USE YOUR ILLUSION I (Guns N' Roses, 1991)
Artist: Guns N’ Roses (D+)
Recording Dates: Jan ’90 – Mar ‘91
Release Date: September 17, 1991. USA
Record Label: Geffen
Producer: Mike Clink & Guns N’ Roses
Rating: 9 (ICONIC ALBUM, MUST HAVE)
Era: Hard Rock (1968-???)
Subgenre: Hard Rock
Best Song: November Rain, Coma, Don’t Cry or Dust N' Bones
Tracklist I: 1) Right Next Door to Hell; 2) Dust N' Bones; 3) Live and Let Die; 4) Don't Cry; 5) Perfect Crime; 6) You Ain't the First; 7) Bad Obsession; 8) Back Off Bitch; 9) Double Talkin' Jive; 10) November Rain; 11) The Garden; 12) Garden of Eden; 13) Don't Damn Me; 14) Bad Apples; 15) Dead Horse; 16) Coma.
How to take Use Your Illusion? A double album or two separate ones? Well, I'm going to do what the band did: release two unpublished reviews on the same day, with different ratings. Although, to be honest, I've always seen it as a double album.
The band's reputation and overrated fame owe much to these two albums. And well, the debut. Although many try to consider these two albums as the band's end, the truth is that they were followed by a couple of truly lamentable albums: the Spaghetti Incident, released during the group's disintegration, and Chinese Democracy, which should be considered more of a solo stubbornness on Axl's part than a reflection of the band itself.
In any case, Use Your Illusion was one of the albums that marked 1991 as one of the best musical years in rock history. It was an extremely risky project, not only for a double album at the very beginning of the '90s, but also for the format in which they were released, in separate packages with separate prices. The risk paid off, as both albums shot to the top of the charts, an unprecedented feat.
Well, as if they didn't already have colossal egos before these twins… Since the late 80s, Guns N' Roses was one of the most powerful bands on the planet, both musically and in terms of fame and influence. They headlined shows, eclipsed (and I'd say ridiculed) the Glam Metal movement, defied authority, left a trail of destruction in the cities they played, and by the end of '89 they were already opening for the Rolling Stones… with the curious fact that many people went to see Axl and company instead of their decadent majesties. By then, several members were up to their necks in hard drugs, and those who weren't were drowning their sorrows in alcohol. Axl threatened that if certain elements didn't stop dancing with "Mr. Brownstone" (heroin), that would be Guns N' Roses' last tour.
Disc 1 is slightly more powerful than the second. For the first time, the band showcased a slightly more expansive sound, still rooted in the powerful hard rock that had dominated previous albums, but with hints of blues and punk, orchestrations, and alternative touches. Axl even plays piano on several tracks. The issue is that there's a slight dip in the middle. It's not terrible, but these are songs written during the Appetite for Destruction era. While not bad, these tracks might have been better suited to that album or as part of Lies. Here, “Perfect Crime”, “Bad Obsession”, and “Garden of Eden” sound out of place and slightly dated. Although Use Your Illusion albums aren't exactly philosophical, they do sound more mature than their predecessors, and these songs seem to revert to a more carefree, irresponsible era. Some tracks weaken the album and make it unnecessarily long. And while it features more kick-ass tracks than Use Your Illusion II, and generally has a more rock-oriented and powerful feel, it also includes more average songs. Nevertheless, killer tracks like “November Rain”, “Coma” (both over 9 minutes long), “ Don't Cry”, and “Dust & Bones” made Use Your Illusion a standout album. Illusion I, an essential album that defined an era, and which contributed significantly to burying Glam Rock and transitioning the band into the 90’s. Guns N' Roses shines, instrument by instrument. Slash cemented his status as THE guitarist of the moment with a dazzling, explosive, and precise guitar style. Matt Sorum made a grand entrance, bringing solidity, confidence, and immense power to the group, driving them forward from behind with his drumming. Izzy takes the lead vocals on several tracks of the first album, blending perfectly with Axl Rose and giving the songs a more rock-oriented and serious edge, something Rose couldn't achieve with his strident voice. One wonders how far they could have gone if egos hadn't ravaged the band.
Use Your Illusion I kicks off with a bang with “Right Next Door To Hell”. It's a rocker. The ass-kicking track kicks off with a deep, 6-string bass line from Slash, layers of guitar, a colossal riff, another guitar playing harmonic games before the distortion kicks in, and Matt Sorum makes his entrance with a powerful, malevolent, tribal drumming style. The intro stretches to half a minute, then the beat accelerates to lead into the verses, with Axl singing at full speed in almost unintelligible phrasing. Thankfully, the lyrics arrive, because vocal clarity isn't one of Mr. Rose's strong suits. The lyrics tell of Axl's feud with his neighbor Gabriella Kantor in a Hollywood neighborhood. Their fights escalated to Rose suing her for allegedly attacking her with a bottle. Rose countersued, accusing her of being a crazy fan, and that's how these hilarious lyrics came about, dedicating "Right Next Door to Hell" to her, complete with the " Fuck You Bitch " line. Musically, it's relentless. From the colossal intro, the blistering guitars during the verses, the catchy chorus with backing vocals from the band, and Slash's tremendous, rockabilly- tinged guitar solo at the two-minute mark, relentlessly attacking a single note until it finally breaks free, then the intensity drops, preparing the intro once more before unleashing another full-throttle attack. Just three minutes long, but packed with a calculated energy and aggression that makes the track work perfectly as the album's opener.
Next up is “Dust N' Bones”, where they slow down to a mid-tempo but improve the quality. Here, a significant evolution and change compared to Appetite for Destruction is noticeable. The song was written by Slash, Duff, and Izzy, and Stradin himself sings it, giving Axl a different touch. Not too much, though. This is further proof that when other band members take the lead vocals on certain songs, they almost exactly copy the style and modulation of their band's main vocalists. Izzy sings more subdued, in a more pleasant, raspy half-tone, without so much stridency, but if you're not paying close attention, you might get the impression that Axl is finally singing in a mature… or sober… way. It's a very melodic song with incredibly catchy verses in a hypnotic rhythm, finished off with some exquisite “that's” "Alright !!!" It has a touch of Country-Blues in the background. The guitars alternate between spidery textures, arrangements, and power. chords, with Slash giving a masterclass on Talkbox … and Dizzy Reed makes his debut as an official member of the group with a little piano A subtle but effective boogie. Axl provides a sort of second and third voice in the background (one high and one lower, for a super cool effect) and increases the volume when necessary, with his signature high notes. At 2:30 there's a bridge where the voices combine in a practically a cappella harmony to create tension: “Ya get out on your own, and you, take all that you own …” before exploding at 2:45 with a magnificent Slash solo. In the coda, Izzy alternates magnificently, singing “That's "Alright !" And Axl responds with a full-throated shout of "Dust N' Bones," closing with a furious guitar riff and a colossal drum intro. Wow! Everything works in this song. It's not aggressive in the traditional Gn'R sense, you know, clowning around and trying to sound tough, but this time the song has a naturally menacing quality. And it's not even a rocker song. With tracks like “Right Next Door To Hell,” the band achieves a perfect balance, blending seamlessly to the point where they sound even more aggressive at times. Special mention goes to Izzy Stradin for his impressive vocal performance…
We continue with “Live & Let Die”, the well-known cover of the song Paul McCartney composed for the James Bond film of the same name. They don't stray too far from the original, and Axl even attempts one of his most emotional vocal performances, at least in the opening verses. But while they respect the original, they also put their own stamp on it, adding power and highlighting the role of the guitars in the explosive sections. The piano sounds almost beautiful at the beginning, and the backing vocals are reminiscent of Linda's (“you know you did , you know you did , you know you diiiiid”. When the song explodes into the instrumental section, the energy is palpable. Sorum adds much more punch with his drumsticks, and Slash, without stealing the spotlight and respecting the orchestration, adds plenty of distortion to further raise the volume. In short, the song is handled very well, seamlessly transitioning between the soft-heavy-soft-heavy sections. It maintains a short duration, and although it received criticism for not making too many changes, I think that altering it further could have ruined the song. In fact, I quite like the song, and I imagine it must have been a real powerhouse live, as Paul himself reaches incredible heights and it becomes one of the climaxes of his concerts.
“Don’t Cry” in its original version is one of the gems of this album. A beautiful power ballad that was written during the Appetite for Destruction era. It forms part of the Illusion Trilogy along with “November Rain” and “Stranged”, which is about a girl dumping her man, leaving him completely devastated. The story behind the trilogy is that around the time the band was starting to take off, Izzy was dating a girl Axl liked, or had a huge crush on, but never made a move on her (according to Rose). Izzy and she broke up, and Axl looked for her, realizing that he couldn't even see her without betraying his friend. In their last conversation, Axl opened up, broke down, and she comforted him, telling him not to cry. According to Axl, he wrote the entire song in just five minutes after he got home. Perhaps that's why it's one of Axl's most emotive vocal performances. Izzy sings backing vocals, and again, they blend wonderfully. The structure is incredibly simple: an arpeggiated circle in A minor, which back in my day any novice guitarist could play, myself included. The lyrics are emotional; if you pay attention, they truly resonate deep within you, and you can feel Axl's pain in his sighs. The incident with Izzy's ex had probably been forgotten by then, but after that, Rose's marriage to Erin Everly crumbled after a fight over a gun in which they nearly killed each other. This may have prompted the rediscovery of the trilogy, even though Axl already had another girlfriend at that time. The guitars combine subtly and beautifully, creating that ethereal and sublime feeling. The verses are delicate and gentle, with a bittersweet and catchy melody, subtly increasing the tension in the choruses. The song builds tension until Slash unleashes those power chords at 2:10, setting the stage for a painful solo, one of the most memorable with Guns N' Roses. In the final choruses, it's truly moving how the guitar mirrors Axl's high notes; the song gains power without losing any drama and reaches a spectacular close, with Rose howling "Tonight" for about 30 seconds, until the last drop of oxygen in his lungs. That it was later over-recorded isn't the band's fault. It's one of the simplest and most magnificent songs they ever made.
With “Perfect Crime”, we return to the band’s wild and immature side, marking the beginning of a rough patch halfway through the album. It’s a relentlessly fast rocker that might have fit better on one of their earlier albums. Axl practically vomits out the lyrics, the guitars sound excessively aggressive, the drums are frenetic, and the simple structure has a punkish feel. Fortunately, it’s short, clocking in at under two and a half minutes. But it’s one of those tracks that feels like filler and out of place.
“You Ain't the First” brings things down a notch. It's actually a country-tinged acoustic ballad sung by Izzy. I suppose it's Slash who plays that great steel slide guitar, which gives it a nostalgic feel. The melody is good, and it has a very intimate mood. There's even a tambourine, which also lends it a certain folk touch. A welcome respite halfway through the album, pleasant and relaxing, although I don't think it's among the fans' favorites.
Then comes “Bad Obsession” with a very cool riff and that cowbell and harmonica that again give it a Road Song feel with a Country vibe. Axl sings this time, in a very nasal, mid-range tone (it's in this tone that Izzy's superiority is noticeable, although he can't compete with Axl in terms of high notes). Also preceding Appetite for Destruction, it's a prelude to “Mr. Brownstone” and deals with the band's problems with drugs, which they couldn't break free from. The melody is playful, entertaining, with a fun back-and-forth that hooks you, and the instruments alternate very well. The thing is, this time there aren't too many variations, and the song stretches to almost 5:30, but in the end it feels a bit repetitive.
With “Back Off Bitch” they start again with a massive intro, before unleashing a killer rhythm Ass-kicking. However, this time the melody is less memorable and the song feels disjointed. The guitar solo at 1:50 stands out, although it's brief, more of a bridge to the next verse. The real guitar solo comes at 2:50, where they even change key to match Slash's rapid-fire guitar. The chorus is somewhat catchier, and definitely made for people to sing along to in stadiums with that powerful "Back Off, Back Off Bitch !!!!" But aside from the solo and the high notes Rose occasionally hits, the track isn't as strong as the album's highlights.
We continue with “Double Talkin' Jive”, sung by Izzy. Another fast-paced, rocking track, with great drumming from Matt. But this time, the low notes don't quite suit Stradin. He gets a little lost in the fast melody. The saving grace, once again, is the guitar solo. This time, Stradin himself plays the electric guitar, delivering a colossal, slow, dark, and menacing solo, without needing any unnecessary embellishment, and with certain flamenco touches as it fades into… indeed, a Spanish guitar outro where Slash adds sweet flamenco flourishes as the song winds down. A very strange track, seemingly trying to fit together three parts, the first of which doesn't quite work.
Next up is the album's most iconic and famous track, one that would become an anthem of the early 2000s and whose video played on MTV at least every hour. “November Rain”, whose quality we can't deny, but which, like many iconic songs from many bands, is hardly their best. Anyway, I think I listened to it so much back then that it made me sick. At almost 9 minutes long, it's the second longest track on the album and the third longest by the band. An epic, massive, beautiful ballad that remains a central theme of both Illusions albums, and I think of the band itself. It's fully orchestrated (presumably by Axl himself!) and instrumentally perfect, with multi-part sections or movements that unfold subtly and without any instruments overwhelming it, maintaining interest throughout its entire length. And the solos. Oh, Slash! What a solo! Axl plays the piano during the intro, creating a calm, sweet, nostalgic atmosphere that sets the stage for the ballad. Violins are added, lending an autumnal feel, along with synthesizers; Sorum creates bursts of sound and occasionally builds tension with his drums; and that flute is essential for that distant, summery, melancholic feel.
The intro lasts 1:15 and then Axl comes in with a pained voice “When I look into your eyes, I can see a love restrained". The orchestra dominates the opening verses, creating cascades that rise and fall in intensity. The guitars are content to keep the rhythm or play subtle arpeggios. Then come almost angelic choral arrangements, while Axl's voice grows increasingly desperate. The melody is beautiful, with small variations that give the song fluidity. Bridges like the one at 3:05 with "Do you need some time... on your own, Do you need some time... all alone", where the orchestra builds to a grand crescendo, leading into the first distorted power chords and Slash's entrance to prepare for the first of three solos. The solo at the 4-minute mark is a beautifully weeping guitar solo, inconsolable and technically impressive, without being explosive or bitter. It's the shock of the breakup, pure weeping. Then comes another bridge, and at 5:10, Slash plays an ascending scale for the second, shorter but slightly more fiery guitar solo. At 6:20, the orchestration mirrors Izzy's power chords, creating majestic descending scales and a stunning false ending. This was already an epic song. But then comes a breathtaking coda, overflowing with pain, rage, explosiveness, anger, helplessness, and all the emotions that arise when you begin to process the breakup. With a slightly faster beat, the song becomes an endless climax, with Axl initially tearing himself apart and Slash delivering a third solo. solo, or a circular, incendiary and spectacular riff, while a chorus sinisterly repeats “Don't ya think that you need somebody, don't you think that you need someone, everybody needs somebody, you're Not the only one, you're not the only one…” to close with weeping violins and the blanket of rain that closes one of the most spectacular ballads in history.
Yes, the fact that it's overrated and overplayed, the wedding drama and the overall pretentiousness of the video don't detract from the song's tremendous quality. One of the most dramatic and representative ballads of the '90s. And it's no wonder, "November Rain" began to take shape even before Guns N' Roses. Axl started writing it back in '83. The lyrics kept evolving. There are supposedly some recordings from '86, but Slash and Izzy didn't want to touch something so colossal, and they didn't yet have the resources to finish it the way Axl intended. Slash would say that the first solo is exactly the same as how he played it the first time in '86. But Rose persevered, and in the meantime, he was able to visualize and put together the entire orchestral section, including the intro, which he wove note by note on the piano, as well as the coda. During the recording, the song began to cause conflict, as Slash and Izzy preferred to avoid epic, orchestrated themes and opted for harder, more rock-oriented tracks. Well, this time we have to agree with Rose. It's an impressive song, justifying its length, justifying the time it took to write and perfect. It features one of Slash's best solos, and I dare say, exceptionally, that it even justifies the lavishness of the dramatic video. Seeing Slash in close-up, circling from a helicopter, smoking inside the chapel, and closing the third solo over Axl's piano is one of rock's pinnacle moments. It would form part of that trilogy of suicidal heartbreak along with " Don't Cry" and " Strangered".
Next up is “The Garden”, which opens with a dark bass line from Duff McKagan, a soft acoustic guitar, and a distant slide. It initially gives the impression of being a bittersweet ballad. But the chorus erupts into a hellish onslaught with distorted, piercing guitars and the appearance of the legendary Alice Cooper, sporting that ragged, dirty style. At 2:15 comes one of Slash's most ferocious and rapid solos, followed by a repeat of the sequence of calm, melodic verses and ferocious, almost metal-tinged choruses, which I find somewhat jarring. In other words, it feels like a very artificial spectacle, again trying to sound badass, but lacking the naturalness of “Dust N' Bones”. The song closes with Alice maliciously whispering “Bye Bye” amidst hellish screams and the guitar roaring in the background. Shannon Hoon, vocalist of Blind Melon, also collaborates on this track.
With “Garden of Eden”, they hit the lowest point of this album. While the other tracks have at least something redeemable, here it's all punk speed, unintelligible phrasing devoid of melody, and distortion upon distortion. It lasts less than three minutes, but it feels much longer with that hammering rhythm and Axl's screaming. Truly unbearable, and I can rarely finish listening to it.
Then we have “Don't Damn Me", with which a cool, kick-ass, and memorable riff returns. Powerful drums and solid bass work from Duff. Axl sings somewhat breathlessly, but with enough melody. At the two-minute mark, the tempo slows to a bridge with ballad-like undertones, a stark contrast, but one that manages to work, featuring a good guitar in the background and Rose drawing out and swaying through the syllables. Then a bass-drum onslaught, and we return to the colossal rhythm and the solo, which is good, but at times sounds like generic metal, with Slash a bit uninspired and trying to sound as flashy as possible. At the four-minute mark, the song is sustained by the bass, and McKagan showcases his skill with the depth of the four strings, before unleashing himself again for the closing, in which Axl howls, "Don't Damn MEEEEEEEE !!!
With “Bad Apples” they return to a certain blues influence, although the verses sound devilishly disorganized, and the different voices are sometimes completely out of sync. But the chorus is devilishly good and catchy, with the little piano playing being a highlight. Boogie . It sounds like a party with tons of distortion, and at times it's genuinely energetic. The problem is the verses, which seem to go nowhere, or at least with the way it's sung… you can't tell if he's rapping, convulsing, or just vomiting the lyrics. And towards the end, this makes it somewhat repetitive. But once again, Stradin 's rhythm guitar is colossal, and the solo is good, packed with dynamite and better structured than the one on the previous track.
Then we have "Dead Horse", which starts with Axl playing an acoustic guitar in a rather basic way. He sings almost a cappella for about a minute, with a pretty melody in a low voice. Then more acoustic flourishes come in, and it seems like it's going to be another relaxing ballad, but then comes a wild scream, and the entire instrumentation bursts in like an avalanche, sweeping everything away. It has a good riff, and it's fun. Axl manages to put together a melody without screaming too much. It's not a killer track, nor is it one of his best, but it's entertaining. The problem is that by this point, the album already feels a bit long. In the end, it always makes me think my CD player has frozen, until I remember that I'm not listening to it on CD anymore, but on MP3, haha.
We close with “Coma”, another epic, kick-ass 10-minute gem, and this time it totally justifies its length. Up until now, we'd barely mentioned Duff, mainly because he effectively but discreetly fulfilled his role on bass. But here he blows the roof off with a tremendous, powerful, and incredibly dark bass line that has always amazed me with its simplicity and immense power, driven by Sorum's heart-pounding beat, adding that damn natural energy that so many songs try so hard and unsuccessfully to find. Here, it works from the start, effortlessly, from the perfect bass effect, the fade -in guitars, the snare drum, and the creation of tension, to Slash running his entire arm before finally launching into full fuzz, mirroring the bass riff. And then the staccato verses, where Axl sings a line and the guitars respond with a sawtooth effect. Then they get into the rhythm and staccato again. The strumming guitar, the changes in rhythm and melody… in short, they do a lot, a whole lot, and very effectively, leading the song to that climactic moment at 2:10 when Axl goes wild: “And someone to tell me, WHAT THE FUCK IS GOING OOOOOOOOOOON, GODDAMN IT!” And then the beep-beep of the electrocardiogram, the majestic riff, even more malevolent than before, and the vocal effects, one of them distorted in a chilling way. The song continues with a multitude of changes, rises and falls, making it impossible to stop listening. At 3:50 it seems to fade, but Matt keeps the beat going with a cymbal to the rhythm of the heartbeat. The song refuses to die. Some guitar arrangements while Axl sings almost timidly, in a whisper. Another change of tone at the 6-minute mark for another incendiary and flawless guitar solo from Mr. Saul Hudson. Wow, what a high level he brought to this album! At least in some tracks, he has tremendous timing, combining explosiveness, feeling, and technique, and it seems like not a single note is out of place. Towards the end, Rose stumbles a bit over the lyrics again, and the ending is somewhat abrupt, with the high note sustained by the feedback dropping off, until the snare drum hit that marks the end of the song and the album.
In short, a great album, but it's certainly held together by a thread by the four or five killer tracks it contains, undoubtedly superior to the average of what any other band was doing at that time. Well, no, '91 was tremendous, but thanks to these songs, they were at the forefront of that rock resurgence.
The problem is that it's too long. With 16 tracks and 76 minutes, it seemed like they could have cut 3 or 4 of the weaker or average songs, which might have been fine on Lies, but here they sound out of place with the "maturity" (if we can call it that) that Guns N' Roses displays in some of the songs. Use You Illusion I feels slightly inferior to II, which lacks so many average tracks and seems better structured. And well, people must have noticed, since this one, with its orange and red cover, sold slightly fewer copies than its blue and purple twin. The cover art, by the way, is taken from Raphael's "The School of Athens".
All in all, it's an iconic album, one that would mark the resurgence of Rock in that spectacular '91, with some tracks that are now classics and that would also mark the beginning of the band's breakup.
By Corvan
May/1/2013
