Rock, Metal The best music site on the web there is where you can read about and listen to blues, jazz, classical music and much more. This is your ultimate music resource. Tons of albums can be found within. http://theblues-thatjazz.com/en/rock/93.html Thu, 06 Oct 2022 01:20:23 +0000 Joomla! 1.5 - Open Source Content Management en-gb Guns 'N’ Roses – Appetite For Destruction (1987) http://theblues-thatjazz.com/en/rock/93-gunsnroses/139-appetitedestruction.html http://theblues-thatjazz.com/en/rock/93-gunsnroses/139-appetitedestruction.html Guns 'N’ Roses – Appetite For Destruction (1987)


1. "Welcome to the Jungle" 
2. "It's So Easy" 
3. "Nightrain" 
4. "Out Ta Get Me" 
5. "Mr. Brownstone" 
6. "Paradise City" 
7. "My Michelle" 
8. "Think About You" 
9. "Sweet Child o' Mine" 
10. "You're Crazy" 
11. "Anything Goes" 
12. "Rocket Queen"

Bass, Backing Vocals – Duff "Rose" McKagan
Drums – Steven Adler
Guitar [Rhythm, Lead], Acoustic Guitar – Slash
Guitar [Rhythm, Lead], Backing Vocals, Percussion – Izzy Stradlin'
Lead Vocals, Backing Vocals, Synthesizer, Percussion – W. Axl Rose 

 

Guns N' Roses were formed in 1985 and eventually signed to Geffen records after two years of hard graft (and, one suspects, just as hard playtime) in the rock clubs of LA. It was these two years of bawdy experience that would be the inspiration for their first album, Appetite for Destruction.

And this is what makes Appetite such an oddity. It inhabits a strangely hermetic place, concerning itself as it does with the scene in which the band were born, whether it be the band's girlfriends (Sweet Child O'Mine, My Michelle), their chemical intake (Mr Brownstone, Rocket Queen) or just LA, itself (Welcome to the Jungle).

Even the band's appearance verged on the parodic. While they were at odds with the prevalent glam metal stylings of bands like Mötley Crüe (with whom they toured) or Bon Jovi, the band themselves - all cowboy boots, bandanas and leather - hardly broke the mould. Yet they traded on a dynamic that balanced them between the lifestyle they portrayed and the no-nonsense kick-ass aesthetic of their sound. Punk metal was born.

And let's make no bones about it: this band could play. Steven Adler's drums sound huge, while Slash's riffs had yet to descend into cliché, his snarling Les Paul force-fed through a growling wah-wah. Axl Rose's cartoon squeal of indignation was the perfect summation of the band's philosophy of good times to be had living on the 'edge'. Appetite... never lets up. Never had hedonism sounded so good.

But perhaps the real innovation about this band was the way they were marketed. Having lost touch with their grass roots support while recording this album, it was David Geffen's intervention at MTV that saw their video for Welcome to the Jungle put on rotation, opening the wallets of middle America and, eventually, the rest of the world. This was metal for a new age of the media.

Of course, the band couldn't make a move without courting infamy. The original 'robotic rapist' sleeve by hot rod icon Robert Williams had to be withdrawn after protesters began to boycott the album. Re-sleeved, the album racked up sales of 25 million. It remains GN'R's crowning glory.

Whatever your thoughts on Axl and company today, on Appetite... the band was hungry, capable of turning on the fireworks and, most importantly, making a noise that your parents would detest. ---Dennis O'Dell, BBC Review

 

Dla mnie Appetite For Destruction stanowi doskonały przykład płyty... doskonałej, jeśli chodzi o rock. To kwintesencja rockowego ognia, ale też wrażliwości, kunsztu, wyczucia. Docenić należy również talent Guns N’ Roses do rozwijania klasycznych wzorców hardrockowych i tego typu mocnej muzyki z lat siedemdziesiątych. Inna sprawa to historyczne znaczenie tej płyty. Appetite For Destruction ukazała się wszak w czasach, gdy „szczery brud” ustępował w rocku miejsca „plastikowym” tworom. Ogromnie bezpośredni, bardzo ekspresyjny przekaz Gunsów odegrał więc wielką rolę. Zaraz też trzeba wspomnieć o wspaniałych, natychmiast wbijających się w mózg melodiach, czyli o hitach z tego albumu. Appetite For Destruction to prawie same hity, zespołowego autorstwa Gunsów (tylko w It’s So Easy i Anything Goes przypada im skromniejsza rola współautorów).

Welcome To The Jungle. Już tytuł sam zapowiada dzikość. Ten kawałek pędzi na złamanie karku. Aż trafia na refren z – tak charakterystycznym dla krzykliwego W. Axla Rose’a – shanana... knees! i na „page’owską” solówkę gitarową Slasha. Patetyczne zwolnienie i... powrót do bezlitosnego łojenia. Nie ma wątpliwości, że Gunsi doskonale wiedzieli, jaka jest najlepsza recepta na hardrockowy przebój. Take me down to The Paradise City, where the grass is green and the girls are pretty… To zna każdy rockman. Paradise City łatwo się nuci, fajnie brzmi, a przyłożenie potężnym riffem po wstępie jest majstersztykiem. Na Appetite For Destruction Axl i spółka odsłaniają także swoją wrażliwszą, łagodniejszą stronę – w takim Sweet Child O’ Mine. Rzeczywiście, piękna to pieśń, ale czy ten charakterystyczny motyw gitarowy może zwyciężyć ze Smoke On The Water czy Whole Lotta Love? Według niektórych jest to możliwe – patrz ankieta „Guitar World”. Mało? Gunsi na pewno nie próbują prowadzić słuchacza do jakiegoś hardrockowego muzeum. W It’s So Easy fundują nam niemalże punkową jazdę. Podobnie jest w przypadku fenomenalnego, kapitalnie zwięzłego You’re Crazy, który zawiera niesamowity ładunek rockowej energii. Za to na koniec proponują reczy bardziej urozmaicone brzmieniowo (Anything Goes; Rocket Queen).

Teksty... Na pewno już dobre pojęcie o nich daje przytoczony wyżej cytat z Paradise City. Mamy na Appetite For Destruction buntowniczy Out Ta Get Me i romantyczny Sweet Child O’ Mine. W mroczny sposób o miłości mówi My Michelle. Pojawia się także swego rodzaju odpowiedź na stonesowski Brown Sugar – Mr. Brownstone. ---Łukasz Wewiór, terazrock.pl

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administration@theblues-thatjazz.com (bluesever) Guns ‘N’ Roses Sun, 11 Oct 2009 15:10:45 +0000
Guns N' Roses - Family Tree (2010) http://theblues-thatjazz.com/en/rock/93-gunsnroses/4220-guns-n-roses-family-tree-2010.html http://theblues-thatjazz.com/en/rock/93-gunsnroses/4220-guns-n-roses-family-tree-2010.html Guns N' Roses - Family Tree (2010)

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CD 1:

01. Anything Goes
02. Welcome To The Jungle
03. No More Mr.nice Guy (Alice Cooper´s Song)
04. Sex Action
05. Sweet Child O´mine
06. Killing Time
07. Elected (Alice Cooper s Song)
08. My Michelle (Guns N Roses Song)
09. It´s So Easy
10. Last Cigarette
11. You´re Crazy
12. Nice Boys

CD 2

01. Pour Some Sugar On Me (Dep Leppard´s Song)
02. Rocker
03. Mr. Brownstone
04. Toys In The Attic (Aerosmith´s Song)
05. Jailbreak (Thin Lizzy´s Song)
06. Used To Love Her
07. Gypsy
08. Wanted Dead Or Alive (Bon Jovi´s Song)
09. Patience
10. Don´t Cry
11. Shadow Of Your Love
12. Lay It Down

 

Guns N' Roses took the music scene by storm in the 80's with their wild image, irreverent attitudes and a musical repertoire that covered all points of the compass, attracting rockers as well as pop music fans and starry eyed adolescents. Their legacy and influence is indisputable. Family Tree is an impressive album, which the original group itself may never have imagined. With dramatic graphic presentation and remasterized sound, Family Tree presents 24 tracks over the course of 2 CDs and that cover the innumerous projects that the members of the band undertook beyond the group itself. We find gems such as Hollywood Rose (Axl Rose's first band, along with Tracii Guns), the LA Guns (the band Tracii formed after leaving Hollywood Rose) and Gilby Clark accompanied by visionaries such as the singer of Quiet Riot or Ratt, or Slash playing impressive duets with Roger Daltrey (The Who) or Tommy Shaw (Styx) as well as bassist Duff McKegan playing alongside members of the The Cult and Sex Pistols. As if all of these gems weren't enough, Family Tree includes an unknown version of Nice Boys in the hands of the original GNR members. In short, a must have for any true fan of this legendary group! ---Editorial Reviews, amazon.com

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administration@theblues-thatjazz.com (bluesever) Guns ‘N’ Roses Fri, 09 Apr 2010 13:04:41 +0000
Guns N' Roses - Use Your Illusion II (1991) http://theblues-thatjazz.com/en/rock/93-gunsnroses/8122-guns-n-roses-use-your-illusion-ii-1991.html http://theblues-thatjazz.com/en/rock/93-gunsnroses/8122-guns-n-roses-use-your-illusion-ii-1991.html Guns N' Roses - Use Your Illusion II (1991)

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1. "Civil War" (Axl Rose, Slash, Duff McKagan)
2. "14 Years" (Rose, Izzy Stradlin)
3. "Yesterdays" (Rose, West Arkeen, Del James, Billy McCloud)
4. "Knockin' on Heaven's Door" (Bob Dylan) play
5. "Get in the Ring" (Rose, Slash, McKagan)
6. "Shotgun Blues" (Rose)
7. "Breakdown" (Rose)
8. "Pretty Tied Up" (Stradlin)
9. "Locomotive" (Rose, Slash)
10. "So Fine" (McKagan) play
11. "Estranged" (Rose)
12. "You Could Be Mine" (Rose, Stradlin)
13. "Don't Cry (Alternate Lyrics)" (Rose, Stradlin)
14. "My World" (Rose)

Personnel:
Axl Rose - lead vocals, piano
Slash - lead guitar
Izzy Stradlin - rhythm guitar, backing vocals, lead vocals (track 2)
Duff McKagan - bass, backing vocals, lead vocals (track 10)
Matt Sorum - drums, percussion
Dizzy Reed - piano, organ, keyboards, backing vocals

Steven Adler - drums, percussion (track 1)
Howard Teman - piano (track 10)
Shannon Hoon - vocals (track 13)
Johann Langlie - keyboards, drums and sound effects (all in track 14)
Josh Richman - speech (track 4)
The Waters - backing vocals (track 4)

 

When Guns n' Roses recorded their major-label debut in 1987, after a few years of slogging in L.A. clubs, they titled it Appetite for Destruction. It was a proclamation that they would rail against and knock down anything that stood in their way; it would become a banner adopted by millions who wanted to turn their dead-end street into a freeway. Four years later, when the band is closer to its destination than its members ever had any right to expect, Guns n' Roses release two follow-up albums: Use Your Illusion I and II. The title is a confession; now that the physical barriers are gone and nothing stands in their way except maybe their own myth, they've got to set their sights on something less tangible. "Old at heart," Axl Rose sings on "Estranged," from II, "but I'm only twenty-eight." Like Aerosmith in the classic "Dream On," they realize that to go on, you've got to have faith. During the fifty-three and a half minutes of Appetite, the guitars antagonized, the drums slammed, and Axl howled about their savage lifestyle, the perils of drugs, the glory of booze, dreaming of Eden, wide-eyed romantic love, their oppressors and sex. Old-fashioned rock & roll stuff, it proved they were hard; it proved they were bad; it proved that metal could rise again; it sold 14 million copies and remained on the charts for three years. During the seventy-five and a half minutes of Use Your Illusion II, the guitars antagonize, though now with more dexterity, varying in tempo and mood; the drums slam, though now at the hands of new band member Matt Sorum; and Axl of course howls, but he also whispers, croons, talk-sings and plays piano like he did back in Indiana, up in his room, idolizing Elton John. In the four years that have passed since Guns n' Roses first combined opposing symbols and upset the apple cart with willful disregard for rock & roll legend, interest in the band hasn't waned: 18,000 people will actually wait for them to come out onstage two hours late; the single "You Could Be Mine," off II and featured in Terminator 2, has sold nearly 2 million copies; and the band's slightest misstep becomes controversy and turns established magazines and newspapers into veritable Guns n' Roses fanzines. No wonder they take themselves so seriously.

With Use Your Illusion II, the band rewards the loyal legions – with fourteen songs, which range from ballad to battle, pretty to vulgar, worldly to incredibly naive. The seven-minute power ballad "Civil War," which opens the album (and which previously appeared on the Romanian orphan-relief album Nobody's Child), begins with fingers studiously squeaking on acoustic-guitar strings and a few lines of dialogue from Cool Hand Luke, then drops the band's characteristic patriotism for amplified rage and a sober look at political deceit: "So I never fell for Vietnam/We got the wall of D.C. to remind us all/That you can't trust freedom when it's not in your hands." Because the band is reaching beyond its own experience on this song, Axl's question "What's so civil 'bout war, anyway?" – backed by thunderclaps and rainfall – is almost excusable. The outstanding cover of Bob Dylan's "Knockin' on Heaven's Door" is epic, beautiful and heartfelt, with little flourishes like guns cocking behind the obvious verse ("Mama put my guns in the ground/I can't shoot them anymore") and Axl wailing as only Axl does, through his discolored teeth, turning vowels into primitive cries of pain or resolve. Quite a few songs mine the territory of love gone awry: the spiteful "14 Years," the disillusioned "Locomotive," the lonely (and very long) "Estranged" and the bittersweet "Don't Cry" (a different version from the one that appears on I), which is chapter 2 of "Sweet Child o' Mine," the song that, at least in the summer of '88, bridged the distance between rural route and urban drawing room. The clunkers on II are "Shotgun Blues," a sonic assault with surprisingly little impact, and "Get in the Ring," which challenges the band's detractors by name but basically hits below the belt. On Appetite it was "Feel my serpentine"; on Illusion II it's "Suck my fuckin' dick" – meant in a different spirit, yes, but it's beneath them just the same. Axl Rose has stopped teasing his hair, taken a few of the chains off his cowboy boots, left the pink lipstick to Skid Row's Sebastian Bach and gotten a bit of perspective. So he shouldn't be bothered by his critics, because even with years of practice, no one has come close to that snaky dance of his, that dance that whips victimization, menace and struggle into one fluid, triumphant motion. --Rolling Stone Reviews

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administration@theblues-thatjazz.com (bluesever) Guns ‘N’ Roses Fri, 04 Feb 2011 19:36:54 +0000
Guns N’ Roses - The Spaghetti Incident (1993) http://theblues-thatjazz.com/en/rock/93-gunsnroses/9648-guns-n-roses-the-spaghetti-incident-1993.html http://theblues-thatjazz.com/en/rock/93-gunsnroses/9648-guns-n-roses-the-spaghetti-incident-1993.html Guns N’ Roses - The Spaghetti Incident (1993)

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1 Since I Don’t Have You
2 New Rose
3 Down On The Farm
4 Human Being
5 Raw Power			play
6 Ain’t It Fun
7 Buick MacKane - Big Dumb Sex		play
8 Hair Of The Dog
9 Attitude
10 Black Leather
11 You Can’t Put Your Arms Around A Memory
12 I Don’t Care About You - Look At Your Game, Girl

Guns N' Roses:
W. Axl Rose – lead vocals, kazoo on "Human Being"
Slash – lead guitar, co-lead vocals on "Buick Mackane (Big Dumb Sex)"
Duff McKagan – bass guitar, backing vocals, acoustic guitar, lead vocals and drums on "You Can't Put Your Arms Around A Memory",
lead vocals on "New Rose" and "Attitude", co-lead vocals on "Raw Power" Dizzy Reed – keyboards, piano Matt Sorum – drums, percussion, backing vocals Gilby Clarke – rhythm guitar, backing vocals

 

As punk albums go, The Spaghetti Incident? lacks righteous anger and rage. As Guns N' Roses albums go, it's a complete delight, returning to the ferocious, hard-rocking days of Appetite for Destruction. The Gunners play Stooges and New York Dolls songs exactly as they do Nazareth -- as straight-ahead, driving riff-rockers. After the epic Use Your Illusions, the band sounds like it's having fun, not caring about making "art" like "November Rain" or "Estranged." Unfortunately, the tacked-on Charles Manson song leaves a bad aftertaste, but not because of the song itself; the inclusion of the song seems like a publicity-seeking stunt, a way to increase their sales while trying to regain their street credibility. And as The Spaghetti Incident? proves, they didn't need to stoop so low. ---Stephen Thomas Erlewine, AllMusic Review

 

Trochę szkoda, że ostatni album Guns N' Roses nagrany ze Slashem i Duffem McKaganem w składzie, a także ostatni przed 15-letnią przerwą wydawniczą, to tylko zbiór coverów. Zresztą nie do końca przekonujący. O ile na otwarcie pojawia się zaskakujący "Since I Don't Have You" z repertuaru The Skyliners - brzmiący bardzo nietypowo na tle własnego repertuaru Gunsów, a dzięki temu intrygująco - tak później jest co najwyżej przeciętnie.

Dużo tutaj punk rocka ("New Rose" The Damned, "Down on the Farm" U.K. Subs, "Attitude" The Misfits, "Black Leather" The Professionals, "I Don't Care About You" Fear) i proto-punku ("Human Being" New Your Dolls, "Raw Power" The Stooges, "Ain't It Fun" Rocket from the Tombs). Co ciekawe, w wielu z tych utworów rolę głównego wokalisty pełni McKagan ("New Rose", "Raw Power", "Attitude"), a "You Can't Put Your Arms Around a Memory" z repertuaru Johnny'ego Thundersa (ex-gitarzysty New York Dolls) to wręcz jego solowe nagranie - nie tylko zaśpiewał tu i zagrał na basie, ale także na perkusji i gitarze akustycznej. Z zespołu poza nim występuje tu tylko Dizzy Reed (odpowiada za chórki), a poza tym gościnnie udziela się gitarzysta Richard Duguay. To wszystko na pewno urozmaica ten album, ale tak naprawdę niewiele wnosi do twórczości grupy. Na albumie znalazły się także przeróbki "Buick Mackane" glamowego T.Rex (z cytatem z "Big Dumb Sex" Soundgarden) oraz "Hair of the Dog" hard rockowego Nazareth - obie niezbyt ciekawe, zwłaszcza w porównaniu z oryginałami.

Całości dopełnia "ukryty" utwór "Look at Your Game, Girl" napisany przez Charlesa Masona - przywódcę sekty Rodzina, który namawiał swoich wyznawców do dokonywania brutalnych morderstw (ich ofiarą była m.in. aktorka Sharon Tate, żona Romana Polańskiego). Za gloryfikowanie przez zespół takiego zwyrodnialca, w celu wzbudzenia kontrowersji i zwiększenia wokół siebie zainteresowania, należy się dodatkowe obniżenie - i tak niskiej - oceny. Warto jednak zaznaczyć, że większość zespołu była przeciwna nagrywaniu i umieszczeniu na płycie tego kawałka, co jednak nie wzruszyło Axla Rose'a, który zarejestrował go jedynie z pomocą Dizzy'ego Reeda. ---pablosreviews.blogspot.com

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administration@theblues-thatjazz.com (bluesever) Guns ‘N’ Roses Thu, 07 Jul 2011 11:13:27 +0000
Guns N’ Roses – Lies (1988) http://theblues-thatjazz.com/en/rock/93-gunsnroses/8106-guns-n-roses-lies-1988.html http://theblues-thatjazz.com/en/rock/93-gunsnroses/8106-guns-n-roses-lies-1988.html Guns N’ Roses – Lies (1988)

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01. Reckless Life 03:21
02. Nice Boys 03:03 play
03. Move To The City 03:42
04. Mama Kin 03:57
05. Patience 05:56
06. Used To Love Her 03:13 play
07. You're Crazy [Acoustic Version] 04:10
08. One In A Million 06:10

Personnel
* W. Axl Rose - lead vocals,
* Slash - lead guitar, acoustic guitar on track 5-8, backing vocals,
* Izzy Stradlin - rhythm guitar, backing vocals, acoustic guitar on track 5-8,
* Duff McKagan - bass guitar, backing vocals, acoustic guitar on track 5-8,
* Steven Adler - drums, percussion, backing vocals.

 

Once Appetite for Destruction finally became a hit in 1988, Guns N' Roses bought some time by delivering the half-old/half-new LP G N' R Lies as a follow-up. Constructed as a double EP, with the "indie" debut Live ?!*@ Like a Suicide coming first and four new acoustic-based songs following on the second side, G N' R Lies is where the band metamorphosed from genuine threat to joke. Neither recorded live nor released by an indie label, Live ?!*@ Like a Suicide is competent bar band boogie, without the energy or danger of Appetite for Destruction. The new songs are considerably more problematic. "Patience" is Guns N' Roses at their prettiest and their sappiest, the most direct song they recorded to date. Its emotional directness makes the misogyny of "Used to Love Her (But I Had to Kill Her)" and the pitiful slanders of "One in a Million" sound genuine. Although the cover shrugs them off as a "joke," Axl Rose's venom is frightening -- there's little doubt that he truly does believe that "faggots" come to America from another country and that "niggers" should stay out of his way. Since he wasn't playing a character on the remainder of the album, there's little doubt this is from the heart as well. And what makes it harder to dismiss is the musical skill of the band, which makes the country-fried boogie of "Used to Love Her," the bluesy revamp of "You're Crazy," and the tough, paranoid fever dream of "One in a Million" indelible. So, you either listen to the music and are satisfied or else listen to the lyrics and become disturbed not only by Rose's intentions, but by the millions of record buyers that identified with him. ---Stephen Thomas Erlewine, AllMusic Review

 

 

Oficjalnie wydany jako EPka, "GN'R Lies" zawsze traktowany był jako album studyjny. Chociaż bardziej zasłużył na miano kompilacji. Pierwsze cztery utwory pochodzą z EPki "Live ?!*@ Like a Suicide", oryginalnie wydanej jeszcze przed debiutanckim albumem grupy. Wszystkie cztery kompozycje udają nagrania koncertowe - w rzeczywistości zarejestrowano je w studiu, a odgłosy publiczności pochodzą z festiwalu Texxas Jam, który odbył się pod koniec lat 70. (Gunsi oczywiście na nim nie występowali). Później muzycy tłumaczyli się, że chcieli naprawdę zarejestrować ten materiał na żywo, ale wydawca uznał, że koszt takich nagrań będzie zbyt wysoki. Na repertuar złożyły się przeróbki "Nice Boys" Rose Tattoo i "Mama Kin" Aerosmith, jak również dwie autorskie kompozycje: hard rockowy "Reckless Life", stworzony jeszcze w czasach gdy grupa nazywała się Hollywood Rose, a także mało gunsowy "Move to the City", wzbogacony sekcją dętą. Druga połowa "GN'R Lies" to utwory akustyczne. Całkiem nieźle wypadają dwa pierwsze, wyjątkowo zgrabne "Patience" (kolejny przebój grupy) i "Used to Love Her". Za to kolejne dwa - "You're Crazy" (w ostrzejszej wersji znany już z "Appetite for Destruction") i "One in a Million" - są po prostu nużące. --pablosreviews.blogspot.com

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administration@theblues-thatjazz.com (bluesever) Guns ‘N’ Roses Thu, 03 Feb 2011 09:40:16 +0000
Guns N’ Roses – Use Your Illusion I (1991) http://theblues-thatjazz.com/en/rock/93-gunsnroses/8117-guns-n-roses-use-your-illusion-i-1991.html http://theblues-thatjazz.com/en/rock/93-gunsnroses/8117-guns-n-roses-use-your-illusion-i-1991.html Guns N’ Roses – Use Your Illusion I (1991)

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1. Right Next Door To Hell (3:03)
2. Dust N' Bones (4:58)
3. Live and Let Die (cover Wings) (3:04)
4. Don't Cry (Original) (4:45)
5. Perfect Crime (2:23)
6. You Ain't The First (2:37)
7. Bad Obsession (5:28) play
8. Back Off Bitch (5:03) play
9. Double Talkin Jive (3:24)
10. November Rain (8:58)
11. The Garden (5:22)
12. Garden Of Eden (2:41)
13. Don't Damn Me (5:19)
14. Bad Apples (4:28)
15. Dead Horse (4:18)
16. Coma (10:14)

Personnel:
* Axl Rose – lead and backing vocals,piano,synthesiser.
* Slash – lead /rhythm guitar
* Izzy Stradlin – rhythm/lead guitar, lead and backing vocals.
* Duff McKagan – bass, backing vocals
* Matt Sorum – drums, percussion, backing vocals
* Dizzy Reed – keyboards, piano, synthesizer

 

It had been four years since Guns n’ Roses had put out their last full studio album, which also happened to be their first studio album and the biggest selling debut of all time, Appetite For Destruction. With fans and critics alike eager for new material, the band unloaded a great volume of music on September 17, 1991, the day they released the equivalent of two double albums, Use Your Illusion I and Use Your Illusion II.

With these albums, especially Use Your Illusion I, the band demonstrated much growth and expansion of style, including elements of country, blues, and progressive rock, while maintaining the hard rock edge which made Guns n’ Roses famous in the first place. Much like Led Zeppelin’s Physical Graffiti, these albums included older recordings which were not previously used interspersed with new material that was written for the project(s). The band also included a well-known cover on each album and each also has at least one track sung by band members other than lead singer Axl Rose.

These two albums, released in 1991, would be the final studio albums with this classic lineup in tact and Guns n’ Roses would not release another studio album for 17 years until Chinese Democracy in 2008. Also, the band put out no less than ten videos from these two albums, a final gorge for the heyday of MTV and music videos, which would go into rapid decline through the nineties. Use Your Illusion I starts off with a song intentionally aimed at Rose’s neighbor in Hollywood who had recently sued him, called “Next Door To Hell”. It also contains “Back Off Bitch” and “Bad Obsession”, which were originally written for Appetite for Destruction “Bad Obsession” later features Michael Monroe, of Hanoi Rocks and a big influence on the band, playing the harmonica and tenor saxophone. ---R.A., lassicrockreview.com

 

Wow! Oto jednego dnia dostaliśmy dwie płyty, z krążkami wypełnionymi muzyką niemalże do granic możliwości. I to jaką muzyką! Zespół zaskoczył tu wszystkich, nie tylko skalą wydawnictwa, ale przede wszystkim jego zawartością. Oto Guns N' Roses prezentuje się jako (ekhm) dojrzały, w pełni ukształtowany zespół, doskonale wiedzący czego chce, świadomy swojej wartości. Nie ograniczający się do prostego hard rocka, ale prezentujący rozmaite odmiany rocka i kapitalnie odnajdujący się w jego różnych odcieniach. Niesamowicie kreatywny, zaskakująco eklektyczny, brzmiący nieoczekiwanie dojrzale. A pomyśleć, że naprawdę niewiele zabrakło, aby te płyty się nie ukazały, a grupa pozostała tylko wspomnieniem...

To, o czym trzeba wspomnieć na początku to brzmienie. Pozbawione brudu, szorstkości, punkowego posmaku dzieł poprzednich, za to przestrzenne, kapitalnie eksponujące najlepsze aspekty tej muzyki i współgranie poszczególnych muzyków. Świetnie oddające klimat ballad, jak i tych najostrzejszych numerów. Brawo!

Na pierwszą część wydawnictwa złożyło się czternaście numerów. W wielu wywiadach Axl mocno mówił o inspiracji grupą Queen, o tym że ich płyty pełne były zróżnicowanych muzycznych klimatów, które odkrywało się z każdym przesłuchaniem. I rzeczywiście, zespół poszedł w tym kierunku.

Zacznijmy od ballad, bo kto wie, czy nie one są tutaj najważniejsze. Don't Cry i November Rain - te tytuły wyjaśniają wszystko, utwory po prostu ponadczasowe. Prostsze Don't Cry urzeka klimatycznym, rewelacyjnie roztrzęsionym śpiewem Rose'a (z ciekawymi efektami dźwiękowymi) na tle niepokojących akordów i basowych podbić. Z kolei dziewięciominutowe, epickie November Rain to już prawdziwe dzieło sztuki. Bogato zaaranżowany, z pianinem w roli głównej stanowi rodzaj odrębnej, zamkniętej mini-opowieści, która od samego początku wciąga i hipnotyzuje. Świetnie budowany jest tutaj klimat, z umiejętnie wplecionymi smyczkami ze - znów - rewelacyjną partią Rose'a, tym razem śpiewaną lekko zdartym, ale znów drżącym głosem. To on pełni tu rolę główną, znakomicie interpretując kolejne słowa wraz ze zmieniającym się klimatem utworu. Swoje dołożył tu także Slash, wygrywając dwie solówki, które po prostu ściskają za gardło. I tylko szkoda, że w radiu czy telewizji (nawet w tych "rockowych" stacjach) nie usłyszymy ekscytujących finalnych dwóch minut, stanowiących tu coś na zasadzie unicestwienia ale i katharsis. Tak, Axl stworzył swoje Bohemian Rhapsody. Niesamowity utwór!

Ale nie brak tu czadów. I to takich, z naprawdę wykopem. Right Next Door To Hell zaserwowane na początek, z wściekle wypluwającym z siebie kolejne wersy Axlem na tle niezwykle intensywnego czadu, jednoznacznie pokazuje z jakiego typu zespołem mamy do czynienia. Perfect Crime, Garden of Eden czy Don't Damn Me przypominają z kolei punkowe zacięcia grupy. Uwagę przykuwa też rozpędzone Double Talkin Jive' z... solówką w stylu flamenco na końcu, przebojowe Bad Obsession ze znakomicie wplecioną harmonijką ustną czy Back Off Bitch z ciekawą linią wokalną. Uwagę zwracają w tych utworach też rzeczy, które dzieją się z wokalem Rose'a - warto zwrócić tu uwagę jak różnorodnie ten facet śpiewa na tej płycie i jak ciekawe efekty z tym wokalem uzyskano w studio. Przy okazji, pośpiewał tu też sobie Stradlin, do tego śmiało prezentując swoje zafascynowanie muzyką country w You Ain't The First czy Dust N' Bones, efekt, doprawdy rewelacyjny. No i jak tu nie wspomnieć o kapitalnym, zagranym z niezwykłą mocą coverem Live and Let Die Lindy i Paula McCartneyów.

Owszem, zdarzyły się i słabsze momenty (choć w takim The Garden słyszymy Alice'a Coopera), finisz też mógłby być zdecydowanie lepszy. Niemniej jednak ilość kapitalnej muzyki, jaką tu zgromadzono rekompensuje drobne zgrzyty. A całość, zadziwiająco dobrze ze sobą współgra. Dlatego - ocena maksymalna. ---Maciej Wilmiński, rockers.com.pl

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administration@theblues-thatjazz.com (bluesever) Guns ‘N’ Roses Fri, 04 Feb 2011 10:00:33 +0000
Guns ‘N’ Roses – Greatest Ballads (1996) http://theblues-thatjazz.com/en/rock/93-gunsnroses/138-greatesballads2000.html http://theblues-thatjazz.com/en/rock/93-gunsnroses/138-greatesballads2000.html Guns ‘N’ Roses – Best Ballads (1996)


01 Don’t Cry 
02 Since I Don’t Have You 
03 Yesterdays 
04 Knockin’ On Heavens Door 
05 Patience 
06 Sweet Child O’ Mine 
07 November Rain 
08 One In A Million 
09 So Fine 
10 Civil War 
11 Ain’t It Fun 
12 Used To Love Her 
13 The Garden 
14 You Ain’t The First

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administration@theblues-thatjazz.com (bluesever) Guns ‘N’ Roses Sun, 11 Oct 2009 15:09:43 +0000