![]() ![]() With our record right now - it's like there's a lot of barriers that need to be broken down because people have got used to what they're supposed to hear. and there's songs that we used to play that didn't make the album, simply because we were just bored with playing them…. If you don't do something in music right away then it's like… It's really sort of like, a step downward to go back to it, you know. But we write all the time, so everything we… We try… I don't know, stuff get stale, you know. Talking about the songs on the record: Umm, well… Yeah, we write a lot. We just go play and the record what you're playing. On a tape and put it on a record, you know. Talking about working in the studio: I mean, if you look at recording in a very simple way… I mean, that's the only way to look at it, you're getting the band on a tape. I mean, I have respect for people who go in and take a lot of time to get the shit right. And we just do this and then, you know… We're not… through our fucking… Electric Light Orchestra, or anything. Some of us play guitars, one guy plays drums, and one guy sings. It was really not that… It's not that involved. We did the set… We went in the studio with the same attitude that we have when we go on stage. Talking about working in the studio: It was all right. I’m from Indiana, where Lynyrd Skynyrd were considered God to the point that you ended up saying, ‘I hate this fucking band!’ And yet, for our song Sweet Child O’ Mine I went out and got some old Lynyrd Skynyrd tapes to make sure that we’d got that downhome, heartfelt feeling. In the last year I’ve spent over thirteen hundred dollars on cassettes, everything from Slayer to Wham! – to listen to production, vocals, melodies, this and that. I sing in, like, five or six different voices, so not one song is quite like another, even if they’re all hard rock. This record’s going to sound like a showcase. ![]() We’ve got our progressions already planned out. the next one will probably be ten songs. Talking about whether the songs on the EP will be on the LP: No. In a matter of fact, in one of the songs, when we just went in and we laid down the song and I left out some obscenities and they told me to go and re-do them.Īdding: It's like whatever we do they are behind it. We went with om Zutaut who signed and Motley Crue to Elektra and he went to Geffen and he was looking for a band he could just go balls out with. Ībout fearing that Geffen would subdue the band : Haha, that's why we went with Geffen. Īdding: The name, "Guns N' Roses Record".yeah. When the record is done we'll probably decide. Talking about the name of the record: There's millions of names, we haven't picked one yet. That can be a long career or it can be a short explosive career-as long as it gets out and it gets out in a big way. Ībout recording for Geffen: I have something I want to do with Guns & Roses and this is part of me that I want to get out and take as far as I can. It just seems easier to know the rougher side than the more pleasant side just because it's more readily accessible. Everybody likes to paint their pretty pictures, but that just ain't how it is. That's the environment we live in and we like to show what we live in rather than hide it and act like everything is nice and sugary. is going to be realistic and it might show a lot of violence so it might get banned. ![]() Robert Benedetti – tattoos (at Sunset Strip Tattoo) Stravinski Brothers/Alan Niven – career affairs Robert John, Jack Lue, Greg Freeman, Marc Canter, & Leonard McCardie – photography Robert Williams – "Appetite For Destruction" painting Izzy Stradlin – rhythm guitar, backing vocals, co-lead guitar on "Nightrain" and "Think About You", percussion on "Paradise City", additional percussionĭuff McKagan – bass guitar, backing vocalsĭave Reitzas, Micajah Ryan, Andy Udoff, Jeff Poe, Julian Stoll, & Victor "the fuckin' engineer" Deyglio – engineering assistance Original mastering at Sterling Sound, NYCĪxl Rose – lead vocals, percussion on "Welcome to the Jungle", synthesizer and whistle on "Paradise City", additional percussion March–April 1987 at Rumbo Studios, Canoga Park, CA Take One Studio, Burbank, CA The Record Plant, Los Angeles, CA and Can Am Studio, Tarzana, CAįinal overdubs and album mixing at Mediasound Studios, NYC
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