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If that's in the song, it's definitely some of the worst shit Em has ever written.

Using the other two Ultimate Warrior figures and turning them into his brothers, Mega Warrior and the evil Demon! That 3 way feud pretty much never ended, even if they teamed up here and there. Creating a stable for Jake Roberts called the Hellraisers, including the aforementioned Demon, Grim Reaper, the ape Thundercats figure (Bigfoot) and Jimmy Snuka.

Isn't this one of the signs of the apocalypse?

Any favorite memories? My fed was called the JWF (Jay's Wrestling Federation.) As far as I can recall, the best I did were........... A feud between Terminator (An Arnold figure from the 2nd movie) and Grim Reaper (Skeletor figure doing an Undertaker ripoff) Ripping off Ric Flair's multi title reigns by putting the belt on Masked Murderer (Casey Jones) 12 or 13 times An angle where Smash won the World title from Ultimate Warrior thanks to Axe's fiendish interference Ripping off the NWO and turning Hogan heel. Since I had no Razor or Diesel figures, the first two members were Bret Hart and Warlord That's all I can think of right now...........

From an interview with Alice Cooper............. "``But that's exactly why I run things by Bob Ezrin. He and I think so much alike that I'll go, `I know I'm missing something here, Bob. What is it?' We came up at the same time together. He was a classically trained kid from Toronto, and we were this sick, theatrical garage band ... Somehow, the two met, and we found he was as warped as we were. But then he could take all that classical training and plug it into what we were doing... ``I'm not the only one. To this day, really good songwriters that are ready to finish an album call me up and go, `Do you have Bob Ezrin's number?' He did it with Jane's Addiction. He did it with The Darkness. He did it with Guns 'n' Roses. I know Axl (Rose, the lead vocalist of G 'n' R) called him up and said, `I want you to listen to (the still-unfinished CD) ``Chinese Democracy'' and tell me what I've got (that's good).' Bob listened to it and said, `Three songs.' This is after seven years (of songwriting). Bob's not going to be a yes man. He's going to go in there and tell you how many (decent) songs you actually have... He's basically taught me everything about how to write a song.''

(antiMUSIC) If you were hoping for a Guns N' Roses Christmas, there is still a remote chance that will happen but we will more likely see the long awaited release of 'Chinese Democracy' in February... if things go according to current plans. antiMUSIC spoke with long-time Guns N' Roses keyboardist Dizzy Reed this week to follow up on an interview he did with Richmond.com last month, which was picked up by some internet music news sites last week, where he said of the release of the album, "They were originally shooting for November, but it may be February now." A lot can change in a month so we asked Dizzy what the plans look like now. He reiterated the November target and February fallback. He told antiMUSIC that the November release still has a remote possibility of happening, but the February release is more likely. However, he said that the only definite answer he could give is that it will "be out soon". Dizzy seems confident in the final product. He told us that he heard a few of the finished tracks recently and they sound great. Meanwhile, Dizzy isn't sitting around waiting for the release. He has spent the past few months touring with his band " Dizzy Reed's Hollywood Bulldozer". During these shows Dizzy and company treat fans to rock classics from bands like Led Zeppelin, Aerosmith, Cheap Trick, The Who, Bowie, The Stones and yes GNR, interspersed with a little humor between songs. The band kicks off another leg of their tour this week on the East Coast (see below). Dizzy is the second longest standing member of Guns N' Roses, he joined the group during the "Use Your Illusion" sessions.

I've only heard "The Rapeover", but it was fantastic.

Eh, not interested in hearing it. Maybe when one of my friends forces me.

I don't feel like getting into any detailed explanation, I'll just give you my list of essential Doors songs, and I'll just say that no matter what genre they tried, they succeeded brilliantly. (album name in quotes) "The Doors": Soul Kitchen, The Crystal Ship, Back Door Man, The End "Strange Days": Strange Days, You're Lost Little Girl, Moonlight Drive, My Eyes Have Seen You, When The Music's Over "Waiting For The Sun": Love Street, Not To Touch The Earth, Summer's Almost Gone, Spanish Caravan, Five To One "The Soft Parade": Shaman's Blues, Wild Child, Wishful Sinful, The Soft Parade "Morrison Hotel": Roadhouse Blues, Peace Frog, Ship Of Fools, The Spy, Queen Of The Highway, Indian Summer "LA Woman": The whole fuckin CD "Absolutely Live": Who Do You Love, Love Hides, Universal Mind, Dead Cats Dead Rats, Celebration Of The Lizard From The Box Set: Who Scared You, Black Train Song, Whiskey Mystics and Men, I Will Never Be Untrue (HIGHLY recommended), Rock Is Dead, Gloria, Poontang Blues, Rock Me, Orange County Suite Also, check out Morrison's poetry album, "An American Prayer". It tells an excellent story using Morrison's words, and features the usual outstanding background from Manzarek, Kreiger, Densmore.

That wasn't any of my boys was it?

A LOOK AT 3PW'S LATEST SHOW, INCLUDING STYLES VS. SCORPIO VS. SABIN by Buck Woodward @ 1:00:00 AM on 10/18/2004 I had the opportunity to check out the latest 3PW effort at the ECW Arena in Philadelphia, Pennsylvania this past Saturday, and was once again treated to a nice variety of styles, put together in a tight, well organized show. The group has a few different storylines running now, as well as having established regular characters, so the matches have more meaning to them, rather than "worker A vs. worker B". One of the greatest strengths of the company, easily, is in the order and pacing of the show, which allows the main matches to have maximum impact, while not letting one bout overshadow another. Here's a rundown on the show, and my thoughts on it. - The Blue Meanie defeated The Rockin' Rebel after hitting Goldust's old "Shatter Dreams" kick to the groin. Nice, short opener with a few comedy spots. This was the beginning of a storyline that would continue later in the evening, as Rebel wondered out loud where his regular tag partner, Jack Victory (who was scheduled, but didn't make the show) was. - The "Sugar Shack" segment was next, with "Sugar Daddy" Tod Gordon. It started with Talia bringing out Tod Gordon and more or less explaining the current storyline (Talia and Gordon, the commissioner of 3PW, are once again aligned, and Jasmin St. Claire is their rival). Gordon announced that Talia would be the special referee for the Tag Team Title match between the champions (and Gordon's hired hands) Slyk Wagner Brown & April Hunter and Jasmin's team of the Pitbulls 2004 (Gary Wolfe & Mike Kruel). Jasmin came to the ring and tried to coerce her way back into Gordon's good graces, but ended up having her skirt yanked down and was tripped in the ring. - As Jasmin ran off, Gordon introduced his "scheduled guest" for the night, 2 Cold Scorpio. Gordon welcomed Scorpio to 3PW, and Scorpio put over that he was planning on winning his scheduled three way match that night and moving on to face the 3PW Champion down the line. They were interrupted by Slyck Wagner Brown & April Hunter (who Gordon had helped win the tag titles at the last show). Hunter wondered why beautiful women like Talia and Jasmin were always throwing themselves at Gordon, and deduced that it must be because of all the power he has in 3PW. April started to come on to Gordon herself, which did not seem to please Slyck. When Brown got on the mic, he got in Scorpio's face, using the classic "You're an old man, step aside for the new generation" angle. Scorpio ended up knocking Slyck out of the ring with a superkick, to the delight of the crowd. The segment seemed to serve a dual purpose of establishing that April is interested in Gordon's power, while at the same time separating Brown from Gordon. - CJ O'Doyle defeated Monsta Mack. O'Doyle is definitely the "homegrown babyface" of 3PW, and surprisingly, he is getting a strong face reaction from the crowd (I say surprisingly, because sometimes it is easier to get cheered in Philly by being a heel). The story of the match was simple, with the larger Monsta Mack tossing around O'Doyle (including a cool spot where he picked up O'Doyle on the floor for a powerbomb, but instead flung him backwards into one of the support beams in the Arena) before CJ scored the upset win. They've been slowly building O'Doyle, and have are doing a good job moving him up the ladder gradually. - Rob Eckos stormed the ring after the last match, and proclaimed that he was going to be taken seriously from now on (he joined with tag partner Matt Striker for a comedy gimmick on the last show). To prove his point, he quickly beat O'Doyle in an impromptu "match" that didn't hurt O'Doyle (since he just wrestled and was not expecting to be attacked), and established that Eckos was now a serious heel ... for now. - AJ Styles won a three way dance over 2 Cold Scorpio and Chris Sabin to become the number one contender to the 3PW Title. The match of the night, it saw all three men go from working a fast paced, high-flying junior heavyweight style, to a stiffer, clothesline and suplex-laden bout, then back to the air again. Sabin was eliminated at the 18-minute mark when Styles hit a frog splash, followed immediately by Scorpio landing a moonsault for the pin. Styles and Scorpio then continued on for another 12 minutes before Styles scored the win with a Styles Clash, to a big pop. Scorpio gave credit to Styles following the match, and both men got a standing ovation. Wisely, they went to intermission at this point, because it would have been hard to top this match. All three men put on a great match, and worked really well together. I have been soured on the "three way" (and four way, five way, etc.) concept lately, but this was a good example of how a three way match can still be exciting. - Following the break, they did a quick comedy bit where Rockin' Rebel didn't know where Jack Victory was, only for Victory to "call" referee John Finnegan on his cellphone to let Rebel know that he was at Cheerleaders (a strip club a few blocks from the arena). A few innuendos and one liners later, Rebel found himself facing Victory's opponent, Roadkill. A very short match (less than two minutes) followed, with Blue Meanie running in and, once again, catching Rebel with the Shattered Dreams kick to the groin to set up Roadkill winning. - The Pitbulls 2004 (Gary Wolfe & Mike Kruel) defeated Slyck Wagner Brown & April Hunter to win the 3PW Tag Team Titles. This match just didn't seem to click, other than the first few minutes of exchanging holds, which was good. Early in the match, they went to the floor, and the crowd was getting into it when Wolfe threw a chair into Hunter's face, and beat Brown repeatedly across the back with another chair. Then they went back to the ring, and started doing armbars, which seemed to sour the crowd to them fast. When the violence is escalated like that, fans are expecting a finish, and they didn't get it. There was definitely some miscommunication on a few spots as well, which didn't help matters. All four have had better matches, to be sure. The finish saw Jasmin knock out Talia (the referee) so Tod Gordon ran in, and ended up counting the pin for the Pitbulls. If nothing else, it did cement that Brown & Hunter were no longer Gordon's favorites anymore. The storyline they are working on establishing is that Talia is with Gordon, but both Jasmin and April are coming on to him because they want his power in 3PW. - One of the trademarks of 3PW was next, as the lights went out, and when they came back on "Strikbu" was in the ring. Matt Striker, who does a gimmick where he imitates other wrestlers, was standing in the ring, pointing to the ceiling, doing his best Sabu impersonation. For his match with Damian Adams, Striker attempted to do many of the Sabu trademarks, but would fail in comedic fashion (since Striker isn't really an aerial artist). He would set up for a Triple Jump Moonsault, then stop to move the launch chair closer to the ring ropes, before inevitably slipping on the ropes anyway. He also incorporated bits of Hakushi, Goldberg (with bald wig), Chief Jay Strongbow, Bruiser Brody, and the Iron Sheik into the match. When he was starting to lose, Rob Eckos ran out, dressed like Bill Alfonso, and blowing a whistle (right into the microphone, amplifying it to ear piercing levels). I guess he isn't done being a comedy act after all. In the end, Striker set up a table (which fell apart, so Strike simply told the crowd "sometimes things don't go as planned") and went for an Atomic Arabian Facebuster on the table, but missed, and Adams got the pin. For the life of me, I can't understand why WWE has never had someone do a gimmick like this. They've sort of teased it with Eugene, but Striker has proven how great it can be (provided the person doing it is talented, which he is). - "Fallen Angel" Christopher Daniels defeated Joey Matthews to retain the 3PW Heavyweight Title. During the early part of the match, AJ Styles came down to ringside and sat down to watch the match. Both Daniels and Matthews, at different points, had words with Styles on the floor. They've done a really great job building their main event program around Styles, Matthews and Daniels, and making you believe that any one of them could win the title on a given night. The finish saw Daniels hit an STO on Matthews, followed by three consecutive "Best Moonsaults Ever" for the pin after a strong 20 minute match. Obviously, the implication afterward was that it would be Styles challenging Daniels for the belt next. Link

O'Doyle beat Monsta Mack before losing to Eckos.

Sorry, being that my computer blew up yesterday, I missed most of the arguments. Anyway, Banky made a comment about some many guys in the "underground" being better then Em. Probably so, but do you remember how respected Em was before "Slim Shady LP" dropped? He was well known in the underground, especially for his ability to freestyle. And yes, "Doggystyle" is great. Definitely one of those albums you can listen to from beginning to end. Does anyone know why newer copies of the CD don't have "GZ Up Hoez Down" on it?

CHECKMATE. No seriously though, I like Thriller. The video is hysterical. The funniest part is where Michael Jackson is on a date with a girl!

I listen to what I know is good. Bottom line. I neglected to mention Mos Def, Kwali, Atmosphere, or Common earlier. My fault. My hip hop/rap knowledge goes alot further then any of you may suspect. But of course, since I disagree with your opinions, you'd rather think of me as a stereotype. Congrats.

I'm pretty sure you even said you weren't really a rap guy. You said Jay is more pop than Em, which makes you cred kaput. Wow, Bop Gun....did you get into Cube on the Family Values tour, fucknut? A lot remember that Chumbawumba song, but that doesn't really qualify them as really "remembered." Everyone knows and in most cases love Michael, the world over. Def Leppard are lame but will always have just their core fans and most people who just remember the one-arm and "Pour Some Sugar On Me". Ricky Martin remembered? Yeah as a joke and maybe when you catch an SNL repeat, you fuckass. I guess a zombie song would be original and creative, considering NO ONE DOES THEM. But even then, correct me if I'm wrong but "Thriller" just vaguely references terrors and other frightful things, but doesn't really mention too much in specific. And the point is EVERYONE knows and will always know about "Thriller" and it could of been written before you were born. And on creativity in terms of subject matter, where's the creatively in a thousand songs about killing mommy because you're a little wiener bitch? I don't think that's a fact at all. And besides, MJ STILL IS RECOGNIZED THE WORLD OVER. Sure JAxl, Mr. Watch-me-beat-up-this-marine. I call bullshit on your whole poser cockfuck image. That's why you bought the Em hype about how he's hardcore and the shit as a lyricist. And When does FOX play videos? "Black Or White" simulcast, is that what you're blabbing of? I hate you, I hate your post shit. Sounds like your agenda against MJ is personal. That does nothing to deplete his achievements made in the field of popular msuic. You're a disgrace. And Coleman and Yother didn't revolutioize the acting game like Mike revolutionized the pop game. What a disgrace again. Billy Ray had one hit, Poison are dust in the wind, NSync were right place, right time now rerouted on the night train to nowheresville. 1. Not a rap guy, but a guy who knows good rap. 2. My point will be totally substantiated when he loses the trial. Go ahead and remember a dirty child molester if you want to. 3. Cool, it would be original. It still doesn't make the subject matter any fucking dumber. Again........fucking zombies. The song about Em's Mom or his girl, they were both heartfelt, and based in reality, and lyrics he wrote on his own. 4. Recognized? Even now MJ being recognized is disgusting being that he fucks (or tries to) little boys. What little talent and big hits he did have..........washed away when he is found guilty. 5. Ok, never said I was going to beat up a marine, that was someone else. 6. In the early 90s, FOX played every new MJ single, "Black Or White" included. A video where he grabs his crotch over and over and smashes car windows. Listen, I like that song, but please. Em does a fake hardass act? "Look at me, I smash car windows!"---MJ 7. I told you the agenda was personal. I don't like him, I don't respect him, blah blah blah. We've been through this already.

Not calling anyone names, and I don't know enough to call you a drunk or question your intelligence. But your argument lost it's momentum with me once you said that because Eminem is bigger right this minute, he's superior or more memorable than Wacko Jacko? By that logic, bands like Good Charlotte or Linkin Park are >> bands like Guns n Roses or Pearl Jam. They both are owning the charts now much more than GnR or PJ are. /nl5 would like to stress that he hates every artist referenced in this post Yeah my fault, it was a stupid point to make. But on the other side of the coin, recognizing MJ as being a great artist because of record sales would be like saying N Sync, Poison or Billy Ray Cyrus were great artists.

Zombies.

Yeah except, I listened to it way before it was made into a video. Nice try though. I never watch MTV, although you guys all fall back on the same insults when God forbid, someone has a different opinion then you. And no one had anything to say about how his best selling album/song was about zombies. Every good point I have made has been ignored, and I keep getting the same sad, tired responses. "JAxl doesn't agree with us! Let's call him a drunk! Wait no.........what about stupid! Yeah, that'll really shake him!" Yawn.

Not a rap guy? I am listening to fuckin "Bop Gun" by Ice Cube right now............ Anyways............. A lot of people didn't figure 2Pac would be remembered either. Or Guns N Roses. Shit, even crap like Def Leppard or Ricky Martin are or will be remembered. Memories are selective, what's your point? Thriller was a song about zombies. Very fucking creative. Let me say it again. Fucking zombies. Zombies. Where's the song about goblins? What about vampires? Blah blah, "MJ is known all over the world where Eminem is not". Yeah, and for years in the 80s, Hulk Hogan was the most recognized American in the world. Your point? I'm not into Eminem because of the toughact either. Songs where he tried to be hardass, like "Superman" or when he got ridiculously out of hand, and based his whole act on talking shit on D12's first album, where he shit on Limp Bizkit or DJ Lethal............crap. I prefer his "deeper" songs, like the ones I mentioned earlier. "Rock Bottom" is especially good. And I do enjoy rap..........good rap. 2Pac, Em, old Death Row, Wu, and Biggie. I do not, however, appreciate shit music because MTV played the fuckin videos, or FOX, or whoever else supported that sick fuck. I hate dance, I hate club shit, and even at his best, all MJ's songs were like that. And the plastic surgery obsessed, child molesting fuck probably didn't even write them himself! Look, if you're gonna defend child stars like MJ (which was the last time he may have bee good) go set up a trust fund for Gary Coleman or Tiny Yothers.

Uh, mind if I ask what suddenly makes you make that choice? It'd be more interesting than this debate. He's a robot. And an uninteresting robot. Bottom line is, tonight, Bush makes more sense, and his answers ring more true then Kerry's have. Kerry's history isn't trustworthy, and his side stepping most questions isn't either. Congratulations John...........you are dumber then a treebranch.

I would've voted for Gore. But as of now, I will not vote for John Kerry. The Democrats could've put a tree branch against Bush and won. Kerry, to me, is worse then electing a tree branch to the Oval Office.

This is completely irrelevant to the quality of the song. Did Jim Morrison really kill his father and fuck his mother? No, but that doesn't make The End a bad song. Based off of Oedipus, the Greek myth. Intelligent use of an old story into a song. C'mon now................

The whole interview.............Keep in mind, this was done in November of fuckin 1999. Loder: What have you been doing for the last six and a half years, since the last tour ended? Rose: Trying to figure out how to make a record. Loder: Ah, you already knew how to do that, right? Rose: I originally wanted to make a traditional record or try to get back to an "Appetite [For Destruction]" thing or something, because that would have been a lot easier for me to do. I was involved in a lot of lawsuits for Guns N' Roses and in my own personal life, so I didn't have a lot of time to try and develop a new style or re-invent myself, so I was hoping to write a traditional thing, but I was not really allowed to do that. Loder: What prevented you from doing, like, a traditional rock record? Rose: Slash. Loder: [Laughs] But you could have found another guitar player or something, right? Rose: Well, not really.... Not to make a true Guns record. It's kind of like, I don't know, if you know somebody has a relationship, and there's difficulties in that, and Mr. or Mrs. Right doesn't kind of just stumble into their path, or they don't stumble across that person, they can't really get on with things. Somebody didn't come into my radar that would have really replaced Slash in a proper way. Loder: Yeah. Rose: And it really wasn't something we were trying to do. We were trying to make things work with Slash for a very, very long time... about three and a half years. Loder: Wow. Jeez. That's a shame, because it seemed like such a tight unit. This live album seems like a farewell to that era. Rose: It is exactly that. It's a farewell to that.... It was something we wanted to give to the public in a way of saying farewell. It was a very difficult thing to do, as listening to it and the people involved... [it] wasn't the most emotionally pleasant thing to do. Loder: Is it fair to say that we may never be hearing this stuff ever again? This old material? Rose: No, no, that's not true at all. In fact, actually, I have re-recorded "Appetite" and-- Loder: You re-recorded "Appetite For Destruction?" Rose: Yes, I have. Loder: The whole album? Rose: Yes. Loder: Whoa. Rose: Well, with the exception of two songs, because we replaced those with "You Could Be Mine," and "Patience," and why do that? Well, we had to rehearse them anyway to be able to perform them live again, and there were a lot of recording techniques and certain subtle styles and drum fills and things like that that are kind of '80s signatures that subtly could use a little sprucing up... a little less reverb and a little less double bass and things like that. Loder: Who are the musicians who have re-recorded "Appetite?" Rose: Josh Freese on drums, Tommy Stinson on bass, Paul Tobias on guitar -- you guys know him as Paul Huge, that's how it's been written everywhere. It's Paul Tobias on guitar, and Robin Finck was on lead guitar, but that... that will stay on some of it. Robin's guitar will stay on some, but not all. I don't know what I'm going to do with it, exactly, when I would be putting that out. But you know, it has a lot of energy. Learning the old Guns songs and getting them up, you know, putting them on tape, really forced everybody to get them up to the quality that they needed to be at. Once the energy was figured out by the new guys, how much energy was needed to get the songs right, then it really helped in the writing and recording process of the new record. Loder: At any time, were you thinking of keeping Duff [McKagan] or Matt Sorum or anybody on board too? Or was that all over from the beginning? Rose: That was their choice to leave. Everybody that's gone did it by choice. Matt was fired, but Matt came in attempting to get fired and told many people so that night. So it's kind of like everybody left by choice. They really didn't think I was going to figure out a way to make a record, [and they] didn't want to help really make a record. Everybody kind of wanted what they wanted individually rather than what's in the best interest of the whole. Loder: This "End of Days" track, "Oh My God," is real, real different. Have you been listening to [or] working with samples and stuff a lot? Has your whole musical approach changed? Rose: No, not a lot, no. Basically, [i'm] listening to everything that's out there as far as music goes. That was a big difference between myself and Slash and Duff, is that I didn't hate everything new that came out. I really liked the Seattle movement. I like White Zombie. I like Nine Inch Nails, and I like hip-hop. I don't hate everything. I don't think everybody should be worshiping me 'cause I was around before them. So once it was really understood by me that I'm really not going to be able to make the right old-style Guns N' Roses record, and if I try to take into consideration what Guns did on "Appetite," which was to kind of be a melting pot of a lot things that were going on, plus use past influences, I could make the right record if I used my influences from what I've been listening to that everybody else is listening to out there. So in that sense, I think it is like old Guns N' Roses as far as, like, the spirit and the attempt to throw all kinds of different styles together. If you get to the second guitar solo in "Oh My God," Paul's doing a very Izzy Stradlin-Aerosmith-type riff in the middle of the song, which is a completely different thing than everything else that's going on in the music, but yet it blends. There's a disco drum beat in the post-chorus, in the heaviest section of the song. We blended a lot of things. Loder: How much stuff have you got for this new album? You've been working on this for a long time. Is there just tons of material? Rose: We've been working on, I don't know, 70 songs. Loder: Oh! Rose: The record will be about, anywhere from 16 to 18 songs, but we recorded at least two albums' worth of material that is solidly recorded. But we are working on a lot more songs than that at the same time... in that way, what we're doing is exploring so, you know, you get a good idea, you save it, and then maybe you come back to it later, or maybe you get a good idea and you go, "That's really cool, but that's not what we're looking for. Okay, let's try something new." You know, basically taking the advance money for the record and actually spending it on the record. Loder: [Laughs] Not always the case, obviously. Rose: No, and I don't want to be in a situation again where I have to depend on other people and have [to] start all over. So we have material that we think is too advanced for old Guns fans to hear right now and they would completely hate, because we were exploring the use of computers [along with] everybody really playing their ass off and combining that, but trying to push the envelope a bit. It's like, "Hmm, I have to push the envelope a little too far. We'll wait on that." So we got a list of things. Loder: Are you involved in computer music yourself? Are you playing guitar now? Rose: A little of both, a little of both. Loder: How's your guitar playing coming along now? Rose: It's all right. I just wanted to be good enough to be able to contribute what was needed to this main album. It took working on the majority of these things and at least the couple albums' [worth] of material to figure out what should be on the first official Guns album. I wouldn't say it's like, you know, that we recorded a double album, or that we have all of our scraps to be the second one. There is a distinct difference in sound. The second leans probably a little more to aggressive electronica with full guitars, where the first one is definitely more guitar-based. Loder: Do you find it difficult to capture with a new group of musicians that same sort of group feeling that the original Guns had? Rose: No. No, not with the particular people involved. To be honest, it was a long time for me since Guns N' Roses as the old lineup had been fun, and the new guys have been a breath of fresh air. People are really excited about what we got. They're really proud of it, and it was, again, it was just time. I'm not trying to put the other guys down. It's like, I think people really wanted to do different things other than try to figure out the right record here for Guns N' Roses. But at the same time, Guns N' Roses was a big thing. How do you walk away from that? It's a very complicated thing, I think, for everybody involved. Loder: I gather that on the record there's going to be a piano version of a Black Sabbath song? How did that work out? Rose: Oh, that's on the live [album]. I just like the piano song ["It's Alright"] and the words, and when you play it for people, they had no idea it was a Black Sabbath song. Loder: [Laughs] Rose: So it was just kind of fun, and then it worked out as a intro to "November Rain" live, and it just so happened that [it] came out well on tape, so we were able to use it. Del James worked for a couple of years off and on going though every single show we did on DAT tape from the "Use Your Illusion" tour and then every available tape, and finding tapes, and finding people that have recorded things, so he could have in his mind what was recorded best from the entire time Guns N' Roses was together. There were a lot of difficulties where things weren't... when they were recorded, when they were fully recorded to 24, 48 tracks, it wasn't recorded that well at times, and so it took a long time to find what tracks were available to use, because we had never officially recorded a show to make a live album. Loder: When you listen to that stuff back now, do you think, "Wow, that was a great band, that was a great time," or are your feelings clouded? Rose: For me, when I hear certain things on the "Use Your Illusion" tour, I... on that record, it's... since I'm in it, I can hear a band dying. I can hear when Izzy was unconsciously over it. I can hear where the band was leaning away from what Guns N' Roses [had] originally been about. People may have their favorite songs, and it may be on "Use Your Illusion," but most people do tend to lean towards "Appetite" as being the defining Guns N' Roses record, and I can hear how, in the sound, it was moving away from that there. There's just so much I was able to do in keeping that aspect together. Loder: Are you thinking now about a stage show? Is it close enough to be thinking how you're gonna present this live, or is that still pretty much still in the future? Rose: In ways. What we're doing is we're rehearsing with different guitar players, and we're still recording. I'm doing the vocals. I'm about three-quarters of the way through, and it's a very difficult process for me. I write the vocals last, because I wanted to invent the music first and push the music to the level that I had to compete against it. That's kind of tough. It's like you got to go in against these new guys who kicked ass. You finally got the song musically where you wanted to, and then you have to figure out how to go in and kick its ass and be one person competing against this wall of sound. Why I chose to do it that way is that, you know, I can sit and write poetry 'til hell freezes over, and getting attached to any particular set of words... I felt that I would write to those words in a dated fashion, and we really wouldn't get the best music. "Oh My God" is a perfect example. When we finally got "Oh My God" where it needed to be, then I got the right words to it. With "Appetite," I wrote a lot of the words first, but in, like, "Oh My God," I wrote the words second, but the music was written like "Appetite." We kept developing it until it we got it right. [With] "Appetite," everything had been worked on, and worked on, and worked on. That was not the case with "Use Your Illusion." Loder: You got Dave Navarro to play on this. Have you always been a fan of his playing? Rose: I've always been a fan of Dave Navarro, to the point that when we got signed, I had a Jane's Addiction demo tape [laughs] and was actually trying to convince the record company, "No, no, no, no, I suck. We suck. These guys rock!" And I was trying to get Tom Zutaut, at the time [at Geffen], to sign Jane's Addiction, and he was actually in negotiations to sign them at one point. I was just into Jane's Addiction. At the time... when we first put out "Appetite," it didn't go over so well, and MTV and John Cannelli there are really what broke us. I think you guys aired "Welcome to the Jungle" three times... [dramatically] going on your fourth now! Loder: [Laughs] Rose: That's really what finally got the public to find some interest in Guns N' Roses, and there was a lot less [interest] for Jane's Addiction. Where now, I think, we would consider Jane's Addiction one of the great rock and roll bands in the last however many years. They were a great band, they were a bit ahead of their time. I was a very big fan of them, and Dave. Dave's a great guitar player. It's a different style. It's not like Guns N' Roses. It's not blues-based, and it's not all that Guns N' Roses is, and that was done on purpose. There will be elements of blues-based things on the new Guns record. It's a very diverse record. There's a lot of hip-hop beats, there's straight-ahead rock. But if someone says, "Hip-hop beats," what do you mean by that? Well, Radiohead uses beats that are similar to hip-hop beats. There's actual, "official" hip-hop beats and then there's "Radiohead-style" hip-hop beats, there's rock beats. Like I say, "Oh My God" has a disco beat in it. I read a review where somebody caught that. That made me laugh. Loder: What's been knocking you out yourself lately? Is there anything today that you think is better than Jane's Addiction was back in the day? Rose: I don't know about, like, as far as aggressive goes, but I really like the new Fiona Apple. Loder: Really? Rose: You know, I liked the last record, I like the new one. Who do I listen to that's aggressive? I think that the "End Of Days" soundtrack is a lot of fun. Limp Bizkit is fun. The White Zombie stuff is fun. Loder: Do you think that stuff can be done in that old sort of [GN'R] style, that blues-based style, or do you think that's just over? Rose: No, no, I don't think any style of music's over. I mean, look at [Lou Bega's] "Mambo #5." Loder: True. Rose: You could find ways to blend all kind of things. It really just takes the right song. I don't personally believe that was the interest of Guns or Slash, I don't believe the right song was the interest. I mean, what people don't know is, the [slash's] Snakepit album, that is the Guns N' Roses album. I just wouldn't do it. Loder: Really? Rose: Oh, yeah! Duff walked out on it, and I walked out on it, because I wasn't allowed to be any part of it. It's like, "No, you do this, that's how it is." And I didn't believe in it. I thought that there were riffs and parts and some ideas, I thought, that needed to be developed. I had no problem working on it, or working with it, but you know, as is, I think I'm with the public on that one. Loder: Yeah, apparently so. Obviously, you've been working on all this music for the last six years. What else have you been doing? Do you go out a lot? Do you see shows? Rose: You know I... I pretty much stay to myself, and that's about it. Loder: Just kind of hang around the house? Rose: [Laughs] I just, you know, I pretty much work on this record and, and that's about it. It takes a lot of time. I'm not a computer-savvy or technical type of person, yet I'm involved with it everyday, so it takes me a while. Loder: Do you have a computer setup at home? Are you online? Rose: Yeah, I have a full studio, and that causes me great pain and pleasure. Loder: [Laughs] What are the painful parts, when it crashes? Rose: Yeah. Just, you know, basically my inadequacy with modern machinery. Loder: You're going to call this album "Chinese Democracy." What is the meaning of that, since there is no Chinese democracy, of course? Rose: Well, there's a lot of Chinese democracy movements, and it's something that there's a lot of talk about, and it's something that will be nice to see. It could also just be like an ironic statement. I don't know, I just like the sound of it. Loder: When do you think we will actually see this album? Is it possible to say early next year? Rose: We're hoping. Yes, definitely, everything seems to be going well. Robin's departure was abrupt, sudden, you know, not expected... Loder: He just wanted to get back to Nine Inch Nails, right? Rose: [continuing] ... but at the same time, it's turned out to be a good thing. We've been able to push some of the guitar parts a step farther, that had he been here, it's not something that would have been considered, and I wouldn't have been rude enough to attempt to do that. Robin did a great job, but we've been able to up the ante a little bit. Dave came in and did something great on "Oh My God," and we've had a few other people come in, so that was a setback for a while, but then it's turned out to be a good thing. Loder: People that hear "Oh My God," they might say that, "Gee, the new Guns is all this sound," but I think that what you're saying is that it's a bunch of different kinds of sounds. Rose: It's a lot of different sounds. There's some other really heavy songs, there's a lot of aggressive songs, but they're all in different styles and different sounds. It is truly a melting pot. I go back to listening to Queen -- you know, we're still hoping to have Brian May come in and do some tracks, and I got a fax today that he's coming in -- Queen had all kinds of different-style songs on their records, and that's something that I like. 'Cause I do listen to a lot of things, and I really don't like being pigeonholed to that degree, and it's something that Guns N' Roses seem to share [with Queen] a bit. With "Appetite," even though it seems to have the same sound, if you really go back, you can pull all the little parts from different influences. That's not really the case by the time we're on "Use Your Illusion." People are kind of set in their ways. ["Chinese Democracy"] is coming from all over the place. Loder: Have you actually brought in any hip-hop guys to sort of, like, examine the roots of the rhythm now? Has Dr. Dre stopped by or anything? Rose: No, we haven't done anything like that. It's been thought of, but it's kind of [like] we would really be wasting somebody else's time, as we're trying to figure out how to develop this ourselves. Maybe if it were to get closer to, say, mastering or mixing, maybe there could be something someone else could add to it. Loder: Have you thought about maybe taking the boys out and playing on New Year's Eve or something? Are we gonna see you before... Rose: Nah. Loder: : No? None of that? Rose: Nah! Loder: Why not? Rose: Na-nah-na-nah! Loder: [Laughs] It could be fun. Rose: [Laughs] Loder: Where are you going to be on New Year's Eve? Rose: Have no idea. Loder: So we'll see you some time this new year, right? You will be around? Rose: Yeah, we'll be around. I'm not working on all this to keep it buried. We plan on getting out there and doing it right. The new guys are a lot of fun, and like I say, we will be continuing to look for and or decide who the official new guitar player will be, but it's not that important to the band at this time, as that person's not really needed. There's not a whole lot for them to do at this time in regards to recording, as we've recorded [a] majority of material. Loder: But you continue to audition, right? Rose: Yes, we do. Yes, we do, and there's some people who have done a really great job. It's just not something we're prepared to make a complete decision on at this time. Loder: Okay, well, we're dying to hear this stuff. I hope you get it out sometime real soon. Rose: All right, man. Later.

Ask Bush about free speech and whatnot. Since Stern is so adamant Bush is fueling the FCC's problems with his show, with other shows, and with the Janet Jackson incident.