^ That was the album prior. Still some of his best playing too.

For me it's the fact that I DO LIKE the songs slash writes that makes it hard.

They're what would have been the UYI style rockers just without Axl's lyrics.

We've been experiencing this our whole lives - "Dime Store Rock" on it's "It's 5'Oclock Somewhere",  Eponymous album's "By The Sword", i could list songs from Every slash release that would have made amazing GNR tracks if only they would co-operate.

I want to be positive about this - when you think artists only put out so much in their life time - in a way any release is a good release - but it's hard not to see the opportunity cost for GNR.

Still - if the alternative is silence and retirement I'll take it - I think an Axl/Dc album will turn out to be a huge rock record, and love him or hate him - myles and slash play well together - the only issue is that you'd assume realistically if they tour these projects that will be an 18 month cycle at the least - if Ac/Dc really takes off it could easily be 2 years.

Then factor in at least a 3-6 month break a couple of times, then regrouping time to consider writing/recording for a new GNR project and it starts to look very far away even if they did display the desire to do it - I mean that can easily blow out to 2022 or later.

I know i'm negative and anxious and say this all the time - but I look at these guys medical backgrounds with the lifestyles they led and I wonder how many years of prime health are left in the tank.

I'd take the solo projects over nothing of course and i'll probably really love them - but yeah - one day we will wake up to the news a new GNR record is actually impossible - so with every passing year it gets harder to watch the inaction as a fan.

I'll be an asshole and list the negatives first:

* Axl is known to fire people in a rage then rehire them the next day often
* Several people have had issues getting paid after working for the band
* The band is involved in litigation and disputes more than most
* Multiple people have experienced workplace bullying.
* As an employer the band didn't seem to respect a health problem bumble developed.
* Many creative projects the band started (music/videos etc) have never been released so your work may be tied up for decades or forever.

On the other hand:

* Axl and Slash are amongst the most talented musicians of multiple generations.
* GNR is a global brand with a huge history.

So basically most people would look at those pros and work for them despite the previous list of cons. That's how they get away with it!

Glad it's not just me.

All my GNR mates hate this song, but I listen to that vocal melody and the power of Axl's voice in it and I think it's awesome.

As for the remix.

The leaked sample of This I love featured (imo) a better vocal performance than the original album version. So i'd love to see something done with that.

To my taste I didn't really like any of the other remixes that I heard - brain and melissa's versions - they're just fun dance songs but to my interests not better than the originals.

I'd be interested in Slash and Duff "remixes" though - like a studio version of the way they play them live now - with the original vocals - or with the TIL remix vocals. That would be amazing. But probably won't happen either.

There was some litigation around that for a time.

The labels were trying to keep digital sales on the bases that the bands contract says they get paid for CDs and Records.

But there was the reverse argument that the band was paid for "copies sold of the recording" and digital sales are obviously copies even if when the contract was signed copies ment tapes and vinyl or whatever.

I think in some cases it came down to the exact wording in the contract. Like does the contract say you are paid X for "every copy sold" or X for "every record sold" and other fun and games like that. Or are they paid for recordings produced or sold - that can be different too.

Lot of shonky stuff in record contracts. For example they often have a clause that the label can deduct "breakages" from artist sales. this was a clause that existed back when records were smash-able and a certain amount would be destroyed going to the store. Funnily enough that doesn't happen with files uploaded to itunes...but there's probably still a clause in most of them allowing for label to deduct a certain amount of assumed breakages anyway.

Of course in modern contracts the labels often give you less of a good rate for digital than for physical too (for no reason). Likewise they try and get into all the revenue streams too like wanting a cut of t-shirts or tours - which never existed in old contracts.

So in short...it can go either way...sometimes a legacy deal is actually a better deal for the artist than they would get these days.