. But Axel says that the inspirations

532
00:28:22,440 --> 00:28:24,640
for the lyrics came from an encounter that he and

533
00:28:24,680 --> 00:28:27,279
his friend had with a homeless man while they were

534
00:28:27,319 --> 00:28:28,359
getting off a bus.

535
00:28:28,559 --> 00:28:31,079
Speaker 4: Yeah, I believe that, he says Queens. I think that

536
00:28:31,119 --> 00:28:34,079
the whole song has influences from those other towns. But

537
00:28:34,559 --> 00:28:37,160
Axel's story is, this is when we ran away from

538
00:28:37,200 --> 00:28:39,440
home and we stepped off the bus in Queen's.

539
00:28:39,279 --> 00:28:42,240
Speaker 2: Okay, all right, So getting off the bus, there's a

540
00:28:42,240 --> 00:28:45,640
homeless guy there and trying to scare young runaways. The

541
00:28:45,680 --> 00:28:48,160
man yellows at him, do you know where you are?

542
00:28:48,839 --> 00:28:52,000
You're in the jungle, baby, and you're gonna die? All right.

543
00:28:52,359 --> 00:28:53,799
One thing I did want to mention. Have you ever

544
00:28:53,799 --> 00:28:54,960
seen the movie Deadpool?

545
00:28:55,200 --> 00:28:58,319
Speaker 4: Yeah, thats Clint east to a Deadpool, not the Ryan

546
00:28:58,359 --> 00:28:59,160
Reynolds Deadpool.

547
00:28:59,240 --> 00:29:03,319
Speaker 2: That's right, Harry Clint Eastwood movie Deadpool. Yeah, at the

548
00:29:03,359 --> 00:29:05,319
beginning of the movie, there's a video shoot.

549
00:29:05,720 --> 00:29:08,279
Speaker 4: Yes, and the.

550
00:29:07,519 --> 00:29:10,599
Speaker 2: Director of the video is Liam Neeson, yes, and the

551
00:29:10,680 --> 00:29:12,880
song that they use is Welcome to the Jungle, and

552
00:29:12,920 --> 00:29:17,799
the lead singer is Jim Carrey. Yes, that Jim Carrey.

553
00:29:19,519 --> 00:29:24,759
Speaker 4: Oh yeah, before Liam was huge, before Jim was huge,

554
00:29:25,000 --> 00:29:29,039
and about the time that Guns n' Roses became huge,

555
00:29:29,440 --> 00:29:30,559
all of that came together.

556
00:29:30,960 --> 00:29:33,519
Speaker 2: Those guys actually have a cameo in the movie.

557
00:29:33,720 --> 00:29:37,759
Speaker 4: So yeah, they're they're at the funeral after Jim Carrey. Well,

558
00:29:38,000 --> 00:29:41,119
spoiler alert, spoiler alert, I'm sorry about to spoil the

559
00:29:41,119 --> 00:29:44,240
part in a thirty two year old movie when Jim

560
00:29:44,279 --> 00:29:47,319
Carrey dies. You know, they have the funeral and the

561
00:29:47,720 --> 00:29:50,480
band members are there. The Guns n' Roses band members

562
00:29:50,519 --> 00:29:53,319
are play the parts of his band members at his funeral.

563
00:29:53,440 --> 00:29:56,559
Speaker 2: Slash said, that's the first song that Axel wrote the

564
00:29:56,599 --> 00:29:59,519
lyrics to that Slash came up with the riff part

565
00:29:59,559 --> 00:30:00,839
and they kind of I wrote it together.

566
00:30:01,079 --> 00:30:06,519
Speaker 4: So the video was directed by a guy named Nigel Dick. Yes,

567
00:30:06,599 --> 00:30:08,279
that was his real name, Nigel Dick.

568
00:30:08,440 --> 00:30:09,599
Speaker 2: Could you say that one more time?

569
00:30:09,799 --> 00:30:11,200
Speaker 5: Is Nigel.

570
00:30:12,240 --> 00:30:20,440
Speaker 4: Dick directed this video and his previous work included shout

571
00:30:20,680 --> 00:30:23,640
by Tears for Fears. He did that video, then he

572
00:30:23,680 --> 00:30:27,039
did Welcome to the Jungle in eighty seven. He did

573
00:30:27,359 --> 00:30:31,680
Wonderwall in ninety five, and then he did Oops I

574
00:30:31,799 --> 00:30:34,839
did it again in two thousands, So this is only

575
00:30:34,880 --> 00:30:37,640
a handful. This guy is a very prolific video director.

576
00:30:37,640 --> 00:30:39,880
There are tons of videos that he's done. But the

577
00:30:40,000 --> 00:30:42,519
idea that we have Tears for Fears, Guns n' Roses,

578
00:30:42,599 --> 00:30:46,680
Oasis and Britney Spears in that catalog is pretty impressive.

579
00:30:46,920 --> 00:30:47,400
Speaker 3: Nice.

580
00:30:47,680 --> 00:30:49,599
Speaker 4: When they released this song as a single, they did

581
00:30:49,680 --> 00:30:52,200
a couple of times, and one of them was a

582
00:30:52,240 --> 00:30:54,720
Maxi single, which means it's not just an A side

583
00:30:55,119 --> 00:30:57,960
B side, it's you have a couple of songs on

584
00:30:58,039 --> 00:31:00,960
each side. And you know what the back looking song

585
00:31:01,200 --> 00:31:03,799
was for Welcome to the Jungle. It was a song

586
00:31:03,839 --> 00:31:07,240
called pull Out of Rosie by a little band called

587
00:31:07,720 --> 00:31:22,160
a c DC. Guess what That will come into play

588
00:31:22,240 --> 00:31:23,519
later on when we get into the.

589
00:31:23,440 --> 00:31:25,920
Speaker 2: History of Yes Love.

590
00:31:25,960 --> 00:31:31,960
Speaker 4: It also on the maxi single was It's So Easy

591
00:31:32,480 --> 00:31:34,519
and Knocking on Heaven's Door.

592
00:31:34,720 --> 00:31:38,440
Speaker 2: Wow, that's awesome. Nice. Okay, So we're done with Welcome

593
00:31:38,480 --> 00:31:40,960
to the Jungle. The next song on the album, track

594
00:31:41,079 --> 00:32:00,160
number two, is a song called It's So Easy.

595
00:32:01,799 --> 00:32:04,880
Speaker 4: The song is so good man, Yeah, yeah, and you

596
00:32:05,119 --> 00:32:07,519
could play it at any you know, church or social

597
00:32:07,559 --> 00:32:12,319
gathering whatever. You know, this stuff is so in your face.

598
00:32:12,359 --> 00:32:15,440
And this was this was I mean, here's here's a

599
00:32:15,720 --> 00:32:18,519
here's a song that screams why you don't get played

600
00:32:18,559 --> 00:32:25,559
on the radio. This song was actually written by Duff McKagan.

601
00:32:26,000 --> 00:32:30,079
It was written with his friend west Arkeene, who was

602
00:32:30,119 --> 00:32:33,400
also a co writer on Patients and the Garden and

603
00:32:33,599 --> 00:32:36,440
Yesterday's Duff. I got to read a bit of his

604
00:32:36,519 --> 00:32:39,200
biography and I got to recommend it to anybody who hasn't.

605
00:32:38,960 --> 00:32:39,599
Speaker 5: Read it out there.

606
00:32:39,759 --> 00:32:44,480
Speaker 4: Just what I've read so far is wonderfully written. It's engaging,

607
00:32:44,960 --> 00:32:45,880
it's it's a good book.

608
00:32:45,920 --> 00:32:46,680
Speaker 5: You should pick it up.

609
00:32:47,160 --> 00:32:50,519
Speaker 4: But Duff talks about early on whenever they were doing

610
00:32:50,559 --> 00:32:55,319
live sets and Axel would introduce him and he'd say, and.

611
00:32:55,319 --> 00:33:01,240
Speaker 2: This is Duff the King of Bears, which is you.

612
00:33:01,200 --> 00:33:04,279
Speaker 4: Know, I mean, honestly, all of the guys had substance

613
00:33:04,279 --> 00:33:07,240
abuse issues, and Duff was a heavy, heavy drinker and

614
00:33:07,279 --> 00:33:11,160
that's what that's what the circumstances were. And so not

615
00:33:11,279 --> 00:33:14,559
too long after they just are starting to become famous,

616
00:33:14,680 --> 00:33:17,359
Duff gets this call from these guys who say, hey,

617
00:33:17,400 --> 00:33:21,359
we're doing this kind of like animated thing, and we

618
00:33:21,440 --> 00:33:23,799
just were wondering. We were thinking about calling the beer

619
00:33:24,240 --> 00:33:28,920
duff beer. Is that okay with you? And he was like, sure, whatever,

620
00:33:29,160 --> 00:33:32,119
you know, who cares? As it turns out that little

621
00:33:32,119 --> 00:33:33,359
animated thing happened to.

622
00:33:33,279 --> 00:33:45,400
Speaker 2: Be that's awesome. Okay. So this song is kind of

623
00:33:45,480 --> 00:33:49,640
known because actual sings really low. Okay. He starts off

624
00:33:49,640 --> 00:33:51,240
the song singing super low.

625
00:33:51,440 --> 00:33:54,000
Speaker 4: He was always a baritone growing up, like even when

626
00:33:54,039 --> 00:33:56,480
he was a younger kid, he would sing baritone, and

627
00:33:56,519 --> 00:34:00,039
that his more recognizable singing now.

628
00:33:59,799 --> 00:34:01,200
Speaker 5: Is not what he would normally do.

629
00:34:01,319 --> 00:34:04,000
Speaker 4: It was when he was he was playing early on

630
00:34:04,079 --> 00:34:07,720
before guns n' Roses form, but in those early Hollywood

631
00:34:07,799 --> 00:34:10,880
Roses sets that he at some point went into that

632
00:34:11,000 --> 00:34:14,760
higher register and all the guys in the band went, dude,

633
00:34:15,119 --> 00:34:17,639
that's the way you need to sing. And so this

634
00:34:17,840 --> 00:34:20,760
is actually a sample of what he had sounded like

635
00:34:20,880 --> 00:34:23,280
before he found his signatures out.

636
00:34:23,480 --> 00:34:25,719
Speaker 2: When they asked him about it, he said, I sung

637
00:34:25,760 --> 00:34:28,760
it low because it fit the attitude of the song better.

638
00:34:28,840 --> 00:34:29,000
Speaker 5: Well.

639
00:34:29,039 --> 00:34:34,199
Speaker 4: The song is about not about money, because they hadn't

640
00:34:34,239 --> 00:34:40,960
become successful yet, so easy was getting the ladies there will.

641
00:34:40,880 --> 00:34:43,599
Speaker 2: Be hard to keep this family friendly with the subject

642
00:34:43,599 --> 00:34:45,880
matter we're going to cover throughout this album.

643
00:34:45,719 --> 00:34:49,199
Speaker 4: Right, Yes, especially some sampling that occurred on one of these.

644
00:34:50,519 --> 00:34:54,719
Speaker 2: I can't wait to talk about that. But okay, I'm

645
00:34:54,760 --> 00:34:56,480
really interested to talk about the video.

646
00:34:56,519 --> 00:34:57,920
Speaker 5: Okay, okay.

647
00:34:58,199 --> 00:35:01,559
Speaker 2: And when when people go, wait a minute, there's a video,

648
00:35:01,639 --> 00:35:03,800
there's a video to the song, there is a video

649
00:35:03,840 --> 00:35:07,760
to this song. Okay. It's it's incredible, all right. So

650
00:35:07,960 --> 00:35:13,039
the video was filmed October tenth, nineteen eighty nine. Okay.

651
00:35:13,440 --> 00:35:17,679
This was released July twenty first, nineteen eighty seven. This

652
00:35:17,760 --> 00:35:20,639
is two years after the release of the album Okay, right, and.

653
00:35:20,679 --> 00:35:23,960
Speaker 5: The single was released before the release of the album.

654
00:35:25,039 --> 00:35:28,320
Speaker 2: It's all out of whack, this whole album because they

655
00:35:28,400 --> 00:35:32,719
rode the wave for so long. Yeah, they had to

656
00:35:32,800 --> 00:35:36,599
keep pumping out videos. I mean, it's just amazing. So

657
00:35:37,079 --> 00:35:39,719
the video was shot October tenth, nineteen eighty nine, over

658
00:35:39,800 --> 00:35:42,960
two years after the release of the original single. The

659
00:35:43,039 --> 00:35:46,880
promo video was made at the Catouse in Hollywood.

660
00:35:47,079 --> 00:35:47,519
Speaker 5: Okay.

661
00:35:48,320 --> 00:35:53,400
Speaker 2: It's heavily edited because it shows Aaron Everley in bondage.

662
00:35:53,800 --> 00:35:56,960
Aaron Eveley, daughter of Don Everly of the Everly Brothers.

663
00:35:57,280 --> 00:36:00,599
That's who the song sweet Child of Mine is written about. Yeah,

664
00:36:00,639 --> 00:36:02,920
and we'll talk about that more here in just a minute.

665
00:36:03,320 --> 00:36:07,079
But she is tied up, tied down up against the

666
00:36:07,119 --> 00:36:12,320
wall for the entire video. Okay, but here's the interesting thing. Okay,

667
00:36:12,360 --> 00:36:15,480
this is life with this band. Right before they shot

668
00:36:15,480 --> 00:36:17,920
this video, they have this big show at the cat House.

669
00:36:18,440 --> 00:36:20,800
Who shows up for the show, Well, Slash's mom shows

670
00:36:20,880 --> 00:36:26,360
up and a friend of hers, David Bowie. Yeah, okay,

671
00:36:27,000 --> 00:36:33,079
so David Bowie starts to hit on Aaron Everley, so

672
00:36:33,119 --> 00:36:35,960
he and Axel get in a fistfight before they shoot

673
00:36:35,960 --> 00:36:42,079
this video. That's it, Axel Rose David Bowie fistfight.

674
00:36:42,639 --> 00:36:43,440
Speaker 5: That's hilarious.

675
00:36:43,480 --> 00:36:46,320
Speaker 2: The release date of this video, Okay, this is not

676
00:36:46,400 --> 00:36:49,760
a typo. When you say I don't really remember this, well,

677
00:36:49,760 --> 00:36:53,639
that's because this video was released May twenty seventh, twenty eighteen.

678
00:36:54,280 --> 00:36:54,800
Speaker 5: Yeah.

679
00:36:55,199 --> 00:36:58,800
Speaker 4: Yeah, it's hilarious because it They start off the video

680
00:36:59,039 --> 00:37:03,519
and they said, Axel says, we're making this for ourselves.

681
00:37:03,760 --> 00:37:06,519
If we made a nice video for MTV, we could

682
00:37:06,519 --> 00:37:10,719
put it out and sell my records. But instead we're

683
00:37:10,760 --> 00:37:12,599
going to spend one hundred and fifty grand just to

684
00:37:12,599 --> 00:37:16,880
make something we want to see, and so that's what

685
00:37:16,920 --> 00:37:20,920
they got. Is nobody else saw it for another thirty years.

686
00:37:21,039 --> 00:37:24,519
Speaker 2: Apparently everybody axe wanted to see Aaron Everley with a

687
00:37:24,559 --> 00:37:25,440
ballgag in her mouth.

688
00:37:25,519 --> 00:37:28,199
Speaker 5: So horrible.

689
00:37:28,960 --> 00:37:32,840
Speaker 2: That's terrible, I know, I know, all right, Moving on

690
00:37:33,239 --> 00:37:33,880
to Nightrain.

691
00:37:44,639 --> 00:37:48,119
Speaker 4: Night Train is this very high quality wine that guns

692
00:37:48,159 --> 00:37:51,239
n' roses would enjoy after a long day of recording

693
00:37:51,280 --> 00:37:54,880
appetite for destruction. It is also enjoyed by other wine

694
00:37:54,960 --> 00:37:57,519
connoisseurs that we call whinos.

695
00:37:58,800 --> 00:37:59,320
Speaker 5: I'm kidding.

696
00:37:59,360 --> 00:38:01,639
Speaker 4: This is a very cheap wine. Night Train is a

697
00:38:01,719 --> 00:38:05,039
very cheap wine. And everything else that I said is true.

698
00:38:05,199 --> 00:38:08,519
Speaker 2: Okay, this is a This song is amazing, right, This

699
00:38:08,599 --> 00:38:11,519
is another great song. It's totally about getting drunk. This

700
00:38:11,639 --> 00:38:14,519
song was ranked eighth on Guitar World's list of top

701
00:38:14,559 --> 00:38:20,760
ten drinking songs. Right right, right, So they Slash talks

702
00:38:20,760 --> 00:38:22,599
about how they came up with this anthem right on

703
00:38:22,679 --> 00:38:26,280
the spot. Right. So Slash and Izzy wrote the main

704
00:38:26,360 --> 00:38:28,039
riff while they were sitting on the floor of the

705
00:38:28,039 --> 00:38:30,920
band practice room, but they didn't have any lyrics. So

706
00:38:31,280 --> 00:38:35,119
one night there they're wandering around Palm Avenue sharing a

707
00:38:35,119 --> 00:38:37,639
bottle of Night Train, and someone yelled I'm on the

708
00:38:37,760 --> 00:38:42,280
night Train. Then the whole band jumped in and actually

709
00:38:42,320 --> 00:38:46,719
improvised the line bottoms up, fill my cup, yeah, and

710
00:38:46,760 --> 00:38:49,360
there you have it. The rest is rock and roll history.

711
00:38:49,559 --> 00:38:52,079
Speaker 4: At some of the shows that they did in nineteen

712
00:38:52,119 --> 00:38:55,559
eighty seven, Axel would give drinking tips from the stage.

713
00:38:56,039 --> 00:38:59,280
He would introduce the song and then say, in these

714
00:38:59,280 --> 00:39:02,639
liquor stores, the Wino's hit up right beside us the Thunderbird. Here,

715
00:39:02,960 --> 00:39:06,119
you're gonna find some night Train that'll f you up

716
00:39:06,159 --> 00:39:08,880
twice as bad as Thunderbird, and it's a lot cheaper.

717
00:39:10,360 --> 00:39:13,400
Speaker 2: So this song was released July twenty ninth of nineteen

718
00:39:13,440 --> 00:39:17,199
eighty nine, again, two years after the release of Appetite

719
00:39:17,199 --> 00:39:21,039
for Destruction and after the release of Patients. This is

720
00:39:21,800 --> 00:39:25,400
they're still writing Appetite for Destruction after they've released another album.

721
00:39:25,480 --> 00:39:27,880
Speaker 4: It's a great, awesome, Yeah, it's great when you have

722
00:39:27,960 --> 00:39:30,559
an album that is filled with so many great songs.

723
00:39:31,400 --> 00:39:34,599
Of course you're just gonna keep churning out the hits. Yeah, absolutely,

724
00:39:34,760 --> 00:39:35,840
So we're done with night Train.

725
00:39:36,519 --> 00:39:37,800
Speaker 5: Next on the album is.

726
00:39:38,280 --> 00:39:58,239
Speaker 2: A song called out to Get Me. These lyrics are

727
00:39:58,280 --> 00:40:02,320
about young Axel, a a billy Bailey being in and

728
00:40:02,320 --> 00:40:03,880
out of trouble his entire life.

729
00:40:04,280 --> 00:40:07,559
Speaker 4: Yeah, and about the police that we're out to get

730
00:40:07,639 --> 00:40:08,039
him right.

731
00:40:09,599 --> 00:40:12,360
Speaker 2: Slash talks about how this is the band being against

732
00:40:12,800 --> 00:40:14,880
the world. I don't buy it. I think this is

733
00:40:15,000 --> 00:40:19,719
legal trouble from Axel. Yes. Yes, some of the lyrics

734
00:40:19,719 --> 00:40:23,920
in this I think are very accurate emotions for Axel.

735
00:40:23,920 --> 00:40:27,119
If you know anything about Axel, this doesn't really surprise you.

736
00:40:27,119 --> 00:40:30,760
You can tell this is deep seated anger in Axel.

737
00:40:30,880 --> 00:40:31,079
Speaker 5: Yeah.

738
00:40:31,119 --> 00:40:34,920
Speaker 4: I mean he talks about how after shows, the rest

739
00:40:34,920 --> 00:40:37,239
of the guys in the band will, you know, go

740
00:40:37,840 --> 00:40:39,880
have a drink and ready to party and hang out

741
00:40:39,880 --> 00:40:43,000
with people. But he needs like an hour or two

742
00:40:43,639 --> 00:40:46,679
just to come down from the intensity that he builds

743
00:40:46,719 --> 00:40:50,159
up while he's singing these songs, because he lives in

744
00:40:50,199 --> 00:40:53,239
each song as he sings it. He remembers the motivation

745
00:40:53,400 --> 00:40:56,480
for the words behind the song, and he relives it

746
00:40:56,519 --> 00:40:58,599
as he's blowing our mind with it.

747
00:40:58,679 --> 00:41:01,480
Speaker 2: This song's great, this is so as well. So I've

748
00:41:01,519 --> 00:41:04,719
got just just to recap. I've got one, two, three,

749
00:41:04,840 --> 00:41:06,440
four songs in a row that I'm going to turn

750
00:41:06,480 --> 00:41:07,079
the radio.

751
00:41:06,920 --> 00:41:09,880
Speaker 5: Up every single time. No Skipper yet, No Skipper.

752
00:41:09,960 --> 00:41:34,480
Speaker 2: Yet moving on to mister Brownside, incredible song.

753
00:41:35,199 --> 00:41:37,320
Speaker 5: Yes freaking love it.

754
00:41:37,960 --> 00:41:41,760
Speaker 4: Yeah, it kicks all kinds of butt it And this

755
00:41:41,840 --> 00:41:44,519
is you know again, this is this is the band

756
00:41:44,719 --> 00:41:47,440
saying we're not going to sing about pretty things. We're

757
00:41:47,440 --> 00:41:51,079
not going to sing about love stories, although that does

758
00:41:51,119 --> 00:41:53,440
come up here later on in the album. But we're

759
00:41:53,440 --> 00:41:56,079
going to sing about the life that we've lived. You know,

760
00:41:56,159 --> 00:42:00,119
We've got Welcome to the jungle, We've got It's so easy.

761
00:42:00,400 --> 00:42:00,559
Speaker 5: You know.

762
00:42:00,679 --> 00:42:04,079
Speaker 4: These life events built the song, and this one is

763
00:42:04,199 --> 00:42:06,800
definitely not only about the life that they had in

764
00:42:06,840 --> 00:42:09,159
the past, but the life that they were currently leading.

765
00:42:09,239 --> 00:42:11,880
Speaker 2: Absolutely, I mean, mister Brownstone, this is a direct reference

766
00:42:11,880 --> 00:42:12,400
to Heroin.

767
00:42:12,599 --> 00:42:15,239
Speaker 4: So the lyric that we heard there at the beginning,

768
00:42:15,400 --> 00:42:18,519
the show usually starts around seven, we go on stage

769
00:42:18,559 --> 00:42:23,840
around nine. That was a direct reference and dig onto

770
00:42:24,079 --> 00:42:27,639
the guys who, because they were all shooting up Heroin

771
00:42:28,119 --> 00:42:31,159
would show up two hours late for the show, and

772
00:42:31,239 --> 00:42:36,280
so Axel would sit there and he's got this expectation

773
00:42:36,360 --> 00:42:38,719
to start at seven. He's got this energy built up

774
00:42:38,760 --> 00:42:41,119
so that he's ready to go. He knows that the

775
00:42:41,119 --> 00:42:44,159
crowd is expecting them at seven, and these guys keep

776
00:42:44,239 --> 00:42:47,480
him waiting there for two hours and it drives him

777
00:42:47,719 --> 00:42:52,679
absolutely nuts. And so that's I mean, this is that

778
00:42:52,800 --> 00:42:55,480
emotion coming out full force on this song.

779
00:42:55,719 --> 00:42:57,920
Speaker 2: So they all lived in the apartment together and they

780
00:42:57,960 --> 00:43:00,320
moved out. And as they're moving out access as he

781
00:43:00,360 --> 00:43:02,760
found a piece of yellow paper wadded up in the

782
00:43:02,800 --> 00:43:05,679
corner this is where Izzy and Stevens room was. He

783
00:43:05,679 --> 00:43:07,840
opens it up and had the lyrics to mister Brownstone

784
00:43:07,880 --> 00:43:10,400
on it. He read it and thought, man, this is

785
00:43:10,440 --> 00:43:11,039
this is great.

786
00:43:11,199 --> 00:43:14,000
Speaker 4: Whenever they were opening up for the Rolling Stones in

787
00:43:14,239 --> 00:43:17,119
La it was October of eighty nine, so they had

788
00:43:17,559 --> 00:43:20,800
they had been playing together for two solid years. And

789
00:43:21,280 --> 00:43:25,559
Axel comes out and says, unless certain people in this

790
00:43:25,760 --> 00:43:29,760
band get there together, these will be the last Guns

791
00:43:29,840 --> 00:43:33,239
n' Roses show you'll ever fing see, because I'm tired

792
00:43:33,280 --> 00:43:37,320
of too many people in this organization dancing with mister G. D.

793
00:43:37,519 --> 00:43:38,239
Speaker 5: Brownstone.

794
00:43:38,519 --> 00:43:41,440
Speaker 4: That was to get the attention of Slash and Izzy

795
00:43:41,559 --> 00:43:43,119
Stradlin and Steve Adler.

796
00:43:43,239 --> 00:43:47,559
Speaker 2: This was the beginning of the end for Guns n' Roses. Yes, Slash,

797
00:43:47,960 --> 00:43:51,039
even though he was strung out, so that statement and

798
00:43:51,079 --> 00:43:53,719
that embarrassment, and he knew it was directed at him,

799
00:43:54,480 --> 00:43:57,119
and he said it made him hate Axel Duff thought

800
00:43:57,119 --> 00:44:01,719
it was embarrassing for this to surface on stage and

801
00:44:01,960 --> 00:44:04,599
made him want to quit the band, so that public

802
00:44:04,679 --> 00:44:08,440
call out in October of eighty nine started the breakup.

803
00:44:08,519 --> 00:44:11,400
Speaker 4: Yeah, they actually kicked Steven Adler off for a while

804
00:44:11,639 --> 00:44:14,360
and only let him back in if he signed a

805
00:44:14,400 --> 00:44:18,280
contract promising never to do Heroin again, which he signed

806
00:44:18,840 --> 00:44:22,480
and then promptly broke, which is why he got fired

807
00:44:22,519 --> 00:44:23,280
from the band.

808
00:44:23,079 --> 00:44:25,920
Speaker 2: Fired in nineteen ninety. That's right, I love mister brown Zone.

809
00:44:26,000 --> 00:44:28,920
It's a fantastic song. It's about Heroin. I don't care.

810
00:44:29,079 --> 00:44:31,079
I still love it.

811
00:44:31,079 --> 00:44:32,679
Speaker 5: It's about Heroin, but you can dance to it.

812
00:44:34,599 --> 00:44:38,599
Speaker 2: This brings us to what every suburban kid in my

813
00:44:38,679 --> 00:44:42,280
neighborhood freaking loved in January of eighty nineteen. This is

814
00:44:42,320 --> 00:44:45,280
the sixth song on the album This is Paradise City.

815
00:44:48,360 --> 00:44:50,639
If I say to U, d take me down to

816
00:44:50,719 --> 00:44:54,639
Paradise City, the grass is green or rosar pit and

817
00:44:54,800 --> 00:44:58,599
you don't have a line after that, you're probably not

818
00:44:58,719 --> 00:44:59,960
enjoying this podcast at this point.

819
00:45:00,719 --> 00:45:01,000
Speaker 5: Yeah.

820
00:45:01,039 --> 00:45:04,119
Speaker 4: I mean it's it's interesting if you take if you

821
00:45:04,239 --> 00:45:07,440
take in some of these songs, some of these songs.

822
00:45:07,480 --> 00:45:09,480
Speaker 5: Not all of these songs, some of these songs.

823
00:45:09,519 --> 00:45:12,519
Speaker 4: If you take the lyrics away from the music and

824
00:45:12,599 --> 00:45:17,800
the attitude and the dirty tattooedness of it all and

825
00:45:18,039 --> 00:45:20,079
just put them down on a piece of paper, this

826
00:45:20,159 --> 00:45:21,159
is freaking poetry.

827
00:45:21,199 --> 00:45:26,199
Speaker 2: Man Captain America's falling apart. He's a court jester with

828
00:45:26,239 --> 00:45:30,599
a broken heart. This is one of the great sing

829
00:45:30,679 --> 00:45:34,280
along rock songs of the late eighties. This reached number

830
00:45:34,320 --> 00:45:35,639
five on the Hot one hundred.

831
00:45:36,719 --> 00:45:39,480
Speaker 4: So let me ask you this, when you and your

832
00:45:39,880 --> 00:45:42,559
junior high to high school friends were singing the song,

833
00:45:42,920 --> 00:45:48,760
would you change the lines? Because Slash wanted the chorus

834
00:45:48,800 --> 00:45:51,719
to be take me down to the Paradise City where

835
00:45:51,760 --> 00:45:57,360
the girls are fat and they got big titties. But

836
00:45:57,639 --> 00:46:01,280
I'm pretty sure I heard from some of my work friends.

837
00:46:04,360 --> 00:46:07,840
Speaker 2: That is definitely locker room stuff right there. They wisely

838
00:46:08,000 --> 00:46:11,559
changed the words, though, to make it a number five hit.

839
00:46:12,280 --> 00:46:14,840
Speaker 4: Yeah, it might not have gotten as much radio play

840
00:46:14,920 --> 00:46:18,000
with that line.

841
00:46:17,760 --> 00:46:22,760
Speaker 2: The guys outvoted Slash on those lyrics. That's great. Slash

842
00:46:22,800 --> 00:46:25,199
has stated that this is his favorite Guns and Roses song.

843
00:46:26,239 --> 00:46:28,920
One of the things that he always comments is he says,

844
00:46:29,679 --> 00:46:33,440
our best work is the collaborative work Guns and Roses

845
00:46:33,559 --> 00:46:36,519
was traveling. They were playing a gig in San franciscoing

846
00:46:36,559 --> 00:46:38,360
on the way back there, traveling in the van, kind

847
00:46:38,360 --> 00:46:40,519
of like what you were talking about earlier. He said

848
00:46:40,519 --> 00:46:42,000
that the band was in the back of the band,

849
00:46:42,360 --> 00:46:45,880
back of the van, drinking and playing acoustic guitars when

850
00:46:45,880 --> 00:46:48,800
he came up with the intro yep duff and Is.

851
00:46:48,920 --> 00:46:51,639
He started playing along and Slash started to humming a

852
00:46:51,679 --> 00:46:55,000
melody and that's when Axel sang take me down to

853
00:46:55,000 --> 00:46:57,880
the Paradise City. And then they just sort of were

854
00:46:57,920 --> 00:47:01,119
all together, threw in their bits and it became this

855
00:47:01,280 --> 00:47:02,400
wonderful rock anthem.

856
00:47:02,519 --> 00:47:05,880
Speaker 4: Yeah, this was This was actually the first song that

857
00:47:05,920 --> 00:47:07,519
they wrote together as a band.

858
00:47:09,800 --> 00:47:15,519
Speaker 2: I might this might be the best encore song of

859
00:47:15,559 --> 00:47:20,719
all time. Okay, when you leave, when you play Welcome

860
00:47:20,760 --> 00:47:23,199
to the Jungle and it's so easy and Rocket Queen

861
00:47:23,239 --> 00:47:26,079
and you leave, you say thank you, Boston, We'll see

862
00:47:26,119 --> 00:47:28,280
you next time. Wait a minute, We're not done until

863
00:47:28,280 --> 00:47:33,159
we play Paradise City. All right? I did hear Axel

864
00:47:33,199 --> 00:47:36,000
talk about how the verses in Paradise City are about

865
00:47:36,000 --> 00:47:36,519
the jungle?

866
00:47:36,719 --> 00:47:36,920
Speaker 5: Right?

867
00:47:37,039 --> 00:47:40,480
Speaker 2: The Captain America falling apart. He's a court juster with

868
00:47:40,519 --> 00:47:44,559
a broken heart. But the chorus is like the Midwest,

869
00:47:44,679 --> 00:47:49,960
the hopeful, feel good, safe Indiana. Yeah, we named the

870
00:47:49,960 --> 00:47:54,920
dog Indiana.

871
00:47:55,480 --> 00:47:56,119
Speaker 5: Yeah.

872
00:47:56,199 --> 00:47:58,239
Speaker 2: Okay, we're done with Paradise City.

873
00:47:58,360 --> 00:48:00,800
Speaker 4: Man, I hate to be done with Paradise City because

874
00:48:00,880 --> 00:48:03,760
you have this. Okay, we're just gonna skip to the end.

875
00:48:03,960 --> 00:48:10,000
Here's the end.

876
00:48:10,079 --> 00:48:11,800
Speaker 5: It's so awesome.

877
00:48:12,000 --> 00:48:15,800
Speaker 4: I mean, ah, dad gum, what a great way to

878
00:48:15,800 --> 00:48:16,679
finish off the song.

879
00:48:16,960 --> 00:48:19,280
Speaker 2: It's timeless. It really anytime this comes on the radio,

880
00:48:19,320 --> 00:48:22,000
I've heard it ten thousand times. I'm turning it up.

881
00:48:22,039 --> 00:48:27,599
I'm singing along. I'm singing take me Home, all right,

882
00:48:28,000 --> 00:48:32,039
So stop your tape, hit Ejack, kick it out, flip

883
00:48:32,119 --> 00:48:35,039
it over to the other side. And as I mentioned that,

884
00:48:35,199 --> 00:48:38,719
I forgot to mention, there is no first side and

885
00:48:38,840 --> 00:48:41,119
second side on this tape. There is no A side

886
00:48:41,119 --> 00:48:45,000
and no B side, right G side and an R side.

887
00:48:45,719 --> 00:48:49,320
Speaker 6: Nice, So flip your tape over to the R side,

888
00:48:49,480 --> 00:48:58,480
and here we go with my show.

889
00:49:07,119 --> 00:49:09,519
Speaker 4: Thank com It's such a good song, gritty.

890
00:49:10,480 --> 00:49:11,840
Speaker 5: I mean, I just gotta say this.

891
00:49:11,880 --> 00:49:15,119
Speaker 4: When you flip the tape over, I always had this trepidation,

892
00:49:15,360 --> 00:49:18,880
like we've just finished this fantastic side and I'm flipping

893
00:49:18,880 --> 00:49:20,880
over the other side and I'm just worried that they

894
00:49:20,880 --> 00:49:23,679
put all their crap on the second side. And then

895
00:49:23,800 --> 00:49:27,079
this song pops on and You're like, holy crap, this

896
00:49:27,119 --> 00:49:28,599
whole album is gonna be good.

897
00:49:29,039 --> 00:49:31,639
Speaker 2: Yeah. So Axel is writing in the in the car

898
00:49:31,679 --> 00:49:34,199
with a friend from high school, girl named Michelle Young,

899
00:49:34,360 --> 00:49:37,480
and they're listening to Elton John on the radio and

900
00:49:37,559 --> 00:49:39,639
the song of your song comes one.

901
00:49:39,800 --> 00:49:43,679
Speaker 4: Hearing Me right and you can tell about it?

902
00:49:45,000 --> 00:49:46,559
Speaker 1: This is this song.

903
00:49:46,920 --> 00:49:51,039
Speaker 2: Beautiful song. And according to Axel Rose, he and Michelle

904
00:49:51,039 --> 00:49:53,639
were in the car together and she said she just

905
00:49:53,719 --> 00:49:56,119
happened to mention that she had always wanted someone to

906
00:49:56,119 --> 00:49:59,880
write a song about her, right, And so he kind

907
00:49:59,920 --> 00:50:01,000
of took that as a challenge.

908
00:50:01,119 --> 00:50:01,280
Speaker 5: Right.

909
00:50:01,719 --> 00:50:04,840
Speaker 2: The only problem was, this is a girl who had

910
00:50:05,039 --> 00:50:08,119
was addicted to drugs, her mom had died from a

911
00:50:08,119 --> 00:50:11,599
heroin overdose, and her dad was working in the pornography industry.

912
00:50:12,239 --> 00:50:13,159
Speaker 5: Yeah, it had.

913
00:50:13,159 --> 00:50:16,159
Speaker 2: Hard to come up with a sweet little love sonnet.

914
00:50:15,800 --> 00:50:20,800
Speaker 4: For for that person, right, So they just wrote it, honestly.

915
00:50:21,920 --> 00:50:26,320
Speaker 2: Well, actually, his first attempt was this sweet, romantic one

916
00:50:26,639 --> 00:50:29,599
that had absolutely almost nothing to do with the reality

917
00:50:29,639 --> 00:50:34,079
of her life, right, right, Yeah, and he was unhappy.

918
00:50:34,119 --> 00:50:36,880
He just felt dishonest about it, so he changed it

919
00:50:37,119 --> 00:50:39,280
to the honest version, right, and he brought it to

920
00:50:39,320 --> 00:50:41,199
members of the band, and he's like, Slash, what do

921
00:50:41,280 --> 00:50:43,800
you think of this? Slash like, dude, you cannot play.

922
00:50:43,559 --> 00:50:44,480
Speaker 5: This, play this.

923
00:50:44,719 --> 00:50:48,559
Speaker 4: Yeah, no, everybody everybody would be like, no, you can't

924
00:50:48,559 --> 00:50:48,960
do this.

925
00:50:48,960 --> 00:50:49,760
Speaker 5: This is horrible.

926
00:50:50,239 --> 00:50:52,320
Speaker 4: And so it's good that they do have some moral

927
00:50:52,360 --> 00:50:56,840
compass on this. But they end up actually ends up

928
00:50:56,880 --> 00:50:59,719
calling her and he's just honest. He's just like, hey,

929
00:50:59,760 --> 00:51:02,079
you know, I did what she wanted. I wrote you

930
00:51:02,119 --> 00:51:03,760
a song, but I don't know that you're gonna like

931
00:51:03,800 --> 00:51:06,559
the lyrics. And she ended up being okay with it.

932
00:51:06,639 --> 00:51:10,079
She was happy that they didn't sugarcoat it, and she

933
00:51:10,159 --> 00:51:12,840
was happy that it was honest and truthful to her

934
00:51:13,039 --> 00:51:13,800
horrible life.

935
00:51:13,960 --> 00:51:16,360
Speaker 2: I heard her talk about this. She went to a

936
00:51:16,400 --> 00:51:20,000
concert they played my Michelle. The whole place is going

937
00:51:20,079 --> 00:51:23,360
bonkers to a song written about her, and she's standing

938
00:51:23,400 --> 00:51:27,760
there in total anemity and just marveling that this song

939
00:51:27,800 --> 00:51:29,679
is about her and nobody knows who she is.

940
00:51:30,159 --> 00:51:32,960
Speaker 5: She said later on when they asked her about it.

941
00:51:33,039 --> 00:51:36,280
Speaker 4: That she didn't care because she was so efed up,

942
00:51:36,480 --> 00:51:39,440
but she said, either way, I can't deny that it's true.

943
00:51:39,519 --> 00:51:43,159
My dad does distribute porno films and my mom did die.

944
00:51:43,440 --> 00:51:47,880
So what do you you know? It's it's not slander.

945
00:51:49,719 --> 00:51:51,320
Speaker 5: It's true.

946
00:51:51,559 --> 00:51:54,719
Speaker 2: This song is so good. I love it once again,

947
00:51:55,679 --> 00:51:59,360
a full on, top down, turn.

948
00:51:59,239 --> 00:52:02,840
Speaker 4: It up, banging your head yep, so you're banging your

949
00:52:02,840 --> 00:52:04,159
freaking head of this song.

950
00:52:04,119 --> 00:52:06,519
Speaker 2: All right after my Michelle. That brings us to a

951
00:52:06,559 --> 00:52:07,679
song called think about You.

952
00:52:18,480 --> 00:52:20,880
Speaker 4: It was written by Izzy and it actually was written

953
00:52:21,039 --> 00:52:25,400
before he joined up with Guns n' Roses and Tracy

954
00:52:25,480 --> 00:52:27,960
Guns of course, who was a part of the band

955
00:52:28,000 --> 00:52:32,480
momentarily right, knew, I mean, I is he comes in,

956
00:52:32,599 --> 00:52:36,519
you know, starts this band Hollywood Rose. They get together

957
00:52:36,559 --> 00:52:40,480
with Tracy Guns, Guns and Roses forms. But Tracy said,

958
00:52:41,360 --> 00:52:46,480
this song is about this woman named Monique Lewis, who

959
00:52:46,800 --> 00:52:55,679
we all quote unquote dated and actual, actually has a

960
00:52:55,719 --> 00:52:57,360
tattoo of this lady on his arm.

961
00:52:58,159 --> 00:53:00,000
Speaker 2: Really, this is something I haven't heard yet.

962
00:53:00,119 --> 00:53:00,800
Speaker 5: This is a good stay.

963
00:53:00,880 --> 00:53:05,679
Speaker 2: Yeah, okay, I heard his story. Hey, that's okay, that's

964
00:53:05,679 --> 00:53:08,039
a good story. Okay, I heard is They say it's

965
00:53:08,039 --> 00:53:12,360
a quick love song about drugs, sex, Hollywood and money,

966
00:53:13,239 --> 00:53:16,320
which is basically what Appetite for Destruction is about.

967
00:53:16,960 --> 00:53:17,800
Speaker 5: Yeah, whole album.

968
00:53:18,920 --> 00:53:22,679
Speaker 2: To me, this is a good song. But this is

969
00:53:22,719 --> 00:53:24,960
the weakest song on the album. This is the only

970
00:53:25,079 --> 00:53:27,679
song that I think might want to skip this one,

971
00:53:27,840 --> 00:53:29,360
But most of the time I listen to it anyway,

972
00:53:29,360 --> 00:53:29,960
it's still good.

973
00:53:30,079 --> 00:53:32,519
Speaker 4: So actual has a tattoo of this girl on his arm.

974
00:53:32,880 --> 00:53:37,519
He also has on his arm a tattoo of across

975
00:53:38,000 --> 00:53:41,159
with faces on it, which you will recognize as.

976
00:53:41,320 --> 00:53:42,800
Speaker 5: The cover of this album. Right.

977
00:53:43,639 --> 00:53:47,119
Speaker 4: Well, this that wasn't the original album cover they had

978
00:53:47,320 --> 00:53:51,679
as the original album cover. This artwork by again by

979
00:53:51,719 --> 00:53:53,639
a guy named Robert Williams.

980
00:53:54,000 --> 00:53:54,599
Speaker 5: But it's this.

981
00:53:54,760 --> 00:53:59,159
Speaker 4: Very kind of weird alien attack in our robot that's

982
00:53:59,599 --> 00:54:02,960
a either raped or about to rape this girl and

983
00:54:03,079 --> 00:54:05,800
her panties are around her ankles, and it's I mean,

984
00:54:07,280 --> 00:54:10,000
you're just adding fuel to the fire of all those

985
00:54:10,079 --> 00:54:12,960
record companies and MTV executives who said, we are not

986
00:54:13,079 --> 00:54:16,320
interested in this band. They're too dangerous, we don't want them,

987
00:54:16,440 --> 00:54:18,800
And so ultimately they ended up saying we got to

988
00:54:18,920 --> 00:54:22,960
change the album cover. And Axel already had this tattoo

989
00:54:23,119 --> 00:54:26,559
on his arm and so it. You know, every time

990
00:54:26,639 --> 00:54:28,400
I saw it, I thought, oh, we got the tattoo

991
00:54:28,440 --> 00:54:31,480
because of the cover. Now the cover came from his tattoo.

992
00:54:31,880 --> 00:54:36,480
Speaker 2: The Yeah, the robot painting is strange.

993
00:54:36,880 --> 00:54:38,679
Speaker 4: Yeah, but I mean it.

994
00:54:38,840 --> 00:54:39,639
Speaker 5: The guy's famous.

995
00:54:39,639 --> 00:54:42,039
Speaker 4: You know, there's there are There was a whole like

996
00:54:42,199 --> 00:54:46,039
segment of artists. Harry Krum I think was the name

997
00:54:46,079 --> 00:54:47,639
of one of them. I mean they would do these

998
00:54:48,079 --> 00:54:52,800
kind of graphic or pornographic almost comic artwork, but it.

999
00:54:53,159 --> 00:54:54,480
Speaker 5: Was really popular like this.

1000
00:54:54,679 --> 00:54:58,000
Speaker 4: I remember seeing Axel talking about this painting selling for

1001
00:54:58,079 --> 00:55:00,880
like ten thousand dollars whenever it was first produced.

1002
00:55:01,039 --> 00:55:05,920
Speaker 2: Yeah, after thinking about you, we have sweet shot of mine.

1003
00:55:20,280 --> 00:55:25,079
Speaker 4: Okay, so I know that you are thinking the same

1004
00:55:25,119 --> 00:55:28,679
thing that I am thinking, which is this is awesome.

1005
00:55:29,400 --> 00:55:35,119
That intro guitar is awesome. As it turns out, Slash

1006
00:55:35,480 --> 00:55:36,880
played it as a joke.

1007
00:55:37,480 --> 00:55:40,199
Speaker 2: That fact alone blows me away.

1008
00:55:40,519 --> 00:55:43,400
Speaker 4: He was talking with Steven and he's like, I'm trying

1009
00:55:43,400 --> 00:55:45,440
to Yeah, I'm trying to do a sound that sounds

1010
00:55:45,480 --> 00:55:49,000
like a circus. And when you say that, you're like, okay, yeah,

1011
00:55:49,000 --> 00:55:50,599
actually I can kind of hear that. And what I'm

1012
00:55:50,639 --> 00:55:53,559
playing there, but he's trying to make this goofy sound.

1013
00:55:54,119 --> 00:55:57,039
But then the other guys end up liking it. And

1014
00:55:57,079 --> 00:56:01,719
then Axel puts this these love song lyrics to this

1015
00:56:02,559 --> 00:56:05,960
song that Slash started out with as a joke, and

1016
00:56:06,039 --> 00:56:08,119
he hates this song.

1017
00:56:09,000 --> 00:56:09,599
Speaker 5: He hates it.

1018
00:56:09,760 --> 00:56:12,000
Speaker 2: He said he hated it for a long time, but

1019
00:56:12,159 --> 00:56:14,519
he came to embrace it because the fans love it,

1020
00:56:14,559 --> 00:56:16,719
and I think that's cool. I hate it when artists

1021
00:56:16,760 --> 00:56:19,719
hate their own work. But Axel had this love poem

1022
00:56:19,800 --> 00:56:23,199
that he had written for Aaron every daughter the Everly

1023
00:56:23,239 --> 00:56:24,519
brothers Don Everly right.

1024
00:56:24,559 --> 00:56:25,800
Speaker 4: It is such a love poem.

1025
00:56:25,880 --> 00:56:30,039
Speaker 2: Actually actually married Aaron. Lasted about five minutes. This song

1026
00:56:30,280 --> 00:56:33,079
reached number one September tenth, nineteen eighty eight.

1027
00:56:33,320 --> 00:56:35,519
Speaker 4: You know, as I mentioned before, there's a little bit

1028
00:56:35,559 --> 00:56:38,119
of discrepancy about whether it was the video for Welcome

1029
00:56:38,159 --> 00:56:41,199
to the Jungle that brought them into the spotflight or

1030
00:56:41,239 --> 00:56:44,480
whether it was this song. And I think I'm probably

1031
00:56:44,480 --> 00:56:46,280
going to land on it was a combination of the two.

1032
00:56:46,920 --> 00:56:49,400
I would not have been as interested in this song

1033
00:56:49,519 --> 00:56:53,079
had I not seen the video, But then this song

1034
00:56:53,159 --> 00:56:57,519
is flat out freaking amazing, and I can see how

1035
00:56:57,679 --> 00:56:59,960
it was the lead in for other people to embrace them,

1036
00:57:00,119 --> 00:57:04,239
because you got this band that is rough, rough, rough,

1037
00:57:04,559 --> 00:57:08,519
singing about the worst parts of life, and then they

1038
00:57:08,559 --> 00:57:12,599
come out with this beautiful She's got eyes of the

1039
00:57:12,599 --> 00:57:16,280
bluest skies, and if they thought of rain, I'd hate

1040
00:57:16,320 --> 00:57:19,400
to look into those hides and see an ounce of pain.

1041
00:57:19,840 --> 00:57:23,400
Her hair reminds me of a warm, safe place where

1042
00:57:23,440 --> 00:57:26,239
as a child eyed hide and pray for the thunder

1043
00:57:26,480 --> 00:57:28,679
and the rain to quiet.

1044
00:57:28,400 --> 00:57:29,280
Speaker 2: Light less by.

1045
00:57:29,760 --> 00:57:32,679
Speaker 5: It's like freaking Walt Whitman. I mean, it's just beautiful.

1046
00:57:32,880 --> 00:57:33,280
Speaker 2: It is.

1047
00:57:33,519 --> 00:57:33,920
Speaker 5: It is.

1048
00:57:34,639 --> 00:57:38,480
Speaker 2: It's poetry and it's tender and it's genuine and it's

1049
00:57:38,559 --> 00:57:44,480
loving and it's still rocks. The guitar solo in this

1050
00:57:44,599 --> 00:57:48,719
song is incredible, you know, it's interesting. The end part

1051
00:57:48,760 --> 00:57:51,039
of this song, Axel's sitting there and he's talking to

1052
00:57:51,079 --> 00:57:53,519
one of the guys who is helping them produce the album.

1053
00:57:53,679 --> 00:57:55,440
They got to the end and they didn't know how

1054
00:57:55,440 --> 00:57:57,599
to sort of close the song out, and he said,

1055
00:57:57,679 --> 00:57:59,400
I think we need to have a breakdown at the

1056
00:57:59,480 --> 00:58:02,360
end of the song. And Axel says, well, where do

1057
00:58:02,440 --> 00:58:06,800
we go? I mean, where do we go? Now? Guy says,

1058
00:58:06,800 --> 00:58:09,119
I think you have to sing that I've got something

1059
00:58:09,159 --> 00:58:10,639
that's going to blow you away? You ready for this?

1060
00:58:11,320 --> 00:58:11,719
Speaker 5: Yeah?

1061
00:58:11,840 --> 00:58:16,440
Speaker 2: Have you heard the song unpublished critics from the Australian

1062
00:58:16,679 --> 00:58:18,480
band Australian Crawl.

1063
00:58:19,079 --> 00:58:20,800
Speaker 5: No, I have not.

1064
00:58:21,119 --> 00:58:22,760
Speaker 2: I'm going to play this for you. You ready for this?

1065
00:58:23,440 --> 00:58:24,880
Speaker 5: Yeah? Okay, turn it up.

1066
00:58:25,440 --> 00:58:27,639
Speaker 2: Right, nineteen eighty one song.

1067
00:58:49,920 --> 00:58:53,119
Speaker 4: Oh damn once you fought it from the critics.

1068
00:58:58,679 --> 00:59:04,079
Speaker 2: Okay, so it's no Goodbye Blue Sky. But there are similarities, right.

1069
00:59:04,199 --> 00:59:06,880
Speaker 4: Okay, so the chord progression, because as I was listening

1070
00:59:06,920 --> 00:59:09,119
to it, and I'm thinking, okay, but that's I mean,

1071
00:59:09,119 --> 00:59:12,639
that's every country song, right, I mean, that's also Sweet

1072
00:59:12,679 --> 00:59:15,360
Home Alabama. But when you got to the melody of

1073
00:59:15,400 --> 00:59:18,159
the lyrics in that one, I was like, ooh, there's

1074
00:59:18,239 --> 00:59:21,519
a substantial similarity to the melody and the lyrics there.

1075
00:59:22,199 --> 00:59:27,519
Speaker 5: That's that's cool. I I yeah, my mind is reasonably blown.

1076
00:59:27,639 --> 00:59:28,559
Speaker 2: Yes, pretty cool?

1077
00:59:28,639 --> 00:59:28,840
Speaker 1: Huh?

1078
00:59:28,840 --> 00:59:29,360
Speaker 2: Pretty cool?

1079
00:59:29,440 --> 00:59:29,760
Speaker 5: Yeah?

1080
00:59:29,800 --> 00:59:30,199
Speaker 4: All right.

1081
00:59:30,320 --> 00:59:32,760
Speaker 2: I don't know what more we can really say about

1082
00:59:32,760 --> 00:59:36,000
this song other than the Summer of eighty eight, along

1083
00:59:36,079 --> 00:59:39,119
with portion Sugar on Me flashback to our Hysteria episode,

1084
00:59:39,599 --> 00:59:42,039
this song ruled the air waves the summer of nineteen

1085
00:59:42,039 --> 00:59:43,480
eighty eight incredible song.

1086
00:59:43,760 --> 00:59:49,559
Speaker 4: Okay, so are we done with Sweet Child of Mine's

1087
00:59:49,599 --> 00:59:50,000
so good?

1088
00:59:51,000 --> 00:59:51,599
Speaker 2: It's so good.

1089
00:59:51,719 --> 00:59:52,239
Speaker 5: I love it.

1090
00:59:54,280 --> 00:59:56,559
Speaker 2: All right, So the beauty of Sweet Child of Mine

1091
00:59:56,719 --> 01:00:02,280
flows right into a heavy, fast paced, rock your socks

1092
01:00:02,320 --> 01:00:11,320
off song called You're Crazy.

1093
01:00:13,280 --> 01:00:17,320
Speaker 4: So the intro to this song is very, very similar

1094
01:00:17,400 --> 01:00:21,760
to the end of Paradise City, Like I don't I

1095
01:00:21,760 --> 01:00:23,559
don't know in the live show if they went from

1096
01:00:23,559 --> 01:00:25,119
one to the other, but I could sure see them

1097
01:00:25,159 --> 01:00:25,559
doing it.

1098
01:00:25,760 --> 01:00:30,199
Speaker 2: Yeah for sure. Very fast paced, super in your face

1099
01:00:31,559 --> 01:00:36,559
mosh pit. Yeah, this is one of my favorite songs

1100
01:00:36,559 --> 01:00:39,000
on the album. The interesting thing to me about this

1101
01:00:39,039 --> 01:00:43,280
song is there's several different versions. Okay, so the one

1102
01:00:43,280 --> 01:00:47,400
that appears on Appetit for Destruction is super fast paced

1103
01:00:47,960 --> 01:00:51,320
and sort of a speed song, right. The version on

1104
01:00:51,599 --> 01:00:54,880
gen r Lies is it's acoustic, of course, but it's

1105
01:00:54,920 --> 01:01:03,440
slowed way down, and that's the way the song was

1106
01:01:03,480 --> 01:01:07,280
originally intended to be. Stephen Adler has said that he

1107
01:01:07,360 --> 01:01:09,639
perversed the slow version much better.

1108
01:01:10,480 --> 01:01:13,360
Speaker 4: Right, it's got a groove and a blues that the

1109
01:01:13,840 --> 01:01:17,320
other one that doesn't have the original release. You're meant

1110
01:01:17,320 --> 01:01:20,360
to bang your head. The other one You're meant to

1111
01:01:20,400 --> 01:01:21,039
Tap your Foot.

1112
01:01:21,480 --> 01:01:25,800
Speaker 2: Axel's vocals on this song are amazing. He gives me

1113
01:01:25,960 --> 01:01:30,880
like chills the way he can ride that wave so high.

1114
01:01:31,199 --> 01:01:34,519
After hearing his baritone on It's So Easy.

1115
01:01:34,960 --> 01:01:40,119
Speaker 4: You shared something with me about his voice, and a

1116
01:01:40,159 --> 01:01:42,599
survey that was taken tell me about that.

1117
01:01:43,199 --> 01:01:49,079
Speaker 2: Okay. So, according to concerthotels dot Com, a survey that

1118
01:01:49,480 --> 01:01:52,199
you know, it's not Time magazine or anything, but they

1119
01:01:52,239 --> 01:01:55,400
came up with. They determined that Axel Rose has the

1120
01:01:55,440 --> 01:01:59,159
widest range of any singer in pop music history. That's

1121
01:01:59,239 --> 01:02:01,760
wider than Mariah.

1122
01:02:01,480 --> 01:02:04,159
Speaker 5: Carey, wider than Freddy Mercury.

1123
01:02:04,599 --> 01:02:08,559
Speaker 2: According to the survey, because he goes so low and

1124
01:02:08,599 --> 01:02:12,920
can hit those super high notes. It also determined that

1125
01:02:13,000 --> 01:02:19,559
he was the greatest singer in history. They asked him

1126
01:02:19,559 --> 01:02:21,639
about this, right, and I thought his comment was great.

1127
01:02:22,679 --> 01:02:25,679
He's like, hey, thanks, I'm honored. He's like, but I know,

1128
01:02:26,840 --> 01:02:28,519
you know, there's a little bit of a back backlash

1129
01:02:28,599 --> 01:02:30,119
on this. He's like, there are a lot of singers

1130
01:02:30,119 --> 01:02:31,920
that I prefer to hear sing other than me.

1131
01:02:32,400 --> 01:02:34,000
Speaker 5: But I'm honored. That's a good way to put that.

1132
01:02:34,119 --> 01:02:36,119
Speaker 4: Yeah, but I wonder if he's mellowed a little bit

1133
01:02:36,119 --> 01:02:37,000
in his old age.

1134
01:02:37,039 --> 01:02:42,719
Speaker 2: This song. In the chorus it goes You're crazy, then

1135
01:02:42,760 --> 01:02:47,719
You're effing crazy. Right, But the song originally was written

1136
01:02:48,599 --> 01:02:51,159
as a possible single, so they wanted to leave the

1137
01:02:51,199 --> 01:02:54,239
curse words out of it, right, So they didn't add

1138
01:02:54,280 --> 01:02:57,920
the curse words until they were playing it live and

1139
01:02:58,000 --> 01:03:00,679
there was a girl that was throwing stuff at him

1140
01:03:00,679 --> 01:03:02,639
and trying to get on the stage. And as he

1141
01:03:02,679 --> 01:03:04,480
was singing this song, he was looking at it. He's like,

1142
01:03:04,719 --> 01:03:17,960
you're effing crazy. Moving on to a song called anything Goes.

1143
01:03:20,079 --> 01:03:23,960
This song was originally performed, written and performed by Hollywood Rose,

1144
01:03:24,400 --> 01:03:27,440
a totally different song. They changed the lyrics, they changed

1145
01:03:27,480 --> 01:03:27,960
the music.

1146
01:03:28,840 --> 01:03:31,880
Speaker 4: Okay, so the interer to this song, you noticed the

1147
01:03:31,920 --> 01:03:34,599
guitar sounds way different than the other songs in the album,

1148
01:03:34,679 --> 01:03:39,719
right right, So he is using something called a talk box.

1149
01:03:39,920 --> 01:03:42,880
Slash is using something called a talk box with his guitar.

1150
01:03:43,880 --> 01:03:46,159
If you are a bon Jovi fan, which I know

1151
01:03:46,239 --> 01:03:50,559
that you are, that's something that Richie Sambor uses all

1152
01:03:50,639 --> 01:03:55,920
of the time. Probably the most famous talk box example

1153
01:03:55,960 --> 01:03:58,639
that I can think of is from Frampton Comes Alive,

1154
01:03:58,840 --> 01:04:00,519
the song do you Feel like I Do?

1155
01:04:01,880 --> 01:04:02,159
Speaker 5: All Right?

1156
01:04:02,239 --> 01:04:04,079
Speaker 2: I would argue that Living on a Prayer is a

1157
01:04:04,119 --> 01:04:06,039
little more famous, but keep going.

1158
01:04:06,639 --> 01:04:08,440
Speaker 5: You'd be wrong, but that's okay.

1159
01:04:09,760 --> 01:04:12,519
Speaker 2: On next week's podcast, we'll be debating Living on a

1160
01:04:12,559 --> 01:04:13,920
Prayer versus Peter Frampton.

1161
01:04:15,239 --> 01:04:20,360
Speaker 4: Anyway, this is the only song on Appetite that Slash

1162
01:04:20,480 --> 01:04:21,400
uses the talk box on.

1163
01:04:21,480 --> 01:04:22,480
Speaker 5: It's that kind of weird.

1164
01:04:22,920 --> 01:04:26,679
Speaker 4: You can hear him wabo wobbin to guitar as it's playing,

1165
01:04:27,199 --> 01:04:30,000
but it's a very unique sound. But yeah, I thought

1166
01:04:30,039 --> 01:04:32,719
you would enjoy the fact that he's doing that since

1167
01:04:32,719 --> 01:04:34,159
you like Ritchie Samborer so much.

1168
01:04:34,280 --> 01:04:36,920
Speaker 2: That's cool, that's cool. It's on the weaker side on

1169
01:04:36,960 --> 01:04:38,400
the album, but it's still one I love.

1170
01:04:39,039 --> 01:04:40,239
Speaker 5: Still great song for sure.

1171
01:04:40,599 --> 01:04:42,960
Speaker 2: All Right. That brings us to the last song on

1172
01:04:43,000 --> 01:04:54,639
the album, song called Rocket, great intro, great guitars.

1173
01:04:55,239 --> 01:04:57,800
Speaker 4: Yeah, I mean, you know I talked about you listen

1174
01:04:57,920 --> 01:05:01,039
to the first song on the B side or the

1175
01:05:01,159 --> 01:05:04,000
R side in this case and think, Okay, these guys

1176
01:05:04,039 --> 01:05:05,840
are gonna do well on the second side, and then

1177
01:05:05,880 --> 01:05:08,079
they finish it off with something like this and it

1178
01:05:08,159 --> 01:05:13,039
is awesome, like they bring it home just wonderfully. Yeah,

1179
01:05:13,079 --> 01:05:16,159
this song is amazing, amazing, good song.

1180
01:05:16,400 --> 01:05:20,320
Speaker 2: It's like two songs smashed together. Yeah, so you have

1181
01:05:20,400 --> 01:05:23,599
the first part and you have the here I am,

1182
01:05:23,800 --> 01:05:27,639
I'm your Rocket Queen. Yeah, and then then it fished

1183
01:05:27,679 --> 01:05:30,840
out with this sort of a it's like a sweet

1184
01:05:30,880 --> 01:05:33,480
Child of Mine like love song. It's really interesting.

1185
01:05:33,639 --> 01:05:36,639
Speaker 4: There are a couple of ladies involved with this particular song,

1186
01:05:36,679 --> 01:05:39,199
and the first one they mentioned in the liner notes.

1187
01:05:39,519 --> 01:05:44,960
Her name is Barbie von Grief, and she was somebody

1188
01:05:44,960 --> 01:05:48,360
who she was somebody who they crashed with, basically like

1189
01:05:49,119 --> 01:05:52,960
a lot of people. And she had another girl that

1190
01:05:53,400 --> 01:05:57,119
they had started a band together, and she wanted to

1191
01:05:57,159 --> 01:06:00,159
call the band Rocket Queen. You know, she just an

1192
01:06:00,199 --> 01:06:03,320
eighteen year old kid hanging out with these these guys,

1193
01:06:03,760 --> 01:06:07,440
but Slash referred to her as a queen of the

1194
01:06:07,519 --> 01:06:10,840
underground scene. But she was the one that they gave

1195
01:06:11,039 --> 01:06:13,639
they gave credit in the liner notes for although I

1196
01:06:13,719 --> 01:06:16,519
don't know that she's the one that probably deserved the

1197
01:06:16,559 --> 01:06:17,679
most credit on the song.

1198
01:06:20,119 --> 01:06:22,039
Speaker 2: We have to talk about Adriana Smith.

1199
01:06:22,440 --> 01:06:27,159
Speaker 4: Yeah, so Adriana Smith was Stephen Adler's girlfriend.

1200
01:06:27,519 --> 01:06:32,960
Speaker 5: Kind of Yeah, no, she was. She was his girlfriend

1201
01:06:32,960 --> 01:06:34,280
and she was mad at him.

1202
01:06:38,280 --> 01:06:41,760
Speaker 4: She was his girlfriend and she was mad at him,

1203
01:06:41,960 --> 01:06:46,440
so she came and kind of offered herself up to

1204
01:06:46,480 --> 01:06:49,840
the band, I guess, and so Axel said, Hey, you know,

1205
01:06:50,599 --> 01:06:53,639
why don't we we record it for you know, Art.

1206
01:06:55,679 --> 01:06:56,840
Speaker 2: Hey, I've got a great idea.

1207
01:06:58,480 --> 01:07:02,800
Speaker 5: Yeah, this was just what we're about to do. Oh

1208
01:07:02,880 --> 01:07:03,800
my gosh.

1209
01:07:04,119 --> 01:07:08,760
Speaker 2: So so he said, he prepositioned her, let's go have

1210
01:07:08,880 --> 01:07:13,079
sex in the vocal booth and we'll record the sounds

1211
01:07:14,400 --> 01:07:15,880
and we'll put it over the bridge of the song.

1212
01:07:17,239 --> 01:07:21,280
And she said, I'll do it for the band and

1213
01:07:21,320 --> 01:07:23,000
a bottle of Jack Daniels.

1214
01:07:22,679 --> 01:07:25,360
Speaker 4: And that's what she got, along with some infamy. She

1215
01:07:25,400 --> 01:07:28,679
said later on that this weighed pretty heavily on her soul.

1216
01:07:29,000 --> 01:07:31,800
Speaker 5: She only got a bottle.

1217
01:07:31,440 --> 01:07:35,840
Speaker 4: Of Jack out of it, and then the band became famous,

1218
01:07:35,840 --> 01:07:39,599
and that was all she ended up with, and drug

1219
01:07:39,599 --> 01:07:41,199
addiction and shame.

1220
01:07:43,719 --> 01:07:49,639
Speaker 2: Something to tell her grandkids about. Come over here, kids

1221
01:07:49,639 --> 01:07:55,000
and need you to listen to this song. Hear that sound,

1222
01:07:55,320 --> 01:07:58,519
so that that kind of brings up a story that

1223
01:07:58,639 --> 01:08:00,559
happened to me because I'm listening to this I'm listening

1224
01:08:00,559 --> 01:08:03,440
to this album and I put it on and Cole,

1225
01:08:03,599 --> 01:08:06,760
my twelve year olds in the car with me, and

1226
01:08:07,199 --> 01:08:12,480
it gets to the part where Axel's going, and Cole's like,

1227
01:08:13,239 --> 01:08:17,039
it really bothers me when he does that.

1228
01:08:17,960 --> 01:08:22,399
Speaker 4: Why He's like, Dad, I know what he's doing. And

1229
01:08:22,439 --> 01:08:25,279
he's like, oh, man, the guys at school they make

1230
01:08:25,319 --> 01:08:25,960
that noise.

1231
01:08:26,039 --> 01:08:29,199
Speaker 5: It's just so gross, and say, oh.

1232
01:08:29,520 --> 01:08:33,079
Speaker 2: He's not even pretending like they usually are.

1233
01:08:34,000 --> 01:08:36,039
Speaker 4: So, you know, they had to set up a mic

1234
01:08:36,079 --> 01:08:38,399
for this, right, they had to set up You can't

1235
01:08:38,439 --> 01:08:39,800
just you know, there's.

1236
01:08:40,760 --> 01:08:42,279
Speaker 2: I hope they set up a candle too.

1237
01:08:42,319 --> 01:08:42,560
Speaker 5: You know.

1238
01:08:43,640 --> 01:08:46,399
Speaker 4: They dimmed the lights, they set the mic up, and

1239
01:08:46,439 --> 01:08:47,479
then they.

1240
01:08:47,199 --> 01:08:48,199
Speaker 5: Exited the room.

1241
01:08:48,720 --> 01:08:52,640
Speaker 4: So the guy who mixed the album, his name's Michael Barbiro,

1242
01:08:52,960 --> 01:08:55,439
and he didn't want to have anything to do with this,

1243
01:08:55,880 --> 01:09:00,560
and so he set up the microphones and then he left.

1244
01:09:00,680 --> 01:09:04,079
He had this assistant engineer named Victor Deglio record it,

1245
01:09:04,520 --> 01:09:08,279
and so on the album. In the notes, Deglio is

1246
01:09:08,359 --> 01:09:15,079
listed as Victor quote, the fucking engineer Deglio because of

1247
01:09:15,119 --> 01:09:16,159
his contribution.

1248
01:09:21,000 --> 01:09:24,079
Speaker 2: That's a great man. Gosh, that's almost.

1249
01:09:25,520 --> 01:09:25,640
Speaker 6: That.

1250
01:09:25,760 --> 01:09:30,720
Speaker 2: It's hilarious. Oh, more embarrassing than what Adriana Smith has

1251
01:09:30,760 --> 01:09:31,279
a little with.

1252
01:09:34,640 --> 01:09:37,279
Speaker 4: So Rock and Queen was the song that they were

1253
01:09:37,319 --> 01:09:41,600
performing in Saint Louis in nineteen ninety one when there

1254
01:09:41,680 --> 01:09:44,279
was a guy. You know, it's pretty commonplace these days

1255
01:09:44,359 --> 01:09:46,359
that people have cameras. It shows, I mean, you can't

1256
01:09:46,399 --> 01:09:48,840
avoid it with everybody has a phone that has a

1257
01:09:48,840 --> 01:09:51,560
camera on it. But back in nineteen ninety one, it

1258
01:09:51,800 --> 01:09:56,520
was rare and it was really frowned upon. And Axel

1259
01:09:56,600 --> 01:10:00,760
sees this guy taking pictures of him and tries to

1260
01:10:00,760 --> 01:10:02,439
get the security to do something about it. If they

1261
01:10:02,439 --> 01:10:04,640
don't do anything, so he decides to take matters into

1262
01:10:04,680 --> 01:10:07,640
his own hands. He jumps out in the crowd, hits

1263
01:10:07,680 --> 01:10:12,079
the fan with the camera, kind of has to fight

1264
01:10:12,159 --> 01:10:14,520
up the security guys, gets thrown back up on the

1265
01:10:14,560 --> 01:10:17,960
stage and says, thanks to the lame ass security, I'm

1266
01:10:18,000 --> 01:10:20,600
going home, and he throws the mic down and walks

1267
01:10:20,640 --> 01:10:24,279
off stage and the rest of the band goes with

1268
01:10:24,399 --> 01:10:27,199
him and a full scale riot breaks out.

1269
01:10:28,239 --> 01:10:32,199
Speaker 2: There are some amazing, amazing stories that follow this band

1270
01:10:32,640 --> 01:10:37,199
post Appetite for Destruction, but those are a podcast for

1271
01:10:37,239 --> 01:10:40,399
a later day when we cover Usual Illusion one and two.

1272
01:10:40,840 --> 01:10:45,359
I would love to hear anyone's suggestions for what goes

1273
01:10:45,800 --> 01:10:48,520
with Usual Illusion one and two. What's a good matchup

1274
01:10:48,560 --> 01:10:49,920
for it? We want to hear from you guys. Hit

1275
01:10:50,000 --> 01:10:52,800
us up on Twitter, hit us up on Facebook, email

1276
01:10:52,880 --> 01:10:55,119
us let us know your suggestion for what is the

1277
01:10:55,119 --> 01:10:59,000
best matchup for you usual illusion one and two. All right,

1278
01:10:59,159 --> 01:11:02,359
so that apps Appetite for Destruction.

1279
01:11:02,800 --> 01:11:05,800
Speaker 4: Join us for part two of the Appetite for Destruction

1280
01:11:06,079 --> 01:11:09,840
versus Back in Black Podcast. We really appreciate all the

1281
01:11:09,840 --> 01:11:12,199
support you've been given us out there. We're overwhelmed by

1282
01:11:12,199 --> 01:11:15,720
how many people are listening and.

1283
01:11:15,159 --> 01:11:18,039
Speaker 5: Joining in and communicating with us on Facebook. We're blown away.

1284
01:11:18,279 --> 01:11:18,960
Speaker 2: Thanks guys.

1285
01:11:19,079 --> 01:11:22,520
Speaker 4: Please please check us out on Facebook at Shirley Podcast

1286
01:11:22,600 --> 01:11:26,000
on Facebook or on Twitter at Shirley Podcast, or if

1287
01:11:26,039 --> 01:11:29,399
you want to, you can email us Surely Podcast at

1288
01:11:29,479 --> 01:11:32,199
gmail dot com. All right, we'll see you guys next week.

1289
01:11:38,199 --> 01:11:43,159
Speaker 2: Okay, so according to this list, Axel's voice, I'm not

1290
01:11:43,239 --> 01:11:47,920
a musician, but it goes from super low F one.

1291
01:11:48,640 --> 01:11:49,760
I don't know what that means.

1292
01:11:50,039 --> 01:11:51,199
Speaker 5: Okay, I mean I know what.

1293
01:11:51,359 --> 01:11:55,399
Speaker 4: It's just an flower note a low F on the scale.

1294
01:11:55,439 --> 01:11:56,600
Speaker 5: Yeah, sure, a low f.

1295
01:11:56,600 --> 01:12:00,600
Speaker 2: On the scale to a high of B sharp six.

1296
01:12:01,079 --> 01:12:04,159
Speaker 4: Okay, there's no such thing as be sharp.

1297
01:12:09,359 --> 01:12:11,520
Speaker 2: Let's start over. Let's start this one over.

1298
01:12:15,279 --> 01:12:16,800
Speaker 5: Does it say B sharp?

1299
01:12:17,000 --> 01:12:19,960
Speaker 2: It has be and it has a little little note

1300
01:12:20,039 --> 01:12:20,720
thing by it.

1301
01:12:21,079 --> 01:12:23,560
Speaker 4: Okay, so it looks like another like little b right,

1302
01:12:23,760 --> 01:12:26,720
a little baby be okay, okay, good good, all right,

1303
01:12:26,760 --> 01:12:30,960
so you just you misinterpreted the symbol. Let's be flat.

1304
01:12:32,520 --> 01:12:34,680
I was really really gonna judge.

1305
01:12:38,039 --> 01:12:40,920
Speaker 5: Be sharp. Okay, yeah, no, wonder they thought he was great?

1306
01:12:41,119 --> 01:12:44,880
Speaker 2: Yeah really, okay, I'm gonna start this little conversation.

1307
01:12:44,520 --> 01:12:46,720
Speaker 5: Over real quick. Okay, I think it's great.

1308
01:12:50,319 --> 01:12:52,279
Speaker 2: Okay. I don't know if you saw this, d but

1309
01:12:52,359 --> 01:12:56,199
there's a source out there called concert hootels dot com.

1310
01:12:56,279 --> 01:12:59,039
They came out with the list of greatest vocalists.

1311
01:12:59,159 --> 01:13:00,960
Speaker 5: Did you say concert Hotels.

1312
01:13:00,560 --> 01:13:03,039
Speaker 2: Dot concert hotels dot com.

1313
01:13:03,199 --> 01:13:06,520
Speaker 4: Oh, if concert hotels dot com is speaking, you should listen.

1314
01:13:07,159 --> 01:13:10,319
Speaker 2: I'm just telling you. On this list, Steve Perry is

1315
01:13:10,479 --> 01:13:14,840
below Eminem We're lily literally weeping.

1316
01:13:14,520 --> 01:13:16,600
Speaker 5: Right now below.

1317
01:13:17,239 --> 01:13:19,399
Speaker 4: All music images and movie clips are used for the

1318
01:13:19,399 --> 01:13:22,680
purposes of commentary and education in conjunction with the fair

1319
01:13:22,800 --> 01:13:24,680
Use agreement under the US copyright law.