Could the record company be in the way of a release?

[odd1]

The drummer they had before Brain (Josh Freese or something) said on a question about CD: "When it finaly comes out, look out for a track called Prostitute"

Dont remember where I read it, think it was a interview over at splat or something

[lennonisgod]

The drummer they had before Brain (Josh Freese or something) said on a question about CD: "When it finaly comes out, look out for a track called Prostitute"

Dont remember where I read it, think it was a interview over at splat or something

Damn, Josh Freese hasn't been in the band for many, many years.  I do trust the guy's opinion very much as he is one of the top drummers alive today but I'm sure the track has changed since he last heard it.  Let's get back on topic though and stop talking about Prostitute.

[Skunk]

This is a strange thread. Interesting to look back on but that interview is old and these insights aren't new. It's obvious the album has been worked and reworked, done, started over and done again. That's how they end up with so much material. Obviously Axl was into the more industrial OMG sound for a while, feeling he couldn't make a traditional guns record without slash, and things like that - they've changed a lot i would imagine.

As for if the album was 'rejected' i'm sorry to make this comparison but it's easy... in 01 michael jackson released an album called invincible. It was talked about a lot and was supposed to be his big comeback to the top of the charts (it didn't do very well). But when he was recording, the record company told him they wanted the next Thriller. The album ends with an uninspired song called Threatened, which is about as close to thriller as you can get (and ultimately it's sad, because nobody really wants a song like thriller, they want a song thats equally different and exciting.
Anyway my point is that artists as big as MJ or Axl can release anything they want (somebody will make money), but when it comes to the money at stake, the company isn't 'rejecting' CD but they want axl to recapture the success he previously had. Axl knows he can't re-write AFD, but the company is just listening to the record and thinking 'will this song make as much money as sweet child?'

[Edward Rose]

This is a strange thread. Interesting to look back on but that interview is old and these insights aren't new. It's obvious the album has been worked and reworked, done, started over and d.....

.....s big as MJ or Axl can release anything they want (somebody will make money), but when it comes to the money at stake, the company isn't 'rejecting' CD but they want axl to recapture the success he previously had. Axl knows he can't re-write AFD, but the company is just listening to the record and thinking 'will this song make as much money as sweet child?'

Thank you. 

[Hysteron]

Axl knows he can't re-write AFD, but the company is just listening to the record and thinking 'will this song make as much money as sweet child?'

Does anyone here care to state how much UYI 1+2 sold worldwide to date? (I'm not refering to the US alone)

[Neemo]

i don't think it's possible to track

[Saikin]

This is a strange thread. Interesting to look back on but that interview is old and these insights aren't new. It's obvious the album has been worked and reworked, done, started over and d.....

.....s big as MJ or Axl can release anything they want (somebody will make money), but when it comes to the money at stake, the company isn't 'rejecting' CD but they want axl to recapture the success he previously had. Axl knows he can't re-write AFD, but the company is just listening to the record and thinking 'will this song make as much money as sweet child?'

Thank you.?

Sure, the name would sell, but Universal is probably looking at comparing it with UYI and AFD.  And that's something that should not be done.  I think if that little GNR name wasn't there, we'd have heard CD by now. 

[guns_n_motley]

This is a strange thread. Interesting to look back on but that interview is old and these insights aren't new. It's obvious the album has been worked and reworked, done, started over and d.....

.....s big as MJ or Axl can release anything they want (somebody will make money), but when it comes to the money at stake, the company isn't 'rejecting' CD but they want axl to recapture the success he previously had. Axl knows he can't re-write AFD, but the company is just listening to the record and thinking 'will this song make as much money as sweet child?'

Thank you.?

Sure, the name would sell, but Universal is probably looking at comparing it with UYI and AFD.? And that's something that should not be done.? I think if that little GNR name wasn't there, we'd have heard CD by now.?

I think part of the problem of why its taken so long, is because Axl so desperately wants to beat appetite... To many GNR is considered a one album wonder, like Boston(who if you look at their history theres several similarities) where they have one cd that just sold a shit load and every track is killer, ask most people about GNR and theyll say "appetite was amazing, UYI was ok"


it started with UYI where to beat appetite, axl made it a double album, with huge epics, and wanted to tour until it hit 30million...

[Saboteur]

I think part of the problem of why its taken so long, is because Axl so desperately wants to beat appetite... To many GNR is considered a one album wonder, like Boston(who if you look at their history theres several similarities) where they have one cd that just sold a shit load and every track is killer, ask most people about GNR and theyll say "appetite was amazing, UYI was ok"


it started with UYI where to beat appetite, axl made it a double album, with huge epics, and wanted to tour until it hit 30million...

No, probably Universal doesn't want  release Cd, because it's to weak for them.
 

[dave-gnfnr2k]

Axl knows he can't re-write AFD, but the company is just listening to the record and thinking 'will this song make as much money as sweet child?'

Does anyone here care to state how much UYI 1+2 sold worldwide to date? (I'm not refering to the US alone)

Around 30m total I think they sold about 15m each world wide

Here is a link

http://www.mjni.com/news/details.aspx?ArticleNo=508

[Hysteron]

Axl knows he can't re-write AFD, but the company is just listening to the record and thinking 'will this song make as much money as sweet child?'

Does anyone here care to state how much UYI 1+2 sold worldwide to date? (I'm not refering to the US alone)

Around 30m total I think they sold about 15m each world wide

Here is a link

http://www.mjni.com/news/details.aspx?ArticleNo=508

Thanks, it just goes to show to some people, that GNR were something after AFD.

[MrMojoRisin]

I think part of the problem of why its taken so long, is because Axl so desperately wants to beat appetite... To many GNR is considered a one album wonder, like Boston(who if you look at their history theres several similarities) where they have one cd that just sold a shit load and every track is killer, ask most people about GNR and theyll say "appetite was amazing, UYI was ok"


it started with UYI where to beat appetite, axl made it a double album, with huge epics, and wanted to tour until it hit 30million...

No, probably Universal doesn't want? release Cd, because it's to weak for them.
 

i dont think so.... Universal releases shitty albums all the time... and people will buy it no matter what... it makes no difference if its good or shitty, people will buy it.

[Hysteron]

This is a strange thread. Interesting to look back on but that interview is old and these insights aren't new. It's obvious the album has been worked and reworked, done, started over and d.....

.....s big as MJ or Axl can release anything they want (somebody will make money), but when it comes to the money at stake, the company isn't 'rejecting' CD but they want axl to recapture the success he previously had. Axl knows he can't re-write AFD, but the company is just listening to the record and thinking 'will this song make as much money as sweet child?'

Thank you.?

Sure, the name would sell, but Universal is probably looking at comparing it with UYI and AFD.? And that's something that should not be done.? I think if that little GNR name wasn't there, we'd have heard CD by now.?

I think part of the problem of why its taken so long, is because Axl so desperately wants to beat appetite... To many GNR is considered a one album wonder, like Boston(who if you look at their history theres several similarities) where they have one cd that just sold a shit load and every track is killer, ask most people about GNR and theyll say "appetite was amazing, UYI was ok"


it started with UYI where to beat appetite, axl made it a double album, with huge epics, and wanted to tour until it hit 30million...

Slash said Axl wanted to hit 40 million.

[Slashead]

No, probably Universal doesn't want? release Cd, because it's to weak for them.
 

i dont think so.... Universal releases shitty albums all the time... and people will buy it no matter what... it makes no difference if its good or shitty, people will buy it.

Mr MojoRisin,
In the past, the album has already been rejected by Universal, it's written down in black and white in this interview. It can happen again.
 

[guns_n_motley]

No, probably Universal doesn't want? release Cd, because it's to weak for them.
 

i dont think so.... Universal releases shitty albums all the time... and people will buy it no matter what... it makes no difference if its good or shitty, people will buy it.

Mr MojoRisin,
In the past, the album has already been rejected by Universal, it's written down in black and white in this interview. It can happen again.
 

the fact of the matter is, They want to get this thing out there.. theyve blown 13million on it.. you think they want to blow more??

that was back in 2001, but its all up to axl now...

[Lucky]

Damn, Josh Freese hasn't been in the band for many, many years. I do trust the guy's opinion very much as he is one of the top drummers alive today but I'm sure the track has changed since he last heard it.

I'm more concearned that the track didnt change since he last heard it...
after all the songs we've heard in 2001 barely changed during the past 5 year, so why would prostitute be any diferent?
(including the 99 demos)

[ppbebe]

for instance, hasn't an orchestral arrangement added to the song since then?
Or was it before?

strange why the GH suit article and the NY times said axl hadn't delivered the album to the label.

[Saikin]

Damn, Josh Freese hasn't been in the band for many, many years. I do trust the guy's opinion very much as he is one of the top drummers alive today but I'm sure the track has changed since he last heard it.

I'm more concearned that the track didnt change since he last heard it...
after all the songs we've heard in 2001 barely changed during the past 5 year, so why would prostitute be any diferent?
(including the 99 demos)

Oh really?  If you actually listen closer to all the versions, they have changed quite a bit over time.  Plus, who says the leaks are from 01 anyway?  Where's your source on that?  I think the links are a lot more recent than 01, and if you compare the leaks to the 99 leaks, there's a difference. 

[Saikin]

No, probably Universal doesn't want? release Cd, because it's to weak for them.
 

i dont think so.... Universal releases shitty albums all the time... and people will buy it no matter what... it makes no difference if its good or shitty, people will buy it.

Mr MojoRisin,
In the past, the album has already been rejected by Universal, it's written down in black and white in this interview. It can happen again.
 

Thank you!  Nice to see someone can actually read.

[Minneapolisnewsman]

My bet is Jimmy Iovine himself, who is as good and as honest as they get with his artists, after listening to the songs on the "5th floor", decided the band needed to rework some of the songs. ?Axl has mentioned, that the record company asked them to keep working on stuff, and that has been one factor for the delays. ?Great read, check the areas in bold.
 ?

http://www.latimes.com/entertainment/news/la-ca-iovine26nov26,1,2363052.story?coll=la-headlines-entnews&track=crosspromo

THE MUSIC INDUSTRY TITANS
Ears wide open
He interned with Lennon, got Dr. Dre on the air, was musical matchmaker for Gwen Stefani. Jimmy Iovine listens and imagines, then makes it happen.
By Robert Hilburn
Special to The Times

November 26, 2006

"WHEN I first went into the studio with John Lennon and Bruce Springsteen, I thought making records was going to be fun, like going to a Rolling Stones concert," says Jimmy Iovine, reflecting on his route to becoming a record industry tyco4on. "But fun had nothing to do with it. Fun wasn't even on the menu.

"Bruce would spend eight hours trying to write one line of the lyrics to 'Jungleland' and longer on the guitar part to 'Thunder Road.' He'd try it one way and then tell everybody 'again' and 'again' for days. I fell asleep for four hours one night and the first thing I heard after waking up was Bruce saying, 'Again.' "

Iovine, the 53-year-old son of a Brooklyn longshoreman, is in the bright exercise room of his Holmby Hills estate, though he doesn't look much different here, in his Nike baseball cap and sweat suit, than he does in his Santa Monica office.

As he steps onto an elliptical trainer, the slender executive isn't just looking for a cardiovascular boost but for another hit record ? to join the ones he has had as producer or record company head with such artists as U2, Dr. Dre, Eminem, Tom Petty, 50 Cent and Gwen Stefani.

Iovine had the business smarts to build Interscope Records from a $30-million start-up in 1991 to the crown jewel in the world's biggest music firm, Universal Music Group, but he believes his most important role is in finding and nurturing talent. He constantly draws upon lessons from his studio apprenticeships in the '70s.

"I've always wanted to bring to this record company the intensity and drive of those artists," says Iovine, whose roster of labels also includes A&M and Geffen Records. "Every artist can't be Springsteen or Lennon or you'd only have two artists on your label, but you want to encourage everyone to reach for that spark of passion that I saw every day in them.

"I also learned that the songs are everything. If the songs aren't there, you're dead. You must do whatever it takes to get them right ? as much time, as much pain."

Iovine brought one intangible with him to the music business: an instinct for hits, and his 35-by-30-foot exercise room is where he searches for them several mornings a week.

It was here 11 years ago that he first heard a forceful young Detroit rapper who was in L.A. seeking a record deal. An intern at the company heard Eminem live on the radio and was so impressed he got a copy of the broadcast for Iovine. He played it for premier rap producer Dr. Dre one Saturday, and Dre was so impressed he went into the studio with Eminem the following Monday. The result: worldwide sales by Eminem of 65 million albums ? or nearly $1 billion.

Last fall in the room, Iovine heard new tracks by Nelly Furtado, a young Canadian singer he inherited when Universal bought DreamWorks Records.

Iovine had tried to sign Furtado, a pop singer with teasingly seductive dance and hip-hop sensibilities, and he was fond of Furtado's 2000 debut album and, even more, a remix track she did with hip-hop producer Timbaland.

But Iovine felt Furtado's new music was too "mature" ? his polite word for uninspired ? and he made a mental note that morning: "Timbaland!"

Meeting with Furtado a few days later, Iovine advised the twentysomething singer to scrap the tracks she had done and go into the studio with Timbaland. Furtado jumped at the suggestion so fast it surprised Iovine, but artists do listen when you've got his track record.

In June, the Timbaland-produced album, "Loose," entered the U.S. pop charts at No. 1, thanks in part to a sassy single, "Promiscuous." Worldwide sales: more than 2.5 million.

By focusing on the music rather than chiefly on quarterly spreadsheets, Iovine fits into the grand, entrepreneurial tradition of post-World War II executives who built the modern record business ? people such as Ahmet Ertegun, Clive Davis, David Geffen, Mo Ostin and Iovine's mentor, Doug Morris, with whom he confers six to 10 times a day.

"I don't talk to my artists about record deals," Iovine says. "I talk to them about how we are going to make their records better. To do that, you've got to infiltrate the artist and get their trust and confidence so that you can help push them in directions they might not see or might not even want to go at first, and that can cause tension, but that's just part of the creative process.

"If you don't speak the truth in the studio, your relationship with the artist is finished. It's not enough to just tell them everything is great. The most important thing is to tell them when it's not great."



All energy, all the time

THERE'S no exercise equipment in Iovine's fifth-floor office in Universal's West Coast headquarters, but on a recent fall afternoon, he still seems to be in constant motion.

Even when music is blasting from the massive sound system, Iovine is multitasking, exchanging BlackBerry messages with artists or managers, or listening to staff members fill him in on the latest airplay reports.

As the music plays, Iovine points out tracks he likes and suggests improvements for others ? a better chorus, a stronger beat. It's as if he's got this massive computer in his head, filled with all he's heard over the years ? and he draws sounds from it to make new recordings more appealing.

But he also keeps looking around the room for reaction to the tracks because he believes strongly that hit-making takes a team.
"A lot of record executives are solo acts," says Iovine, his leg draped over the side of his favorite chair. "But I want everybody's ideas. I'm talking about the people at the company, and producers and artists as well. They are all gigantic allies in setting the tone for the company. Gwen brought me the Pussycat Dolls. Eminem and his manager, Paul Rosenberg, found 50 Cent."

As Iovine meets with his staff, he's surrounded by some remarkable mementos. Against one wall is the mellotron that John Lennon used with the Beatles in making "Strawberry Fields Forever." On another wall is a signed copy of Bono's handwritten lyrics for "Sometimes You Can't Make It on Your Own." Iovine was with the band in Dublin, Ireland, the night U2 recorded the song about the death of Bono's father.

These touches are more than comforting. They remind Iovine of the obsession of those artists and his own drive, so intense that Iovine (who is married and has four children, ages 12 to 18) has been taking Prozac for years to maintain balance in his life.

"Bruce said to me a few years ago that we were both lucky because we were able to keep that low self-esteem that got us here," he says, smiling. "Some people get to where they don't want to deal with the tough things anymore. They give it to someone else, but I'm still willing to move mountains to make things work. I haven't earned a free pass from hard work."