For this clip from this legendary gig i added the audio from live ERA (the remastered JP Import SHM-CD to be precisely) to it, because it was taken from this gig. As u might know nearly all (axl) vocals on live ERA where re-recorded. In this song they left Axl out in the first refrain so i cutted Axl back in from the original audio. Gotta hear Axl u know. Unfortunately the last part of this video is blocked, hopefully the decent audio will make up for that. In May, 1991 Guns N’ Roses announced three ‘warmup’ shows in preparation for the mammoth world tour they were about to undertake. The first two shows, played at San Francisco’s compact Warfield Theatre and Los Angeles’ Pantages Theatre on 9 and 12 May, 1991 respectively, were rapturously received. But it was the band’s third and final “live rehearsal” – as Axl jokingly referred to the warm up shows – at New York’s Ritz Theatre on 16 May that really caught the Gunners at their blistering best. Billed as ‘An Evening With The Doors’, The ecstatic audience was treated to Appetite’s standards as well as several new songs from the long awaited album(s), including the forthcoming single, ‘You Could Be Mine’, which had already been earmarked as the theme tune for Arnie’s latest blockbuster, Terminator 2: Judgement Day. The only downside to the evening came when Axl tumbled from one of the onstage monitors injuring his left ankle. The tour’s opening date was only a week away, and the band – not to mention the Geffen hierarchy – was anxious the tour should go ahead as scheduled. With this aim in mind, experts from sports-shoe giants New Balance were hurriedly brought in to design a specially-crafted ‘spaceage’ boot, which, although limiting Axl’s mobility, would at least allow him to get about the stage. Review The semi-secret club date, which was once a way for the Rolling Stones, Prince or Bob Dylan to relax and play for dedicated fans, now has its own routines. When Guns 'n' Roses played at the Ritz on Thursday night, in a show announced that afternoon, the anointed rock rebels of the late 1980's brought all the show-business trappings. When the house lights went on for applause and sing-alongs, the people crammed onto the dance floor were happy to be video-clip extras. The Los Angeles-based band was back, bare-chested and sweaty, blasting out some of the best-loved riffs and shrieks of the 1980's and finally introducing some new songs. It was a casually paced show, with long pauses between songs and a sloppy stretch before the encores; at times, Mr. Rose conferred with other band members about what song to perform next. During the 2-hour-15-minute set, Mr. Rose wore, among other things, flowered tights, bicycle shorts, a baseball cap emblazoned N.W.A. (after the rap group), a fishnet T-shirt and even a black marabou-feather jacket. The crowd, many in leather and ripped blue jeans, roared when Mr. Rose did his snake-hipped shimmy or twirled his microphone stand overhead; at one point, it came apart and the heavy base flew across the stage, narrowly missing a crew member. From the stage, Mr. Rose announced that Guns 'n' Roses would release 30 new songs simultaneously on two separate albums. Geffen Records has the two albums, titled "Use Your Illusion" I and II, scheduled for release on July 23. "We're touring on a record that hasn't been released because when we were touring in clubs, that's how we started," the guitarist Slash said between songs. Of course, fledgling bands can't fill stadiums during the short summer concert season. Hearing Guns 'n' Roses on stage could make fans wonder what is holding up the records. The musicians need no remedial work in the studio; Guns 'n' Roses is one of the most capable hard-rock bands now performing, with a savagely efficient rhythm section (Mr. Sorum, Duff McKagan on bass and Izzy Stradlin on rhythm guitar) and a lead guitarist, Slash, whose riffs and solos are thoroughly grounded in the blues. The band also has a gift for slow tempos; its power ballads seem inexorable rather than interminable as they build from strummed guitars to a full-band stomp. And Mr. Rose sang in a variety of voices linked only by their deliberate harshness: a dry, nasal tone in "Mr. Brownstone," a cracked, quavery voice for Paul McCartney's "Live and Let Die" and a piercing yowl to carry the endearments of "Sweet Child o' Mine." Along with "Live and Let Die," the band also performed a second borrowed song about death, Bob Dylan's "Knockin' on Heaven's Door." The band's own new songs are still riff-rockers -- "Bad Obsession," "Right Next Door to Hell" and "You Could Be Mine," a theme song for the coming "Terminator 2 Judgment Day" -- and slow-building anthems, like "Civil War" and "Estranged," in which Mr. Rose sang about anomie with steely calm.

• published: 05 Sep 2017
• views: 951