How Long Have I Waited? A Chinese Democracy Review
I knew, though there were moments I swore I wouldn't, that I was going to Best Buy. I mean, I had to, didn't I? I just wouldn't deprive myself of listening to it. So there I was, on line at a store I never frequent. All to get the long-awaited Chinese Democracy.
First, a little history.
Guns n' Roses were, in my opinion, the greatest band of the last great era of rock and roll. They entered the public conscience in 1987-88. Over the next few years, we'd see great artists emerge (Living Colour, Black Crowes, Nirvana, Pearl Jam, Green Day). We'd see older bands regain glory (Aerosmith, Metallica, Ozzy Osbourne). It was a resurgance of great rock and roll. And Guns n' Roses was the best of the lot.
Gn'R consisted of five unique members. There was Steven Adler, Duff McKagen, Izzy Stradlin. There was Axl Rose and there was Slash. They were the Rolling Stones blues meets Hollywood sleeze. They were the natural progression of the dirty rock and roll band, following in the footsteps of ACDC and Aerosmith. Yet they also had the power and arrogance of early Led Zeppelin.
That was Guns n' Roses. They stopped around 1991. Steven Adler was fired from the band. Matt Sorum, an outstanding drummer in his own right, replaced him. He did terrific work on the Use Your Illusion albums. But it wasn't Gn'R.
Led Zeppelin did it right. There is no replacing an original member. Black Sabbath without Ozzy is not Black Sabbath (no matter how good Dio was). Likewise regarding Cliff Burton-less Metallica. So the band I fell in love with was already dead at the very peak of their popularity.
And this, to me, is a travesty. I do not care who "owns" the legal rights to a group. Chinese Democracy is an Axl Rose solo effort. Without Slash and the others, it is simply not Guns n' Roses.
With that in mind, I am able to review the album with more of an open mind.
Axl Rose wanted to be bigger than a blues-based rock and roll band. He certainly achived this here. This is the most daring work he's done. Appetite for Destruction, one of the greatest albums ever made, was innovative in that it was retro. It took Hollywood rock (glam metal) back to its bluesy Stones-influenced roots. It was simple. Nothing is simple on Chinese Democracy.
The first two tracks, Chinese Democracy and Shackler's Revenge, are industrial metal influenced, as many expected, but taken to an Axl level. The guitarists shred to perfection. And it did not sound out-of-date. These were the songs I expected from the album. They were what I expected from Axl Rose.
Everything after that had me scratching my head. There were songs that sounded more like Andrew Lloyd Weber than anything I'd heard in rock since early Meatloaf. There was a Broadway theatrical sound to it. I did not expect this at all. If The World, There Was A Time and Street of Dreams are more reminiscent of Styx or Queen. And, like Styx or post Night At The Opera Queen, there was a noticeable lack of edginess. It was, dare I say, soft.
Granted, some of the latter songs had memorable hooks. Better will probably end up being the big single off the album. And Riad n' the Bedouins actually has some kick to it. But I found myself thinking back to two songs more than any other, and perhaps this is most telling of all.
Catcher In The Rye gets its namesake from the J.D. Salinger masterpiece. It is no surprise Axl would have chosen such a title. Perhaps he identifies with Salinger, another artist-in-exile. It is something that is certainly true of the reclusive former lead singer of the biggest band in the world. Yet the other song evokes identification -- for me at least -- to someone darker still.
Madagascar, one of the weaker songs on the album, spends time sampling quotes from various sources, including Martin Luther King Jr, and Cool Hand Luke (the same quote used for Civil War). It made no sense. It was, to me, illogical. And I couldn't help but think of Axl Rose and his already publicized battles with mental illness. Whether or not it was intentional, Madagascar -- and ultimately the whole of Chinese Democracy -- made me think of Axl not as a modern day musical genius, but as a kindred spirit to Sid Barrett.
I've listened to the album a couple of times now. I think I've heard it enough.
First, a little history.
Guns n' Roses were, in my opinion, the greatest band of the last great era of rock and roll. They entered the public conscience in 1987-88. Over the next few years, we'd see great artists emerge (Living Colour, Black Crowes, Nirvana, Pearl Jam, Green Day). We'd see older bands regain glory (Aerosmith, Metallica, Ozzy Osbourne). It was a resurgance of great rock and roll. And Guns n' Roses was the best of the lot.
Gn'R consisted of five unique members. There was Steven Adler, Duff McKagen, Izzy Stradlin. There was Axl Rose and there was Slash. They were the Rolling Stones blues meets Hollywood sleeze. They were the natural progression of the dirty rock and roll band, following in the footsteps of ACDC and Aerosmith. Yet they also had the power and arrogance of early Led Zeppelin.
That was Guns n' Roses. They stopped around 1991. Steven Adler was fired from the band. Matt Sorum, an outstanding drummer in his own right, replaced him. He did terrific work on the Use Your Illusion albums. But it wasn't Gn'R.
Led Zeppelin did it right. There is no replacing an original member. Black Sabbath without Ozzy is not Black Sabbath (no matter how good Dio was). Likewise regarding Cliff Burton-less Metallica. So the band I fell in love with was already dead at the very peak of their popularity.
And this, to me, is a travesty. I do not care who "owns" the legal rights to a group. Chinese Democracy is an Axl Rose solo effort. Without Slash and the others, it is simply not Guns n' Roses.
With that in mind, I am able to review the album with more of an open mind.
Axl Rose wanted to be bigger than a blues-based rock and roll band. He certainly achived this here. This is the most daring work he's done. Appetite for Destruction, one of the greatest albums ever made, was innovative in that it was retro. It took Hollywood rock (glam metal) back to its bluesy Stones-influenced roots. It was simple. Nothing is simple on Chinese Democracy.
The first two tracks, Chinese Democracy and Shackler's Revenge, are industrial metal influenced, as many expected, but taken to an Axl level. The guitarists shred to perfection. And it did not sound out-of-date. These were the songs I expected from the album. They were what I expected from Axl Rose.
Everything after that had me scratching my head. There were songs that sounded more like Andrew Lloyd Weber than anything I'd heard in rock since early Meatloaf. There was a Broadway theatrical sound to it. I did not expect this at all. If The World, There Was A Time and Street of Dreams are more reminiscent of Styx or Queen. And, like Styx or post Night At The Opera Queen, there was a noticeable lack of edginess. It was, dare I say, soft.
Granted, some of the latter songs had memorable hooks. Better will probably end up being the big single off the album. And Riad n' the Bedouins actually has some kick to it. But I found myself thinking back to two songs more than any other, and perhaps this is most telling of all.
Catcher In The Rye gets its namesake from the J.D. Salinger masterpiece. It is no surprise Axl would have chosen such a title. Perhaps he identifies with Salinger, another artist-in-exile. It is something that is certainly true of the reclusive former lead singer of the biggest band in the world. Yet the other song evokes identification -- for me at least -- to someone darker still.
Madagascar, one of the weaker songs on the album, spends time sampling quotes from various sources, including Martin Luther King Jr, and Cool Hand Luke (the same quote used for Civil War). It made no sense. It was, to me, illogical. And I couldn't help but think of Axl Rose and his already publicized battles with mental illness. Whether or not it was intentional, Madagascar -- and ultimately the whole of Chinese Democracy -- made me think of Axl not as a modern day musical genius, but as a kindred spirit to Sid Barrett.
I've listened to the album a couple of times now. I think I've heard it enough.