QUEEN Guitarist Not Feeling Snubbed By AXL ROSE - Dec. 17, 2008 QUEEN guitarist Brian May has responded to GUNS N' ROSES singer Axl Rose explanation for why May's contribution to the new GN'R album, "Chinese Democracy", didn't make it to the CD's final cut. In 1999, May recorded a guitar solo for new GN'R track "Catcher N' The Rye", which appears on "Chinese Democracy", but his efforts were subsequently removed from the final album version of the song. Rose explained the decision to keep Brian's track off the album by saying, "There's a few reasons, and none of them all that big and definitely not in spite or to slight anyone. First off, obviously I knew people liked the song, but the Brian appreciation really only showed up in force publicly after we had moved on in GUNS. In fact, not many seemed to care and most comments were aimed at why Slash, in their opinions, should be here. Brian's solo itself is a personal fave of mine and I really couldn't understand, as he's such a rock legend, why it wasn't openly appreciated more at the time. In actuality, all that feel and emotion referred to now had a lot to do with Sean [Beavan, one of the producers who worked on 'Chinese Democracy'] and I and the parts I chose out of Brian's different runs, versions, practice runs, etc., to make sure we had those elements in one version. It's entirely constructed from edits based around one specific note Brian hit in a throwaway take. And though Brian seems to have warmed a bit to it, at least publicly, he was unfortunately none too pleased at the time with our handiwork. I remember looking at Brian standing to my left and him staring at the big studio speakers a bit aghast saying, 'But that's not what I played.' Sean Beavan and I were not in any way tring to mess with Brian, we just did what we do and then try and do our best to stand up for our decisions." Writing on his official web site, BrianMay.com, May responded to Rose's comments with the following: "It's very simple really ... Axl is making his record, and he can do whatever he wants! After all these years, I'm still a huge fan. "It was such a long time ago, it tends to recede into the mists of time, for me ... I certainly don't remember anything about disapproving of any 'comping' Sean Beavan had done — I remember it, I had actually comped it up with him myself. Of course, soon afterwards, Sean was taken off the project, although I have to say I thought the tracks were overall sounding bloody good at that time! I'm not sure if we know where the version that was 'leaked' to the public came from. I have my own rough mixes, which I took away at the time for the purposes of working on the stuff further if necessary, but nobody but me has ever heard those. I kept them totally private, because that's the professional way to be. I actually played on three tracks. "The scenario was very different from what folklore seems to be embroidering it into. So maybe I ought to say something... "What happened, the way I remember it, was this. I had been on tour with GN'R, and had a very good relationship with them ... they were much kinder to me than they needed to be, as a support artist to them as they toured the USA and Europe. We had some great times. People will recall that GN'R also guested at our Freddie [Mercury] tribute concert, at the good old Wembley Stadium, as it was then. They did an amazing job on Dylan's 'Knocking on Heaven's Door', and they donated all the proceeds of their live recording to the newly-founded Mercury Phoenix Trust — that's a nice answer to anyone who accuses GN'R of being anti-gay. "Well, some time later, once I was back home, Axl phoned me up, out of the blue, and told me he felt he was losing his way over guitars on the tracks on the album, and asked me if I would come over for a couple of days to L.A. and have look. The idea was not that I become part of the band! It was more about me coming in as a friend, giving what I could to the project, as an objective outside opinion, and doing a bit of guitar playing as well. I said I'd be very happy to do that. His people booked me on plane, and I arrived a couple of days later. It was fun. Axl came down to the studio from his house, where he was also working in parallel on other stuff in his home studio, and, with Sean, played about 20 tracks to me ... pretty much almost the whole album as it stood at that time. That's a lot of listening time! But it was all fascinating. My comments were mainly appreciations, and reassurances, and I liked most of the guitar that was already on there, but I remember having strong 'producorial' feelings about making sure Axl's great vocals didn't get swamped in too much guitar ornamentation. "Then I played some guitar ... working with Sean. Over the next couple of days I went in and spent most of day there, trying things out on various tracks. Axl actually stayed away from that time on, getting Sean to take up rough mixes of what we'd been doing each night, and sending back appreciative comments. Then I went home!" You can read more of May's comments on BrianMay.com. http://www.roadrunnerrecords.com/blabbermouth.Net/news.aspx?mode=Article&ne wsitemID=111001 http://0rz.tw/2359s -- RAISE THE FIST OF THE METAL CHILD! --

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