Izzy's "demotion"

[EmilyGNR]

I have been around more in the main forum lately after years just posting on the VR and Ex-Gunners section, but I still can't get around the fact that every discussion that mentions a former member always gets lost in the same old meaningless discussions.  I thought everybody had already made peace with the fact that GNR is Axl's gig and that everyone who wants to take part in it will have to do under his terms.

Damn, some of the things being discussed here are carbon copies of the discussions held around 2004-2008. Where do you guys get the energy? I for once have learned to just be glad for whatever it comes from these guys, especially after Duff toured with the band and played CD songs...

You are right, some of these debates/discussions are regurgitated arguments that have been around for years, and probably will continue to emerge because some people cannot accept how things happened and they don't like it .

It's an infinite circle jerk that some "fans" vomit up endlessly.

[Hustlers Revenge]

i don't believe that anybody who has spent several years complaining about any band on a fan forum is a fan whatsoever.
it's ridiculous and preposterous to try and turn the tables.

you don't have to agree with everything the band does/doesn't do.
it doesn't matter if you do/don't.

it doesn't matter.

and yes, i think some of you are total losers who spend WAY too much time trying to troll EVERY forum with negative agendas. don't fuck with me, you know who are. you know what you do. you are not clever.

it's somewhat unfortunate that many fans who actually like the band and the music choose to ignore the forums and not engage the legions of trolls who post from one site to the next with negative context.

but i-get-it-i-get-it-i get-it...
you just wanna talk about your favorite band who sucks because they don't do what you want them to when you want them to.

[Wooody]

You are trying to devalue and discredit the main influence of the band , it is laughable.

I don't think he is trying to devalue or discredit Axl. However he is trying to say he was not the MAIN influence in the band the way you like to believe.

He was the main influence, you are undervaluing what he actually contributed, how he influenced the others and what he brought in.

That's a matter of opinion, and that is why some people, me included, disagree with you.
We are not putting Axl down because we give credit to the other guys.

No, it is not opinion -it is very apparent if you are actually aware of the details.

Whose lyrics made SCOM? Who brought in NR? Who brought in Estranged? There are too many items to mention, I suggest you do some research.

Whose Lyrics? Are you kidding me ? Are you reducing SCOM to Axl's lyrics? SCOM owes as much to Axl's lyrics as much as it does Slash's incredible solos.

Try and keep up so I don't have to type this twice.

SCOM was a guitar exercise that likely would have stayed that way if left to Slash.

Sorry for having a little bit more of a life than you  
That's just assuming, if Axl wasnt there, who's to say anybody else, Izzy for example wouldn't have picked up the song and added to it to make it succesful, even if different ? parallel galaxy talk isnt very good conversation talk though.

So now you go to personal insults about "not having a life"
Not surprised, looks bad on you.

Fact is , it was a guitar exercise and would have stayed that way if left up to Slash.

Slash came up with the riff when he was playing around on his guitar. He thought it was silly and wanted nothing to do with it, but Axl loved it and had him keep playing it. Izzy Stradlin added some chords, and the song came together. According to Duff McKagan's 2012 autobiography, Slash always considered it the worst Guns N' Roses song.

That's not what I said, I said I had a bit more of a life than you. WHich means you have a life, but I have little bit more of ? Ok?  I think you calling me a nerd is more a straightforward insult than my lil dig at you though.

However that's no fact. You don't know whether that Riff would have stayed like that. As a matter of fact, the way Slash remembers it on his book, He started doing the ''excercise'' and then (I think it was izzy and duff) joined and Axl was upstairs or in another room listening to their playing and wrote the lyrics, and it wasnt until the next day or so that he brought in the lyrics to the rest of the guys. So technically it was not Axl who said.. hey keep playing? it was the other guys hanging around with Slash in that specific moment.
So there goes your theory that it was just an exercise, the exercise became something with the other guys and Axl picked up on that organic something !
 

It's still an implied personal insult but if you can't control your nerd rage, I guess it is to be expected

Here's a quote from Slash

One afternoon, when the smoke was still clearing from the night before, Duff, Izzy and I were sitting around on the floor --- we didn?t have any furniture anymore --- and I was dicking around with that riff. In all honestly, I don?t really know where the riff came from but, all of a sudden, it started to sound really cool. Izzy started playing acoustic behind it and the chord changes started coming together. Axl was upstairs in his bedroom and he overheard it. A couple of days after we had put together our simple riff/chord structure, Axl said, ?Play that song you guys were playing the other day.? We were like, ?What song?? He goes, ?That one with that do do dodo do doo do do.? He had written a bunch of lyrics to it without us even knowing about it. It came together relatively quickly. We started rehearsing it and we wrote it from one end to the other that night [Classic Rock Revisited, September 2010]

I think you are the queen of implied personal insults in this forum. Nerd Rage? You see, you keep going.
Btw, that quoted text further proves my point. There was already something aside from the ''Exercise''. Axl said, ?Play that song "?. He didnt say do that exercise you were doing. He said play that song.

It was an Exercise Slash was playing. It may have continued to be an exercise if left up to Slash.

I think the 'Sweet Child O' Mine' influence pops up because it's a single-note style of mine, especially when I do this octave thing around a melody. I have to give Axl credit, because if he hadn't recognized it as being great, I wouldn't have used it, I thought it was a joke. It was just me doing a lick with chord changes underneath to gave it some movement. Then Axl came in and started singing it. I hated that song until after '88 or '89. We were touring with Aerosmith, and it was such a huge hit you couldn't ignore it [Velvet Revolver, Total Guitar #121 April 2004]

You keep calling it an exercise even when Axl called it a song.

Slash even admits it was an exercise even if you don't

Lead guitarist Slash has been quoted as having an initial disdain for the song due to its roots as simply a "string skipping" exercise and a joke at the time.

Slash said it started as an exercise , when Izzy and the others joined it became something else before Axl came in and called it a song.

Axl even admits it was a song even if you don't.  

It was a string skipping exercise before it was a song.

Not according to Axl   

Read the actual history please. It was an exercise Slash was doing on his guitar, that isn't debatable.

Lead guitarist Slash has been quoted as having an initial disdain for the song due to its roots as simply a "string skipping" exercise and a joke at the time.

Yes, do some reading please. Axl said it was a song not an exercise.

And pretty much the whole band worked on it before Axl.

REading is fundamental.

[raindogs70]

"Where the riff came from, I really don't remember. I was playing this pattern?it was one of those things I was in the process of discovering as I came up with each note, and sort of turned it into something that kept rotating."

[The Wight Gunner]

Arse...

Or rather R's

Stick an "R" on evolve and you have revolve, just like this argument, it's going round in circles 

[EmilyGNR]

You are trying to devalue and discredit the main influence of the band , it is laughable.

I don't think he is trying to devalue or discredit Axl. However he is trying to say he was not the MAIN influence in the band the way you like to believe.

He was the main influence, you are undervaluing what he actually contributed, how he influenced the others and what he brought in.

That's a matter of opinion, and that is why some people, me included, disagree with you.
We are not putting Axl down because we give credit to the other guys.

No, it is not opinion -it is very apparent if you are actually aware of the details.

Whose lyrics made SCOM? Who brought in NR? Who brought in Estranged? There are too many items to mention, I suggest you do some research.

Whose Lyrics? Are you kidding me ? Are you reducing SCOM to Axl's lyrics? SCOM owes as much to Axl's lyrics as much as it does Slash's incredible solos.

Try and keep up so I don't have to type this twice.

SCOM was a guitar exercise that likely would have stayed that way if left to Slash.

Sorry for having a little bit more of a life than you  
That's just assuming, if Axl wasnt there, who's to say anybody else, Izzy for example wouldn't have picked up the song and added to it to make it succesful, even if different ? parallel galaxy talk isnt very good conversation talk though.

So now you go to personal insults about "not having a life"
Not surprised, looks bad on you.

Fact is , it was a guitar exercise and would have stayed that way if left up to Slash.

Slash came up with the riff when he was playing around on his guitar. He thought it was silly and wanted nothing to do with it, but Axl loved it and had him keep playing it. Izzy Stradlin added some chords, and the song came together. According to Duff McKagan's 2012 autobiography, Slash always considered it the worst Guns N' Roses song.

That's not what I said, I said I had a bit more of a life than you. WHich means you have a life, but I have little bit more of ? Ok?  I think you calling me a nerd is more a straightforward insult than my lil dig at you though.

However that's no fact. You don't know whether that Riff would have stayed like that. As a matter of fact, the way Slash remembers it on his book, He started doing the ''excercise'' and then (I think it was izzy and duff) joined and Axl was upstairs or in another room listening to their playing and wrote the lyrics, and it wasnt until the next day or so that he brought in the lyrics to the rest of the guys. So technically it was not Axl who said.. hey keep playing? it was the other guys hanging around with Slash in that specific moment.
So there goes your theory that it was just an exercise, the exercise became something with the other guys and Axl picked up on that organic something !
 

It's still an implied personal insult but if you can't control your nerd rage, I guess it is to be expected

Here's a quote from Slash

One afternoon, when the smoke was still clearing from the night before, Duff, Izzy and I were sitting around on the floor --- we didn?t have any furniture anymore --- and I was dicking around with that riff. In all honestly, I don?t really know where the riff came from but, all of a sudden, it started to sound really cool. Izzy started playing acoustic behind it and the chord changes started coming together. Axl was upstairs in his bedroom and he overheard it. A couple of days after we had put together our simple riff/chord structure, Axl said, ?Play that song you guys were playing the other day.? We were like, ?What song?? He goes, ?That one with that do do dodo do doo do do.? He had written a bunch of lyrics to it without us even knowing about it. It came together relatively quickly. We started rehearsing it and we wrote it from one end to the other that night [Classic Rock Revisited, September 2010]

I think you are the queen of implied personal insults in this forum. Nerd Rage? You see, you keep going.
Btw, that quoted text further proves my point. There was already something aside from the ''Exercise''. Axl said, ?Play that song "?. He didnt say do that exercise you were doing. He said play that song.

It was an Exercise Slash was playing. It may have continued to be an exercise if left up to Slash.

I think the 'Sweet Child O' Mine' influence pops up because it's a single-note style of mine, especially when I do this octave thing around a melody. I have to give Axl credit, because if he hadn't recognized it as being great, I wouldn't have used it, I thought it was a joke. It was just me doing a lick with chord changes underneath to gave it some movement. Then Axl came in and started singing it. I hated that song until after '88 or '89. We were touring with Aerosmith, and it was such a huge hit you couldn't ignore it [Velvet Revolver, Total Guitar #121 April 2004]

You keep calling it an exercise even when Axl called it a song.

Slash even admits it was an exercise even if you don't

Lead guitarist Slash has been quoted as having an initial disdain for the song due to its roots as simply a "string skipping" exercise and a joke at the time.

Slash said it started as an exercise , when Izzy and the others joined it became something else before Axl came in and called it a song.

Axl even admits it was a song even if you don't.  

It was a string skipping exercise before it was a song.

Not according to Axl   

Read the actual history please. It was an exercise Slash was doing on his guitar, that isn't debatable.

Lead guitarist Slash has been quoted as having an initial disdain for the song due to its roots as simply a "string skipping" exercise and a joke at the time.

Yes, do some reading please. Axl said it was a song not an exercise.

And pretty much the whole band worked on it before Axl.

REading is fundamental.

You have issues, not sure if you are stupid or just trolling.

"I was fucking around with this stupid little riff," says Slash. 'Axl said, Hold the fucking phones! That's amazing!"
Within five minutes, the band had worked Slash's cyclical riff into the bare bones of a song. Fleshing it out wasn't so easy.
"Writing and rehearsing it to make it a complete song was like pulling teeth," says Slash. "For me, at the time, it was a very sappy ballad."

http://www.heretodaygonetohell.com/articles/showarticle.php?articleid=149

[EmilyGNR]

i don't believe that anybody who has spent several years complaining about any band on a fan forum is a fan whatsoever.
it's ridiculous and preposterous to try and turn the tables.

you don't have to agree with everything the band does/doesn't do.
it doesn't matter if you do/don't.

it doesn't matter.

and yes, i think some of you are total losers who spend WAY too much time trying to troll EVERY forum with negative agendas. don't fuck with me, you know who are. you know what you do. you are not clever.

it's somewhat unfortunate that many fans who actually like the band and the music choose to ignore the forums and not engage the legions of trolls who post from one site to the next with negative context.

but i-get-it-i-get-it-i get-it...
you just wanna talk about your favorite band who sucks because they don't do what you want them to when you want them to.

Nailed it   

A fun little adaption from the urban dictionary.

A common ailment of fanboys and fangirls is Entitlement

Such individuals believe that because they follow a band, buy a product, or attend a show that they are on the same level as the person (or people) who worked on the entertainment that they enjoy, and feel justified in not only whining and criticizing but actually thinking they have the knowledge of how everything could be fixed and they offer up unsolicited amateur advice .

Whenever things don't turn out or proceed how they think it should, they bitch, whine, and complain.

Damnit, I've been a long time fan for a long time! Guns N'Roses should cater to MY demands and if they don't I'm going to make a massive ass out of myself online! I will go on and on and on about how my enjoyment of Guns N'Roses  is forever ruined.

My head is big, my brain is small, and I have a ridiculous sense of entitlement!   

[Wooody]

You are trying to devalue and discredit the main influence of the band , it is laughable.

I don't think he is trying to devalue or discredit Axl. However he is trying to say he was not the MAIN influence in the band the way you like to believe.

He was the main influence, you are undervaluing what he actually contributed, how he influenced the others and what he brought in.

That's a matter of opinion, and that is why some people, me included, disagree with you.
We are not putting Axl down because we give credit to the other guys.

No, it is not opinion -it is very apparent if you are actually aware of the details.

Whose lyrics made SCOM? Who brought in NR? Who brought in Estranged? There are too many items to mention, I suggest you do some research.

Whose Lyrics? Are you kidding me ? Are you reducing SCOM to Axl's lyrics? SCOM owes as much to Axl's lyrics as much as it does Slash's incredible solos.

Try and keep up so I don't have to type this twice.

SCOM was a guitar exercise that likely would have stayed that way if left to Slash.

Sorry for having a little bit more of a life than you  
That's just assuming, if Axl wasnt there, who's to say anybody else, Izzy for example wouldn't have picked up the song and added to it to make it succesful, even if different ? parallel galaxy talk isnt very good conversation talk though.

So now you go to personal insults about "not having a life"
Not surprised, looks bad on you.

Fact is , it was a guitar exercise and would have stayed that way if left up to Slash.

Slash came up with the riff when he was playing around on his guitar. He thought it was silly and wanted nothing to do with it, but Axl loved it and had him keep playing it. Izzy Stradlin added some chords, and the song came together. According to Duff McKagan's 2012 autobiography, Slash always considered it the worst Guns N' Roses song.

That's not what I said, I said I had a bit more of a life than you. WHich means you have a life, but I have little bit more of ? Ok?  I think you calling me a nerd is more a straightforward insult than my lil dig at you though.

However that's no fact. You don't know whether that Riff would have stayed like that. As a matter of fact, the way Slash remembers it on his book, He started doing the ''excercise'' and then (I think it was izzy and duff) joined and Axl was upstairs or in another room listening to their playing and wrote the lyrics, and it wasnt until the next day or so that he brought in the lyrics to the rest of the guys. So technically it was not Axl who said.. hey keep playing? it was the other guys hanging around with Slash in that specific moment.
So there goes your theory that it was just an exercise, the exercise became something with the other guys and Axl picked up on that organic something !
 

It's still an implied personal insult but if you can't control your nerd rage, I guess it is to be expected

Here's a quote from Slash

One afternoon, when the smoke was still clearing from the night before, Duff, Izzy and I were sitting around on the floor --- we didn?t have any furniture anymore --- and I was dicking around with that riff. In all honestly, I don?t really know where the riff came from but, all of a sudden, it started to sound really cool. Izzy started playing acoustic behind it and the chord changes started coming together. Axl was upstairs in his bedroom and he overheard it. A couple of days after we had put together our simple riff/chord structure, Axl said, ?Play that song you guys were playing the other day.? We were like, ?What song?? He goes, ?That one with that do do dodo do doo do do.? He had written a bunch of lyrics to it without us even knowing about it. It came together relatively quickly. We started rehearsing it and we wrote it from one end to the other that night [Classic Rock Revisited, September 2010]

I think you are the queen of implied personal insults in this forum. Nerd Rage? You see, you keep going.
Btw, that quoted text further proves my point. There was already something aside from the ''Exercise''. Axl said, ?Play that song "?. He didnt say do that exercise you were doing. He said play that song.

It was an Exercise Slash was playing. It may have continued to be an exercise if left up to Slash.

I think the 'Sweet Child O' Mine' influence pops up because it's a single-note style of mine, especially when I do this octave thing around a melody. I have to give Axl credit, because if he hadn't recognized it as being great, I wouldn't have used it, I thought it was a joke. It was just me doing a lick with chord changes underneath to gave it some movement. Then Axl came in and started singing it. I hated that song until after '88 or '89. We were touring with Aerosmith, and it was such a huge hit you couldn't ignore it [Velvet Revolver, Total Guitar #121 April 2004]

You keep calling it an exercise even when Axl called it a song.

Slash even admits it was an exercise even if you don't

Lead guitarist Slash has been quoted as having an initial disdain for the song due to its roots as simply a "string skipping" exercise and a joke at the time.

Slash said it started as an exercise , when Izzy and the others joined it became something else before Axl came in and called it a song.

Axl even admits it was a song even if you don't.  

It was a string skipping exercise before it was a song.

Not according to Axl   

Read the actual history please. It was an exercise Slash was doing on his guitar, that isn't debatable.

Lead guitarist Slash has been quoted as having an initial disdain for the song due to its roots as simply a "string skipping" exercise and a joke at the time.

Yes, do some reading please. Axl said it was a song not an exercise.

And pretty much the whole band worked on it before Axl.

REading is fundamental.

You have issues, not sure if you are stupid or just trolling.

"I was fucking around with this stupid little riff," says Slash. 'Axl said, Hold the fucking phones! That's amazing!"
Within five minutes, the band had worked Slash's cyclical riff into the bare bones of a song. Fleshing it out wasn't so easy.
"Writing and rehearsing it to make it a complete song was like pulling teeth," says Slash. "For me, at the time, it was a very sappy ballad."

http://www.heretodaygonetohell.com/articles/showarticle.php?articleid=149

Im the ones with the issues? Apparently Im a nerd, stupid and a troll. 

Within five minutes, the band had worked Slash's cyclical riff into the bare bones of a song.

Thanks for keep on helping me, so that was before Axl came. A cyclical riff or exercise became the bare bones of a song before Axl came.
Some had realized its potential, not one, not two?. but izzy, duff and adler had already seen it had something before Axl.
Thanks 

[D-GenerationX]

You guys know you don't have to keep quoting every single post, right?

My lord.

[EmilyGNR]

Within five minutes, the band had worked Slash's cyclical riff into the bare bones of a song.

Thanks for keep on helping me, so that was before Axl came. A cyclical riff or exercise became the bare bones of a song before Axl came.
Some had realized its potential, not one, not two?. but izzy, duff and adler had already seen it had something before Axl.
Thanks 

It was an exercise riff, it was developed into a song-the fact that you continue to ignore actual quotes about the song from the actual people that were there belies your real intention and motive here.
Done.

Steven
...) Slash came up with what we all thought was this awesome riff. He said he created it to limber up his fingers, get them loose before playing. He sort of made fun of it, saying that in his head it sounded like the notes you'd play for circus music.
["My Appetite for Destruction", 2010]

Slash
I think the 'Sweet Child O' Mine' influence pops up because it's a single-note style of mine, especially when I do this octave thing around a melody. I have to give Axl credit, because if he hadn't recognized it as being great, I wouldn't have used it, I thought it was a joke. It was just me doing a lick with chord changes underneath to gave it some movement. Then Axl came in and started singing it. I hated that song until after '88 or '89. We were touring with Aerosmith, and it was such a huge hit you couldn't ignore it [Velvet Revolver, Total Guitar #121 April 2004]

[Wooody]

Within five minutes, the band had worked Slash's cyclical riff into the bare bones of a song.

Thanks for keep on helping me, so that was before Axl came. A cyclical riff or exercise became the bare bones of a song before Axl came.
Some had realized its potential, not one, not two?. but izzy, duff and adler had already seen it had something before Axl.
Thanks 

It was an exercise riff, it was developed into a song-the fact that you continue to ignore actual quotes about the song from the actual people that were there belies your real intention and motive here.
Done.

Steven
...) Slash came up with what we all thought was this awesome riff. He said he created it to limber up his fingers, get them loose before playing. He sort of made fun of it, saying that in his head it sounded like the notes you'd play for circus music.
["My Appetite for Destruction", 2010]

Slash
I think the 'Sweet Child O' Mine' influence pops up because it's a single-note style of mine, especially when I do this octave thing around a melody. I have to give Axl credit, because if he hadn't recognized it as being great, I wouldn't have used it, I thought it was a joke. It was just me doing a lick with chord changes underneath to gave it some movement. Then Axl came in and started singing it. I hated that song until after '88 or '89. We were touring with Aerosmith, and it was such a huge hit you couldn't ignore it [Velvet Revolver, Total Guitar #121 April 2004]

I think its you repeating the same quotes over and over like its going to stick, you have you're own agenda trying to diminish what Slash did. The fact that he did it as an exercise doesnt mean it wasn't brilliant, and it doesn't mean it didn't become something else thanks to what everybody in the band brought to the table BEFORE Axl brought his own set of spices.
If it was just Axl that came right after Slash started doing the exercise and said lets do a song with it I would be more inclined to agree with you. Although it was still Slash doing that exercise not Axl.
 But the fact that everybody in the band worked on the song before Axl, it just proves my point that it was already special before Axl entered the picture.
There's even a video of Steven Adler saying something along the lines of ''Hey ? do that again''? He was there, Not Axl.

[jarmo]

Great riff, classic, timeless.

But for him, originally it was a joke. Not a serious thing. At first.
It took somebody else to take it further, to make it serious and not just a joke riff.





/jarmo

[Wooody]

Great riff, classic, timeless.

But for him, originally it was a joke. Not a serious thing. At first.
It took somebody else to take it further, to make it serious and not just a joke riff.





/jarmo

Ah, but I'm not denying that. Most musicians know that all the cool things you come up on the guitar, or any other instrument including the vocals, always come as a surprise. Its something you just do and then you go, did I do that? its that very special something that makes you feel like you're channeling magic. However, if you go in thinking Im going to write something great, chances are its not going to happen, and it will sound fake. So it doesnt matter whether he intended it to be something or not, he created it. Sometimes I write something, and then I don't know where to put it, and then a few years later I have a hole in a song and I find a place for it and it fits. Its odd but it happens and it works, and it isnt planned. You don't plan to write something great, if you did, the world would be full of great music. And sadly nowadays, that's just not the case.



The thing is, if there ever was a song that was a collaborative effort it is Sweet Child.

Slash came up with the riff, Izzy Duff and Adler picked it up, they could've let Slash play with it and said nothing but they didnt, Duff's Bass is also very distinctive in that song, then Axl came and added something special.


But the very thing that happened to Slash with his Circus riff happened to Axl later in the studio. They didnt know how to finish the song, and Axl said ''Where do we go now?" And it took an engineer at the studio to say, Hey why don't keep saying that? ''Where do we go now?''? .

Axl didnt know  "where do we go now" would finish the song, just like Slash didn't know his circus riff would start the song. And it took someone else to notice and point out it was special'.

So why don't we all get a grip and stay humble and admit Sweet CHild is a sum of all its parts? 

[EmilyGNR]

Within five minutes, the band had worked Slash's cyclical riff into the bare bones of a song.

Thanks for keep on helping me, so that was before Axl came. A cyclical riff or exercise became the bare bones of a song before Axl came.
Some had realized its potential, not one, not two?. but izzy, duff and adler had already seen it had something before Axl.
Thanks 

It was an exercise riff, it was developed into a song-the fact that you continue to ignore actual quotes about the song from the actual people that were there belies your real intention and motive here.
Done.

Steven
...) Slash came up with what we all thought was this awesome riff. He said he created it to limber up his fingers, get them loose before playing. He sort of made fun of it, saying that in his head it sounded like the notes you'd play for circus music.
["My Appetite for Destruction", 2010]

Slash
I think the 'Sweet Child O' Mine' influence pops up because it's a single-note style of mine, especially when I do this octave thing around a melody. I have to give Axl credit, because if he hadn't recognized it as being great, I wouldn't have used it, I thought it was a joke. It was just me doing a lick with chord changes underneath to gave it some movement. Then Axl came in and started singing it. I hated that song until after '88 or '89. We were touring with Aerosmith, and it was such a huge hit you couldn't ignore it [Velvet Revolver, Total Guitar #121 April 2004]

I think its you repeating the same quotes over and over like its going to stick, you have you're own agenda trying to diminish what Slash did. The fact that he did it as an exercise doesnt mean it wasn't brilliant, and it doesn't mean it didn't become something else thanks to what everybody in the band brought to the table BEFORE Axl brought his own set of spices.
If it was just Axl that came right after Slash started doing the exercise and said lets do a song with it I would be more inclined to agree with you. Although it was still Slash doing that exercise not Axl.
 But the fact that everybody in the band worked on the song before Axl, it just proves my point that it was already special before Axl entered the picture.
There's even a video of Steven Adler saying something along the lines of ''Hey ? do that again''? He was there, Not Axl.

I tend to discredit things Adler says, but go ahead and be gullible. 

Your little view is flawed, and you are trying to discredit and devalue Axl's involvement, if you would actually read and try to comprehend what Slash says without your bias blinding you it would be super.

I'm honestly bored silly arguing about these 20+ year old known details and quotes.

It's dead horse material.

This is directly from Slash's book.Notice he specifically mentions how involved Axl was.

And it did start off as a string-skipping exercise.period.

I have a way of sitting down with the guitar and coming up with these hard-to-play riffs; they're unorthodox fingerings of simple melodies. It's my way of getting into playing or finding something interesting to do as opposed to just practise scales. (...) That is what I was doing one night as Izzy sat down on the floor to join me. "Hey, what is that? he asked. "I don't know," I said. "Just fucking around." "Keep doing it." He came up with some chords and since Duff was there, he came up with a bass line, as Steven planned out his drum beat. Within an hour my little guitar exercise had become something else. Axl didn't leave his room that night, but he was just as much a part of the creative process as the rest of us: he sat up there and listened to everything we were doing and was inspired to write lyrics that were complete by the next afternoon. They became an ode to his girlfriend and future first wife, Erin Everly, daughter of Don Everly of the Everly Brothers. (...) At our next session, we worked our new song into a complete movement: we wrote a bridge, added a guitar solo, and so it became 'Sweet Child O' Mine.' (...) Spencer [Proffer, a producer] was a great guy; he was actually the one who suggested that the song needed a dramatic breakdown before its ultimate finale. He was right...but we had no idea what we wanted to do there. All of us sat around the control room, listening to it over and over, devoid of a clue. "Where do we go?" Axl said, more to himself than the rest of us. "Where do we go now?...Where do we go?" "Hey," Spencer said, turning the music down. "Why don't you just try singing that?" And so became that dramatic breakdown [Bozza, Anthony, & Slash (2007). Slash. Harper Entertainment: New York. p. 155-156]

[Wooody]

Within five minutes, the band had worked Slash's cyclical riff into the bare bones of a song.

Thanks for keep on helping me, so that was before Axl came. A cyclical riff or exercise became the bare bones of a song before Axl came.
Some had realized its potential, not one, not two?. but izzy, duff and adler had already seen it had something before Axl.
Thanks 

It was an exercise riff, it was developed into a song-the fact that you continue to ignore actual quotes about the song from the actual people that were there belies your real intention and motive here.
Done.

Steven
...) Slash came up with what we all thought was this awesome riff. He said he created it to limber up his fingers, get them loose before playing. He sort of made fun of it, saying that in his head it sounded like the notes you'd play for circus music.
["My Appetite for Destruction", 2010]

Slash
I think the 'Sweet Child O' Mine' influence pops up because it's a single-note style of mine, especially when I do this octave thing around a melody. I have to give Axl credit, because if he hadn't recognized it as being great, I wouldn't have used it, I thought it was a joke. It was just me doing a lick with chord changes underneath to gave it some movement. Then Axl came in and started singing it. I hated that song until after '88 or '89. We were touring with Aerosmith, and it was such a huge hit you couldn't ignore it [Velvet Revolver, Total Guitar #121 April 2004]

I think its you repeating the same quotes over and over like its going to stick, you have you're own agenda trying to diminish what Slash did. The fact that he did it as an exercise doesnt mean it wasn't brilliant, and it doesn't mean it didn't become something else thanks to what everybody in the band brought to the table BEFORE Axl brought his own set of spices.
If it was just Axl that came right after Slash started doing the exercise and said lets do a song with it I would be more inclined to agree with you. Although it was still Slash doing that exercise not Axl.
 But the fact that everybody in the band worked on the song before Axl, it just proves my point that it was already special before Axl entered the picture.
There's even a video of Steven Adler saying something along the lines of ''Hey ? do that again''? He was there, Not Axl.

I tend to discredit things Adler says, but go ahead and be gullible. 

Your little view is flawed, and you are trying to discredit and devalue Axl's involvement, if you would actually read and try to comprehend what Slash says without your bias blinding you it would be super.

I'm honestly bored silly arguing about these 20+ year old known details and quotes.

It's dead horse material.

This is directly from Slash's book.Notice he specifically mentions how involved Axl was.

And it did start off as a string-skipping exercise.period.

I have a way of sitting down with the guitar and coming up with these hard-to-play riffs; they're unorthodox fingerings of simple melodies. It's my way of getting into playing or finding something interesting to do as opposed to just practise scales. (...) That is what I was doing one night as Izzy sat down on the floor to join me. "Hey, what is that? he asked. "I don't know," I said. "Just fucking around." "Keep doing it." He came up with some chords and since Duff was there, he came up with a bass line, as Steven planned out his drum beat. Within an hour my little guitar exercise had become something else. Axl didn't leave his room that night, but he was just as much a part of the creative process as the rest of us: he sat up there and listened to everything we were doing and was inspired to write lyrics that were complete by the next afternoon. They became an ode to his girlfriend and future first wife, Erin Everly, daughter of Don Everly of the Everly Brothers. (...) At our next session, we worked our new song into a complete movement: we wrote a bridge, added a guitar solo, and so it became 'Sweet Child O' Mine.' (...) Spencer [Proffer, a producer] was a great guy; he was actually the one who suggested that the song needed a dramatic breakdown before its ultimate finale. He was right...but we had no idea what we wanted to do there. All of us sat around the control room, listening to it over and over, devoid of a clue. "Where do we go?" Axl said, more to himself than the rest of us. "Where do we go now?...Where do we go?" "Hey," Spencer said, turning the music down. "Why don't you just try singing that?" And so became that dramatic breakdown [Bozza, Anthony, & Slash (2007). Slash. Harper Entertainment: New York. p. 155-156]

The reason we keep going on and on is because you cannot stand not having the last word.

And you keep on posting stuff that further proves MY POINT, not yours. 

[EmilyGNR]

Within five minutes, the band had worked Slash's cyclical riff into the bare bones of a song.

Thanks for keep on helping me, so that was before Axl came. A cyclical riff or exercise became the bare bones of a song before Axl came.
Some had realized its potential, not one, not two?. but izzy, duff and adler had already seen it had something before Axl.
Thanks 

It was an exercise riff, it was developed into a song-the fact that you continue to ignore actual quotes about the song from the actual people that were there belies your real intention and motive here.
Done.

Steven
...) Slash came up with what we all thought was this awesome riff. He said he created it to limber up his fingers, get them loose before playing. He sort of made fun of it, saying that in his head it sounded like the notes you'd play for circus music.
["My Appetite for Destruction", 2010]

Slash
I think the 'Sweet Child O' Mine' influence pops up because it's a single-note style of mine, especially when I do this octave thing around a melody. I have to give Axl credit, because if he hadn't recognized it as being great, I wouldn't have used it, I thought it was a joke. It was just me doing a lick with chord changes underneath to gave it some movement. Then Axl came in and started singing it. I hated that song until after '88 or '89. We were touring with Aerosmith, and it was such a huge hit you couldn't ignore it [Velvet Revolver, Total Guitar #121 April 2004]

I think its you repeating the same quotes over and over like its going to stick, you have you're own agenda trying to diminish what Slash did. The fact that he did it as an exercise doesnt mean it wasn't brilliant, and it doesn't mean it didn't become something else thanks to what everybody in the band brought to the table BEFORE Axl brought his own set of spices.
If it was just Axl that came right after Slash started doing the exercise and said lets do a song with it I would be more inclined to agree with you. Although it was still Slash doing that exercise not Axl.
 But the fact that everybody in the band worked on the song before Axl, it just proves my point that it was already special before Axl entered the picture.
There's even a video of Steven Adler saying something along the lines of ''Hey ? do that again''? He was there, Not Axl.

I tend to discredit things Adler says, but go ahead and be gullible. 

Your little view is flawed, and you are trying to discredit and devalue Axl's involvement, if you would actually read and try to comprehend what Slash says without your bias blinding you it would be super.

I'm honestly bored silly arguing about these 20+ year old known details and quotes.

It's dead horse material.

This is directly from Slash's book.Notice he specifically mentions how involved Axl was.

And it did start off as a string-skipping exercise.period.

I have a way of sitting down with the guitar and coming up with these hard-to-play riffs; they're unorthodox fingerings of simple melodies. It's my way of getting into playing or finding something interesting to do as opposed to just practise scales. (...) That is what I was doing one night as Izzy sat down on the floor to join me. "Hey, what is that? he asked. "I don't know," I said. "Just fucking around." "Keep doing it." He came up with some chords and since Duff was there, he came up with a bass line, as Steven planned out his drum beat. Within an hour my little guitar exercise had become something else. Axl didn't leave his room that night, but he was just as much a part of the creative process as the rest of us: he sat up there and listened to everything we were doing and was inspired to write lyrics that were complete by the next afternoon. They became an ode to his girlfriend and future first wife, Erin Everly, daughter of Don Everly of the Everly Brothers. (...) At our next session, we worked our new song into a complete movement: we wrote a bridge, added a guitar solo, and so it became 'Sweet Child O' Mine.' (...) Spencer [Proffer, a producer] was a great guy; he was actually the one who suggested that the song needed a dramatic breakdown before its ultimate finale. He was right...but we had no idea what we wanted to do there. All of us sat around the control room, listening to it over and over, devoid of a clue. "Where do we go?" Axl said, more to himself than the rest of us. "Where do we go now?...Where do we go?" "Hey," Spencer said, turning the music down. "Why don't you just try singing that?" And so became that dramatic breakdown [Bozza, Anthony, & Slash (2007). Slash. Harper Entertainment: New York. p. 155-156]

The reason we keep going on and on is because you cannot stand not having the last word.

And you keep on posting stuff that further proves MY POINT, not yours. 

Wrong.

My point was that it started as an exercise that wouldn't have been developed if not for others.

Slash mentions Axl as very instrumental in this song's creation.

"I was fucking around with this stupid little riff," says Slash. 'Axl said, Hold the fucking phones! That's amazing!"
While Rose was adamant about the song's potential, his bandmates were less convinced.
"It was like a joke," says bassist Duff McKagan. "We thought, What is this song? Its gonna be nothing."

http://www.heretodaygonetohell.com/articles/showarticle.php?articleid=149

Those were my points and have been proven even if you are not fundamentally capable of gleaning and processing  the material provided to you.

[Wooody]

My point was that it started as an exercise that wouldn't have been developed if not for others.

AHA ! Gotcha ! Thank you for finally seeing MY point of view that it was OTHERS, not just Axl who saw the potential.

 Your point started that it was AXL, THE MAIN REASON Sweet Child became a success.

So now you change your tune and say the exact same thing Im saying 

THANK YOU ! and goodnight ! 

[EmilyGNR]

My point was that it started as an exercise that wouldn't have been developed if not for others.

AHA ! Gotcha ! Thank you for finally seeing MY point of view that it was OTHERS, not just Axl who saw the potential.

 Your point started that it was AXL, THE MAIN REASON Sweet Child became a success.

So now you change your tune and say the exact same thing Im saying 

THANK YOU ! and goodnight ! 

Laughable and ludicrous.

It's honestly a waste of my time attempting to discuss something with someone that is committed to misunderstanding and not comprehending what is posted.

Go troll somebody else.

[Wooody]

My point was that it started as an exercise that wouldn't have been developed if not for others.

AHA ! Gotcha ! Thank you for finally seeing MY point of view that it was OTHERS, not just Axl who saw the potential.

 Your point started that it was AXL, THE MAIN REASON Sweet Child became a success.

So now you change your tune and say the exact same thing Im saying 

THANK YOU ! and goodnight ! 

Laughable and ludicrous.

It's honestly a waste of my time attempting to discuss something with someone that is committed to misunderstanding and not comprehending what is posted.

Go troll somebody else.

Oh, don't worry honey, I already heard what I wanted to hear from you.
Now you can stop "trolling" me. 

[EmilyGNR]

My point was that it started as an exercise that wouldn't have been developed if not for others.

AHA ! Gotcha ! Thank you for finally seeing MY point of view that it was OTHERS, not just Axl who saw the potential.

 Your point started that it was AXL, THE MAIN REASON Sweet Child became a success.

So now you change your tune and say the exact same thing Im saying 

THANK YOU ! and goodnight ! 

Laughable and ludicrous.

It's honestly a waste of my time attempting to discuss something with someone that is committed to misunderstanding and not comprehending what is posted.

Go troll somebody else.

Oh, don't worry honey, I already heard what I wanted to hear from you.
Now you can stop "trolling" me. 

Oh so now you have resorted to condescending little nicknames now? Troll somebody else kid.

Bye Felicia.