When introducing foo fighter Dave Grohl last weekend at their set at Glastonbury, Axl Rose said: “There’s never such a thing as having too many guitars.” I second that.
William Bruce Rose Jr., better known in hard rock world as AXL ROSE
was born on 6 February 1962 in Lafayette, Indiana. Happy 60! The macho
rocker started his turbulent career with Guns N’ Roses 37 years ago in 1985.
They fabricated 6 longplayers (so far) and are very active lately with a mammoth
2022 tour.
Let’s play/watch this still giant GNR classic Paradise City to celebrate Axl’s birthday.
Take me down to the paradise city
Where the grass is green and the girls are pretty
Take me home (oh, won’t you please take me home)
Take me down to the paradise city
Where the grass is green and the girls are pretty
Take me home (oh, won’t you please take me home)
From the RAGTM guitarist’s upcoming album titled The Atlas Underground Fire
with a series of big name guests. This is the clamorous belter featuring British noise
freaks Bring Me The Horizon
The second new track of the year from the macho Roses. Old Skool would
be a more appropriate song title. As usual Slash has sex with his guitar and Axl Rose‘s vocal cords are still alive and kicking.
A metal uppercut serving as an urgent call-to-action to address injustices
and atrocities that have plagued Indigenous communities for centuries.
Anger, rage and fury is what you get when awfully greedy governments
do what so many political sharks did in the past, taking the freedom, hope,
and future away of whole populations. Horrible.
We are connected, we’re feeling infected (a toxic life)
The treaty’s neglected, your laws are rejected (give up your fight)
Our colonial apathy, making the rivers bleed (things aren’t alright)
Your violations, stealing from nations (eating us inside)
A few weeks ago the imperishable Stones announced a deluxe edition for
one of their last great albums Tattoo You celebrating its 40th-anniversary.
It will feature several previously unreleased tracks from those recording
sessions.
The band says that this new crackerjack is “an anti-love anthem about the grief and
pitfalls of a serious relationship crumbling due to lies and deceit. This is explored through
the eyes of Bonnie (of Bonnie & Clyde fame), in an alternative universe where Clyde selfishly leaves Bonnie for dead.” Bonnie takes revenge because of the end of their romantic,
albeit toxic relationship.
Famous Bonnie (movie) quote (addressing Clyde): “What would you do if some miracle happened and we could walk out of here tomorrow morning and start all over again clean?
No record and nobody after us?”
Electrifying and fuming. Here comes Bonnie (with mustache)…
One of the catchiest tunes I’ve heard all year, proving that sticky simplicity works tremendously well when you can sing along, hum along, or whistle along.
I Love you, Courtney.
Band: GUNS N’ ROSES Active since 1985 / 6 studio albums (so far)
New single: ABSUЯD
Actually a re-worked version of a song called Silkworms
from the 2008 Chinese Democracy sessions, but never
released before.
Wow! The macho rockers’ guns still smoke. ABSUЯD is a
stunning steamroller speeding like a punk tornado with Axl Rose on a frenzied roll and Slash, well, being guitar
hero Slash again. Absobloodylutely ace!
Listen, motherfuckers, to the song that should be heard
Back down in the gutter is more than you deserve
Screaming fucking banshee, you know that’s what you are
Pussy full of maggots, isn’t that absurd
GUNS N’ ROSES, probably the most famous and successful macho rockers in history released their smashing debut LP ‘APPETITE FOR DESTRUCTION‘ today 30 years ago,
on 21 July 1987. A thunderous cock rock record filled with tons of hellish electricity. Hot,
rowdy, vicious, filthy and controversial with Axl Rose howling at times like a hungry hyena and barbed-wire guitar duo Slash and Izzy Stradlin producing a tumultuous series of rip-roaring riffs, huge hooks and lively licks. Fucking hard rockin’ riotous racket it was. Damn right!
Rolling Stone wrote: “GN’R mixed drugs, punk and classic rock to make their brilliantly trashy debut. The album looked both forward and backward: The punky rawness of its sound and the pained artistry of its lyrics made it a bridge between commercial Eighties hard rock and the alternative music of the next decade. But Appetite was also among the last classic rock records to be mastered with vinyl in mind, to be edited with a razor blade applied to two-inch tape, to be mixed by five people frantically pushing faders at a non-automated mixing board.”
Full review here.