In doing my research on Richie Kotzen, I found a few covers he has done over years.
Since I will likely not be using these videos for the main article I will write, I thought I would share them to help you get acclimated.
I know I could give you titles and descriptions, this is one of those times it would be better for me to shut up and just let you, the reader/listener, discovery one of the most unheralded talents of our time.
Since I was at this show (and had to leave by no choice of my own), I have been consumed by Richie Kotzen's playing and singing. So much so, I am working on a new written piece that should be out in a few weeks.
Hey, it's been a while. I have been busy as hell! Between Amerakin Overdose (and their tour), my full time day job, and my part-time weekend job, any spare time I have tends to go to driving, talking on the phone, or just mentally collapsing.
I have decided to work on an article featuring one of my favorite musicians, the incomparable Butch Walker.
A bit about Butch (while saving some for the article):
If you are looking for metal, we are done here. No need for you to read further. I would suggest you expand your horizons a little, however.
He is a prolific songwriter and producer as well as musician, as he has worked with all different types of music from the biggest names in the business to those who were hardly a blip on the radar.
He has released 8 "solo" CDs, as well as many EPs, singles, and releases from Marvelous 3, Floyd's Funk Revival, and Southgang.
He has also released a biography "Drinking With Strangers", and a video documentary, titled "Out Of Focus".
So, in preparation to the article I am writing, I thought I would share this episode of "Live From Daryl's House" featuring Butch Walker to get those not familiar a taste of his musical stylings.
One of the worst kept secrets is that I have been working with the band Amerakin Overdose, which is comprised of five young men from the Portland area of Oregon. With an almost overzealous drive in social media, and a crushing album, "The Great Amerakin Dream", the band is poised to go to the "next level", and my job is to help them reach that pinnacle.
Cody, Pito, The Human, Brick, and Cameron have put up their personal funds up and invested in the band to deliver a national radio campaign (so call and start requesting their music!), their outfits, quality merchandise for fans, high quality music videos, their instruments, and much more while also bridging relationships with some of the biggest companies in the business (more on that at a later date) to help the five of them to realize their musical dream. They will embark on a tour in July that will cover the midwest with notable stops on the Vans Warped Tour in Salt Lake City, UT and Rockfest in Cadott, WI.
This brings me to why I am writing today...
The band, as anxious as children who can't wait until Christmas to open their presents, discussed with me the possibilities of helping out a few of the promoters who were on board from the beginning to "leak" their headlining shows. As we get closer to our "true" announce date of April 1st, we wanted to show off the skeleton of the route, and allow these promoters to get a jumpstart on the hype and ticket sales. Before I go any further, I want everyone to know that what I am about to say is my advice to the band, and they have accepted it. They understand that certain things have to be followed so that all things are handled correctly. In short, if you have an issue with this, contact me and not them, because they will contact me about it anyways, and then you have pissed me off further. They know my suggestions are motivated in protecting them, their brand, and their careers above all else.
I wanted to create a list of steps for the promoters and the band to follow so that everything has equal footing:
Make sure your event's contract is completely in order and agreed to by both parties. There will be delays if not.
Make sure you have your flyer and ticket information ready to go before the announcement. This IS NOT the band's job to do for you. We will send you a blank flyer to put your own stuff in, but there is not enough time in the day with limited manpower to hold your hand through the process. I have a great graphics guy if you need help in a pinch that I couldn't recommend more. He is fairly priced, and really enjoys what he does. Hit me up if you need help.
Make sure your deposit is in. No deposit, no leak, no exceptions.
If you leak your own show without our approval, know that we will then have the right to cancel, and I will strongly suggest to the band that they do. We will contact you about being "leaked" or you can contact us. Once things are in place, we will time it out.
Have your support bands ready REGARDLESS of your leak/release date with tickets in hand. We fully expect tickets to sell quickly, and none of us want any delays or issues.
We are only releasing a few at a time. If for some reason, you aren't ready, you will have to wait until the next weekend if there is space. These are strategically planned out and spaced out to maximize impact.
We want all shows to be incredibly successful, and to use what knowledge we have as tools to ensure it is a great time had by all.
Pito, Cody, and I handle this end of the band business, and if you need help or would like some guidance, don't hesitate to contact any of us. I will suggest that if you decide to not listen to us, don't ask again. We will think you are wasting our time.
Where's Cameron?
Now, let's get into some fun shit that fans of the band can get in to...
On this tour, we have a bunch of stuff happening.
We want the Street Team to help promoters when they can to get the word out for the dates in their areas and reach. We want to be the biggest paty happening when we roll into to town. We are discussing what to do for these people helping as I write this as a "thank you".
We are also working on new merchandise (including Street Team shirts) and contests around the tour and the radio campaign (request... request... request!). Keep your eyes peeled for this.
We want a lot of video footage! Video record everything you can (that venues will allow) of the band. We would like to collect all of this and release a video of it in the future, so your footage might be used. Tag us and give us a link of them so that we can share them as well.
We ask that you also tag your band posts #SpreadingTheDream so that we can keep track and possibly share them as they are deemed appropriate. If we miss one, hit us up. It may have just been lost while we were working.
On that note, some venues will allow us to have a few backstage passes. We suggest you get your GA tickets first, just in case, because we will not know until the week of each particular show how many, if any, are available. Also, for those asking, we will not have ANY passes for Vans Warped Tour or Rockfest. We will, however, announce places if you want to get a pic, an autograph, or just want to chill and have a beer. Each of these will most likely have a "pre-party", so I suggest to not miss them if they are in your area.
There is more stuff, like announcing our business partnerships, coming soon, but we will save that stuff until later.
In the meantime, keep checking up on the band through social media and the website. All kinds of things may pop up unannounced as a "surprise".
Did I mention "Cyber Superstar" is available to your requests at your local rock stations now?
On September 12th, I was told I won a VIP package where I would meet a childhood icon, Pete Rose, on September 15th, along with front row center tickets to his show (where he spoke about different stories), a restaurant gift card, a night in a very nice hotel, and a signed baseball, from a radio station that had posted a "like & share" post on Facebook for a chance to win. I can only assume to win, considering the reach of social media, had to be astronomical.
The iconic baseball hero of age 76 is not short on controversy, and many have decided I should be told their opinions when I said I had won the contest. For every record he had accomplished in "America's Pastime", it seemed there was another opinion to represent opposition. When I mentioned I had won, it was like I opened the floodgates on their opinions of a man they did not know, both good and bad. While being respectful, I honestly can't say I could care less, only because they looked more at it from a distance than what it could mean personally to anyone else. I did not go to vindicate their opinions.
As a lifelong Cincinnati Reds fan, his name (along with Johnny Bench) were synonymous with my childhood, which was themed by my passion for the sport, and all my life seemed to be the essence of my being. I had the cards, more gloves than I could use, bats, balls, hats, and anything else I could get my little paws on. The sport represented something it has taken me most of my life to truly understand, and why my passion is still so intense to this day (more on that later).
The Hit King
When I won, I got a "plus one". In the entertainment business, especially in tickets, that means you can bring a guest of your choosing. When I won, it took me a few seconds to know who to ask. I knew I wanted someone who could truly appreciate it. Someone who wouldn't just go because it was a famous person, but a person who had a passion for the sport who would have a truly personal connection to the event and the guest of honor. I asked a friend I have known for about 20 years.
"T-Bob" (his nickname I have dubbed him for years, which I will use to protect him somewhat in this) is a true baseball fan, diehard Reds fan, and Pete Rose fan, which he has a shared passion as I did in childhood. He tells a story about when he was younger, his dad took him every year to Reds games. Baseball was a part of his formative years, and Pete Rose was the ringleader of it all. This would be a "bucket list" item for him.
T-Bob has also been having a rough personal time (which I will not delve into), so he has been working as hard as he can to keep his head above water. I knew this would be his sea of constipation in an ocean of diarrhea.
So I called him on the phone, and it went something like this:
Me: Hey man... are you busy?
TB: Just got off work... what's up?
Me: I won a VIP package to meet and see Pete Rose this weekend.
TB: NO F*CKING WAY!
Me: Yes...
(Then I explain what all I had won.)
Me: ... and I have a "plus one". So... do you want to be my "plus one"?
TB: As long as it isn't Friday, because I have to work late and may have a job to do, I am all in!
At this point, I realize I had no clue what day the event was, so I call to find out.
It was Friday.
I called him back, and we discussed the scenarios and agreed that the only way to make a good decision is to know closer to the time. T-Bob's work schedule is not set, and he works based on the number of jobs that day, with installations being the bigger jobs and repairs being the smaller ones. If we were lucky, he would be off in plenty of time, and I honestly didn't want him to miss it.
His managing days
The Friday comes around, and he tells me it is looking pretty good, but will be a little tight. Mostly repairs that morning, which he says is a good sign because they usually do installs first. I tell him check-in time at the hotel is at 3pm, and I will be there.
I get to the hotel room, which was very nice, that had double queen beds that I requested (so that he would have a place to stay), and get settled in. I have 3 hours until the meet and greet, so I have a business call to make, and head to the restaurant to get some food while I wait.
I get to the restaurant, which is a very nice place, only to find they won't be taking orders until 5, which means I wouldn't get food until 5:30ish. I didn't have time for that, as I had an icon to meet.
I get back to the room and T-Bob texts me saying he couldn't make it because they sprung an install on him. I take a shower and rack my brain to figure who I can ask. I make a few calls and no one can go in such a short time. I was going to have to "burn" the extra ticket.
Just when I get to the venue, T-Bob says he is on his way. He hit a snag that he couldn't fix himself and everyone had left the office for the weekend. He was going home to grab a shower and would be there. I had to buy some time.
I decide I couldn't let him miss this, so I allow everyone to pass in front of me in line. This goes on for about 45 minutes. I am at the end on the line and moving closer when he texts me he is there with about 10 minutes to spare before he misses his chance.
He gets up to Pete's seat and tells him a story about Little League where everyone wanted to be number 14, so the manager made everyone 14 to avoid fighting. T-Bob gets his picture while talking to him, and off he goes.
T-Bob and his childhood idol.
I'm next. I assume most people at this point would know what to say, but with everything going on, I never thought about it. I often times in my profession deal with people who have certain degrees of fame, so, to me, I am a bit spoiled in that regard. I know well who I am speaking to and meeting, but I also know they are a person as well. I also realize I have to say something because it's freaking Pete Rose! As I lean down to get in the picture, I tell him it is a true honor to meet him.
I don't get star struck often if ever, but what he did next had me there.
He reaches out to shake my hand. His hand which was one half of the two that got him 4256 hits (and numerous other achievements), which makes him the all-time leader in a record that will most likely never be beat. This guy wants to shake my hand!
He seems so happy to meet me!
After we both have our pictures, we wait around for the show looking at Pete's merchandise at the vendor table and have a little small talk, biding our time.
They let everyone into the theater, and our seats are the best in the house: front row center. The only way we could be closer is if we were sitting on stage with him.
I think this was when he was heckling a person going to the bar.
Pete works the stage like a veteran, telling stories of his life on the diamond in a witty, personable fashion. He is not cocky, but sure of himself. We laugh along with his tales of a world most of the crowd, and the world, can only speculate about, while describing them to us in a way that makes us feel like we were there when the events happened. He was conversing with us, and (with the exception of one guy who may have enjoyed the bar one time too many and acted like he had to reply to everything Pete said) we just listened in awe as he regaled about a past we wished we were a part of. This went for around 90 minutes.
My personal favorite story was when he talked about the 9 minute ovation he received when he got hit 4192. The date was September 11, 1985 (and I still remember where I was at the time). He talked about after a few minutes, emotions hit him about all those who were there and helped him along the way, including managers, players, friends, and his dad, who instilled in him the belief that you always play hard and give 100% of yourself.
Very close
(I don't want to write about too many specifics about the show, because if you are a fan, you should just go. I highly recommend it.)
After the show, T-Bob and I are discussing the show while figuring what we want to do next for the evening. We are reminiscing Pete's stories like they are our own. Then T-Bob says something to me I will never forget.
"This is one of the greatest nights of my life."
Knowing what he has had to deal with lately, I knew he needed the excursion, but without actually walking in the man's shoes, one never truly knows. His recent trials and tribulations were cast aside for a night and he was truly able to enjoy himself. For me to know I had the capability to do that for someone who has been a dear friend for that long, is truly an honor. While I have a good idea how it felt for him, how it felt for me to do that for him made me feel like after the year I had, I was still here for a reason.
In one small token, I was able to make him find a happiness he was sorely missing.
The event didn't make me feel same the feeling I got from helping my friend's soul and mental well-being.
From the time I received the winning package, I have mentally tried to understand what the meaning of it all was for me personally.
On November 8, 2016, my dad died. We were not as close as many I sometimes feel a slight jealousy of. I was not raised with him in my life for long periods of time (that is as much my fault as it was anyone else's, to be clear). We spoke a couple of times a year, and when we did speak, it was usually about baseball and the Reds. He would tell me stories about The Big Red Machine Rose was a part of that I was too young to recall. Baseball was in our heritage for the past couple of generations, from my great-grandad, to my grandad, to my dad, to me. I "inherited" my passion from them, because the reality of it was I was not geographically near them much, and phone calls were so expensive that you didn't talk long on the phone.
My dad, Fred
When I went to his funeral, I broke down and cried despite my struggle against it, and I believe I even mentioned the Reds when I spoke. It was hard, however, to say goodbye to someone you felt throughout your life you never had that "real" connection with at the time. Someone you really wanted to connect with, and at the same time, didn't want to. I know this was my dad, and what I was feeling was how I was supposed to feel, but I felt there should've have been more. I was remorseful because everything I had always wanted was now never going to be. There was never going to be that "connection", it seemed, as I have had with my aunt Jean. The fact of the matter is he wasn't that way of "emotionally nurturing" and in kind, I am not either. We have self-imposed walls that make that kind of emotional outpour non-existent. It's just our DNA and our struggle no matter how hard we try to change it.
While taking the whole thing in, I kept thinking about my dad, to the point of fighting tears, knowing how much he would have loved the opportunity to go, and had he been alive, he would've gotten. With every story Pete told, I felt like my dad should've been there, drinking a beer, and listening to a man who he had admired as a player that was one of the greatest players on a team he grew up cheering for.
What is going on with my phone's focus?
Then it dawned on me.
He was there.
Although our connection was not as strong as I would have preferred, my actions for my friend T-Bob were just the thing he would have wanted as well. An act for a friend who truly needed it and appreciated it. While my dad and I always had a hard time with our emotions with each other, this was something I had either learned from him or was ingrained in me from the times we did share together. It was about doing something bigger than yourself. I was taught a final lesson from my dad in humanity and humility.
When I had those few short minutes to tell Pete what an honor it was, I am not sure I was saying the honor was mine, as much as it was mine AND my dad's. This was the full circle closure point I don't feel I received at his funeral, and my whole life, with all the trials and tribulations, the thousands of self-doubt questions, the depression, and the uncertainty, about my relationship with my dad was all taken care of at that point.
Between 1991 and 1996, Metallica competed with Guns N' Roses as the biggest band in the land (while Pearl Jam and Nirvana were just climbing to the top). Metallica had released their incredibly successful self-titled disc entitled "Metallica" (and referred to here as the "Black" album to avoid confusion) that, while faithful followers did not like the music because it veered from their previous "thrash" stylings, won over millions of new fans, with melodic and/or groove-based, simpler songs like "Enter Sandman", "The Unforgiven", and "Sad But True", that would not contain numerous riffs and tempos, but stay within a common theme. The running punchline when the faithful followers said Metallica "sold out", the band would reply "every night". To date, the album has gone 16x platinum in the United States, but much like their future (albeit ill-fated) tourmates, Guns N' Roses (who were promoting their post-"Appetite For Destruction" albums, "Use Your Illusions I & II"), they found that following such a mammoth release was not only a gargantuan task, but it seemed that both bands wrote (and recorded) so much material that they released it all to see what would stick.
Metallica followed up this album with their dual batch of songs, writing the material for "Load" (released in 1996) and "Re-Load"(released in 1997) simultaneously, while the basic tracks for "Re-Load" were finished at the same time as "Load", under the supervision of famed producer, Bob Rock (Bon Jovi, The Cult, Motley Crue, and more). This albums continued to a more bluesy side of the band that further distanced fans who were there from the beginning, calling the album "Load Of Sh!t", while, in the attempt to appear more artsy, left newer fans wondering if this was what they were buying into. With "Load" going platinum 5 times in the US, and "Re-Load" reaching that status 4 times, it would be hard for almost any other band to call these albums a commercial failure, but music industry expectations being so high following the "Black" album, they were exactly that. Fans (partially unjustifiably and unfairly) dismissed much of the music due to the band's new look featuring newly shorn hair styles, cigars, suits, eyeliner, and blood stained semen album covers.
With this in mind (like I wrote previously with Guns N' Roses "Use Your Illusions"), I decided to take it upon myself to create one album out of both using the same previous parameters and rules, while maintaining certain trademarks of the band's sound (such as their identifiable groove, their melodic stylings, and refined harshness):
I can use any demos found from the time of the release of the "Black" album (wasn't any that I found).
Any recordings later found on the covers collection Metallica released later on "Garage, Inc." that was recorded during this time (although I did not add any due to Metallica never including a cover on the initial release of any album, and before you mention it, "Kill 'Em All" did not have "Am I Evil?" or "Blitzkreig", as they were added when Elektra reissued the album after signing the band).
Since "Load" clocked in at 78 minutes and 58 seconds, while "Re-Load" came in at 76 minutes, I split the difference with a time cap of 77 minutes and 30 seconds.
While CDs were the choice of format at this time, music was still being released on cassette and, on a smaller scale, LPs, I created with list with the idea of two sides.
While a song may have been released as a single, that merit alone did not mean automatic inclusion.
I picked songs with no regard making the same amount of songs from each release, but to create one complete release regardless of the collection in which it previously came.
I created a playlist on the free streaming site Spotify if you would like to listen as I give my choices:
Fuel (Hetfield, Ulrich, Hammett) - I kick off the first with could possibly be the most straight forward song in this collection, which is what the band also chose to do on "Re-Load". This widely-used selection in the racing circuit was an easy choice for its inclusion.
Ain't My Bitch (Hetfield, Ulrich) - This track, which was the opening song on "Load", completed for the spot on this collection as well. It was selected second to carry the theme that Metallica were in a "take no prisoners" approach. Carrying the band characteristic groove, this fan favorite was a live staple during this period.
King Nothing (Hetfield, Ulrich, Hammett) - I had always heard the band got weary of playing "Enter Sandman" during any televised appearance, and this song from "Load" was released as a single to quell that request from programmers. I would chose this song as the first single due to its' familiar sound and arrangement to "Enter Sandman", which includes an homage to the "Black" album hit at the end of the song.
Slither (Hetfield, Ulrich, Hammett) - Carrying their signature groove, this song stays in the initial feel of the album in terms of heaviness. Aptly titled due to its snake-like charm, the band locks in collectively to create a squirmy feeling.
Hero Of The Day (Hetfield, Ulrich, Hammett) - Starting out displaying Metallica's melodic side, this track turns into a full on thrash number towards the end, allowing James Hetfield to show is melodic voice and signature growl within one track.
2 x 4 (Hetfield, Ulrich, Hammett) - Feeling the need to re-establish the classic Metallica swagger with a bluesy edge, this song closes out the first side. With ample groove, this song signs off the side with a monstrous groove.
Better Than You (Hetfield, Ulrich) - This grammy winning number is the punch in the teeth the second set needs to kick off. Signatory with Hetfield's fiery vocal lines and crushing guitar lines, this song's theme of contentment carries a personal anger that has carried through the collection thus far.
Bad Seed (Hetfield, Ulrich, Hammett) - This slow churning tune features a mammoth groove while James Hetfield spits lyrics about forcing someone to come to terms with honesty. Bassist Jason Newsted leads this rhythm with a surprising running bassline during the solo while supplying a solid bottom end for the rest of the track.
Until It Sleeps (Hetfield, Ulrich) - With familiarity in sound to the "Black" album's "The Unforgiven", this is this collection's second foray into being a predominately melodic track. With subtle instrumentation in the verses, the song carries into the pre-chorus and chorus with a heavier fare, creating a nice balance of peaks and valleys.
Devil's Dance (Hetfield, Ulrich) - Armed with a sinister groove, this song displays Hetfield's darker side lyrically. Reminiscent lyrically of being the story from the point of view of the snake in the story of Adam and Eve in the book of Genesis of The Bible, this song locks in stylistically feeling tempted.
Cure (Hetfield, Ulrich) - With "Load" and "Re-Load" offering their fair share of more blues-based numbers (by the band's standards), I decided to include this track. With a Danzig-like verse, the pre-chorus and chorus that would waver the crowd live, had it been played in that capacity. Tragically overlooked.
Wasting My Hate (Hetfield, Ulrich, Hammett) - Closing this collection with Metallica's tradition of a more upbeat rhythm, although not as fast as some of the songs in this position on previous releases. This song offers a soundtrack to angst that would make a part of any workout playlist.
This collection is 12 tracks long clocking in around 58 minutes, with 7 songs from "Load", and 5 from "Re-Load".
There were some notable songs not chosen for this collection that were singles:
Mama Said (Hetfield, Ulrich) - This country-flavored song didn't fit this collection, nor would I say it even fit its inclusion on "Load". Save it for the solo album, James.
The Memory Remains (Hetfield, Ulrich) - Spotlighting folk singer Marianne Faithfull, this song, while fitting their adventurous stylings upon release, did not fit in what I would consider a more cohesive gathering of music. May have used it for a soundtrack somewhere, however.
The Unforgiven II (Hetfield, Ulrich, Hammett) - One "The Unforgiven" song was enough. It should've died there, instead of being flogged like a dead horse. I would not have objected if they wanted to create a unique EP consisting all three movements of the similarly titled themes, but the song has no place here in my opinion.
On this collection, these would be the singles:
King Nothing
Bad Seed
Until It Seems
Hero Of The Day
Fuel
By trimming what many consider the fat from "Load" and "Re-Load", I feel a release like this would've followed where the "Black" album left off, with a possibility that it could've saved the band from the misguided foray into the misguided attempt to be trendy with the release of "St. Anger".
I'm curious what you think. What did I miss? Feel free to comment and critique here or my social media pages.
After setting the world of music on fire with their infectious debut, Appetite For Destruction, in 1987, Guns N' Roses released of the most ambitious collections ever in the form of Use Your Illusion I & II in 1991. The collections, which were two separate releases as opposed to a double album, had a combined 30 songs clocking in at 2 hours, 31 minutes, and 48 seconds. With these albums, as one collective appeared to this listener to be missing a common theme and sounded disjointed. As the band was trying to sonically grow, some songs sounded self-indulgent, while others seemed to be "phoning it in" to appease those who wanted more of the Appetite-era fare. This is where I come in.
Upon listening, I took it upon myself to attempt to make the Illusion a single cohesive release, one that may be more fitting to following up their debut and their EP, GNR Lies. I did not think the single release of this album, done to get some of these songs into chain department store afraid to carrying the two albums due to language, was a fitting barometer of the music that represented the band. Another issue with these releases were there were songs in added to fill space. Many bands have done this over time, but with GNR having such credibility of musical quality, I have decided to remove these.
The lineup in the band had changed over the course of four years as well. While adding keyboard player, Dizzy Reed, the band replaced drummer Steven Adler with Matt Sorum, formerly of The Cult, due to Alder's excessive substance abuse (which must've been substantial considering this band was known for their excesses). While Matt is technically a fantastic drummer, Steven had a pulse that drove AFD, and Sorum's contributions often came off as "typical". As a hired member of the band, I can surmise he was probably not given much leeway to make suggestions, so this isn't to besmirch his additions.
This is what many of the grooves sounded like to me.
While researching my previous GNR post, I found a few songs that made it to this collection that were written before AFD. I decided in doing this, I had to set some ground rules to help with making this a comprehensive set.
Studio recording of the GNR Lies live songs would be allowed here due to never being released in that form.
Any cover, including anything on The Spaghetti Incident?, would be permitted, as I believe we can safely assume the band played many of these in rehearsals even during this time, and were recorded during these studio sessions.
Since both albums clocked in at 75 minutes, I set that as my hard time limit for how long this could be so that I stay in the parameters of the physical releases.
The track order was done with the idea of "two sides", as these albums have been released on cassette and LP.
Just because a song was released as a single did not mean it had to be included as it just didn't fit my vision for this.
I did not pick songs to placate any egos, but only pick the best material available. If it fits, it sticks.
In making this, I also planned on marketing an EP to be released a short time after containing a few songs missing in the collection, as many bands at the time (including GNR) would hold out certain tracks for future releases and soundtrack releases (which I did not hold songs for, but there were enough leftover for such).
Here is the track-by-track rundown, and you can listen along while you read:
"Back Off Bitch" (Rose, Tobias) - The leadoff track was written leading up to AFD, and sets the tone for this ensemble, picking up where AFD left off. Equipped with a signature Slash lead, killer riff, and the "take no prisoners" style GNR fans expect, this was an easy choice.
"Pretty Tied Up" (Stradlin) - Loaded with a Rolling Stones-esque swagger, this tune allows for the expansion of taste later in the assembly. The lyrics are reak of Hollywood streets, and Duff's great running bass lines, it also shows the band didn't venture too far from what fans would expect.
"You Could Be Mine" (Rose, Stradlin) - Also written during the AFD demo sessions, the original lead off single featured for the release of the movie "Terminator 2". I would also pick it as the lead off single, as it is the first taste for fans to know what to expect.
"Don't Damn Me" (Rose, Slash, Lank) - This often forgotten tune from UYI I keeps the ball rolling along with an infusion of unadulterated rock.
"Perfect Crime" (Rose, Slash, Stradlin) - This high speed rocker sets up as an apex on the first side that allows the next two songs to bring you down leading into side two.
"Hair Of The Dog" (McCafferty, Agnew, Charlton, Sweet) - GNR released their take on this Nazereth classic on TSI?, and I have always found this to be the perfect cover song for the band, as the musical style and vocals were as if the band wrote it themselves.
"Civil War" (Rose, Slash, McKagan) - As the only song including drums by Steven Adler, this song slides into the "Paradise City" position that was set on AFD. This mature song shows the band in branching out and is a needed change of pace for the songs before it on side one, closing out the side.
"November Rain" (Rose) - The first ballad on this release, this song was also originally a single and I see no reason why it shouldn't be here as well. Eloquent piano, soaring guitar leads, and poignant lyrics show a softer side first displayed by "Sweet Child O' Mine" from AFD and "Patience" from GNR Lies.
"Double Talkin' Jive" (Stradlin) - Strapped with an undeniable groove, this song, sung by Izzy, gives a take back into reality into the GNR world. The only issue I would point out is to trim out the extended spanish-flavored acoustic lead by Slash in the end. Albeit tasteful, it is unnecessary here, as the gist of the song covers what needs to be done.
"The Garden" (Rose, Arkeen, James) - Equipped with a guest vocal from the legendary Alice Cooper, I also chose this song as another step in allowing the band to spread their wings.
"Dust N' Bones" (Slash, Stradlin. McKagan) - While Izzy takes lead on this song, this song is steeped in a very classic rock variety.
"Don't Cry (Alt. Lyrics)" (Rose, Stradlin) - Originally a single, this song features Shannon Hoon of the band Blind Melon on backing vocals. I chose the "alternate lyric" version found on UYI II, as I have plans for the other version later in the blog.
"Locomotive" (Rose, Slash) - To me, this is the hidden gem on the album, with a relentless guitar riff played by Slash. Clocking in at 8:42, this is the perfect ending to the compilation.
The singles:
"You Could Be Mine"
"Don't Cry"
"November Rain"
"Hair Of The Dog"
"Pretty Tied Up"
This collection has 13 songs and comes in at around 71 minutes.
There have been websites that have written about doing the same as I have (1, 2, & 3)but other than searching them out, I tried to not study them so so that they don't influence my decision.
As I stated before, some songs were reserved for later, and during the cycle for this album, there was a trilogy of videos that fans loved as the stories intertwined while allowing the band a great deal of artistic freedom. I will use these three and another track as a video EP to be sold between releases for the next album. The track listing is:
"Don't Cry (Original)" (Rose, Stradlin)
"November Rain" (Rose)
"Estranged" (Rose)
"My World" (Rose)
There are other personal or fan favorites I left off of this collection such as "Coma", "Yesterdays", the cover songs, among others. These songs can be used for soundtracks or future CD releases.
So there you have it. This is how I would rework the Use Your Illusion albums into what I deem as a strong follow up to the mammoth Appetite For Destruction, which is a daunting task. I have always heard "you have your whole life to write your first album, and six months to writeyour second", which very true here.
If you get a chance, and have Spotify (it's free), give this a listen and let me know what you think.
I have added a demo here as a bonus song that I found during my research. Note that it has strong language, but I found it to be a riot.
