![]() You had some really cool, credible music coming out. At least if you were in the UK you had some cool bands that represented the eighties, at least from a rock’n’roll and metal point of view. But let’s be truthful, in the early days of Guns N’ Roses you had the big hair and the make-up too. And in the eighties it just turned into this other thing. It was really identifiable and really musically revolutionary. But there was a huge scene going on in the sixties and right through the seventies. I have to say, in hindsight, that at least it was exciting in the eighties, at least there was a scene. The whole thing had just sort of been diluted. But what it turned into in the eighties was something that was unrecognisable from an integrity point of view and a creative point of view. I watched it go through these music trends in my short little lifetime up to that point. I was kind of raised in the LA music scene and it was great. When I first interviewed you, in 1987, you said how much you hated LA.Īctually, I have wonderful memories of LA from when I was seven years old all the way up to when I was twelve. But at the same time, I never had any kind of therapy back then, so who knows? I’ve had therapy since then, but not about that. I don’t think it had a hell of a lot to do with my upbringing. It was just that suddenly I discovered the passion to play music, and the music I was turned on to was the hardest rock I could get my hands on.Īnd that just took me in the direction I went in. I don’t think it was escapism from life, that whole cliché. Really, the only thing that made me into being a musician was music. I just had problems with parents, teachers and policemen. So yeah, Ithink I was a problem child in that context. ![]() Looking back on it, as a kid I had problems with stereotypes of regular society, at least here in the neighbourhoods I was growing up in. Yeah, I suppose there’s stuff about how I came up that sort of points in the direction of how I ended up turning out. It reads like the classic rock’n’roll rebel’s story. ![]() You’ve portrayed your childhood in LA as being chaotic – your parents separating your mother Ola dating David Bowie a bohemian atmosphere in the home you becoming, in your own words, a “problem child”. He begins by recalling how his journey in music started – of how the young Saul Hudson, a mixed-race kid, born in London, relocated to LA, found his calling. He does, however, answer every other question head-on: questions about his relationship with Axl about the supergroup Velvet Revolver and the death of their singer Scott Weiland about his dual roles with GN’R and The Conspirators and about his long struggle with alcoholism and drug addiction, of which he admits, 15 years after he got sober: “I’m really fortunate that I’m still here.” Now, wary that whatever he says is ripe for clickbait, he declines to go into any kind of detail about the album that Guns N’ Roses are making. At that time we hadn’t even mixed the record.”īut that was then. Some time later, during a photo session at the band’s infamous communal home, known as The Hellhouse, I heard other songs from the album, played at deafening volume on Duff’s ghetto blaster.Īs Slash recalls to me now: “I remember you came in really early on. When the talking was done, Slash took out his Walkman to play a track for me – a rough mix of It’s So Easy. That interview was with all five members of the band: Slash, Axl, Duff, rhythm guitarist Izzy Stradlin and drummer Steven Adler. It was all so different when this writer first interviewed Guns N’ Roses in Los Angeles in March 1987, four months before Appetite For Destruction was released, when no one outside of the band’s inner circle had heard the album.
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