Guns N' Roses - G N' R Lies
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CD Details
Artist: Guns N' RosesEdition: Music CD
Format: Explicit Lyrics
CD Release Date: 1990-10-25
Music Label: Geffen Records
Soundtracks:
- Reckless Life
- Nice Boys
- Move to the City
- Mama Kin
- Patience
- Used to Love Her
- You're Crazy
- One in a Million
Music reviews of G N' R Lies
Music Review: Axl and company burst through your speakers, guns misfiring
Rating: 1 Stars
It's often overlooked that G'n'R was for all intents and purposes, just another hair band. What separates them from the avergage hair band in the vein of Posion, Whitesnake, Cinderella, and all of those other fallen heroes of 1980's power balladry is that their handlers carved for them an image that was a little bit more serious than the likes of Dave Coverdale or Bret Michaels. They had a bad boy, biker kind of image, perhaps a little more musical depth than the average hair band, and a penchant (most likely the result of managerial machinations) to court controversy. All of this combines to make them somewhat better than the average 80's hair band, but still worse than virtually everything else.
This isn't really an album. It's more of a stop gap in between AFD and its real follow up, UYI. This was probably another managerial machination to ensure that the band's newfound commercial success didn't languish in the four year space between the real albums. Still though it is a shining example of the steaming pound of feces that William "Axl" Bailey and company churned out with apparently little effort and even less intelligence.
The first part of this disc can best be viewed as a tour of Axl and company's roots. These tracks are musically dull and lyrically vapid. The boys break no new ground and the listener finds himself hoping against hope that they will if only so they may fall through the cracks. Probably the most embarrassing track is "Mama Kin", but then anyone who willingly covers an Aerosmith song has clearly run out of self respect.
The real triumph of this brief eight track affair is the second half. All original material, all stripped down and performed mostly acoustically, and all very lame and stupid.
"Patience"- It takes more than a little patience to sit through this painfully dull and dreary paean to troubled relationships. William assures whoever the subject of the song is, whichever unfortunate woman was with him at the time (for the money no doubt) '"sad woman take it slow and things will be just fine." He is the image of the sensitive, enlightened male. In the midst of his own pain and torment, he is intuitively aware of the heart wrenching troubles for the other party as well. What a lad. Of course, many other lyrics throughout G'N'R's brief career would reveal him as an archetypal chauvinist, misogynist (not to mention his penchant for beating up women that he's engaged or married to). Indeed, what a lad. We must take his posturing as an emotionally mature, caring, and intelligent man with a pinch of salt and instead regard him as the snotty little pissant the rest of the album suggests him to be.
"Used To Love Her"- I think this one is just embarrassing. A sort of countryish rock ditty that at least in musical terms would not sound out of place on an Eagles album. Needless to say, it is trite and achingly lame musically, but the real measure of its egregious idiocy is in the lyrics. This was done for a laugh obviously and will appeal to anyone who finds the humor in all things sexist and cliched, as William evidently does. I can imagine middle aged beer swigging janitors or mechanics listening to this track and laughing uproariously when Bailey explains that she "b*tched so much, she drove me nuts" and "I can still her here complain". We also get a chance to hear one of Bailey's unique talents in that ultra annoying, moronic way he has of dragging out the last syllables of a word like some sort of Buddy Holly on smack; "complaiiiiin-aaaa-aaaain".
"You're Crazy"- Blues derivative in music and lyrics. Bailey sings about, what else? An unruly woman that's breaking his heart and causing him grief as the boys strum a blues derived, uninspiring, unmoving background noise.
"One in A Million"- To understand this one, we must first understand what Axl and company's handlers had devised as a basic modus operandi for marketing a group that wasn't really very talented and had the combined IQ's of a herd of sheep. Every G'N'R album contained about three or four very commercial and MTV friendly songs that were predictably promoted as singles. It was more often than not, really vacuous, sentimental ballads about lost love, tough love, love unrequited, blah, blah, blah. "Patience" was obviously like that. But to keep the rumors at bay that the boys were in reality just a bunch of limp wristed, sensitive balladeers (and probably also to distract from the peculiar juxtaposition of Axl the musical romantic and Axl the real time woman abuser) most of the rest of the album was filled with heavier, harder, and usually more aggressive and dark lyrics. This track is of note only for its lyrics. It is on the basis of its music, wholly unmemorable. In one, six minute song, William reveals himself as not only a very poor singer fronting a group of musicians who bring about as much depth and originality to guitar based rock as Journey does, but also as a bigot of multiple prejudices. Now he has already time and again unconsciously revealed himself as a likely misogynist so women are spared on this one. Instead William name checks all those other types (that ain't white and therefore not right) he despises in true imbecilic, apallingly ignorant fashion. From "immigrants and "f*aggots" to "police and n*ggers", one gets the feeling that no page of Mein Kampf was left unturned as our hero delved deep into his putrid soul for the inspiration to pen this homage to blatant generalizations, racial stereotypes, and just plain stupidity. Were they serious? Probably. Was it at least in part an attempt to generate controversy and raise some eyebrows, but shouldn't be taken literally? Maybe, but far from attempting (and failing) to absolve the band with this kind of logic, fans should ask themselves what kind of sad, desperate baffoons descend so low for the sake of publicity and attention? I'm susprised that didn't follow up with "One In Million Part 2" in which they could maybe mock cancer patients or talk about pushing people out of wheelchairs. Maybe it's in the works given Chinese Democracy's poor showing. William must surely be in need of another desperate "look at us, we're so un-pc and naughty, it's like cool, man" ploy for attention now.
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