|Guns N' Roses - Appetite For Destruction|
|Release: 1987 Label: Geffen|
|AMG Rating||Collection: V|
|1||Welcome To The Jungle||7||My Michelle|
|2||It's So Easy||8||Think About You|
|3||Nightrain||9||Sweet Child O' Mine|
|4||Out Ta Get Me||10||You're Crazy|
|5||Mr. Brownstone||11||Anything Goes|
|6||Paradise City||12||Rocket Queen|
Stephen Thomas Erlewine (All Music Guide)
Guns N' Roses' debut Appetite for Destruction was a turning point for hard rock in the late '80s — it was a dirty, dangerous, and mean record in a time when heavy metal meant nothing but a good time. On the surface, Guns N' Roses may appear to celebrate the same things as their peers — namely, sex, liquor, drugs, and rock & roll — but there is a nasty edge to their songs, since Axl Rose doesn't see much fun in the urban sprawl of L.A. and its parade of heavy metal thugs, cheap women, booze, and crime. The music is as nasty as the lyrics, wallowing in a bluesy, metallic hard rock borrowed from Aerosmith, AC/DC, and countless faceless hard rock bands of the early '80s. It's a primal, sleazy sound that adds grit to already grim tales. It also makes Rose's misogyny, fear, and anger hard to dismiss as merely an artistic statment, this is music that sounds lived-in. And that's exactly why Appetite for Destruction is such a powerful record — not only does Axl have fears, but he also is vulnerable, particularly on the power-ballad "Sweet Child O' Mine." He also has a talent for conveying the fears and horrors of the decaying inner city, whether it's on the charging "Welcome to the Jungle," the heroin ode "Mr. Brownstone," or "Paradise City," which simply wants out. But as good as Axl's lyrics and screeching voice are, they wouldn't be nearly as effective without the twin-guitar interplay of Slash and Izzy Stradlin, who spit out riffs and solos better than any band since the Rolling Stones, and that's what makes Appetite for Destruction the best metal record of the late '80s.
Rickey Wright (Amazon.com)
A glimpse of the future, and not because of its huge influence and umpteen million sales. The poor-little-rich-boy protest "Out ta Get Me" intimates that Axl Rose's egotism and martyr complex were soon to grow bigger than his head; still, Appetite's night-train wreck of punk and metal sounds and sensibilities make it more than just an emblem of its time. Whether GN'R are dancing with Mr. Brownstone, penning a callow kiss-off letter to some chick named Michelle, or passing out on somebody else's sofa, this was and remains a savage journey to the heart of the American--or at least the Hollywood--dream.
Guns N' Roses: W. Axl
Rose (vocals, synthesizer, percussion); Slash (acoustic & electric
guitars); Izzy Stradlin' (guitar, background vocals, percussion); Duff
"Rose" McKagan (bass, background vocals); Steven Adler (drums).
(CMJ New Music Report, Issue 123, July 31, 1987)
The hype emanating from Geffen's Sunset Blvd. digs is oppressive: "Guns N' Roses were the missing link between the sassiness of the Stones and early Aerosmith, the trashiness of the NY Dolls, and the danger and challenge the Sex Pistols had posed," the letter says. Bullshit, says us. Also says us: Guns N' Roses rocks hard, and Guns N' Roses rocks good. Very, very good. This is pure California hard rock, which means that there are tastes of all the above-mentioned bands (and Zeppelin and Bowie and Bolan and...), but no more so than, say, Motley Crue or Poison has. What separates Guns N' Roses from the pack is simply that they're better than the others, and seem to have more long-term potential-perhaps even enough to overcome the instinct to self-parody that enveloped the Crue and Poison as they hurtled over platinum. Appetite For Destruction will undoubtedly join those two bands at the platinum plateau (most likely, more sooner than later), but unlike those two, when it's over we'll want to hear more. We already do. Top cuts: "My Michelle," "Paradise City," "Think About you," "Night Train," "Child Of Mine" and "Anything Goes."
Simon P. Ward (DOT Music)
It starts as it means
to go on - jagged, menacing chords acting like a clarion call to the
disaffected, unwashed masses. 'Welcome To The Jungle', indeed, where your
guide is one W. Axl Rose and his ragged ensemble of street ruffians. When
Rose screams "You're gonna die" you know he's been there, seen it, and
just about survived to tell the tale.
(Rolling Stone, issue 541/542)
There is nothing like
success in the face of extreme prejudice, and no other band this year,
metal or otherwise, mocked the music establishment's utter lack of street
cred and woeful misreading of fan psychology as well as Metallica and Guns
n' Roses. . . "And Justice For All" went platinum within day of release,
with virtually no commercial airplay. And while AOR pooh-bahs hemmed and
hawed about putting "Sweet Child o' Mine" in rotation, Guns n' Roses
T-shirts outnumbered Springsteen and Bon Jovi shirts at least two to one
on Jersey boardwalks this summer. Programmers slept, critics yawned, but
the kids voted with their allowances in the only interesting electing this
|© Frank Steven Groen|