At a time when pop was dominated by dance music and pop-metal,
Guns N' Roses
brought raw, ugly rock & roll crashing back into the charts. They
were not nice boys; nice boys don't play rock & roll. They were
ugly, misogynistic, and violent; they were also funny, vulnerable, and
occasionally sensitive, as their breakthrough hit, "Sweet Child O'
Mine," showed. While
Slash and
Izzy Stradlin ferociously spit out dueling guitar riffs worthy of
Aerosmith or
the Stones,
Axl Rose screeched out his tales of sex, drugs, and apathy in the big city. Meanwhile, bassist
Duff McKagan and drummer
Steven Adler were a limber rhythm section who kept the music loose and powerful.
Guns N' Roses'
music was basic and gritty, with a solid hard, bluesy base; they were
dark, sleazy, dirty, and honest -- everything that good hard rock and
heavy metal should be. There was something refreshing about a band that
could provoke everything from devotion to hatred, especially since both
sides were equally right. There hadn't been a hard rock band this raw or
talented in years, and they were given added weight by
Rose's
primal rage, the sound of confused, frustrated white trash vying for
his piece of the pie. As the '80s became the '90s, there simply wasn't a
more interesting band around, but owing to intra-band friction and the
emergence of alternative rock,
Rose's supporting cast gradually disintegrated, as he spent years in seclusion.
Guns N' Roses released their first EP in 1986, which led to a contract with Geffen; the following year, the band released its debut album,
Appetite for Destruction.
They started to build a following with their numerous live shows, but
the album didn't start selling until almost a year later, when MTV
started playing "Sweet Child O' Mine." Soon, both the album and single
shot to number one, and
Guns N' Roses
became one of the biggest bands in the world. Their debut single,
"Welcome to the Jungle," was re-released and shot into the Top Ten, and
"Paradise City" followed in its footsteps. By the end of 1988, they
released
G N' R Lies, which paired four new, acoustic-based songs (including the Top Five hit "Patience") with their first EP.
G N' R Lies' inflammatory closer, "One in a Million," sparked intense controversy, as
Rose
slipped into misogyny, bigotry, and pure violence; essentially, he
somehow managed to distill every form of prejudice and hatred into one
five-minute tune.
Guns N' Roses began work on the long-awaited follow-up to
Appetite for Destruction at the end of 1990. In October of that year, the band fired
Adler, claiming that his drug dependency caused him to play poorly; he was replaced by
Matt Sorum from
the Cult. During recording, the band added
Dizzy Reed
on keyboards. By the time the sessions were finished, the new album had
become two new albums. After being delayed for nearly a year, the
albums
Use Your Illusion I and
Use Your Illusion II
were released in September 1991. Messy but fascinating, the albums
showcased a more ambitious band; while there were still a fair number of
full-throttle guitar rockers, there were stabs at
Elton John-style
balladry, acoustic blues, horn sections, female backup singers,
ten-minute art rock epics with several different sections, and a good
number of introspective, soul-searching lyrics. In short, they were now
making art; amazingly, they were successful at it. The albums sold very
well initially, but while they had seemed destined to set the pace for
the decade to come, that turned out not to be the case at all.
Nirvana's
Nevermind hit number one in early 1992, suddenly making
Guns N' Roses -- with all of their pretensions, impressionistic videos, models, and rock star excesses -- seem very uncool.
Rose
handled the change by becoming a dictator, or at least a petty tyrant;
his in-concert temper tantrums became legendary, even going so far as to
incite a riot in Montreal.
Stradlin left by the end of 1991, and with his departure the band lost its best songwriter; he was replaced by ex-
Kills for Thrills guitarist
Gilby Clarke.
GNR didn't fully grasp the shift in hard rock until 1993, when they released an album of punk covers,
The Spaghetti Incident?;
it received some good reviews, but the band failed to capture the
reckless spirit of not only the original versions, but its own
Appetite for Destruction. By the middle of 1994, there were rumors flying that
GNR were about to break up, since
Rose wanted to pursue a new, more industrial direction and
Slash wanted to stick with their blues-inflected hard rock. The band remained in limbo for several more years, and
Slash resurfaced in 1995 with the side project
Slash's Snakepit and an LP,
It's Five O'Clock Somewhere.
Rose
remained out of the spotlight, becoming a virtual recluse and doing
nothing but tinkering in the studio; he also recruited various musicians
-- including
Dave Navarro,
Tommy Stinson, and ex-
Nine Inch Nails guitarist
Robin Finck -- for informal jam sessions. Remaining members were infuriated by
Rose's inclusion of childhood friend
Paul Huge in the new sessions when both
Stradlin and
Clarke were excluded from rejoining the band. And a remake of
the Rolling Stones' "Sympathy for the Devil" was essentially the straw that broke the camel's back, as
Rose cut out some of the other members' contributions and pasted
Huge over the song without consulting anyone else. By 1996,
Slash was officially out of
Guns N' Roses, leaving
Rose
the lone remaining survivor from the group's heyday; rumors continued
to swirl, and still no new material was forthcoming, though
Rose did re-record
Appetite for Destruction with a new lineup for rehearsal purposes. The first new original
GNR song in eight years, the industrial metal sludge of "Oh My God" finally appeared on the soundtrack to the 1999
Arnold Schwarzenegger film
End of Days. Soon after, Geffen issued the two-disc
Live Era: '87-'93.
The year 2000 brought the addition of guitarists
Robin Finck (of
Nine Inch Nails) and
Buckethead, and 2001 was greeted with
Guns N' Roses' first live dates in nearly seven years, as the band (which consisted of
Rose plus guitarists
Finck and
Buckethead, bassist
Stinson, former
Primus drummer
Brian "Brain" Mantia, childhood friend and guitarist
Paul Huge, and longtime
GNR keyboardist
Dizzy Reed)
played a show on New Year's Eve 2000 in Las Vegas, playing as well at
the mammoth Rock in Rio festival the following month. On New Year's Eve
2001, the band played almost the exact same set as the year before.
An appearance at MTV's 2002
Video Music Awards helped garner interest in the new lineup, but a rusty performance from
Rose
and an interview where he said his new album wasn't coming out anytime
soon didn't do much to further their cause. That summer,
GNR
started on their first tour in almost eight years, and they managed to
fulfill all of their commitments in Europe and Asia. Sadly, they caused a
violent and destructive riot in Vancouver when
Rose
failed to show up for the first date of their North American tour.
While he was up to his old shenanigans with the retooled lineup, former
Stone Temple Pilots vocalist
Scott Weiland,
Slash,
Sorum, and
McKagan formed the successful
Velvet Revolver in spring 2002.
And so years passed and still no new
GNR album, to the point where it became one joke too many. The album was long billed as
Chinese Democracy,
and occasionally session recordings would leak and make their way onto
Internet file-sharing networks. A fascinating article written by
Jeff Leeds
for The New York Times, published in March 2005, revealed how tangled
and costly the making of the album had become. According to the article,
titled "The Most Expensive Album Never Released,"
Rose
began work on the album in 1994 and racked up production costs of at
least $13 million dollars. Producers involved with the album at one time
or another included
Mike Clink,
Youth,
Sean Beavan, and even
Roy Thomas Baker. (Curiously,
Moby claimed to have been offered the job as well.)
Marco Beltrami and
Paul Buckmaster
were allegedly brought in for orchestral arrangements, and there was a
revolving door of guitarists. In 2006, the album seemed closer to
release, as
Rose
began surfacing in public and even took his band on the road for some
shows. The music industry's biggest boondoggle finally bore fruit in
2008 when
Axl unveiled a record that was well over a decade in the making. While
Chinese Democracy
received many rave reviews, and the critical response was positive
overall, the record underperformed (its almost impossible) expectations,
debuting at number three on the Billboard 200 when it came out in
November. A worldwide tour followed.
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