Video of Eddie Van Halen Partying with Guns N’ Roses Member Surfaces Online!

Van Halen

Eddie Van Halen Celebrates His Birthday with Duff McKagan!

Duff McKagan’s Wife Susan Holmes McKagan shared a video of herself with husband Duff McKagan at Eddie Van Halen’s birthday party. Check it out below!

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Happy Birthday #EVH !!!We LoVE You! Killer nt w @officialduffmckagan celebratin’ your bday 🎸‼️🎉🎶🔥#comedians 🤣#salsadancinglessons 💃🏼🕺🏽and #cake 🎂oh my 💥 @janievanhalne u throw one hell of a partay 😀👌🏽😘💋Xxooxoxo 🤘🏼@eddievanhalen . . . . #happybdayeddievanhalen #vh #belatedbday #rocknrollbday #vansnroses #guitargods #happybdayed #dancethenigntaway #saturdaynights #janierocks #thankyoujanie

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Tool’s New Newsletter References Chris Pittman

According to Alternative Nation

Tool have released their January 2019 newsletter, and the band confirmed drummer Danny Carey’s new book Remember The Future, which will feature former Guns N’ Roses keyboardist Chris Pitman.  Tool are expected to release their new album in 2019, with Carey recently stating the record will be released in April or May.

I am excited to announce that Danny’s new book Remember the Future is finally at the printers. Over three years in the making, the coffee table-style glossy hardcover contains beautiful full color photos of nearly all of the vintage analog synthesizers in Danny’s impressive collection (many being museum quality), along with electronic percussion and related accessories. The book also features articles by Danny, Chris Pitman, Blair MacKenzie Blake and synth historians Brian Kehew, Jack Dangers, Darrel Johansen and Peter Grenader.

Having just approved the soft proofs (as the book’s editor {with some assistance by Greg ‘DailyGrail’ Taylor ), my best guess would be to look for the book (with the first edition limited to only 300 copies) in Danny’s webstore in a couple of weeks. Should the printing and shipping process go faster (or if pre-sales are offered), I will be sure to give an update.

“The decision was made to save up the money to come to L.A. and try my hand down here. My drum kit was a piece of something, so I sold that in Seattle. I had some money from work that I’d saved up. By this time, the Gibson EBO, I don’t know what happened to that thing… I got a Yamaha bass, and I had B.C. Rich double-cutaway, Les Paul Junior-type of guitar. I moved down here and pawned my guitar a couple of times. It turns out that guitar was stolen from L.A. five years prior to me coming to L.A. The cops came to my apartment and took the guitar away, so all I had left was a bass. I had sold my drum kit; my guitar was taken by the LAPD; and I had this Yamaha bass. That was right about the same time that I met Slash through an ad in the Recycler, and Izzy [Stradlin] had moved across the street. Bass was basically what I was going to play whether I liked it or not. That’s all I had, and things lined up for me perfectly that I was going to be a bass player. When Guns started was when I really started paying attention to bass players.”

On how he came to play Fender basses and getting a $30,000 paycheck:

“If you’re a bass player, Fender is the bass that all the greats played. That’s the one you want to play. I did not have the money to do that. [When] Guns started, I had this Yamaha bass [and] an acoustic 2×15 cabinet, which I still have. I don’t know what my head was, but I had a sound that cut through. Things happened with Guns — we started playing more and more in L.A., attracting bigger and bigger crowds, and we were writing what we thought were great songs. Record companies started coming to gigs, and we got signed. It did not happen overnight — I’m just shortening the story — [but] my point [is] we got an advance, money to get gear and tattoos and stuff. We rehearsed right behind the Guitar Center on Sunset [Blvd.] in Hollywood, so as a result, you would go around the corner, go into Guitar Center and see the stuff you couldn’t afford on a weekly basis. This Japanese Fender Jazz Special — this beautiful-sounding white guitar with [a] black neck — was my dream bass. I would play it — I would be that guy who would come into Guitar Center and play the thing: ‘He’s here again, and he’s not going to buy stuff.’ We got our advance, and Slash and I went out to the Valley to cash the check for the band — our portion of the advance. The bank teller was like, ‘That’s a lot of money’ — $30,000 for us to split to get gear — and they were not going to cash this check for us. They thought we had stolen the check, and they had to call… Anyhow, we cashed the check, got the money and went straight to Guitar Center. I went in and I bought that bass. Finally, I had my Fender bass… That Japanese Fender Jazz Special bass that I originally bought was the only one I took on the road for the ‘Appetite’ tour.”

On finding his sound:

“The [bass] tone you hear on ‘Appetite [For Destruction]’ is like a funk sound. I had to find the place to fit between Izzy’s thinner guitar, Steven’s [Adler] kick and snare and Slash’s thicker, all-encompassing guitar and the vocal. That’s really important [to] find your space as a bass player… and being comfortable in that space and owning that space, and not trying to outshine anybody else in the band, or on the other hand, don’t get taken over by a drummer who just wants to play fills on every break. You’ve got to massage all that stuff together.”