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 "AXL cometío 2 Graves Errores:Publicar CD y contratar a AZOFF" - ALAN NIVEN

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MensajeTema: "AXL cometío 2 Graves Errores:Publicar CD y contratar a AZOFF" - ALAN NIVEN   Mar 21 Sep 2010, 1:15 pm


Lo he indicado más abajo para atajar más rápido!!!!

También subrayé cosa interesantes sobre opiniones de Niven acerca de la nueva banda (Leeds, Reeding) y del tema Izzy-Velvet Revolver

[Tienes que estar registrado y conectado para ver este vínculo]

If you’ve ever heard of the band GREAT WHITE or possibly the more obscure, GUNS N’ ROSES, you’ll probably have heard about Alan Niven. He was their everything (manager, producer, songwriter, friend) in their formative days. Today, Alan lives a quiet life in the hills of Arizona away from the drama and the underside of corporate rock n’ roll, but his passion for music has not ceased as he now champions the cause of up and coming artists COLD FUSION and the TOM HOLLISTER TRIO via his new Tru-B-Dor label. sat down with Alan recently to find out more about his new venture as well as poke around the history of two of rock’s most enduring franchises, Guns N' Roses and Great White. Tell me about your new venture, Tru-B-Dor Records.

Alan Niven: “In any venture, you have to have a sense of fearlessness and courage, but you also must have sound and logical thinking. Rightly or wrongly, I and others, have the perspective that the fundamentals of the business have not been well tended to for a very long time. There has not been considered and consistent development of the artist. The record companies long ago became far too impatient in their compulsion to see black ink on a project. There used to be a formula back in the day if somebody was signed. If they reached a certain sales platform usually 100,000 units, they’d be given the opportunity to make a second record and if that made it to 300,000 units they’d get a shot at a third record. Hopefully by the third record they’d connect profoundly with the audience and, of course, through this process the artist has the opportunity to hone their craft and become better performers, better writers, to become more focused on what they are doing. It was a growing process that had both an artistic and commercial sense of purpose. This got thrown out a long time ago. Also, from the time we started issuing records in the CD format, we completely lost the plot when it comes to packaging. Everybody appreciates good packaging married to good music.” The first CDs didn’t even come with a picture. It was a single sheet of paper with reduced album art. No lyrics, no information… nothing.

Alan Niven: “Even if you did have any print in there, you’d be required to get a magnifying glass to read it. I’m old enough to remember the pleasure of gatefold albums. So, we lost the plot on packaging and that’s detrimental to the public’s feeling that they are getting a sense of value for their dollar. If they’re buying a record by an artist that hasn’t had the time to hone their craft and there’s only one or two good songs on it and the packaging is not very good then you have to look at the third item which is pricing. It’s my perception that again the industry has got the wrong end of the stick. I don’t think that downloading is as detrimental as everybody says it is. I have suspicion that second hand sales in major retail outlets is more problematic, but mostly what I observe is that the film industry is selling more discs because their packaging is better, the content is more readily identified (you know what you are getting) and lastly their pricing is far more aggressive. If you can buy a decent movie for ten dollars, why would you speculate fifteen dollars on an audio release where you might not have complete confidence that it’s going to be a worthwhile record.” Are you proposing a new model with Tru-B-Dor Records?

Alan Niven: “I don’t think there are many original ideas in the world, Mitch. What you have to do is take care of the fundamentals. You get quality artists, make quality records, put them in quality packaging and price them aggressively to compete with your main rival which is the film industry (for hard discs) and you utilize the digital domain as the promotional tool it can be.” Have we reached the end of “physical” music (meaning CDs, vinyl, etc)?

Alan Niven: “No, I don’t believe so. Hard disc sales are bottoming out, but I believe if your content is good, you package right and your pricing is right; people will still buy them. Back in the day, we thought of retail sales as being 75% spontaneous. You need to support and maintain that opportunity. We’ve lost a lot of retail stores, but on the other hand when I was growing up, I bought my LED ZEPPELIN and JETHRO TULL records in the back of a hardware store. So, there will always be a way.” Will you be signing any artist to your label as long as they’re good and you see the potential or must they be a “blues rock” or a “hard rock” band only?

Alan Niven: “The policy there is to be entirely eclectic and to be driven exclusively by the recognition of a talent. The idea is to maintain a standard of talent no matter how the talent expresses itself. There’s a band out of Arizona called STORM OF PERCEPTION and I hate to use comparatives, but I would describe them as Children Of Iron Metallica. There’s a band that we are looking at that I would describe as melodic punk. We’re looking at a blues-rock trio out of Wales with a nineteen-year-old guitarist and I think he’ll be the guitar star of the future and he has a vocalist with him that has an exceptional voice. Let the guy sing the phone book and you’ll be moved. The amount of quality material that finds its way to us is quite substantial and then it becomes a case of whether my partner, Heather, and I connect to it. It also has to meet our criteria of having quality. We don’t want to deal with things that are ugly. We don’t want to deal with things that are denigrating to women. We don’t want to deal with things that are malicious and we don’t want to deal with the insubstantial. We want a vestige of heart, a vestige of soul and a vestige of intelligence.” Do you get a lot of submissions by bands that think “oh, he’s the Guns N' Roses guy and we’re the next Guns N' Roses”?

Alan Niven: “Yes, we’ve had our share of people who think they are the next Guns N' Roses except they don’t realize there is no ‘next Guns N' Roses’, but there might be a terrific new band of their own personality with its own character. Still, we’ve had a lot of very good things come our way. There’s a delightful serendipity in the way that you find or connect to musicians and bands.” Let me ask you about Guns N' Roses. Everybody slags the new version of the band because Slash is not there… because Duff is not there… But then you have a band like WHITESNAKE that is essentially David Coverdale with a revolving door of musicians. You have FOREIGNER, which is Mick Jones and a new cast of characters. You have THIN LIZZY that changes line-up almost yearly. My questions is why do you think those bands get a pass, but Axl or Guns N' Roses get nothing but negative press?

Alan Niven: “I think it’s a matter of perception by the audience. You mentioned Thin Lizzy (Vivian Campbell is now in both Thin Lizzy and DEF LEPPARD), there’s a degree of acceptance in the audience that there’s a natural order of turnover. Vivian is a really cool guy and a great player and they’ll be accommodating to Vivian playing in Thin Lizzy. However, when you have a situation where quite obviously one individual has driven off the others, and furthermore, stated that he is ‘last man standing’ and that he alone represents the idea of Guns N' Roses and, by the way, Guns N' Roses doesn’t exist as far as I’m concerned. Guns N' Roses as far as I’m concerned played their last show on April 7th 1990 in Indianapolis which was the last show live show at Farm Aid that the original line-up played. That’s my personal and particular viewpoint. But in this instance, we have a situation where the first thing Axl did after he fired me was to have the rest of the band sign over the rights to the name to him exclusively. I think we’re looking at coercion and unpleasantness and meanness of spirit that elicits a negative response when they see a ‘Guns N Roses’ banner over a crowd at Leeds which is exacerbated by a Slash look-a-like who is doing the same moves and wearing a top-hat. Where there is a guy who looks rather similar in haircut and body language to Izzy and plays a hollow body guitar and you look at the bass player and think ‘well, that’s the closest they could find to Duff. I think that’s a tremendous deceit on Axl’s part. I think it’s an incredible insult to the people who made Guns N' Roses what it was… to Izzy, to Steven, to Slash, to Duff and I think it’s very callous and arrogant. I think it’s foolish for Axl to do it and I think it’s foolish for an audience to accept it. Let me be clear, Axl has every right as an individual to perform whatever music he wishes with whomever he wishes. That is a right that is absolutely unquestioned, but what I cannot digest is that he states that he is Guns N' Roses because on his own – he is not.” I see your point, but I also understand the importance of branding and if we hold Axl to a higher standard then we should hold all bands to the same standard.

Alan Niven: “Let me flip it for you. If I had to narrow the accolades to a single individual, I would say the greatest singer in rock n’ roll is PAUL RODGERS and I’m a huge FREE fan, but when Free ran its course – they didn’t call the new band ‘Freedom’. The new band is called BAD COMPANY. It’s something else. It had different players, although fronted by Paul. Led Zeppelin were originally the NEW YARDBIRDS until they woke up to the fact that this is not ‘new’ YARDBIRDS but something else. A new name…. a new identity… a new brand.” Could it also be that the idea of branding wasn’t as strong back then?

Alan Niven: “To perceive something as branding is an excessive compulsion from a marketing point of view as opposed to an artistic or creative point of view. I think your integrity lies in your artistic creativity not in your imaging and if you’re going to change things substantially – then change the name. If somebody passes away then you have an option to continue by trying to find somebody to fill the position of the person who is no longer with you or you can recreate. I always take my hat off to Led Zeppelin for calling it quits after John Bonham died. Jimi Hendrix had a little peer pressure to play with more black musicians and he went from the JIMI HENDRIX EXPERIENCE to BAND OF GYPSIES. It didn’t stop the music from being exceptional. It was different, but we shouldn’t demean our audience. I think they’re intelligent enough to know that Jimi played guitar in the Experience and Jimi’s playing guitar in Band Of Gypsies. I want to see Jimi play guitar and if I want a Jimi poster, I’ll go buy it. Ironically, the band that first established a sense of branding was THE GRATEFUL DEAD because they came out on the non-commercial counter-culture, but yet they brilliantly branded the band and once Jerry passed – they were done which is correct and honourable. Also, if you’re going to start something else… then start something else.” It just seems unfair to me that people complain about Axl calling himself Guns N' Roses yet David Coverdale can stand onstage with his 80th guitar player and 23rd drummer and call himself Whitesnake and no one complains.

Alan Niven: “I think a line is crossed when you see look-a-likes with similar clothing and trademarks playing. I think then you feel manipulated and I think then you get a feeling that there’s an element of con to this. I think the majority of the fans that attended the recent Leeds and Reading shows would say that Axl sounded in pretty good voice for his years, oxygen tank and teleprompter. They were delighted to hear him get through the songs the best he could even though he was a little breathless here and there, but despite the fact that he’s obviously not 100% match fit; they heard some classic songs live that they’ve loved for years and they enjoyed the night out, but it wasn’t Guns N’ fucking Roses. It’s absolutely a cover band, Mitch. I just think it’s sad that it’s gotten to the point that you have people onstage aping the originals.” You were there in the beginning of Guns N' Roses. Do you look back at the last twenty years and think about all the missed opportunities had they only been able to keep their shit together? Or is it more a case of them being so messed up that it has created a mystique that has kept them in the spotlight all this time.

Alan Niven: “It boils down to personalities and when that dissipated… obviously Axl has certain personality traits that don’t necessarily lend themselves to a group situation. It went as far as it could. It’s ironic to me to watch the BBC footage (of the Leeds & Reading shows) and hear him singing about love in his heart… I’m really hard put to remember a single act of selfless love that he committed that I witnessed. Unfortunately, I can say I witnessed a lot of negative actions on his part. This is a guy who lives alone and who has not been successful as a family man, for example, and to my knowledge has no children and he doesn’t have a family entity about him. I think those are all salient and indicative circumstances. Absolutely, I look back and I know that one of my major functions with the band was to hold things together as well as protect them the best I could from themselves and the interest of those that were associated with them. David Geffen once wanted a soundtrack from them for a movie that wasn’t very good. Somebody else wants Axl to be in Vogue because one of Geffen’s executive’s wives is an editor at Vogue. You have to keep all these things at bay and you have to keep the spirit of the band alive. My desire for them was for them to be thought of as a ROLLING STONES for their generation. Obviously, they had nowhere near the output of THE ROLLING STONES. I don’t think THE STONES have done anything really relevant since Tattoo You.” Are you not up for the Harlem Shuffle?

Alan Niven: “Not much, but there again we’re talking about an incredible body of work THE STONES have put together over a long period of time that includes a run of three amazing albums (Beggars Banquet, Let It Bleed and Sticky Fingers). I know the critics say it’s Exile On Main St., but I beg to differ. I believe all three albums before are superior. That run of three albums was an incredible creative apex.” Let me ask you a few random questions. Steven Adler just wrote a book, he’s done Celebrity Rehab, and more. What are your feelings about Steven?

Alan Niven: “First and foremost my thoughts are for physical and mental health for Steven. I sincerely hope that he stays as physically and mentally healthy as he can. That’s my wish for him.” Have you spoken to him recently?

Alan Niven: “No, the last time I spoke to him was probably four years ago.” The reason I ask is that I get the impression that he is reaching out to all originally involved with Guns N' Roses and is seeking some kind of closure.

Alan Niven: “I don’t think Steven wants closure. I think Steven wants his youth back. I think Steven wants the magic of that moment and heyday to be recreated which, of course, is absolutely not going to happen. Everybody’s older and moved on and in the extraordinarily unlikely event in which the band actually did a reunion – it would be different. You cannot re-live the past and you should, at least in a creative endeavour, have one foot in the present. If Guns N' Roses were to re-unify, I personally would dearly hope that it would be substantiated by valid and new creativity in the studio with a new record and that it wouldn’t just live off the past.”

[Tienes que estar registrado y conectado para ver este vínculo] In the unlikely event that they did reunite – if they called you and said ‘hey Alan, you helped us out in the beginning. Can you help us out again.’ Would you consider it or would it simply be ‘no’?

Alan Niven: “I would only consider it after very long conversations with Axl Rose. It would hinge on that entirely and I don’t know if leopards can change their spots. There’s more in life than money and I would hate to think I was doing something just for the buck and not for the spirit, sense of adventure and not for the fun of it. If it was mean spirited and no fun, I wouldn’t want to do it.” After the band fired you, you went ahead and worked with Izzy, Slash and eventually ‘the project’ (which would become VELVET REVOLVER).

Alan Niven: “Let me clarify that as far as ‘the project’ is concerned. I came into L.A. with my daughter and we had a dinner with Slash and Duff. Duff looked across the table and said ‘how about it Niv?’ I was very flattered to be asked, but it seemed to me that it wasn’t a good idea. I didn’t like the prospect of everybody, but Axl being involved. I thought that would raise an unfair bar and unreasonable expectations
for everybody, so that was something I felt very very nervous about.” Is that why, in the end, you think Velvet Revolver failed (because everybody expected it to be Guns N' Roses)?

Alan Niven: “I don’t think you can consider Velvet Revolver as a complete failure.” But they did fail…

Alan Niven: “Yes, but they did have a number one and sold over a million copies and that’s respectable. That was better than SLASH’S SNAKEPIT, for example. I think the weakness in Velvet Revolver was the material and writing. In that respect, I was really nervous about Scott Weiland too. I’m not sure what he’s got to contribute as a writer…” Did that pick as a singer baffle you? You go from Axl Rose who’s a troubled singer to a guy with a reported heroin addiction who walked out on his band. Did it make any sense to you?

Alan Niven: “I thought it was an unfortunate compromise to make. I felt that there was an aspect of marketing behind the idea that could have worked, but you have to look at the individuals themselves and when one of them is turning up semi-coherent at rehearsal with a ‘minder’ it’s quite obvious that they are still using. That’s another reason why I was less than thrilled at the idea of Velvet Revolver. The other thing was… that the heart of the soul of Guns N' Roses was Izzy and a lot of those songs work well because of his musical intelligence and his feel. He’s got a beautiful rock n’ roll sensibility about him that informed and influenced everybody’s writing and without Izzy being fully involved in Velvet Revolver I wasn’t sure where it was going to go. I’ll be blunt, I think Slash is one of the best guitar players that has ever lived. I love his soul. I love his note selection. I love the way he plays - but he’s not a great songwriter. Duff won’t appreciate me saying this, but on his own, Duff, is not a great songwriter - brilliant at bass parts and drum structure but not a great songwriter. You only have to look at his first solo album to note that. Guns N' Roses was an amazing collective and a chemistry that worked and any successful entity can be looked at with the analogy of the molecule. You can take out the smallest part of a molecule and that molecule will collapse and that’s Guns N' Roses.” Did you listen to Chinese Democracy?

Alan Niven: “One of the people who has sought me out in recent years is a rabid Guns N' Roses fan who lives in Australia and who appears to have a normal respectable life, other than being a Guns N' Roses fan, but over the years I have found him interesting and engaging. He was extraordinarily adept at copying me on all the tracks that got leaked out on the web. I was pretty aware of Chinese Democracy a long time before it came out. There was so much stuff floating about. It wasn’t like Chinese Democracy was released and on that day I had the opportunity to decide whether or not I was going to sit through it and evaluate it. I was pretty aware of what it’s content was before it's release. Does that answer your question or does that bring up part two of the question – what did I think of it?” “Well, yeah. Are you ‘allowed’ to say?

Alan Niven: “I thought it was complex and difficult to get through, but it was pretty Axl.”

AQUI EMPIEZA LO INTERESANTE SOBRE LOS TEQUEMAJES DE AZOFF [Tienes que estar registrado y conectado para ver esa imagen] [Tienes que estar registrado y conectado para ver esa imagen] [Tienes que estar registrado y conectado para ver esa imagen]
___________________________________________________________________________ For me, it was really more a question of is this what I waited fourteen years for? These songs could have been worked up in six months.

Alan Niven: “Here’s my pot shot about Chinese Democracy. Axl made two huge mistakes. One was releasing it and the other was Irving Azoff.” Irving Azoff? Really? Why?

Alan Niven? “If I’d been in a responsible position to advise and counsel Axl, I would have done everything in my power to make sure that Chinese Democracy was something that people always talked about and wondered about, but never actually got to completely hear, that it would never be actually released. Recording went on for so long that there was no way in hell that the record he was putting together was going to meet expectations. The minute it was released Mitch it became just one more record. Before its release it was a myth. It was fascinating. People talked about it. People wanted to hear it. The third mistake was that he should have made sure to keep all his tapes and all his discs under his wing and under his lock and key, so, that there wouldn’t have been any leaks. Then he could have released the occasional track and he could have worked them 'live' for another ten years. That would have been more mysterious, more engaging, more fascinating…” It has been said that the ‘anticipation is always greater than the get.’ That’s what Chinese Democracy was…

Alan Niven: “I would disagree. The "get" of my wife was much more than I could have anticipated.” The Toronto Star interviewed me about Chinese Democracy’s release and my quote was that ‘Chinese Democracy – the myth would always be greater than the actual album’.

Alan Niven: “Absolutely and if Axl had gone out and toured when he needed to he could have played the occasional song from it live. There would have been a process there for him… the immediacy of performance really sharpens up a musical statement and releasing the whole album was a mistake. I think the release was done purely based on financial reasons. And Irving wanted to get it out of the way because he wanted the reunion. I doubt he was motivated to see it successful. He essentially got paid for it's release, not it's subsequent performance and the deal with Best Buy was set up that way. Going with Best Buy narrowed the market reach - Wal Mart would have been a better exclusive - they have a deeper reach into secondary and tertiary markets - but best of all would have been to let everyone have it. There is a sense that the deal was designed to maximize the immediate take - to grab that and run to the next point of agenda - a re-union. I don’t think Irving ever understood the unlikelihood of that reunion ever taking place and how deep feelings run.”

[Tienes que estar registrado y conectado para ver este vínculo] Irving has always been one to make things happen, to make reunions happen. Do you think there was an arrogance there that he would be able to make a reunion happen?

Alan Niven: “I couldn’t speak to whether Irving can be deemed arrogant, but I do suspect his middle name is Napoleon.”
[Tienes que estar registrado y conectado para ver esa imagen] [Tienes que estar registrado y conectado para ver esa imagen] [Tienes que estar registrado y conectado para ver esa imagen] [Tienes que estar registrado y conectado para ver esa imagen]


__________________________________________________________________________________________ You mentioned that you ‘sharpen your skills through performance.’ I think that’s what’s missing with artist development these days. You look at the early days of Kiss, Black Sabbath, Alice Cooper, and Cheap Trick… It was you make an album in January, tour through the summer and do the follow-up album in the fall coming off the road while you’re still in the pocket. Now, bands that are lucky enough to do a second album, tour for two years, take a six month break, then a six month vacation, then they start thinking about making the next album and then the next album is four years later. How can you capture a rock n’ roll spirit when for four years you’ve been sailing off the coast of Antigua?

Alan Niven: “It’s not very connected and it’s not very passionate. Rock n’ roll and management is not an occupation. It’s a way of life. For example, Great White got dropped off EMI after they got their first recording contract and nobody wanted to touch them after that and it took me a year and half to get them re-signed. After that, we were in a perpetual cycle of writing, pre-production, in the studio or on the road and when they got off the road the band was back to writing… This was a cycle that ran from 1986 to 1993. We were all living with knowledge and experience it could all go away quickly - so we kept moving. That perpetual motion, perpetual playing is what sustains you and that’s what makes you a real band. Whether they’re your cup of tea or not the one thing that is absolutely incontrovertible about Great White is in the day and at the height of their activity they were a really really great live band. They delivered and delivered. That came from having a simple work ethic and philosophy - what a band does is play. When you go out there and play three, four, five nights a week, for months on end, you become what you wish to be - a great band. The conundrum is the knowledge that the perfect gig is the one you play as if you know that it was going to be your last. You need to leave everything on the stage, but you can’t do that every night. What you can do though is raise a bar of competency. Everybody has bad nights, but the level of competency needs to be such that the audience still feels they got value for money even if everyone has a poor night. That it was still worth buying the ticket and that they would come back. If that’s your bottom line, and it is what we determined to establish with Great White, then the idea is that if one, two, or three of the band members have a good night then you have those moments of magic that you’ll never forget.” Why do you think Great White never had that breakout success on the level of a DEF LEPPARD or BON JOVI? They were a perennial opening act. They never did their own big worldwide arena tour. Mark Kendall is a fantastic guitar player and some of the songs they’ve written are brilliant…

Alan Niven: “Thank you for saying that. I would make the comment that, of that era, he is the most under rated guitar player.” Mark is fantastic

Alan Niven: “Absolutely and his feel is tremendous. It may have taken a while to construct a solo in the studio, but once he got it he always put feel into it and he’s a terrific terrific player. Let me really throw down the gauntlet here; I think that Gene Simmons is similar to Nikki Sixx and Blackie Lawless and that they are possibly inter-related in that they are masters of the marketing of the idiom more than they are masters of their instruments. When people are gaga over KISS it’s the phenomenon of KISS that they are gaga about as opposed to what you’re going to find in the grooves. The stroke of genius with KISS was the KISS Army. It created that sense of brotherhood. I think that the fact that the band weren’t the musical geniuses was actually a point of pride for the KISS Army and KISS. This is us and we may not be as brilliant as that guy, but we’re us and we accept us for us and fuck it we’re having fun. Back to Great White and to answer your question, it was event and timing. This might be a bit disingenuous being a co-writer of most of their material, but pound for pound if you sit down and go through the catalogue; it’s broader and wider in style than just about any member of their peer group.” Maybe a little cynical, but does it boil down to Jack Russell not being a pretty poster boy frontman?

Alan Niven: “That’s part of it, but worst is that Jack Russell is an absolute fiend to artificial euphorics and, for example, Great White were embarking on their first headline tour. It started out in San Bernardino, worked its way across Texas and was sold-out all across the northeast corridor. That was one of the hardest places to sell tickets. All the band had to do was show up, be credible, play and they would have established themselves as a headliner, but while they were crossing Texas… I had decided to take a day off to take my son to Disneyland and instead I got a call from Audie (the drummer) who was in Phoenix, not Texas, Phoenix. He informed me that Jack had just been thrown off a plane for being drunk and obnoxious and he was at the airport bar in Phoenix. So, I called a friend who lived there and I said get to that bar fast and get him before he gets arrested. This was Ray Brown, who used to make the stage clothes for everybody back then, and Ray gets to the airport, takes Jack to his place and I cancel my trip to Disneyland. I take the next flight from L.A. to Phoenix, get over to Ray’s house, knock on the door and I notice Ray’s got eyes as big a saucers.” He’s got cartoon eyes…

Alan Niven: “Ray looks at me and says he’s out back. I get to the backyard and find Jack deep in conversation with a saguaro. I kid you not. I tap him on the shoulder and he looks up at me and beams ‘I have some ‘Shrooms for you too’. We got him into the car and on a flight back to L.A. where we had to start the process of putting him back together. The tour got cancelled and that’s basically where the momentum broke – right there at that moment and at that time. The promoters weren’t happy and they were a little iffy at the idea of supporting the band headlining again. Basically, Jack screwed the moment, but Jack had a propensity for screwing moments and it was usually connected to chemical indulgence.” It’s got to be frustrating to have everything you’ve worked for thrown out because of somebody using…

Alan Niven: “Well, yeah…” Does Jack miss the business acumen that say a Jon Bon Jovi has…

Alan Niven: “Oh, c’mon. There’s no comparison. Jon Bon Jovi IS business acumen. Richie Sambora is a better singer and guitar player, but Jon had a combination of having a shrewd business mind and a pretty face. In terms of talent, Richie is a more interesting individual to look at than Jon. Jack didn’t have a business acumen. He had a rock n’ roll attitude. There’s a big difference.”

[Tienes que estar registrado y conectado para ver este vínculo] Gene Simmons has the business mind…

Alan Niven: “Absolutely and he has no rock n’ roll attitude. He’s a very smart guy and he’s done very well for himself. He’s got the fat bank account. He seems to have a good and healthy family, so the only thing I can criticize is his music. The rest of it, I think he’s brilliant.” Let me ask you about the Great White/ Station night-club tragedy… Do you think the band has done enough to repair, make amends with the fans in Rhode Island?

Alan Niven: “My single word answer to that question is absolutely – NO! I don’t think that Jack and the band have done enough. For the record, let me stated that Jack and the band walked into my house in 1995 and said they wanted to try something different. So from 1995 on, I’m no longer involved. The night it happened coincided with a very dark, deep and depressing period of my life. To sit in front of CNN and see Jack’s then bloated face in front of that scene was utterly horrific to me. It was incredibly depressing. It was incredibly tragic. Let me start off by saying that there was no malicious intent in such a tragedy, but it was a comedy of stupidity. You don’t take pyro into a club. That was a ridiculous thing to do and the people who ran the club did not have sufficient fabric in the club to make it safe for that kind of circumstance. That said, the band were onstage and it was their pyro… and there in of itself is a degree of responsibility. That required more of an effort on their part to atone, make amends and… Look, I spoke to Jack recently and tried to get him into a rehab. I’m concerned for his health. He’s done a lot of things to me in my life that a lot of people would take a gun and put a bullet between his eyes, but we created a lot of good music together. Had a lot of adventures together and he’s a part of my life. I cannot just dismiss him and I cannot avoid feeling concerned for his life and his health at the moment. I feel very bad for the circumstance he’s in at the moment. I hope he gets healthy. I hope that he attains his moment of redemption. I would hope that for anybody no matter what they’ve done, but do I think they’ve done enough? No, I don’t and part of wanting to get Jack into rehab… we had gotten him a slot on Dr. Drew Pinsky’s thing (Celebrity Rehab). The thinking I had was that one – he’d get treatment, two – he’d get paid and it wouldn’t come out of pocket and three – he’d have a stage to really open up and express the regret that he must feel for that night in a public forum where he could get some forgiveness and redemption. I thought that would be good for Jack. It would be good for the people in Rhode Island. It would be good for everyone, but he blew me off.” He’s not interested?

Alan Niven: “His comment was ‘I’ve been in rehab a dozen times and it’s never worked for me.’ I would hate to be in Jack’s shoes and skin and I would hate to have to live with any connection of that night, but in an obtuse way I do have a connection and believe you me Mitch – I’ve had my nights where I have sat there and thought ‘if I had worked for the band that night perhaps a hundred souls would still be living.’ It’s crossed my mind in that way.” That’s pretty heavy stuff…

Alan Niven: “A hundred people dying in a fire is horrific… Absolutely horrific. I’d wished they’d done more. Going on CNN and basically covering butt and then throwing the poor unfortunate tour manager under the bus… I thought was wrong all the way around. Simply put, it was a stupid and vain thing to do. What are you doing? Pretending that you are sauntering out on the stage at the (L.A.) Forum when in reality you’re playing a little club. Clubs are about one thing and one thing only – sweat and intimacy in your face. Pyrotechnics have their validity in the arena or stadium because you are trying to make more of a spectacle out of the performance and to reach those poor unfortunate people who are seated a hundred yards away. That’s why you have to make it more of a spectacle, but in a club it’s about the heart, the soul and the passion of the music. It’s about being right in the face of your audience. There’s no relevance to pyrotechnics there. It was a silly vanity and an absolute tragedy and it needn’t have happened. The band should have done more to rehabilitate…” And may I add it’s still not too late. There’s still a chance for them to do something significant for the people of Rhode Island…

Alan Niven: “It takes an intelligence to deal with that and I’ve got to say that I don’t think it was the smartest and most sensitive of things Jack did in having a face lift on a reality show at the same time as there were burn victims who needed help with their skin condition. That was ill advised and thoughtless. I’ve said Jack has a rock n’ roll attitude, but sometimes a rock n’ roll attitude is mind numbingly stupid. And thoughtless.” I fully agree. When you have someone in a hospital bed that needs a skin graph… and then you have a guy who just doesn’t want to see a wrinkle when he looks at himself in the mirror.

Alan Niven: “What if Jack had taken the situation and turned it in to a positive? Instead of ‘me’ getting a face lift. Let’s make the reality show about this particular plastic surgeon and pairing them with somebody from Rhode Island…” That would have been genius…

Alan Niven: “No, not genius. That would have been sensitive and sensible. It would have been the right thing to do. Obviously, nobody is thinking over there.” Looking back are you prouder to have been involved with GUNS ‘N ROSES or Great White?

Alan Niven: “It’s an incredibly complex range of emotions that I have about both entities. They run deep, profound and personal, but ultimately you judge a band by its music. I think that both of them… Obviously, with Appetite, which is the biggest debut rock n’ roll album ever… seventeen million copies sold in the US alone. The numbers make a statement there as it is.”

[Tienes que estar registrado y conectado para ver este vínculo] When you were in the studio working on those songs – did you think ‘wow, we’ve got a seventeen million seller on our hands’ or do you think ‘well, we’ve got a few good songs here and hopefully we’ll do better on the second album.’

Alan Niven: “I’ll tell you what I thought and bare in mind that with Great White I was co-writer and producer. If you had said to me Mitch, you’ll be hearing Rock Me on the radio in twenty years. I would have said I want some of whatever you are taking Mitch. In that moment, I’m entirely into the music that is being recorded, the performance and invested in the moment and not looking forward because you cannot ever speculate who your audience is going to be or how long it’s going to be there and how deeply they are going to take you to heart. You have to concentrate on ‘is this song moving me’, ‘does it have a vitality’, ‘does it have a presence’, ‘does that guitar solo get me off’… That’s the only way you can create things that have longevity. So no, I didn’t anticipate hearing those songs on the radio today. I hear them throughout the week. Classic radio plays them all the time. With Guns N' Roses, I was very aware of what I was taking on. Tom Zutaut asked me three times separate times to come talk to the band and I turned him down twice. I had done some research on the band and my attitude towards Tom was ‘good luck. You’ve got a disaster on your hand with this crew’ and then he came to me and said ‘Alan, I’ve got a disaster on my hands. Eddie Rosenblatt is threatening to drop the band and I’m going to lose my job. I’ve got egg all over my face and this will be the end of my career. Please see if you can help.” I knew I was taking on something that was going to be very difficult. What I didn’t know at the time was that Eddie Rosenblatt had given Tom Zutaut a dictum that I had three months to turn the situation around and had to make it look professionally productive or the band was going to be dropped. That, Tom, did not tell me and my sense when the record was done was that they were not going to get airplay because they were too raw for what was on the airways at that time. It wasn’t that much before that that Great White were considered edgy and here’s Guns N' Roses. I thought that if I kept a minimalistic professional environment around the band… If I was able to keep them touring long enough around the first record then I thought there might be just a slight chance that they would reach the gold standard of 500 000 units sold. And that was a big ‘if’ to me. When we left on the first tour supporting THE CULT, those who knew the band all figured they wouldn’t last ten days on the road and they’d want to come home to be close to their dealers again. That was the perception that everybody had of GNR at the time and they’d earned that perception. Did I think it would be a huge album? It never crossed my mind. I thought they’d be hard work and only through hard work that we’d be able to move them through a quasi-underground state and slowly build them up. If anything, I had my eye on how METALLICA were developing and I thought ‘hmmm, if I can maybe keep this moving… maybe we’ll get lucky. We might be able to get this first record to gold and build from there. I had no idea it was going to explode like it did in 1988.” When you heard the final product. Did you think ‘these are all great songs’ or was it a case of we have three good songs and we’ll see what happens’?

Alan Niven: “I thought we had a very consistent and very good record. I love to fuck with people when I hear them discussing Guns N' Roses; I’ll mumble under my breath, but loud enough for everybody to hear, ‘it’s an over-rated album’.” You may have a point. The album is more myth at this point and let me tell you my experience with Appetite. I read in Metal Edge’s ‘Rock on The Rise’ section that Guns N' Roses was going to be the band that defines the ‘90s. So, I picked up the album and I hated it. I thought it was noise, but sometime later Sweet Child Of Mine was released as a video and then I saw the band open up for AEROSMITH in Saratoga Springs, NY. The band became ubiquitous and somehow got into my system and I was hooked. Now, I think the album is an absolute classic, but there was a time that I thought I had wasted my money and that it was terrible. I thought the singer ‘sucked’ and the songs were poorly written and weren’t that good…

Alan Niven: “Mitch, don’t feel bad about that because most of the industry and radio concurred. The majority of the industry and especially album radio agreed with you. Flip your mind back and remember how that raw intense record was set up in terms of its peer group at the time. You have Aerosmith making ear candy for John Kalodner. I love Aerosmith to death, but after the first three or so albums they got kind of lost… well, you know to me that’s Aerosmith.” I’m a little kinder. I’ll give Aerosmith up to 1985 and the Done With Mirrors album and then after that it’s been well… not good.

Alan Niven: “You go up to Rocks and that’s it as far as I’m concerned. I think John Kalodner was bullying the band into making ear candy. You had Whitesnake out there. You had Journey out there.” Bon Jovi, Def Leppard, Poison… Kalodoner really got onto Aerosmith at the lowest point of their career and decided to craft them into an MTV bubble gum pop band or they could choose to go back to sleeping on park benches.

Alan Niven: “Exactly. I’m sure you’ve heard the story of John going into the studio and listening to what they were recording and going ‘ah, this sounds like THE ROLLING STONES. It sucks. I’m making them re-record.’ I’ve had a chance to hear some unreleased demos from the Permanent Vacation sessions and there are a lot of songs that sound like THE STONES or better yet classic Aerosmith, but instead we got Dude Looks Like A Lady and Angel. It makes you wonder why they weren’t released and then you realize that to John, it’s because those songs didn’t sound like Bon Jovi. Having said that Permanent Vacation is their last ‘listenable’ album everything after that is terrible.

Alan Niven: “'Love In An Elevator' – c’mon give me a break.” I’ll take that over 'Pink' and 'Jaded' any day.

Alan Niven: “Let me be clear on a couple of points. That was a tremendous tour and I’m absolutely forever in debt and grateful for their hospitality on that tour and I really enjoyed my interaction with the band members on that tour. They were really really cool guys. They were all trying to be sober and Geffen had bullied GUNS N ROSES on to the bill. That was the only tour GNR could get on that they hadn’t screwed up or compromised. To get back to your question, Appetite was a very raw sounding record for that moment in time. That was deliberate. One of my responsibilities was to let the band be the band and to protect them from the John Kalodner and David Geffen mindset and to let them be who they were. One of the reasons Duff decided that I would be ok as a manager was because I had a SEX PISTOLS silver single on my wall from when I was working at Virgin. The one thing Mike Clink did brilliantly was record the band as they were.” That’s the problem with Chinese Democracy. It’s been Pro-Tooled to death.

Alan Niven: “Pro-Tools is the devil and with Chinese Democracy there are so many guitar parts and players on there that it’s my understanding that the people who played on the album are not quite sure who played what. I always lived by the ‘don’t read your own press’ rule, but there was one Great White review that I do remember that said ‘this band’s studio album is more live than some band’s live record.’ And my response to that was ‘yes! That’s exactly the point.’ Which reminds me – Guns N' Roses Live Like A Suicide album was not recorded live. It’s a studio album with crowd noise mixed in, right?

Alan Niven: “Absolutely. It was done at Pasha. I mixed it with Hans Peter Huber.” It’s hilarious to know that Axl’s doing all this stage banter on the album, but he was actually standing in a vocal booth in downtown L.A.”

Alan Niven: “It is hilarious and there’s even a funnier twist than that. I had done an independent EP with Great White, which was the platform to them getting their first record contract. I did an independent full album with them, Shot In The Dark. Berlin’s first record was an independent. MÖTLEY CRÜE’s first album was done independently… I had learned the point and purpose of doing an independent release to provide a platform for your first release on a major label, so with Live Like A Suicide it was put out as an indie record and there were 25,000 units of it pressed up. I told Eddie Rosenblatt that there can not be a single Geffen Records’ marking on it nor can there be a single Warner’s marking on it. It has to look like it’s a total indie release. But it wasn’t - the band was already signed to Geffen. And yet, I got to put out my ‘indie record’ of Guns N' Roses and nobody seemed to notice.” It’s a total swindle (laughs)…

Alan Niven: “Yes, a total swindle. I’m fond of those tracks. There’s some good playing on those, but it’s a complete and utter rock n’ roll swindle!” Final question – Do you have any anger left at Axl Rose or Jack Russell?

Alan Niven: “There was a time not so long ago, I would have willingly beaten the living crap out of Jack. Today, I’m really really worried about his health and I’m really concerned for his condition. With Axl, I’m simply disappointed. Not surprised, just disappointed. He seems to have gotten stuck in a time capsule. It seems like his muse still depends on anger and confrontation and he’s still going on about the cops, the promoters, the managers and everybody is ruining his life. I would have liked to see him develop. When he did Civil War, I thought he was going to become a statesman of rock n’ roll, but instead he became the court jester.” At least he’s still in the palace…

Alan Niven: “He’s still in the palace and it’s his palace and everybody else just has to bend a knee in it.” would like to thank Alan for this rare and exclusive interview and for giving us a small glimpse into rock’s greatest narcissist, Axl Rose, and the dysfunctional family that is Great White.
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MensajeTema: Re: "AXL cometío 2 Graves Errores:Publicar CD y contratar a AZOFF" - ALAN NIVEN   Mar 21 Sep 2010, 2:37 pm


El sombrero ese de Cowboy trasnochado le apriete a Niven y no le deja pasar la sangre a la cabeza.Creo que habla bajo el punto de vista de alguien que fue forzado a dejar la bande en el año de maricastaña.Todavia cuenta con Adler como miembro de derecho y luego dice que Axl hizo un feo a todos haciendoles firmar la cesion de la marca.No hizo nada Sorum en los illusions?¡
Tiene razon en lo de que Azzoff firmo con BB en detrimento de Wall mart que tenia mas porcion de mercado,pero es que Wall mart estaba sacando a ACDC por ese entonces y CD hubiera sido un producto secundario.BB le dio a Azzoff toda la pasta que este habia puesto.Una vez en el bolso la gallina le dio igual si ponia huevos o no.
El siguiente objetivo era la reunion,si,pero no la consecuencia de la salida de CD.Solo mas pasta pa la saca.
Muerete Azzooff.

A Zutaut le debemos muchisimo los fans de Gnr.Los de Axl sobre todo.

Lo de segui soltando leaks me parece retrogrado,como todo lo quer dice este tio.
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MensajeTema: Re: "AXL cometío 2 Graves Errores:Publicar CD y contratar a AZOFF" - ALAN NIVEN   Mar 21 Sep 2010, 3:08 pm

moooooooola ccc !!!
ñam ñam [Tienes que estar registrado y conectado para ver esa imagen] Darle caña [Tienes que estar registrado y conectado para ver esa imagen] [Tienes que estar registrado y conectado para ver esa imagen]
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MensajeTema: Re: "AXL cometío 2 Graves Errores:Publicar CD y contratar a AZOFF" - ALAN NIVEN   Mar 21 Sep 2010, 4:22 pm

gracias me ha encantado tu post
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MensajeTema: Re: "AXL cometío 2 Graves Errores:Publicar CD y contratar a AZOFF" - ALAN NIVEN   Miér 22 Sep 2010, 2:40 pm

¿Alguien podría traducir algo de esto? me niego rotundamente a traducirlo por el Google!! [Tienes que estar registrado y conectado para ver esa imagen]
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MensajeTema: Re: "AXL cometío 2 Graves Errores:Publicar CD y contratar a AZOFF" - ALAN NIVEN   Miér 22 Sep 2010, 3:56 pm

Si alguna vez has oído hablar de la banda Great White o posiblemente el más alternativo, Guns N 'Roses, probablemente ha oído hablar de Alan Niven. Él era su todo (director, productor, compositor, amigo) en sus días de formación. Hoy en día, Alan vive una vida tranquila en las colinas de Arizona lejos del drama y la parte inferior de la roca n corporativa 'roll, pero su pasión por la música no ha cesado como ahora defiende la causa de nuevos artistas Cold Fusion y el TOM HOLLISTER TRIO a través de su nuevo sello Tru-B-Dor. se sentó con Alan recientemente para averiguar más sobre su nueva empresa, así como hurgar la historia de dos de las franquicias más duraderas del rock, Guns N 'Roses y Great White. Hábleme de su nueva empresa, Tru-B-Dor Records.

Alan Niven: "En cualquier empresa, usted tiene que tener un sentido de valentía y coraje, pero también debe contar con el sonido y el pensamiento lógico. Con razón o sin ella, yo y otros, tienen la perspectiva de que los fundamentos de la empresa no han sido bien tendían a por un tiempo muy largo. No se ha considerado y el desarrollo coherente de la artista. Las compañías de discos desde hace mucho tiempo se convirtió en demasiado impaciente en su compulsión para ver de tinta negro en un proyecto. Solía haber una fórmula de vuelta en el día si alguien se firmó. Si llegaron a una plataforma de determinadas ventas de 100.000 unidades por lo general, estarían la oportunidad de hacer un segundo disco y si que lo hicieron a 300.000 unidades que habían conseguir un tiro en un tercer disco. Esperemos que por el tercer disco que habían conectar profundamente con la audiencia y, por supuesto, a través de este proceso, el artista tiene la oportunidad de perfeccionar su oficio y convertirse en mejores artistas intérpretes o ejecutantes, los buenos escritores, para centrarse más en lo que están haciendo. Fue un proceso cada vez más que tanto había un sentido artístico y comercial de propósito. Esta echaron hace mucho tiempo. Asimismo, desde el momento en que comenzó a producir grabaciones en el formato de CD, que pierde por completo la trama en lo que respecta a los envases. Todo el mundo aprecia un buen embalaje casado con buena música. " Los primeros CDs ni siquiera vienen con una foto. Fue una sola hoja de papel con la carátula del álbum reducida. No hay letras de canciones, no hay información ... nada.

Alan Niven: "Incluso si usted tenía la impresión en allí, usted estaría obligado a conseguir una lupa para leerlo. Soy lo suficientemente viejo para recordar el placer de los álbumes desplegables. Por lo tanto, hemos perdido la trama relativa a los envases y eso es perjudicial para sentir el público que están recibiendo un sentido de valor por su dinero. Si estás comprando un disco de un artista que no ha tenido tiempo para perfeccionar su arte y sólo hay una o dos buenas canciones y el embalaje no es muy bueno entonces usted tiene que mirar el tercer elemento que es el precio . Es mi percepción de que una vez más la industria tiene el extremo equivocado del palo. No creo que la descarga es tan perjudicial como todo el mundo dice que es. Tengo la sospecha de que las ventas de segunda mano en los principales puntos de venta es más problemática, pero sobre todo lo que observo es que la industria del cine está vendiendo más discos, porque en sus envases es mejor, el contenido es más fácilmente identificados (sabes lo que vas a encontrar) y por último, su precio es mucho más agresivo. Si usted puede comprar una película decente por diez dólares, ¿para qué especular quince dólares en una versión de audio donde puede que no tenga plena confianza de que va a ser un récord que vale la pena. " ¿Está proponiendo un nuevo modelo con Tru-B-Dor Records?

Alan Niven: "No creo que hay muchas ideas originales en el mundo, Mitch. Lo que tienes que hacer es cuidarse de los fundamentos. Usted recibe artistas de calidad, hacer registros de calidad, los puso en origen la calidad y el precio de forma agresiva para competir con su principal rival que es la industria del cine (para discos duros) y que utilizan el dominio digital como herramienta de promoción que puede ser. " ¿Hemos llegado al final de la "física" de música (es decir, CD, vinilo, etc)?

Alan Niven: "No, yo no lo creo. las ventas del disco duro están tocando fondo, pero creo que si el contenido es bueno, la derecha del paquete y su precio es correcto, la gente todavía lo compro. De vuelta en el día, pensamos en ventas al por menor como el 75% espontáneo. Usted necesidad de apoyar y mantener esa oportunidad. Hemos perdido una gran cantidad de tiendas, pero en cambio cuando yo estaba creciendo, me compré mi Led Zeppelin, Jethro Tull y registros en la parte posterior de una ferretería. Por lo tanto, siempre habrá un camino ". ¿Va a firmar cualquier artista a su etiqueta, siempre y cuando estén bien y ver el potencial o deben ser una roca "blues" o una "roca dura" única banda?

Alan Niven: "La política hay que ser totalmente ecléctico y para ser manejado exclusivamente por el reconocimiento de un talento. La idea es mantener un nivel de talento no importa cómo el talento se expresa. Hay una banda de fuera de Arizona llamado TORMENTA DE PERCEPCIÓN y no me gusta usar las comparaciones, pero yo les describen como niños De Hierro Metallica. Hay una banda que estamos viendo que yo calificaría como el punk melódico. Estamos pensando en un trío de blues-rock de Gales con un guitarrista de diecinueve años de edad, y creo que va a ser la estrella de la guitarra el futuro y tiene un vocalista con él en que tiene una voz excepcional. Deja que el chico cantar la guía telefónica y usted moverse. La cantidad de material de calidad que encuentra su camino hacia nosotros es muy importante y entonces se convierte en un asunto de si mi pareja, Heather, y conectarse a él. También tiene que cumplir con nuestros criterios de calidad que tienen. No queremos tratar con las cosas que son feas. No queremos tratar con las cosas que son denigrantes para las mujeres. No queremos tratar con las cosas que son maliciosas y no queremos hacer frente a la insustancial. Queremos un vestigio de corazón, un vestigio del alma y un vestigio de la inteligencia. " ¿Recibe muchas de las presentaciones de bandas que pensar "oh, él es el tipo Guns N 'Roses y nosotros somos los Guns N Roses siguiente"?

Alan Niven: "Sí, hemos tenido nuestra parte de personas que piensan que son los Guns N Roses siguiente« salvo que no se dan cuenta que no hay 'Guns próxima Rosas' N ', pero también pueden ser una banda nueva de excelente su propia personalidad con su propio carácter. Aún así, hemos tenido un montón de cosas muy buenas en nuestro camino. Hay una serendipia maravillosos en la forma en la que encontrar o conectarse a músicos y bandas. " Quisiera preguntarle acerca de Guns N 'Roses. Todo el mundo escorias de la nueva versión de la banda de Slash, porque no está allí ... porque Duff no está allí ... Pero entonces usted tiene una banda como Whitesnake que es esencialmente David Coverdale con una puerta giratoria de los músicos. Usted tiene EXTRANJERO, que es Mick Jones y un nuevo elenco de personajes. Usted tiene THIN LIZZY que los cambios line-up casi todos los años. Mi pregunta es ¿por qué crees que esas bandas de obtener un pase, pero Axl o Guns N 'Roses no consiguen nada, pero la prensa negativa?

Alan Niven: "Creo que es una cuestión de percepción por el público. Usted ha hablado de Thin Lizzy (Vivian Campbell se encuentra ahora en tanto Thin Lizzy y Def Leppard), hay un grado de aceptación entre el público que hay un orden natural del volumen de negocios. Vivian es un tipo genial y un gran jugador y que serán con capacidad para jugar Vivian en Thin Lizzy. Sin embargo, cuando usted tiene una situación en la que ha llevado, obviamente, un individuo frente a las demás, y por otra parte, declaró que es «último hombre» y que sólo él representa la idea de Guns N 'Roses y, por cierto, Guns N Rosas 'no existe en la medida que a mí respecta. Guns N 'Roses, en la medida que a mí respecta jugó su último concierto el 07 de abril 1990 en Indianápolis, que fue el último show show en vivo en la Granja de las ayudas que la formación original de jugar. Ese es mi punto de vista personal y particular. Pero en este caso, tenemos una situación en la que lo primero que hizo después de que Axl me despidió era que el resto de la banda firma sobre los derechos del nombre a él exclusivamente. Creo que estamos mirando a la coacción y desagradable y la mezquindad de espíritu que suscita una respuesta negativa cuando ven a un 'banner Guns N' Roses por una multitud en Leeds que se ve agravada por una barra de aspecto similar a una que está haciendo lo mismo se mueve y que llevaba un sombrero de copa. Donde hay un tipo que parece bastante similar en corte de pelo y el lenguaje corporal para Izzy y toca la guitarra cuerpo hueco y nos fijamos en el bajista y pensar "bueno, eso es lo más cerca que pude encontrar para Duff. Creo que eso es un engaño tremendo por parte de Axl. Creo que es un insulto increíble a la gente que hizo Guns N 'Roses lo que era ... a Izzy, a Steven, a Slash, Duff y yo que creo que es muy cruel y arrogante. Creo que es absurdo que Axl para hacerlo y creo que es una tontería para un público que aceptarlo. Quiero ser claro, Axl tiene todo el derecho como individuo para realizar cualquier música que desee con quien desee. Ese es un derecho que es absolutamente incuestionable, pero lo que no puede digerir es que él afirma que es Guns N 'Roses, ya por su cuenta - no lo es. " Veo tu punto, pero también entiendo la importancia de la marca y si mantenemos Axl a un nivel más alto que debemos mantener todas las bandas con el mismo estándar.

Alan Niven: "Déjeme darle la vuelta para usted. Si tuviera que reducir la reconocimientos a una sola persona, yo diría que el mejor cantante de rock n 'roll es Paul Rodgers y soy un fan GRATIS enorme, pero cuando siguió su curso gratuito - que no llamó a la nueva banda' Libertad ". El nuevo grupo se llama Bad Company. Es otra cosa. Había jugadores diferentes, aunque liderada por Pablo. Led Zeppelin fueron originalmente The Yardbirds NUEVA hasta que despertó el hecho de que esto no es «nuevo» Yardbirds sino otra cosa. Un nuevo nombre .... una nueva identidad ... una nueva marca ". ¿Podría ser también que la idea de la marca no fue tan fuerte en aquel entonces?

Alan Niven: "Para percibir algo como la marca es una compulsión excesiva desde el punto de vista de marketing en comparación con un punto artístico o creativo de vista. Creo que su integridad se encuentra en su creatividad artística no en su imagen y si vas a cambiar las cosas sustancialmente - a continuación, cambiar el nombre. Si alguien muere entonces usted tiene una opción para continuar tratando de encontrar a alguien para ocupar el puesto de la persona que ya no está con usted o usted puede crear. Siempre me quito el sombrero a Led Zeppelin para poner punto final después de que John Bonham murió. Jimi Hendrix había un poco de presión de los compañeros a tocar con músicos más negro y fue de The Jimi Hendrix Experience de Band of Gypsies. No se detuvo la música de ser excepcional. Era diferente, pero no debemos menospreciar a nuestra audiencia. Creo que son lo suficientemente inteligente como para saber que Jimi tocaba la guitarra en la experiencia y guitarra de Jimi en la Banda de los Gitanos. Quiero ver la guitarra Jimi jugar y si quiero un cartel Jimi, voy a ir a comprar él. Irónicamente, la banda que estableció por primera vez un sentido de la marca fue la banda Grateful Dead, ya que salieron a la no comercial contra-cultura, pero sin embargo, la banda brillante de marca y una vez que Jerry pasado - que se hicieron que es correcto y honorable. Además, si vamos a empezar otra cosa ... a continuación, iniciar otra cosa. " Es que me parece injusto que las personas se quejan de Axl hacía llamar Guns N 'Roses pero David Coverdale puede estar parado en el escenario con su guitarra y el baterista 80a 23 y llamarse a sí mismo Whitesnake y nadie se queja.

Alan Niven: "Creo que una línea se cruza cuando vea mirar-uno-quiere con ropa similar y las marcas de juego. Creo que entonces te sientes manipulado y creo que entonces la sensación de que hay un elemento de con la presente. Creo que la mayoría de los aficionados que asistieron al Leeds recientes y muestra la lectura diría que sonaba en la voz de Axl bastante bueno para su edad, tanque de oxígeno y teleprompter. Ellos estaban encantados de escuchar a salir de las canciones lo mejor que pudo, aunque estaba un poco sin aliento, aquí y allá, pero a pesar de que él es, obviamente, no 100% igual forma, porque oían algunos temas clásicos en vivo que han amado por años y disfrutaron de la velada, pero no fue Guns N mierda '. Es absolutamente una banda de covers, Mitch. Creo que es triste que es llegado al punto de que tiene la gente sobre el escenario imitando los originales. " Usted estaba allí en el comienzo de Guns N 'Roses. No hace una retrospectiva de los últimos veinte años y pensar en todas las oportunidades perdidas que sólo había sido capaz de mantener su mierda juntos? ¿O se trata más bien de ellos que son tan mal estado que ha creado una mística que los ha mantenido en el candelero todo este tiempo.

Alan Niven: "Todo se reduce a las personalidades y cuando, obviamente, que se disiparon ... Axl tiene ciertos rasgos de personalidad que no necesariamente se prestan a una situación de grupo. Se fue tan lejos como ha podido. Es irónico que yo para ver las imágenes de la BBC (Leeds de la muestra y lectura) y oírle cantar sobre el amor en su corazón ... Estoy realmente dificultades para recordar un solo acto de amor desinteresado que cometió la que fui testigo. Por desgracia, puedo decir que fue testigo de una gran cantidad de acciones negativas de su parte. Este es un tipo que vive solo y que no ha tenido éxito como hombre de familia, por ejemplo, y que yo sepa no tiene hijos y no tiene una entidad de la familia de él. Creo que esos son todos los más destacados y las circunstancias indicativas. Por supuesto, miro hacia atrás y sé que una de mis funciones principales con la banda iba a mantener las cosas así como para proteger lo mejor que pude de ellos mismos y el interés de aquellos que estaban asociados con ellos. David Geffen, una vez quería una banda sonora de ellos para una película que no era muy bueno. Alguien más quiere Axl estar en Vogue porque una de las esposas de Geffen Ejecutivo es un editor de Vogue. Hay que mantener todas estas cosas en la bahía y usted tiene que mantener el espíritu vivo de la banda. Mi deseo para ellos era para que sean considerados como un Rolling Stones para su generación. Obviamente, tuvieron muy lejos de la salida de los Rolling Stones. No creo que Los Stones han hecho nada realmente relevante, ya que Tattoo You. " ¿No será para el Shuffle de Harlem?

Alan Niven: "No mucho, pero allí otra vez estamos hablando de un increíble cuerpo de trabajo LAS PIEDRAS han reunido durante un largo período de tiempo que incluye una serie de tres álbumes sorprendentes (Beggars Banquet, Let It Bleed y Sticky Fingers) . Sé que los críticos dicen que es Exile On Main St., pero me permito disentir. Creo que todos los tres álbumes antes son superiores. Esa racha de tres discos fue un ápice creativa increíble. " Déjame hacerte una pregunta al azar unos cuantos. Steven Adler acabo de escribir un libro, que ha hecho famoso Rehab, y mucho más. ¿Cuáles son sus sentimientos acerca de Steven?

Alan Niven: "En primer lugar mis pensamientos son para la salud física y mental para Steven. Espero sinceramente que él se queda como físicamente y mentalmente saludable como pueda. Ese es mi deseo para él. " ¿Ha hablado con él recientemente?

Alan Niven: "No, la última vez que hablé con él fue probablemente hace cuatro años". La razón que pido es que me da la impresión de que está llegando a todos los implicados originalmente con Guns N 'Roses y está buscando algún tipo de cierre.

Alan Niven: "No creo que Steven quiere cierre. Creo que Steven quiere su juventud espalda. Creo que Steven quiere que la magia de ese momento y auge que se vuelva a crear, por supuesto, es absolutamente no va a suceder. Todo el mundo es más vieja y se fue y en el caso extraordinariamente poco probable en el que la banda realmente hizo una reunión - que sería diferente. No se puede revivir el pasado y lo que debe, al menos en un esfuerzo creativo, tener un pie en el presente. Si Guns N 'Roses habían de volver a unificar, yo personalmente esperaría caro que sería motivada por la creatividad y las nuevas válida en el estudio con un nuevo disco y que no acaba de vivir del pasado ". En el caso improbable de que se reúnen - si te llamó y me dijo 'hey, Alan, que nos ayudó en el principio. ¿Nos puede ayudar a salir. "¿Lo consideran o sería simplemente« no »?

Alan Niven: "Yo sólo estarían dispuestos a hacerlo después de conversaciones muy largas con Axl Rose. Se dependería de que todo y yo no sé si leopardos puede cambiar sus manchas. Hay más en la vida que el dinero y me gustaría pensar que yo estaba haciendo algo justo por su dinero y no para el espíritu, sentido de la aventura y no para el gusto de hacerlo. Si era de mal espíritu y la diversión no, yo no quisiera hacerlo. " Después de la banda que disparó, que iba delante y trabajó con Izzy, Slash y, finalmente, «el proyecto» (que se convertiría en Velvet Revolver).

Alan Niven: "Déjenme aclarar que la medida de lo« proyecto »se refiere. Vine a Los Angeles con mi hija y tuvimos una cena con Slash y Duff. Duff miró hacia la mesa y dijo '¿qué te parece Niv? "Me sentí muy halagado que se le pregunte, pero me pareció que fue una buena idea. No me gustaba la perspectiva de todo el mundo, pero Axl implicó el ser. Yo creía que plantearía una barra de desleal y expectativas poco razonables
para todos, así que fue algo que yo sentía muy, muy nervioso. " ¿Es por eso, al final, usted piensa que Velvet Revolver no (porque todo el mundo esperaba que fuera Guns N 'Roses)?

Alan Niven: "No creo que se puede considerar Velvet Revolver como un completo fracaso." Pero dejó ...

Alan Niven: "Sí, pero tenían un número uno y vendió más de un millón de copias y eso es respetable. Eso era mejor que Slash's Snakepit, por ejemplo. Creo que la debilidad en Velvet Revolver fue el material y la escritura. En ese sentido, yo estaba muy nervioso acerca de Scott Weiland también. No estoy seguro de lo que tiene que contribuir como un escritor ... " ¿Sabía que recogen como un deflector de cantante de usted? Pasas de Axl Rose, quien es un cantante con problemas a un tipo con una adicción a la heroína informó que salió de su banda. ¿Se tiene algún sentido para usted?

Alan Niven: "Pensé que era un compromiso para hacer desafortunado. Sentí que había un aspecto de la comercialización detrás de la idea de que podría haber funcionado, pero hay que mirar a los propios individuos, y cuando uno de ellos está apareciendo semi-coherente en el ensayo con una "cuidadora" es bastante obvio que están sigue utilizando. Esa es otra razón por la que fue menos que emocionado ante la idea de Velvet Revolver. La otra cosa fue ... que el corazón del alma de los Guns N 'Roses fue Izzy y muchas de esas canciones funcionan bien debido a su inteligencia musical y su sentir. Tiene una hermosa rock n 'roll sensibilidad sobre él que informado e influenciado por escrito de todos y sin Izzy que se involucre plenamente en Velvet Revolver no estaba seguro de dónde iba a ir. Voy a ser franco, creo que Slash es uno de los mejores guitarristas que ha vivido. Me encanta su alma. Me encanta su selección nota. Me encanta su forma de jugar - pero no es un gran compositor. Duff no apreciarán yo diciendo esto, pero por su cuenta, Duff, no es un gran compositor - brillante en las partes de bajo y batería, pero no la estructura de un gran compositor. Sólo tienes que mirar a su primer álbum en solitario señalar que. Guns N 'Roses fue una colectiva y una increíble química que trabajó y cualquier otra entidad de éxito puede ser mirada con la analogía de la molécula. Usted puede sacar la parte más pequeña de una molécula y la molécula se derrumbará y eso es Guns N 'Roses. " ¿Escuchó a Chinese Democracy?

Alan Niven: "Una de las personas que me ha buscado en los últimos años es un fanático rabioso Guns N 'Roses que vive en Australia y que parece tener una vida normal respetable, aparte de ser un fan de Guns N' Roses, pero con el de los años he descubierto lo interesante y atractivo. Él era extraordinariamente hábil para copiar mí en todos los temas que se filtró en la web. Yo estaba muy consciente de Chinese Democracy mucho tiempo antes de que saliera. Había tantas cosas flotando. No era como Chinese Democracy fue puesto en libertad y en ese día tuve la oportunidad de decidir si o no me voy a sentar a través de ella y valorarla. Yo estaba muy consciente de lo que es el contenido era antes de que sea puesta en libertad. ¿Tiene que su respuesta cuestión o de que aparezca la segunda parte de la pregunta - ¿qué me parece? " "Bueno, sí. Si es usted 'permitido' que decir?

Alan Niven: "Pensé que era complejo y difícil de pasar, pero fue muy Axl".

___________________________________________________________________________ Para mí, fue realmente más una cuestión de esto es lo que yo esperaba de catorce años? Estas canciones podrían haber sido trabajado en seis meses.

Alan Niven: "Aquí está mi tiro al azar sobre la democracia china. Axl cometido dos errores enormes. Uno de ellos fue que la liberación y el otro era Irving Azoff. " Irving Azoff? ¿En serio? ¿Por qué?

Alan Niven? "Si yo hubiera estado en un puesto de responsabilidad de asesorar y aconsejar Axl, yo habría hecho todo lo que esté a mi alcance para asegurarse de que la democracia china fue algo que la gente siempre hablaba y se preguntó acerca, pero en realidad nunca llegó a conocer completamente, que nunca sería realmente puesto en libertad. La grabación duró tanto tiempo que no había manera en el infierno que el récord que estaba armando se va a cumplir con las expectativas. En el momento en que fue puesto en libertad Mitch se convirtió en un registro que se acaba más. Antes de su lanzamiento era un mito. Era fascinante. La gente hablaba de él. La gente quería oírlo. El tercer error fue que él debió haber hecho sin falta con todas sus cintas y todos sus discos bajo su protección y bajo su llave, así que no habría habido fugas. Entonces podría haber liberado la pista de vez en cuando y él podría haberlos trabajado "en vivo" por otros diez años. Eso hubiera sido más misterioso, más atractivo, más fascinante ... " Se ha dicho que la «anticipación es siempre mayor que la recibe." Eso es lo que Chinese Democracy se ...

Alan Niven: "no estoy de acuerdo. El "obtener" de mi mujer era mucho más de lo que podría haber previsto. " La Estrella de Toronto me entrevistó acerca de la liberación Democracia chino y mi cita era que "Chinese Democracy - el mito siempre sería mayor que el álbum real».

Alan Niven: "Absolutamente, y si Axl había salido y recorrió cuando necesitaba que él podría haber jugado alguna vez una canción de ella viven. No habría habido un proceso de ahí para él ... la inmediatez de la actuación realmente agudiza una declaración musical y la liberación de todo el álbum fue un error. Creo que la liberación se llevó a cabo exclusivamente por razones financieras. Y Irving quería sacarlo del camino porque quería que el reencuentro. Dudo que estaba motivado para ver que tenga éxito. Él básicamente recibió un pago por su liberación, no es el cumplimiento posterior y el acuerdo con Best Buy se estableció de esa manera. Ir con Best Buy redujo el alcance de mercado - Wal Mart habría sido mejor una exclusiva - tienen un alcance más profundo en los mercados secundarios y terciarios - pero lo mejor de todo hubiera sido que todo el mundo lo tiene. Hay una sensación de que el acuerdo fue diseñado para maximizar la absorción inmediata - para tomar la y ejecutar al siguiente punto del orden del día - un nuevo sindicato. No creo que Irving entendió nunca la improbabilidad de que la reunión ha tenido lugar nunca y la profundidad de los sentimientos de ejecución. " Irving siempre ha sido una de las cosas sucedan, para hacer reuniones de suceder. ¿Crees que fue una arrogancia que no sería capaz de hacer una reunión de suceder?

Alan Niven: "Yo no podía hablar de si puede considerarse Irving arrogante, pero sospecho que su segundo nombre es Napoleón".



__________________________________________________________________________________________ Usted mencionó que "afilar sus habilidades a través de rendimiento." Creo que eso es lo que falta con el desarrollo del artista en estos días. Te ves en los primeros días de Kiss, Negro Sabbath, Alice Cooper, y Cheap Trick ... Fue a hacer un álbum en enero, el recorrido por el verano y hacer el álbum de seguimiento en el próximo otoño de la carretera mientras estás todavía en el bolsillo. Ahora, las bandas que tienen la suerte de hacer un segundo álbum, gira durante dos años, tómese un descanso de seis meses, luego de unas vacaciones de seis meses, entonces empiezan a pensar en hacer el próximo álbum y, a continuación el siguiente álbum es de cuatro años más tarde. ¿Cómo se puede capturar un rock n 'roll al espíritu de cuatro años que ha estado navegando frente a las costas de Antigua?

Alan Niven: "No es muy conectados y no es muy apasionado. El rock and roll y la gestión no es una ocupación. Es una forma de vida. Por ejemplo, Great White he caído EMI después consiguieron su primer contrato de grabación y nadie quería tocarlos después de eso y me tomó un año y medio para recibir una nueva firma. Después de eso, estábamos en un ciclo perpetuo de la escritura, pre-producción, en el estudio o en el camino y cuando llegaron a la carretera de la banda había vuelto a escribir ... Este fue un ciclo que se emitió entre 1986 y 1993. Estábamos todos los que viven con el conocimiento y la experiencia que todo podía desaparecer rápidamente - por lo que mantiene en movimiento. Ese movimiento perpetuo, jugando perpetua es lo que sostiene y eso es lo que te hace una verdadera banda. Ya sea su taza de té o no la única cosa que es absolutamente incontrovertible sobre Great White es en el día y en el apogeo de su actividad se tratara de una banda en vivo muy, muy grandes. Entregaron y entregados. Eso vino de tener una ética de trabajo simple y la filosofía - lo que una banda que hace es jugar. Cuando sales a jugar tres, cuatro, cinco noches a la semana, durante meses, te conviertes en lo que usted desea ser - una gran banda. El enigma es el conocimiento que el concierto perfecto es el que jugar como si sabe que iba a ser el último. Debe dejar todo en el escenario, pero no puedes hacer que todas las noches. Lo que puede hacer si es levantar una barra de competencia. Todo el mundo tiene malas noches, pero el nivel de competencia debe ser tal que el público todavía se siente que tiene valor para el dinero, incluso si todo el mundo tiene una mala noche. Eso era todavía vale la pena comprar el billete y que regresaría. Si esa es su línea de fondo, y es lo que se determinó establecer con Great White, entonces la idea es que si uno, dos, o tres de los miembros de la banda tenga una buena noche entonces usted tiene esos momentos de magia que nunca olvidar. " ¿Por qué cree usted que Great White no había de que el éxito del desglose en el nivel de una Def Leppard o Bon Jovi? Eran un acto de apertura perenne. Ellos nunca lo hizo su propia gira en gran escenario de dimensiones mundiales. Marcos Kendall es un guitarrista fantástico y algunas de las canciones que han escrito son brillantes ...

Alan Niven: "Gracias por decir eso. Me gustaría comentar que, de esa época, él es el más bajo guitarrista nominal. " Mark es fantástico ...

Alan Niven: "Absolutamente y su sensación es tremenda. Pudo haber tomado un tiempo para construir un solo en el estudio, pero una vez que lo consiguió él siempre puso en él siente y es un gran jugador fantástico. Permítanme realmente arrojar el guante aquí, creo que Gene Simmons es similar a Nikki Sixx y Lawless Blackie y que están posiblemente relacionados entre sí, ya que son dueños de la comercialización de la expresión más de lo que son maestros de sus instrumentos. Cuando la gente está gaga sobre KISS es el fenómeno de KISS que se acerca gaga a diferencia de lo que vas a encontrar en las ranuras. El golpe de genio con KISS KISS fue el Ejército. Creó ese sentido de hermandad. Creo que el hecho de que la banda no eran los genios de la música era en realidad un motivo de orgullo para el Ejército de KISS y KISS. Esto nos es y no puede ser tan brillante como ese tipo, pero nosotros estamos y nos nos aceptan por nosotros y la mierda nos divertimos juntos. Volver a Great White y de responder a su pregunta, se caso y el momento. Este podría ser un poco ingenua de ser un co-escritor de la mayoría de su material, pero libra por libra si te sientas y pasar por el catálogo, es más amplio y más amplia en el estilo que casi cualquier miembro de su grupo de iguales. " Tal vez un poco cínico, pero ¿se reducen a Jack Russell no ser un líder anunciante niño bonito?

Alan Niven parte: "Eso es de él, pero lo peor es que Jack Russell es un monstruo absoluto a euphorics artificial y, por ejemplo, Great White fueron de emprender su viaje del título primero. Comenzó en San Bernardino, se abrió camino a través de Texas y fue vendido-hacia fuera por todo el corredor noreste. Ese fue uno de los lugares más difíciles de vender las entradas. Todo el grupo tenía que hacer era presentarse, ser creíble, el juego y ellos se han establecido como cabeza de cartel, pero mientras estaban cruzando Texas ... Yo había decidido tomar un día libre para llevar a mi hijo a Disneylandia y en su lugar recibí una llamada de Audie (el baterista) quien se encontraba en Phoenix no, Texas, Phoenix. Él me informó que acababa de ser Jack arrojado de un avión por estar borracho y desagradable y se encontraba en el bar del aeropuerto de Phoenix. Entonces, llamé a un amigo que vivía allí y me dijo que llegar a esa velocidad barra y conseguir antes de que él es arrestado. Esta fue Ray Brown, que utiliza para hacer la ropa etapa para todo el mundo en ese entonces, y Ray llega al aeropuerto, a Jack a su casa y puedo cancelar mi viaje a Disneylandia. Puedo tomar el siguiente vuelo desde Los Angeles a Phoenix, ven a la casa de Ray, llamar a la puerta y me doy cuenta de Ray tiene los ojos tan grandes uno platillos ". Tiene los ojos de dibujos animados ...

Alan Niven: "Ray me mira y me dice que es la parte de atrás. Llego al patio trasero y encontrar a Jack enfrascado en una conversación con un saguaro. Yo no chico. Yo le toque en el hombro y él me mira y vigas "tengo algunos Hongos para ti también". ¡Ya lo tenemos en el coche y en un vuelo de vuelta a Los Ángeles donde hemos tenido que iniciar el proceso de ponerlo de nuevo juntos. El tour fue cancelado, y eso es básicamente donde se rompió el impulso - allí mismo en ese momento y en ese momento. Los promotores no estaban contentos y eran un poco dudoso en la idea de apoyar a la banda cabeza de cartel de nuevo. Básicamente, Jack atornilla el momento, pero Jack tenía una propensión para atornillar momentos y que estaba conectado por lo general a la indulgencia química ". Tiene que ser frustrante tener todo lo que has trabajado para expulsado a causa de alguien que usa ...

Alan Niven: "Bueno, sí ..." ¿El Jack se pierda la visión para los negocios que dicen Jon Bon Jovi ha ...

Alan Niven: "Oh, vamos. No hay comparación. Jon Bon Jovi es visión para los negocios. Richie Sambora es mejor cantante y guitarrista, pero Jon tenía una combinación de poseer una inteligencia de negocios astuto y una cara bonita. En términos de talento, Richie es una persona más interesante de mirar que Jon. Jack no tenía una visión para los negocios. Tenía un rock n 'roll actitud. Hay una gran diferencia ".
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