Debuts, such as Appetite For Destruction, are the exception, for upon its release in 1987, it would not only go on to take the world by storm, by selling more than 30 million units, but it would rejuvenate the hard rock music scene and become the soundtrack for a new generation of hard rockers. I was one of those rebellious teenagers who adored the raw spirit and aggression of the album, an aspect that has not only stood the test of time but is just as menacing today as it was upon release.
While the grunge movement was only a few years away, Guns N’ Roses proved that music can be redefined, for the 80s saw some incredible rock and roll being produced, but much of it fell within the glam metal sub-genre. Guns N’ Roses were different as they weren’t glam per se, but incorporated elements while also tapping into the blues foundations of rock and roll to deliver some of the greatest hard rock music ever recorded.
Of course, the excesses were there. Sex, drugs, and rock and roll were merely a part of the 80s hard rock scene, and Guns N’ Roses were no strangers to controversy. From the legendary stories to the unpredictable personalities of Axl Rose, Slash, Izzy Stradlin, Duff McKagan, and Steven Adler, the Los Angeles rockers exploded onto the scene somewhat larger than life with a record filled with timeless era-defining tracks such as Welcome To The Jungle, Paradise City, and Sweet Child O’ Mine. It wasn’t only the core members, however, that would drive the band to success, for producer Mike Clink was able to capture this raw intensity and, in many ways, was the sixth member of Guns N’ Roses, for he would go on to produce all of the band’s pre-Chinese Democracy releases.
In fact, every person in the recording studio deserves kudos for Appetite For Destruction is a landmark release that knows few peers and will, most certainly, live on well after we’re all gone. From the stunning album artwork to the controversial original cover art, to the tightness of the songs, and the mastering, it’s easy to declare Appetite For Destruction a perfectly flawless album. So, it was with intrigue that in 2018 a remastered edition (with all the bells and whistles associated with anniversary reissues) made its way to music lovers’ ears. It can be somewhat of a daunting task to accept a remaster, particularly when it’s such a beloved release, but despite still thoroughly appreciating Barry Diament’s original CD mastering, the remaster, engineered by Ted Jensen, is extraordinarily good.
While I wouldn’t necessarily call the original shrill, there were elements in the high-end of the audible spectrum where it could get a little too treble-focused and jarring on certain systems. This remaster, by comparison, dials that aspect back and boosts the low to mid-end range while leaving most other elements intact. It’s a very subtle difference, and unless you’ve been listening to the album for decades, you’ll feel right at home with the remaster. The remaster also delivers a bonus level of clarity in that Rose’s pronunciation is clearer, and the separation between musical elements seems to be better as well, with percussive instruments, that were previously concealed, showing up clearly, especially on the more complex mixes throughout the album. Perhaps most notable when listening to the remaster is that the emphasis of the album is maintained at lower volume levels and is simultaneously crankable. Yes, it’s mastered a little louder than the original, but, in this case, that isn’t detrimental.
So, with that in mind, dear reader, join me as we take a look at the songs that make up this legendary release.
Welcome To The Jungle is one of the greatest opening tracks of all time with a simply unforgettable introduction, killer riff, and an overall explosive performance that will hook you from the very first note to the last.
It's So Easy has a killer groove, an addictive chorus, and is ideally suited to the album. It’s interesting, however, how well-received and fundamental It’s So Easy has been to the band’s live performances over the years. Don’t get me wrong, I love the song, but it’s an unlikely standout.
Nightrain has always been one of my favourite songs from the album. While the cowbell was overused in the 80s, this is one case where it amplifies the song, and while it would have been a solid rock and roller sans that instrument, it adds a different dimension that I thoroughly appreciate. Still, it’s the high energy, the duelling twin guitars, and the track’s infectious riff and vocal delivery that ensure Nightrain is a timeless masterpiece.
Out Ta Get Me is a killer blues-based rock and roller that will get you toe-tapping and head-bopping, but Out Ta Get Me’s strength can be best heard in Rose’s remarkable vocal delivery.
Mr. Brownstone is another favourite and has been since I first heard the album as a teenager. However, at the time, I didn’t realise the song was describing the band’s struggles with heroin addiction. I simply rocked out, and it’s moments like this that I’m glad that I usually listen to lyrics akin to an instrument in the mix, rather than a storytelling device. Still, the funkiness and that swaggering groove make it incredibly addictive; pun intended.
Paradise City had stadium anthem written all over it. From the first time that introduction played, to the sing-along lyrics, there was little doubt that Paradise City was going to be anything other than a monstrous hit.
My Michelle has a deceptively soft and haunting melodic introduction prior to erupting into a full-blown hard rock number. Inspired by a real-life friend of the band, My Michelle is as beautiful as it is tragic, but the groove, killer licks, and Rose’s vocal performance throughout are thoroughly pleasing.
Think About You often flies under the radar as one of the more obscure songs from this debut, but this high-paced number is perfectly suited to the record.
Sweet Child O' Mine is one of Guns N’ Roses’ most recognisable tunes, and for good reason; that “warm-up” riff of Slash’s is a guitar player’s dream come true. As the song builds, with perfect pacing and an unforgettable bridge, Rose’s wails complement the instrumentation perfectly, resulting in yet another landmark tune from this incredible record.
You're Crazy has a little punk aggression with a touch of thrash. It’s a solid interpretation of the song, but I tend to prefer the slower, blues-based styling of the version heard on GN’R Lies.
Anything Goes is a great tune. The talkbox aspect enhances the song, rather than being a distractive element, but it’s the groove and overall melody that are simply irresistible. While Anything Goes isn’t one of the better-known tracks from the record, it’s songs like this that make Appetite For Destruction such a remarkable album experience.
Rocket Queen is an idealistic closer that will encourage you to play the record again, for Appetite For Destruction can seldom be listened to once. Rose’s vocal delivery, atop a killer blues-based musical bed, makes for a highly compelling musical experience; one that is even more complex with the infamously recorded sexual moans. Despite that, as the song shifts style throughout, Rocket Queen becomes a genius of the hard rock genre.
No matter which way you look at it, Appetite For Destruction is a masterpiece that not only helped to define and redefine an era and genre, but it’s also one of the greatest albums ever released.
