..:: audio-music dot info ::..


Main Page      The Desert Island      Copyright Notice
 Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz


Guns N' Roses: G N' R Lies

 A l b u m   D e t a i l s


Label: Geffen Records
Released: 1988.11.29
Time:
 33:31
Category: Hard Rock
Producer(s): Guns N' Roses, Mike Clink
Rating:
Media type: CD
Web address: www.gunsnroses.com
Appears with:
Purchase date: 2012
Price in €: 1,00





 S o n g s ,   T r a c k s


    1986 (Faux-live songs)
[1] Reckless Life [Hollywood Rose cover] (Rose/Stradlin/CWeber) - 3:20
[2] Nice Boys [Rose Tattoo cover] (Anderson/Cocks/Leach/Royall/Wells) - 3:03
[3] Move to the City (Rose/Slash/Stradlin/James/Weber) - 3:42
[4] Mama Kin [Aerosmith cover] (Tyler) - 3:57
        1988 (Acoustic songs)
[5] Patience (Stradlin) - 5:56
[6] Used to Love Her (Stradlin/Rose) - 3:13
[7] You're Crazy (Rose/Stradlin/Slash) - 4:10
[8] One in a Million (Rose) - 6:10

 A r t i s t s ,   P e r s o n n e l


W. Axl Rose − Lead Vocals, Piano on [8], Whistling on [5]
Slash − Lead Guitar, Lead Acoustic Guitar on [5-8]
Izzy Stradlin − Rhythm Guitar, Rhythm Acoustic Guitar on [5-8], Backing Vocals
Duff Mckagan − Bass, Rhythm Acoustic Guitar on [5,8], Backing Vocals
Steven Adler − Drums, Backing Vocals on [5]

West Arkeen - Percussion on [5-8]
Howard Teman - Percussion on [5-8]
Rick Richards - Percussion on [5-8]
Ray Grden - Percussion on [5-8]

Mike Clink - Engineer, Producer
Niven - Engineer, Mixing, Producer
Hanspeter Heuser - Engineer, Mixing
Barry Diament - Mastering
George Marino - Mastering
Deborah Norcross - Art Direction, Design
Leslie Wintner - Design
Doug Hyun - Photography, Sleeve Photo
Jack Lue - Photography, Sleeve Photo
Robert John - Photography
Gene Kirkland - Photography

 C o m m e n t s ,   N o t e s


Recorded in 1988 at Rumbo Studios, Take One Studio and Image Recording Studios.



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 - All Music Guide



G N' R Lies, also known as Lies, is the second studio album by the American rock band Guns N' Roses, released in 1988. While officially an extended play, it was treated as a studio album when released. According to the RIAA, the EP has sold over five million copies in the United States alone. "Patience" was the only single released from Lies; it peaked at #4 on the Billboard Hot 100.

The first four tracks consist of the previously released EP Live ?!*@ Like a Suicide. The last four songs were recorded with acoustic guitars. They were written and recorded in only a few studio sessions (with the exception of "You're Crazy," which appeared in an alternate version on Appetite for Destruction), which producer Mike Clink called "one of those magical rock and roll history moments."

In later interviews, Axl Rose stated that while he loved how the band sounded on the last four songs, he hated the sound of his voice. Rose recalled that his voice was husky and scratchy from the band's lengthy touring at the time, and if he could he would have re-recorded his vocal tracks in a separate session.

A significantly faster version of "You're Crazy" with electric guitars had previously been released on the band's debut album, Appetite for Destruction, and was now recorded as originally intended. "Mama Kin" is an Aerosmith song, which appears on that band's 1973 debut album. "Nice Boys" is a Rose Tattoo cover from their 1978 self-titled debut album. "Used to Love Her" was written as a joke after Izzy Stradlin disliked a song he heard on the radio featuring "some guy whining about a broad who was treating him bad". Slash stated that "People think it's about one of our old girlfriends, but it's actually about Axl's dog."

The cover is a parody of tabloid newspapers, as are the liner notes. The album's cover art underwent several minor modifications when the title was released on CD. First, in the bottom left corner reading "LIES LIES LIES" originally read "Wife-beating has been around for 10,000 years." Secondly, instead of "Elephant gives birth to midget", the original headline reads, "Ladies, welcome to the dark ages." Many copies of the original LP release also contained an uncensored picture of a nude model on the inner LP sleeve.

The UK/Euro WX 218 924 198 - 1 release had 2 stickers on the cover; Special Limited Edition containing Sheet of Japanese Peel off Stickers, and Contains language that some people may find offensive 924 198 - 1. The Peel off Stickers are on a 21mm x 30mm sheet.

The cover art bears a resemblance to John Lennon's Some Time in New York City, an album that contains Lennon's controversial "Woman Is the Nigger of the World", a song Axl cited when he defended his use of the word "nigger" in "One in a Million".

Wikipedia.org



Die ersten vier Lieder dieser Aufnahme haben Guns N' Roses 1986 live eingespielt und auch gleich auf der EP Like A Suicide veröffentlicht -- wilde Stücke, sämtlich "sleazy", wie man damals sagte, dreckiger Metal-Sound. Die Aufnahmequalität ist miserabel, aber das darf bei solchen Nummern natürlich auch gar nicht anders sein. Es war die Zeit, als man seine Jeans enger trug als Kondome, und Sonnenbrillen, die so breit waren wie die Bandmitglieder gerne schon morgens um elf. Nachdem sich Guns N' Roses dann 1987 für den Millionen-Seller Appetite For Destruction feiern ließen, entschloß sich die Plattenfirma, Like A Suicide unter dem Titel Lies erneut zu veröffentlichen, diesmal allerdings ergänzt durch vier wunderbare (wenn auch nicht immer ganz politisch korrekte) Akustik-Stücke, die Axl Rose, Slash und Kollegen erst 1988 aufgenommen hatten -- darunter der gepfiffene Hit "Patience". Verkaufstechnisch ein genialer Coup: Lies ebnete den Weg in Richtung Mainstream und für den Erfolg des Use Your Illusion-Doppelalbums. Musikalisch? Die Metal-Gemeinde fühlte sich wegen der sanften Töne verraten, aber Guns N' Roses bewiesen mit nur acht Liedern, daß sie alles, wirklich alles zu spielen vermögen. Überhaupt: Klingt zu gut, um sich darüber zu streiten. Hören!

Michael Ebert - Amazon.de



Get ready to feel really, really old because it’s hard to believe how much time has elapsed since Guns n’ Roses unleashed their second piece of vinyl product, ‘GN’R Lies’ on Nov. 30, 1988. It was released some fifteen months after their eventual record-setting debut album, ‘Appetite for Destruction,’ but a mere 90 days (give or take) after the same LP finally topped the Billboard 200 Albums chart. Needless to say, much had changed since ‘Appetite’s’ rather inconspicuous introduction into a very crowded hair metal landscape in July 1987. The album’s organic, 57-week climb up the charts initially gave no evidence of the stardom that awaited the Los Angeles quintet once ‘Sweet Child O’ Mine’ took over radio waves and abruptly pushed consumer demand for new Guns N’ Roses product through the roof.

So, not unlike sharks smelling blood in the water, Geffen Records executives didn’t think twice about having the band to interrupt their busy touring schedule in order to jam a few new songs together in the studio; then paired the largely acoustic results with 1986’s limited edition ‘Live ?!*@ Like a Suicide’ EP to give birth to ‘GN’R Lies.’ And, clearly, their clever ploy worked like a charm, sending droves of glam-metal fans racing into record stores to snap up their own copy of this curious double threat, to the tune of a stunning five million copies sold, according to the Recording Industry Association of America’s most recent accounting.

How could it not? After all, ‘GN’R Lies’ efficiently furthered its buyers’ education about two distinct facets of the soon-to-be-called “most dangerous band in the world,” both of which had only been hinted at by ‘Appetite for Destruction’’s formidable sleaze metal song-craft. On the one hand, there was ‘Live ?!*@ Like a Suicide’’s electrifying club performance, wedding rarely heard band originals like ‘Reckless Life’ and ‘Move to the City’ with telling formative covers of Aerosmith’s ‘Mama Kin’ and Rose Tattoo’s ‘Nice Boys.’ On the other, there were the astonishingly adept, entertaining and controversial acoustic recordings gracing side two, ranging from the earnest love letter of ‘Patience,’ to the titillating black humor of ‘Used to Love Her,’ to the allegedly tongue-in-cheek political incorrectness of ‘One in a Million’ – not to mention a new, definitive version of the ‘Appetite’ album cut, ‘You’re Crazy.’

All in all, these oftentimes troubling but unquestionably infectious new (and old) songs gave both the buying public and the sharp-toothed music press plenty to talk about that holiday season, thus accelerating Guns N’ Roses vertiginous rise to global stardom over the years that followed. Ironically, ‘GN’R Live’’s tabloid-style cover art also hinted at the incessant scandals and resulting paranoia that would soon engulf the band, and its singer in particular, sowing the seeds to their eventual dissolution after the twin ‘Use Your Illusion’ behemoths, and protracted creative silence until 2008’s historically delayed ‘Chinese Democracy’ opus.

Eduardo Rivadavia - November 30, 2013
www.ultimateclassicrock.com
 

 L y r i c s


Currently no Lyrics available!

 M P 3   S a m p l e s


Currently no Samples available!