full in bloom’s INSIDE THE TOUR:
DESCRIPTION:
Brief documentary on the 1987 Motley Crue/Guns N Roses Tour according to Slash, Axl Rose, Duff McKagan, Tommy Lee, & Steven Adler.
YOU CAN WATCH THE DOCUMENTARY VIA THE EMBEDDED YOUTUBE CLIP BELOW. You can also access the video directly on YouTube @ this location.
SOURCES:
Rock artist Dorothy recently performed at a sold-out show at the Troubadour in Los Angeles and was joined onstage by guitar legend SLASH for her song “Gifts From The Holy Ghost.” Dorothy’s most recent single “Black Sheep” is currently #10 on the Active Rock charts and the video has over 2 million views.
Dorothy is the only female led band on the rock charts right now and recently announced new tour dates in Tampa, Orlando, Newark, Worcester, Milwaukee, St. Paul, Columbus, Elko, Grand Rapids, and wrapping up the tour with a performance at Rock Fest in Cadott, WI on July 15th.
Named an “Artist You Need to Know” by Rolling Stone, Dorothy has amassed over 1.3 million monthly Spotify listeners, 1 billion streams in all time global coverage and their latest album Gifts From The Holy Ghost has over 59 million streams.
In celebration of the 1 year anniversary of our 3rd record we played a SOLD OUT show at @theTroubadour last Friday & were joined on stage by @gunsnroses guitarist @Slash to debut the title track 'Gifts From The Holy Ghost'!
⚡💋⚡#dorothy #slash #gunsnroses #GFTHG #troubadour pic.twitter.com/uIIA9QKSlR
— DOROTHY (@itsdorothysucka) April 6, 2023
Seymour Duncan:
We accepted the challenge to make Slash a humbucker that would make all of his new signature guitars sound just like the original Appetite for Destruction Les Paul.
Get your Slash signature pickups today @ this location.
Michael Monroe:
New video for the song featuring our dear friend Slash.
Classic Rock Magazine: “Guns N’ Roses have been creatively impotent since 1991” – former band manager Alan Niven.
You can read the entire interview @ this location. An excerpt from the conversation can be found below.
You replaced Arnold Stiefel and Randy Phillips as manager of GN’R in 1986. How did that opportunity come about?
Alan Niven:
Randy and Arnold wanted out in the worst way. They had rented a house in The Hills for the band, and it was beginning to show signs of Gun wear. A toilet was dumped outside the front door. There was a python in the bedroom eating white rabbits.
Frankly, I cannot imagine the Sunset style of Randy Phillips ensuring any real connection with the band. Further, they were a typical 10 til 4 kind of operation.
For me, rock ‘n’ roll was a way of life. It’s 24/7/365. So when I rolled up on my bike, [then a Kawasaki Vulcan – I had yet to be able to afford a Hog], the band knew that they would be dealing with someone saltier, with both feet on the ground. No bluster and no bullshit.
Stiefel and Phillips wanted out. Fast. And Tom Zutaut [Geffen A&R] was utterly desperate to find a manager, any manager. Rosenblatt, the President of Geffen, refused to allow them to begin recording until they had one, and they’d been rejected by everyone, including myself, twice. On the third time of asking I told Tom; I’d meet and see what happened. Only Izzy (Stradlin) and Slash turned up for the meet. Izz nodded out at the table. The needle and damage being done.
Which left only me and Curly. And I liked him. He was articulate. Very charming. I was intrigued. Enough to go and see what was going on in Pasha Studios. I was asked to sit in on the mix. The bayou began to rise up over my boots. I began to get sucked in.
You previously said that if you were to do something different during your tenure with the band, you would not have signed the contract in September 1986. Is there any specific reason why you feel this way?
Guns consumed soooo much of my energy. I have no doubt Great White (Alan also managed Great White) woulda had a bigger profile had this not been the case. I took Guns from the streets to selling out Wembley. There was no gratitude whatsoever from Axl (Rose). Who, every now and then, I would have to work against. Iz, Slash and Duff (McKagan) would sometimes call and say: “Have you heard what he wants to do now Niv? Y’gotta nip it in the bud.”
One prime example is that Axl refused to do the Aerosmith tour. He told me to cancel. I had signed a contract with five individuals collectively known as GN’R. My responsibility was to the whole, to the entity, not the lead singer alone. I refused. He was pissed. Banned me from the tour for three weeks by which time everyone knew it was going great and the then highpoint of the band’s career.
I had to send cops to his apartment to drag him and Erin (Everly) down to the Coliseum to perform before The Stones. Again, he wasn’t happy, but it ended up being a triumph. I have no doubt he has been an impediment to other projects – UMG [Universal Music] will do anything to get something, anything, from Axl, even if that means I get ignored.
They took prime energy out of my life and gave very little back – they still owe me for the Adler court case and for paying for their tour manager. Users are not friends. Not family.
During the recording process for Appetite for Destruction, what was Slash like? Do you have any memories or stories of how he would be in the studio?
The most memorable moment was when he smashed an SG through the windscreen of the rental van Guns used to get to the studio —a clear and obvious indication he was having sound problems. As you can find on the [inter]net there are many notices of how I found and gave him his AFD guitar, which, to this day, he states is the one guitar he’d keep if he were to only have one.
He and Mike Clink did great work together. Having done a lot of recording with Michael Schenker, I knew Mike would be patient, get great tone, and work at constructing memorable, melodic statements with Slash. History proves my confidence in them working together was correct.
You can read the entire interview @ this location.
full in bloom Interview: That Time Guns N’ Roses Trashed Their Apartment During the ‘Appetite for Destruction’ Recording Sessions
Jay Jay French:
When Love is for Suckers came out, I had Kramer do a Love is for Suckers cover guitar. The irony of it is, if you look at the amount of time I spent playing all these guitars, the Love is for Suckers guitar probably got the least amount of time because the tour was aborted after two weeks and then it went into storage.
I’m not a Strat guy, I’m a Gibson guy. But back in the late ’80s, everything was pointy guitars or Strat-style guitars. There was a point where Gibson was out of favor and people don’t remember this. Gibson should be kissing Slash’s ass for saving the Les Paul!
In 1987, while promoting the album ‘Love is for Suckers,’ Twisted Sister frontman Dee Snider said the following about the band’s dwindling audience:
Dee Snider:
I gave up trying to figure out records a long time ago. If you go back to our early albums, our first one, ‘Under the Blade,’ was considered to be a classic record, yet it had no major sales anywhere. ‘You Can’t Stop Rock ‘n’ Roll’ was a smash in England, but nowhere else in the world. ‘Stay Hungry’ bombed in England, huge in the United States. ‘Come Out and Play,’ our biggest album in Italy and Norway but no good in the United States.
So, every country I go to, I’ve got different results. We just make the records we feel good about.
Upon its release, Billboard wrote: “Longtime New York-based rockers stumbled with last release but have managed to catch their balance on this one, with a new producer and new attitude. Album is chock-full of sturdy, straightforward cuts.”
Sharon Liveten of the Los Angeles Times wrote: “On its fifth album, Twisted Sister doesn’t tromp off into uncharted territory. It’s anthemic, occasionally repetitive and self-derivative. That said, Love Is for Suckers is a darned good album. The guitar work is flashy but doesn’t resort to clichéd posturing and Dee Snider’s vocals are in fine, sneering form.”
Pete Bishop of the Pittsburgh Press commented: “This is cliche-cluttered, “commercial” heavy metal designed for instant acceptance. Seven of the cuts are the same wham-bam-party-hearty stuff Twisted Sister and so many others have defrosted and reheated ad nauseam.” He selected “Hot Love”, “One Bad Habit” and “You Are All That I Need” as “the class of the disc because they dare to differ from the formula and because Twisted Sister performs them well.”
Michael Dowding of The Boston Globe wrote: “Unfortunately, this album sounds like a band in decline. There’s still enough thump and screech to keep the Saturday night party going, but don’t look for any development or innovation. For fans, the best cuts include “Wake Up” and “One Bad Habit”. For many other listeners, though, this is an album to avoid.”
Napalm Records:
Acclaimed Rockers Alter Bridge Release Epic Album Track “Sin After Sin” And New Lyric Video! 🤘♟
New Album, Pawns & Kings, Out October 14th!
Pre-Order PAWNS & KINGS Today
Recently, VWMusic caught up with Alan Niven to discuss his retrospective musings on managing Great White and Guns N’ Roses during their heyday. You can read the entire interview @ this location.
An excerpt from the interview can be found below.
My understanding is that it was Jack [Russell] who persuaded you to manage Great White, but he was both the band’s and his worst enemy on many levels. How was your experience working with him?
Alan Niven:
At times sublime. At times just wretched. If rock ‘n’ roll should appear to be spontaneous and haphazard, Jack personified that. Authentic is a much-overused word, but Jack was genuinely rock ‘n’ roll. In all ways. K’pan Fuckin’ Jack – truly pirate blood runs in his veins. Steal yer rum, rape yer women, and piss all over your rug where you’d find him passed out.
Great White’s inherent musicianship and blues roots set them apart from their contemporaries, effectively putting them in a league of their own. Yet, the band never quite garnered the reverence it deserved. What do you feel prevented Great White from becoming more widely recognized?
Alan:
Jack’s disastrous drug-taking derailed the band’s first headline tour with [Michael Schenker Group] and Havana Black. Moving up to headliner from support is perhaps the most critical development in a career. Had I left him on the road; however, I’d probably have gotten him back in a box, and no one was gonna die on my watch. I had to take him off the road and detox him. He could smell and distinguish chemicals at a quarter mile.
Anyways, the idea of having all three bands from one label on the tour, and getting really focused promotion, obviously backfired on me. Capitol [Records] were not happy when the tour had to be canceled. The tragedy was that it was working; the Northeast was sold out weeks in advance.
The promoters never forgave the band, and they never got that shot again. We also suffered from the revolving presidential door at Capitol. Hale Milgram, our third in four years, made it clear he thought little of the band. His A&R man only had disdain – selective amnesia prevents me from recalling his name, but he rents property in Hawaii now. Oh, yeah. Simon Potts. They were into English club music, and R.E.M. Satin balloon pants were cool to them. We were a road band most akin to early ’70s English blues rockers. Wonder why! Anyways, they did not connect. Milgram never came to a gig until just before we left the label. At least he released us, and we escaped getting Gershed again.
How responsive was Axl Rose to your feedback and suggestions, and how did you navigate the relationship?
Alan:
His first insult was to thank me in the liner notes after his fuckin’ dogs. He didn’t bother to show for the dinner with [Peter] Paterno and the rest of the band where they offered to extend my original contract for another whole three years. That was when I knew I’d be fucked over by them. They did offer to raise my commission rate to 20%, but I turned down the increase. I did not want my company being paid more than a band member, although I had to pay for offices and staff. I never charged back a dime in expenses, as I had the conventional right to do so.
The only time Axl ever said thank you was from the stage of the Hammersmith Odeon – so even that was more about him than me. See me being gracious. He wasn’t a nice person back then. He may have changed. To me, he’s kind of like the Tonya Harding of rock ‘n’ roll – capable of being sublime but best known for other reasons.
I was there for him, taking him from Hollywood streets to Wembley Arena. He repaid me by believing Goldstein’s (Doug Goldstein replaced Niven as GNR manager) lies because he wanted to.
And what were Goldstein’s lies?
Alan:
Whatever he told him to put distance between us.
I had a telephone conversation with Axl in which he asked why he had trouble getting people to do what he wanted. I told him he was prickly, difficult to get near, and that his tantrums scared people. A couple of days later, when I was at the Meadowlands, he called the production phone and told me he could not work with me anymore. I suggested we have dinner on my return to L.A. and talk about it. He agreed, but I never spoke to him ever again.
A few weeks previous, I had held a dinner at Le Dome for his birthday. Earlier in the day, I had delivered him a white Ovation guitar. He failed to show. Tom Zutaut arrived with Goldstein; they had been with Axl. Before seating himself, [Zutaut] leaned over me and whispered in my ear, “Goldstein is not your friend.” A few days later, Axl said he wouldn’t do Rock In Rio if I went. No big deal. I thought. He’d had me banned from the Aerosmith tour for its first three weeks because I refused to cancel it. My job was to get them all there. Their job was to produce excitement on the stage.
I had signed a contract with five individuals collectively known as Guns N’ Roses. I did not sign a contract to exclusively represent his whim. My responsibility was to the whole.
Goldstein is a liar, and a fake – a schmoozer, a glad-hander – Barry Fey once described him as an overpaid security guy. He was without loyalty and appreciation – he was a security guy when I gave him a shot at tour managing. He decided he was there to indulge Axl. Ingratiate himself. Screw the others – as happened. He presided over the dissolution and implosion of what I helped create. He helped engineer Axl’s grab of the name. To this day, Axl takes 50% of the gate, thus cutting Izzy out. Ego and greed. The corrosion of affluence on a soul that comes from impoverished childhood.
You can read the entire interview @ this location.
The Formative Days: A Conversation with Former Poison Guitar Tech Paul Lipke. You can read the entire interview @ this location.
INTERVIEW EXCERPT:
How do you remember Slash’s Poison audition?
The band was getting bigger than ever as far as interest in their live shows. Whenever Mötley was in town, I’d always see Tommy and Nikki at our shows. I still point this out to people to look at their image on the Leather Records release, lots of leather and spikes; Shout at the Devil, more polished; then, bam, total glam for Theatre of Pain. That’s mainly to do with what bands like Poison were doing on the strip!
So, Atlantic approached Vicky [Hamilton] with what back then was something called a “first right of refusal” demo deal, which means (per Hamilton) they had a certain amount of time to decide if they wanted to sign the band after they turned in the demo. If they were gonna get signed, Matt (original Poison guitarist, Matt Smith) was gonna stay with Poison. What happened is, he got his girlfriend pregnant, and he had to make a business decision – “Do I sit out in L.A. and try to become a musician with no guarantee what’s gonna happen to us, or do I go back and become a father?“
Jim Faraci produced [the demo], but Atlantic wound up passing on them. So, Matt said right away, “I’m done, then. I’m not gonna stay out here. I’m not gonna keep playing these same shows and have record companies pass on us.” So, he went back to Pennsylvania. But in the meantime, before he and I left, we had to find somebody to replace him. I think Vicky set up these rehearsals. I touched base with Matt to make sure, because I have a good recollection of how many guys tried out, and we both came up with the same number. I can’t believe this – people will tell ya that there’s a lot of guys that tried out for his spot – it was only three people; Slash, C.C. DeVille, of course, who got the job, and this guy named Steven Silva, who was in a band called Thundertrain out of Boston. It was three guys over two days, if memory serves me correctly.
[Slash] came in, I guess we had a door in the front of this place – just picture a storefront with all glass. Actually, Yngwie [Malmsteen] lived there before we did, which is crazy to think about that. He moved out, and we moved in. I think Vicky found the spot for us. But it was in a real shady, seedy area. I just remember Slash coming in, one guitar case – he didn’t have the top hat on – I know he had like a backward baseball hat, that I do remember. He had a three-song demo to learn, and they ran through the three songs maybe twice. It wasn’t that long of a tryout.
In the meantime, those guys are trying to get dates for when the new guitar player does come into the band because we probably had already played Matt’s last show, so Bobby had to go in the other room and he’s calling up all these clubs for the next couple gigs. Somehow, [Slash] knew we were into Aerosmith – could have been while we were setting up for the audition, or I don’t know if we had posters or albums hanging out – but he said, “Let’s do some Aerosmith. What do you guys know?” I know they played three songs, for sure; the first one was “Last Child,” the second one was “Same Song and Dance,” and the third one was “Lord of the Thighs.”
Now, for me, this is like a highlight. If anybody remembers the old Coke commercial where Mean Joe Greene is walking off the field, and he tosses the jersey to the kid, he winks at him and has like a swig of Coke, this is the opposite of that, but it’s in a musical context for me. Rikki’s putting down the beginning drumbeat, and the song starts kicking in, and I’m thinking, “How the hell is he gonna play slide? There’s a lot of slide guitar coming up.” And I know Slash is a slide player from seeing him with Hollywood Rose. So, I’m looking at his guitar case, it’s wide open, and I see a metal slide. So, I look down at him, he looks at me, I look back down at the slide – he like shakes his head up and down– so I bend down, I pick up the slide, and I toss it to him. He catches it puts it on his finger, and he does the slide parts for “Lord of the Thighs.” That’s one of the top five things that’s ever happened to me. Anyway, Matt wound up playing bass on those Aerosmith songs. So, it was Matt on bass, Bret was singing, Rikki was playing drums, and it was Slash. It was killer.
Have you ever run into Slash since then?
Yes, a few times. This one time in particular, at or a little before Appetite came out, I went to L’Amour in Brooklyn with some friends. On the way to the show, we stopped at the record store so I could buy Aerosmith’s Video Scrapbook, as it had come out that day. We get into the club super early, right after Guns sound check. I go to the back bar for a beer, and just as I get there, from behind a column, Slash grabs my shoulder and says, “Hey, dude. What are you doing here?” I replied, “I’m here to see you!” I asked him if I could buy him a drink, and he said, “Yes, a Jack and Coke.” I bought him a double and a Heineken for me, must have cost me $40 after the tip. Anyway, I mention I have the new Aerosmith video on VCR tape. He said, “Go get it and we’ll watch it on the bus.” I meet my friends to get the keys to the car to get the tape, I told them what was going on, and that I would hook up with them later. I bang on the bus door, and he lets me in. We throw in the tape, and a little while in, Steven Adler and his then-girlfriend, Athena (Tommy Lee’s sister), comes on to. I haven’t seen either of them for a few years; Athena had the hots for Matt, and I felt like it was my duty to keep them apart because I liked Matt’s eventual wife, who he later left the band to have his first kid with. Fun times!
You can read the entire interview @ this location.
Manager Vicky Hamilton Talks Poison
Producer/Engineer Jim Faraci Talks Poison’s ‘Look What the Cat Dragged in’
Jim Faraci on Ric Browde During ‘Look What the Cat Dragged In,’ “He didn’t do s***”
Alter Bridge:
Check out our new video for the title track, Pawns & Kings! Let us know what you think in the comments here🤘🤘
Alter Bridge – Pawns & Kings – Out October 14th!
Pre-Order PAWNS & KINGS Today: https://t.co/WA2fUKo2F1 pic.twitter.com/5AZjzLmFyO
— Alter Bridge (@alterbridge) July 18, 2022
Guns N’ Roses:
Munich! Who’s ready?
It appears the stage for the @gunsnroses show in Munich scheduled for this Friday is currently being built
Given the news over the last few days this still doesn’t actually guarantee anything, but let’s be hopeful pic.twitter.com/cc4a8hzPlE
— J. ⚡️ (@TheGNRGiirl) July 6, 2022
Rock action Munich!! @gunsnroses pic.twitter.com/kj0UsploXP
— del james (@deljamesgang) July 8, 2022
after the show postponement in Glasgow, @gunsnroses are back today in Munich! wishing Axl and the band the best
fun fact: they are playing in the same stadium where part of the Estranged music video was filmed pic.twitter.com/oJWZB1ZvwX
— J. ⚡️ (@TheGNRGiirl) July 8, 2022
Great news!!!:@gunsnroses @axlrose @Slash made it to Munich!!!#WelomeToTheJungle pic.twitter.com/gTf2wcey3w
— Andreas Peichl (@APeichl) July 8, 2022
Llegaron (?) #GunsNRoses #Munich pic.twitter.com/A1qLS4wdGQ
— 𝑆𝑎𝑦𝑑𝑒𝑒́ (@S4ydee) July 8, 2022
Nice start into the weekend with #GunsNRoses live at Munich Olympic Stadium. Happy weekend, let’s rock! 🤘🏻🎸 pic.twitter.com/ZkDSfKaB8R
— Daniel Kuhl (@daniel1820815) July 8, 2022
Ready for #GunsNRoses 🤘🏼#Munich pic.twitter.com/zIZB7ymnu8
— 𝑆𝑎𝑦𝑑𝑒𝑒́ (@S4ydee) July 8, 2022
Back to #Munich: @gunsnroses 🎸🎶 Soon to start in perfect setting @OLYMPIAPARK pic.twitter.com/IwJu4b9zdu
— Hilde Stadler (@HildeStadler) July 8, 2022
Final setlist from Munich night. ⚡#gunsnroses #gnr #gnfnr #gnr22 pic.twitter.com/4rh4Ym4yu9
— All Cautions for GNR ⚡ (@AllCautions) July 8, 2022
Guns N' Roses se apresentou hoje no Olympiastadion em Munique, Alemanha 🇩🇪
Aqui está um clip do momento que Axl quase acerta o @slash com o microfone durante “Better” 😅 (🎥 Emeterio Germain)
#GunsNRoses #GnFnR #axlrose #Slash #munich pic.twitter.com/NaZivTiV2z— gunsnroses (eterno) (@gnreternobr) July 8, 2022
Munich, thank you for a fantastic fucking evening! I am completely blown away by you guys! See you again sooner than later, cheers! iiii]; )'
— Slash (@Slash) July 8, 2022
@DuffMcKagan is the coolest 58yr old in the world. Change my mind!#GunsNRoses #munich #Muenchen #GunsNRoses pic.twitter.com/PCLNIrw40I
— Guenter Parche (@geparched) July 8, 2022
#GunsNRoses #Munich pic.twitter.com/HEbdRP45mV
— 𝑆𝑎𝑦𝑑𝑒𝑒́ (@S4ydee) July 8, 2022
#GunsNRoses #Munich pic.twitter.com/6BLWFuZAPh
— 𝑆𝑎𝑦𝑑𝑒𝑒́ (@S4ydee) July 8, 2022
Fucking special 😍
Estranged en el Olympiastadion 😍#GunsNRoses #Munich pic.twitter.com/YWD1wM5Qg2
— 𝑆𝑎𝑦𝑑𝑒𝑒́ (@S4ydee) July 8, 2022
Roses?src=hash&ref_src=twsrc%5Etfw”>#GunsNRoses #Munich pic.twitter.com/CQq64dVa3h
— 𝑆𝑎𝑦𝑑𝑒𝑒́ (@S4ydee) July 8, 2022
@axlrose @gunsnroses Yesssss🎸🔫🌹 Munich pic.twitter.com/cVbXIaXbfs
— DanMarino66 (@DMarino66) July 8, 2022
Slash:
Really amazing condition all original 1960 Les Paul I just picked up from Guitare Village, thank you! iiii]; )’
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Gibson, the iconic American instrument brand’s purpose-driven philanthropic arm Gibson Gives has announced a rare lot of six autographed, high-profile, limited-edition guitars from Gibson artists are now up for auction via Charity Buzz through July 6 HERE. The Gibson Gives auction only features rare and collectible limited-edition guitars that are autographed by the artists including Angus Young (AC/DC), Joe Perry and all of AEROSMITH, Darius Rucker, Lzzy Hale (Halestorm), Elliot Easton (The Cars), Robin Zander and Rick Nielsen (Cheap Trick), Don Felder (Eagles), Slash, Billy Gibbons (ZZ Top), Richie Faulkner (Judas Priest) and more. Each guitar in the Gibson Gives auction includes a certificate of authenticity, and comes straight from the source, Gibson.
Gibson has a strong focus giving back and supporting the global music community through Gibson Gives. The mission of Gibson Gives is to create, develop and support non-profit organizations in their efforts to advance musicians, youth-focused education, music, and wellness initiatives. In the last three years, Gibson Gives–a 501(c)(3) organization–has raised over $3.5 million dollars worldwide through its mission.
The Gibson Gives auction gives music fans the once-in-a-lifetime chance to own a rare and collectible piece of music history. All donations raised will go to Gibson Gives, in addition to the National Museum of African American Music’s music education fund. Bidding on the Gibson Gives auction has started now, and will officially close on Wednesday, July 6 at 3:00pm ET, bid now @ this location.
Angus Young – AC/DC Signed Gibson SG Standard
Lot # #2463401
Donate/Bid: HERE
Bid now to win the Gibson SG Standard autographed by rock legend, Angus Young of AC/DC. Only a few Rock and Roll pioneers break the Top 25 guitarists of the all-time list, and fewer do so by using only one model of guitar. The hard rock titan, Angus Young is synonymous for his high-voltage energetic performances, schoolboy uniforms, and his trusty Gibson SG Standard guitar. Angus has kept his Gibson SG in hand for his entire career. Angus has been constant with his dedication to the original Gibson solid guitar design. Much like Angus’s beloved SGs, this SG features a solid mahogany body set with two humbucking pickups. The mahogany neck has a slim taper profile with a rosewood fretboard and trapezoid inlays, is ready to shred some rock and roll. With Angus Young’s signature on the pickguard of this amazing Gibson SG, place a bid to take home a piece of rock and roll history.
Aerosmith and Joe Perry Signed “Gold Rush” Les Paul
Lot # 2463402
Donate/Bid: HERE
Bid now to win the Limited-edition Custom Shop Joe Perry “Gold Rush” Les Paul Axcess that is signed by the legendary Joe Perry, as well as all of his bandmates in Aerosmith. Between owning several 1959 Les Paul “Bursts”, Les Paul Customs, Les Paul Junior Double Cuts, and creating multiple Gibson signature guitars, the ties between Gibson and the legendary AEROSMITH are sky-high. When lead guitarist Joe Perry gave Gibson Custom Shop what he described as “… a nearly impossible task…” of creating the new “Gold Rush” guitar. The Joe Perry “Gold Rush” Les Paul Axcess guitar is the result of years of creative collaboration between Joe and Gibson. It represents Joe’s idealized vision of a Les Paul guitar with a vibe, sound and feel that is pure rock ‘n’ roll. The Gibson Custom Shop Joe Perry Signature “Gold Rush” Les Paul Axcess features a unique twist with a Wilkinson floating tremolo system. This Wilkinson tremolo system is crucial in Perry’s guitar design to allow for a wider range of dynamic playability. Additionally, this model includes a Chandler Tone X control in the tone Potentiometer. When the pot is pulled it activates a +16dB Boost with a Midrange Sweep to set a solo boost or even get a mimicked Wah-Wah tone. Joe has chosen this Goldtop to be his Gold Standard of a Signature Les Paul. Adding to its collectability, this limited-edition Gibson Custom Shop Joe Perry Gold Rush Les Paul Axcess guitar has been signed by all of AEROSMITH.
View all items @ this location.
When you just happened to be texting each other and the other goes, “can I call you, too much to text.. “… “yeah ok” … “hey what city are u in” “oh really, me too.. what hotel ?” “What!?? Holy shit ! So am I “ hahah…Ladies and gents, Mr. James LoMenzo!
We go back to Pride&Glory 1993, then Slash’s Snakepit 1995, and many other projects over the years! He’s now back in Megadeth full time, and has spent many years with John Fogerty, David Lee Roth, Black Label Society, Ace Frehley, White Lion and many others! A massive freight train of a bass player!
So nice to cross paths in a completely serendipitous way! (And just as nice to take advantage of one of the few big words I know! Ha)
We need way more than one evening’s hang to properly catch up!
We are both at Hellfest Saturday so I’m going to try to stick around and watch the mighty Megadeth and James do their thing that night!
Tracii Guns:
Ok, we haven’t talked about this much yet, but Todd Kerns and myself have been working on an album for the past 9 months with Adam Hamilton on drums and I just heard the first 2 completed vocal tracks. It feels like I just ate a handful of adrenaline. I’m so excited.
I know that this record is going to make all you rock fans get that dose of the real deal you haven’t had in a very long time. The band is called Blackbird Angels and we will keep you updated now on the progress and release information as we get it. This is my life’s work. ❤️❤️❤️
Todd Kerns is God. You’ll see and hear soon
— Tracii ⨁ 🇺🇸🇩🇰 (@TraciiGuns) August 25, 2022
@todddammitkerns @AdamHamilton1 and my new record Blackbird Angels is now done being recorded and it’s off to the mixer!!! @FrontiersMusic1 Rawk Like Fuck!!!
— Tracii ⨁ 🇺🇸🇩🇰 (@TraciiGuns) October 3, 2022
Guitar.com: We sit down with the legend himself. Read the entire interview @ this location.
HIGHLIGHT:
Given that you’ve put out four records in 10 years, do you consider this band your main focus? Is Guns the side project?
No, I’ve been thinking about this. I think one of the great things about [GNR] and why there’s such longevity, and I don’t wanna jinx it, but it’s because we don’t take it too seriously. Guns N’ Roses was obviously my entire life and that’s where I come from. I’ll always be part of it and I don’t mind being recognized as ‘that guy from that band’. At this point I’ll probably do it till I’m pushing daisies.
It’s always been a lot of fun but it became a really big band, so the tension is palpable. Like with Velvet Revolver, everybody around that band had all these delusions of grandeur. Not the band itself, the people around it. It was very difficult, so it didn’t stand a chance long-term. With this band, it just sort of does what it does for the fun of it. I don’t think we’ve had any real expectations and we’re not trying to be huge or do anything apart from have a good time. That’s why it’s been so easy and gone by as quickly as it has. We spend a lot of time on the road and we just have a good time. Nobody really thinks about all the other bullshit.
And having signed with Gibson Records, it looks like there’s plenty more to come from SMKC. You’ve played their guitars for decades, so was this partnership a no-brainer?
When Gibson came and said they wanted us to do the debut release, I was taken aback for a second. I had no idea they were starting a label to begin with! But this is a magic pairing. As an instrument company, they’re all about music. Gibson is obviously big, but not corporate in the sense that it’s some fucking giant product behemoth. Most of the labels now are conglomerates and they have major companies that support and fund them. It can be very materialistic and about money, at the end of the day.
With Gibson, it was more about doing something that’s a little more down-to-earth. It seemed like a great idea and I’m actually working with a lot of the same people. But the best thing about it is that their hearts are really into it. They wanna do a great job and I’m excited for any artist that they pick up going forward.
Read the entire interview @ this location.
