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Guns N' Roses: Appetite for Destruction

 A l b u m   D e t a i l s


Label: Geffen Records
Released: 1987
Time:
 53:48
Category: Pop/Rock
Producer(s): Mike Clink
Rating: ******.... (6/10)
Media type: CD
Web address: www.gunsnroses.com
Appears with:
Purchase date: 2000.03.23
Price in €: 7,99



 S o n g s ,   T r a c k s


[1] Welcome to the Jungle (Guns N Roses) - 4:32
[2] It's So Easy (Arkeen/Guns N Roses) - 3:21
[3] Nightrain (Guns N Roses) - 4:26
[4] Out Ta Get Me (Guns N Roses) - 4:20
[5] Mr. Brownstone (Guns N Roses) - 3:46
[6] Paradise City (Guns N Roses) - 6:45
[7] My Michelle (Guns N Roses) - 3:38
[8] Think About You (Guns N Roses) - 3:49
[9] Sweet Child of Mine (Guns N Roses) - 5:54
[10] You're Crazy (Guns N Roses) - 3:16
[11] Anything Goes (Guns N Roses/Weber) - 3:25
[12] Rocket Queen (Guns N Roses) - 6:14

 A r t i s t s ,   P e r s o n n e l


W. Axl Rose - Synthesizer, Percussion, Vocals, Background  Vocals
Izzy Stradlin - Guitar, Percussion, Rhythm Guitar, Background  Vocals
Duff "Rose" McKagan - Bass Guitar, Background  Vocals
Slash - Acoustic Guitar, Guitar, Rhythm Guitar
Steven Adler - Drums

Michael Barbiero - Mixing
Steve Thompson - Mixing
George Marino - Mastering
Victor Deyglio - Assistant Engineer
Jeff Poe - Assistant Engineer
Dave Reitzas - Assistant Engineer
Micajah Ryan - Assistant Engineer
Julian Stoll - Assistant Engineer
Andy Udoff - Assistant Engineer
Michael Hodgson - Art Direction, Design
Jack Lue - Photography
Greg Freeman - Photography
Robert John - Photography

Robert Williams - Paintings

 C o m m e n t s ,   N o t e s


Dieses Album gab bereits einen Vorgeschmack auf zukünftige Ereignisse, und damit ist nicht sein Einfluss oder die millionenfache Auflage gemeint. In "Out ta Get Me", diesem Protestschrei eines "armen" kleinen reichen Jungen, deutet bereits alles darauf hin, daß Axl Roses Selbstverliebtheit und Opferkomplex ihm bald über den Kopf wachsen würden. Nichtsdestotrotz ist Appetite mit seiner verkaterten, unberechenbaren Mischung aus Punk und Metal mehr als nur ein Symbol seiner Zeit. Ob G'N'R mit "Mr. Brownstone" tanzen, einen pubertären Abschiedsbrief an irgendeine Michelle kritzeln, oder auf fremden Sofas kollabieren, immer ist und bleibt es eine wilde Reise ins Innere des amerikanischen Traumes -- oder wenigstens zu einer Hollywood-Version davon.

Rickey Wright - Amazon.de



Ein Jahr brauchte das Debüt von Axl Rose, Slash & Co. (mit Sweet Child O'Mine), ehe es die amerikanischen Charts anführte. Seither zählen die Rocker aus L.A. zur Topliga.

© Audio



Die Musik ist kernig, hart und laut, aber perfekt getrimmt auf Konsumierbarkeit. Axl Rose, Slash und Co. hefteten '87 da wirklich einen Stern an den Rockhimmel, an dem das hymnische "Paradise City" und das mitreißende "Sweet Child Of Mine" besonders strahlen. Nicht der Klang: Da haben die MFSL-Jungs wohl schnöde 1:1 übernommen - die minimal bessere Plastizität (bei etwa 1/2 dB leiserem Pegel) gegenüber dem Midprice-Silber könnte auf das Konto der Goldbeschichtung gehen. Bonus-Titel: Fehlanzeige. Schade.

© Stereoplay



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 year.

Some Metallica freaks complained that "Justice," even at nine tracks clocking in over sixty-five minutes, wasn't enough of a good thing - too much art, not enough aargh! But the fury of Metallica's speed 'n' slam is compounded by the complexity of the band's attack. And while most other metal bands were out there raving about the devil and their dicks, Metallic singer-lyricist James Hetfield addressed censorship ("The Shortest Straw"), our dying planet ("Dyers Eve") with the imagination the music demanded.

The Guns' appetite for sex and violence bears all the hallmarks of "Stick Fingers," Stones and mid-Seventies Aerosmith, jacked up with punk raunch that makes "Welcome to the Jungle" and "Out Ta Get Me" sound like the work of a late-model New York Dolls. A couple of songs like "Mr. Brownstone," have more attitude than ammo going for them, but the band's way with a good melody ("Sweet Child o' Mine") and the power they put in the posture of "It's So Easy" and "You're Crazy" are proof aplenty that they didn't hit the platinum bull's-eye by accident. (RS 541/542)

Copyright © 1968-1999 Rolling Stone Network. All Rights Reserved.



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.

Stephen Thomas Erlewine - All-Music Guide



"Alternately terrifying, seductive and inspiring, the songs on this album are nothing short of stunning, from the dark sarcasm of "It's So Easy" to the romantic sincerity of "Sweet Child o' Mine".

ROLLING STONE ALBUM GUIDE *****



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."

© 1978-1999 College Media Inc. All rights reserved.



Imagine throwing every major rock band of the `70s into a blender and leaving it to bake on the sidewalks of L.A. That's what Guns N' Roses sound like: a heavy-trash-glam-punk-metal stew, with a large dose of Aerosmith, Hanoi Rocks and the Sex Pistols, a dash of Exile-era Stones and mid-'70s Southern Rock. The band's indie EP (last year's Live Like A Suicide) made me think they were a second-rate Aerosmith clone, but this is something else completely. The various influences come to the fore at different times, making for a fun, raucous, and surprisingly consistent debut album that swerves between metal, r & b and pop like a drunken bunch of joyriding teenagers. Picks: "Jungle," "It's So Easy," "My Michelle," "Think About You," "Rocket Queen."

© 1978-1999 College Media Inc. All rights reserved.
 

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