They found his body beneath the bed bent double like a discarded paper clip in a New Orleans flop-house.
Tell the people: the original NY Doll the Heartbreaker the gypsy king who was born too loose is dead and gone.
Rigor mortis set in and so did the conspiracy theories. The roaches were out the wood-work each with a different version of the same story. But all I know is
when they carried out his pale corpse the body bag was three feet in length; and all his guitars were gone.
It’s true what he said: ‘You Can’t Put Your Arms Around A Memory’ but believe me, that night, high or straight, each of us tried.
It takes sixteen cops cars with sirens blaring and blue lights spinning to get us out through the crowds and back to our hotel twenty miles away.
We all share a dark chuckle about this: about how the cops are protecting us from the people, rather than the other way round. It makes for a nice change.
Unless you’ve been told at three minutes notice you got to do a drum solo in front of 140,000 people with a band who’ve never even rehearsed together, you don’t know the meaning of the phrase ‘in at the deep end’.
Slash calls me up freaking out yelling something about blood something about goblins incoherent, the ramblings of a feral man who suddenly finds he has no reason to leave the house.
In the background I can hear what sounds like a girl laughing or maybe she’s screaming or maybe he’s just playing a porno on his new widescreen home cinema.
It’s funny that Slash has a home cinema because he doesn’t have a bed and he doesn’t have a fridge, just dozens of snakes. He keeps his drinks and frozen mice in an ice bucket.
But I’m done laughing at Slash’s antics right now so I dish it to him straight: Dude, you have to clean up your act the tour starts in three days that’s just enough time to detox the kids have paid good money - yada yada, the usual spiel.
I really give it to him actually: you wanna end up like Johnny, washed-up and strung out to dry at twenty-five? You wanna be like Janis, Jimi and Jim man, another H-wood r ‘n’ r victim, “Fuck yeah,” he gurgles. “Totally!” then I hear what sounds like breaking glass
I’m sitting there thinking maybe an intervention is the only way, how it won’t be the first time one of us is dragged kicking and screaming to rehab in readiness for a stint on the road when I notice it’s all gone quiet. I figure maybe Slash has fallen through his coffee table or something.
I figure there’s no point trying to talk someone down when they’re reaching the zenith of a five-day weekend so I call up management and tell them that our guitarist needs patching up and of course they say “which one?” and I say “the one with the hat – the one they’re calling the best of his generation”
and the girl who works over there, the girl who answers the phones she says to me – get this – she says wait a second, who’s calling please? and I say: It’s Axl, sweetie and she’s like, Oh, OK…Axl who? and I’m like, it’s Axl Foley from Beverley Hills Cop who the fuck you think it is?
And while all this is going on at home Slash is rolling around in shards of glass laughing and gurgling and trying to get his zippo to work so he can fire up another pipe and though I’d dearly love to fire his ass the fucker has a habit of bouncing back from these drug jags and either way another world tour starts in seventy-two hours.
Bad Apples Bad Obsession Back Off Bitch Breakdown Civil War Coma Dead Horse Double Talkin’ Jive Don’t Cry (Original) Don’t Cry (Alt. Lyrics) Don’t Damn Me Dust N’ Bones Estranged 14 Years The Garden Garden Of Eden Get In The Ring Knockin’ On Heaven’s Door Live And Let Die Locomotive My World November Rain Pretty Tied Up Perfect Crime Right Next Door To Hell Shotgun Blues So Fine Yesterdays You Ain’t The First You Could Be Mine
- Hey Axl. - Hey bro. What can I do for you? - Nothing. I just thought I’d say what’s up? - Cool, brother. You want an autograph or something? - Autograph? - Sure. Should I make it out to you, uh…? - Matt. - Excuse me? - I’m Matt. - Sorry, bro. Hey, you look really familiar. Have we met before? - Um, dude. I’m your drummer. - Shoot! Sorry, man. I’m a little fried right now. It’s the album. Too long in the studio. I’m leaving right now, but you should swing by sometime. - I did. But, you know, security wouldn’t let me in. - Did you call ahead? - No. Management said it would be fine. - Always call ahead. It’s kind of a rule. - Even for the band? - Only for the band. - OK. So, um, do you need me to come do my drum parts. - Nah. - No? - Nah. - How come? - It’s in hand. Don’t you worry about it. You know, I don’t want to hex it or anything, but I really think this is a classic album we’ve made together. Good vibes. You know? - Right. I mean, I’d love to hear it. - Dude, you totally will. All being well, it’s being released next September. - I don’t get to hear it beforehand? - Better not. - Why not? - Dude, I can’t just go playing it to anyone. It might get bootlegged, then I’d have to take out a bunch of law-suits. - But I am…you know, kind of in the band. - So? I’m in the band too, but I don’t hassle you about your drumming. - Sure, sure bro. But, I mean, you’ve not actually heard me drum yet. - That’s cool. - So you’ll let me hear it? - Nah. - OK. I mean, if you don’t mind me asking, when do we get to jam? - I’ll let you know bro. Just sit tight and wait for the call. - You told me that six months ago, guy. - I did? Are you sure? - Definitely. - Are you working right now? - Only for you. - Cool, cool. Well, you know, maybe you might want to think about getting a little part-time work. - Won’t that look a little funny though? I mean, I am in Guns N Roses: the worlds’ biggest rock band. - And baddest. You forgot baddest. - I mean, I’m in Guns N Roses: the world’s biggest and baddest rock band. - You are? Oh, right, yeah – the drummer! Sorry. I keep forgetting. I’m a little fried right now. It’s the album. Too long in the studio. Um. So can you play drums? - Sure. I’m the best in the business. I eat drums for breakfast. - Great. Congratulations then dude, you’re in. - In? - The band. You’re in Guns N Roses, dude! Welcome to the brotherhood. How do you feel? - Pretty good…I guess. - Awesome. - So when do we get to jam? - Soon, dude. Soon. Any day. I’ve just got about ninety-odd songs to finish off first. Then we’ll do some shows. That cool? - I...I guess. - Awesome. Nice talking to you Mitch. See you around dude. Keep living the dream.
He was just this weird little guy who looked like an Eskimo, dressed in a wool sweater, leather gloves and a baseball cap even though it was 90 out. He was also really impolite and there’s nothing I hate more than that.
After I’d recorded my solo he took it off the record anyway because apparently – I quote – “it sounds too much like Guns N Roses.” Yeah? And? Nah, I didn’t dig Dylan at all. But, you know, maybe he was just having one of those days?
So we’re slamming the free drinks and we’re feeling pretty damn good with vodka, whisky and big gins warming our bellies All the greats are there:
Bobby Brown Milli Vanilli New Kids Abdul Hammer Arsenio hosting
and suddenly they’re calling out our names: “…And the Favorite Heavy Metal/Hard Rock Artist Awards goes to…Guns N Roses!” and the sea of bodies parts and and we’re walking on jelly legs
up to the stage holding hands high as kites drunks as lords chuckling like school kids feeling like the dorks
that crashed the prom night and suddenly everyone is looking at us and Slash, God bless him, is rocking the mic, like “God we didn’t even expect this
Hey, come down and hang out at the show… and shit!” and we’re drinking champagne and then we’re getting called back up again
“…and the Favorite Heavy Metal/Hard Rock Albums Awards goes to Guns N Roses for Appetite For Destruction” and now we’re feeling cocky and full of love so we’re thanking people from the heart and
when you speak from the heart you don’t censor yourself so we’re liberal with our curse words but in a nice friendly warm way and we’re wrestling over the mic because we’re real
and it’s funny and we’re high and we’re G n R and afterwards it’s some big deal on the news and shit and those fuckers
never broadcast live again. It was as funny as shit and obviously the record keeps selling and selling and selling and selling.
The valley girl is a follower not a leader the second tier on the demographic chart;
the all-important floating voter, the leg-warmer share holder deely bopper-sporter retainer-wearer shitty hand-job giver Corvette-driver paternal manipulator Pac-Man player social-slummer prick-teaser pill-popper peroxide-abuser snatch-shaver drugs-sharer wine-barfer cum-spitter music-hater jail-baiter butt-fucker heart-breaker
between us we must have had hundreds of them
and sold albums to millions more
they’re all in the suburbs now a different demographic now rich from their real estate husbands bored from a lack of ambitions never needing always buying the proverbial pill popper dildo-fucker Botox-buyer Compulsive-spender pool-paddler Lexus-driver gossip-giver cum-swallower cookie-baker sex-swinger gin-drinker canasta-player therapy-dweller divorce-seeker alimony-chaser
you see porn sites devoted to them - things like Soccer Moms and Moms I’d Like To Fuck
and driving round the Valley today I wonder how many have had a Guns dick inside them at some point
and I wonder if any of their blue-eyed fucked-up kids belong to me.
“Immigrants and faggots, they make no sense to me, They come to our country and think they'll do as they please, Like start some mini Iran, or spread some fucking disease, They talk so many goddamn ways, it's all greek to me.”
Jesus. You only have to ask Elton or Freddie, God rest his soul. They’d tell it you straight out (no pun intended). I like faggots….but I couldn’t eat a whole one, ha, ha! But seriously,
I’ve had some bad experiences with homos in the past, diddling with me when I was kid and what-not. And all that N-word stuff, man, to all the haters I say: lighten up. I was making
a serious point about racism and prejudice and the way all y’all reacted just proved my point: that the world is fucked up, but maybe, just maybe, if we all open our hearts and our minds
one day all the fags and the blacks and the other afflicted minorities will join together with the real Americans to fight terror together and party on down to the music of G n’ F’ n’ R
and then I’ll be able to sit back and survey the black dudes fucking the white hos and the fags blowing each other’s poles and I’ll smile and I’ll be like, ‘I guess my work here is done’”.
(Lyrics from ‘One In A Million’ by Guns N Roses, picture by Sexton Ming)
“I can’t believe this shit I just read in Kerrang!...
“‘The interviewer asks Vince Neil about him throwing a punch at Izzy backstage at the MTV awards last year, and Vince replies ‘I just punched that dick and broke his fucking nose! Anybody who beats up on a woman deserves to get the shit kicked out of them. Izzy hit my wife, a year before I hit him.’
Well, that’s just a crock of shit. Izzy never touched that chick! If anybody tried to hit on anything, it was her trying to hit on Izzy when Vince wasn’t around. Only Izzy didn’t buy it. So that’s what that’s all about....
But this bit, man, where Vince says our manager, Alan Niven, wasn’t around, and that afterwards he walked straight past Izzy and me and we didn’t do a thing, that’s such a lot of bullshit, I can’t believe that asshole said those things in private, let alone to the fucking pres
The whole story is, Vince Neil took a pot-shot at Izzy as he was walkin’ off stage at the MTV awards, after jammin’ with Tom Petty, because Vince’s wife has got a bug up her ass about Izzy. Izzy doesn’t know what’s going on, Izzy doesn’t fuckin’ care. But anyway, Izzy’s just walked off stage. He’s momentarily blinded, as always happens when you come off stage, by coming from the stark stage-lights straight into total darkness side-stage.
Suddenly Vince pops up out of nowhere and lays one on Izzy. Tom Petty’s security people jump on him and ask Alan Niven, our manager, who had his arm around Izzy’s shoulders when Vince bopped him, asks if he wants to press charges. He asks Izzy and Izzy says : ‘Naw, it was only like bein’ hit by a girl!’ and they let him go.
Meantime, I don’t know nuthin’. I’m walking way up ahead of everybody else, and the next thing I know Vince Neil comes flying past me like his ass is on fire or something. All I saw was a blur of cheekbones! I tell ya, man, it makes my blood boil when I read him saying all that shit about how he kicked Izzy’s ass. Turn the fuckin’ tape recorder on. I wanna set the record straight.
I mean, when Vince did that, we were advised we could sue his ass off if we’d wanted to. But we said no, fuck it, who needs the grief? The guy’s a jerk. Fuck the courts, the guy needs a good ass-whippin’.
And now I read this - we get Kerrang! a little late here in LA - and I tell ya, he’s gonna get a good ass-whippin’, and I’m the boy to give it to him. It’s like, whenever you wanna do it, man, let’s just do it. I wanna see that plastic face of his cave in when I hit him.
There’s only one way out for that fucker now and that’s if he apologises in public, to the press, to Kerrang! and its readers, and admits he was lyin’ when he said those things in that interview. Personally, I don’t think he has the balls. But that’s the gauntlet, and I’m throwing it down. Hey, Vince, whichever way you wanna go, man : guns, knives, or fists, whatever you wanna do. I don’t care. Turn on the machine...”
(With thanks to ‘Stick To Your Guns’ by Mick Wall Kerrang!, 21 and 28 April 1990)
I, Axl: An American Dream is a book-length fictional re-imagining of William Bailey's journey from smalltown boy to internationally famous rock star W. Axl Rose, frontman with “the world’s most dangerous band”, Guns N’ Roses.
It ran from June 2008 - March 2009 and is archived here.
Using the medium of poetry, writer/journalist Ben Myers follows Rose from 1970s obscurity through LA’s hair metal scene of the '80s; from stadium rock nerk of the early 90s to the Nero-esque, pre-Chinese Democracy 'wilderness years'.
Controversial, volatile and defiantly strawberry blond, Rose becomes muse in this unique take on the rock biography, a place where fact collides with fiction and the American Dream is exactly that – a dream. By extension this is the tale of a country that got so big, so quickly, it went a little bit crazy and put cornrows in its hair.
'I, Axl' is available for print publication. Please contact ben_myers@btinternet.com
Or visit the main blog: www.benmyersmanofletters. blogspot.com
** To read chronologically, please start from 'June 2008' and work forwards. **