It's time to admit, Paul Tobias was actually a good writer

wasted

jimmythegent wrote:

wasted wrote:
James wrote:
It gets even more interesting if Slash and Duff are truly working on CD tracks for the next album. If Huge has credits all over it and Slash is ok with this, then the 95 breakup was beyond pointless.
New GNR fans definitely have to start giving him credit where it's due. A lot of these songs are just him and Finck. There's also nothing wrong with his rhythm tracks, especially now that we can hear them full throttle.
Didn’t Huge write Shadow of your Love? The comeback single.
It wasn’t writing wise, it was playing with him or something. The solution was to let Axl write with Paul and let Gilby record and tour. To break up the band over the rhythm guitarist was lame.
This might have been viable with Izzy and hopefully is still an idea being entertained.
But for Paul Huge to waltz in and assume that spot - I can see how that irked Slash et al... him being a charisma-vacuum wouldn’t have endeared him any either
While he may not quite be Paul “Yoko” Huge, he was still a power play pawn for Axl.
At any rate, Fortus is the perfect second fiddle to Slash in this current lineup.
Can play all eras including the technical Chinese era and seems largely ego-less to boot. And to the casual fan, he fits the bill like a glove in terms of looking like what the public consciousness thinks a member of GnR should look like

I think it was more that Slash had to play with Huge then him writing with Axl. They could have kept Gilby really. I think the actual problem was that Slash wouldn’t help Axl with his stuff. So Paul got that job on Catcher, Twat, Prostitute, IRS. To be fair having Gilby limited the band because all they could do was hard rock. All speculation.

There’s always been a ton of different writers in GNR. In someways I’m glad they broke up instead of them doing more generic Aero Stones material. Guns seem more like Zepp to me now, not prog rock but definitely progressive in someways.

I hope they do 20 minute song with a 10 minute Slash solo, like ITW meets Safari Inn. If Nothing gets flamenco’d and then Slash does a long solo I’ll fly to Burbank and hang out by the pool.

jimmythegent

The band was clearly so fractured and burned out at that point.

As far as writing is concerned, they needed one Izzy Stradlin... Gilby was a touring hand essentially and for whatever reason, Uncle Axl decided he was not up to the job of assisting with writing - how he came to that conclusion remains of interest

But if Paul Huge is the answer, the question being asked is wrong...

wasted

jimmythegent wrote:

The band was clearly so fractured and burned out at that point.
As far as writing is concerned, they needed one Izzy Stradlin... Gilby was a touring hand essentially and for whatever reason, Uncle Axl decided he was not up to the job of assisting with writing - how he came to that conclusion remains of interest
But if Paul Huge is the answer, the question being asked is wrong...

Axl said he coudn’t write WITH Gilby. Sure Gilby could write a tune or something. But with Slash not working with Axl he had no one to help with his stuff. That’s where Huge came in. Izzy was more of a feeder of Slash than an Axl enabler. Huge meant Axl could get his songs done without Slash. I think that’s how Huge gets credits on Shadow or Back off, he was hanging with Axl. He’d play a riff and Axl would use it. I think Huge worked on Catcher with Axl and that’s something from 98? Without Huge CD process doesn’t really get going.

Huge is the answer to how did Axl write IRS, Catcher, Twat, Prostitute.

jimmythegent

The new Sorum book should shine a light ion this some more.. Will be fascinating as he had as contentious a relationship as any with Huge seemingly .

Will be interesting to get his say - we already know he dubbed him Paul 'Yoko' Huge so there's clearly no love lost...

-D-

Here is how I view Paul's songwriting
If you took the riffs out of jungle scom PC brownstone RQ etc etc and the song ls started with the vocals and had the same chord progressions.. that's a paul song but he isnt able to write the classic iconic rememberable riff that make songs classic
I could give Axl a bunch of chord progressions to sing over and he could make a decent album from it cause hes Axl

elevendayempire

-D- wrote:

Here is how I view Paul's songwriting
If you took the riffs out of jungle scom PC brownstone RQ etc etc and the song ls started with the vocals and had the same chord progressions.. that's a paul song but he isnt able to write the classic iconic rememberable riff that make songs classic
I could give Axl a bunch of chord progressions to sing over and he could make a decent album from it cause hes Axl

I mean, Paradise City started with the chord progressions. The iconic intro was added later.

Re: It's time to admit, Paul Tobias was actually a good writer

Re: It's time to admit, Paul Tobias was actually a good writer

Re: It's time to admit, Paul Tobias was actually a good writer

Re: It's time to admit, Paul Tobias was actually a good writer

Re: It's time to admit, Paul Tobias was actually a good writer

Re: It's time to admit, Paul Tobias was actually a good writer

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