GUNS N' ROSES GN'R LIES LIBRO GUITAR TABLATURE Patience-Reckless Life-Mama Kin-One In A Million






Hard rock hasn't been the same since Guns N' Roses made their impact last year. In a

decade dominated by over-produced power pop, extremely stylized glam metal and synthesizerladen

new wave, the Gunners have broken every rule-returning to the essence and core of rock

'n' roll itself. With their well-turned blues riffs or their solid rhythm grooves or the inescapable

emotion lurking in every track, they are irreverent, inconsistent and uncompromising, but

irresistible, incalculable and unavoidable. However, like their predecessors-The Stones, The

Who, Aerosmith and AC/DC, they have transcended the role of music-maker/trend setter to

become the most visible and most compelling voice of youth, rebellion and counterculture

lifestyle. They have become a phenomenon to be experienced, not just sounds to be heard--a

necessary prerequisite for rock 'n' roll greatness.

Hard rock hasn't been the same in Los Angeles since Guns N' Roses' Appetite for Destruction

attained multi-platinum status. Their blues-based compactness, simplicity and riff-oriented nononsense

songwriting approach have spearheaded a movement towards the rock of the 90's.

The signings of Faster Pussycat, L.A. Guns (at one time, half of Guns N' Roses), Jet Boy and

even Jane's Addiction indicate a perceptible industry response to the phenomena. Like the

attention accorded to post-Van Halen bands (Motley Crue, Quiet Riot, Ratt and Dokken) in the

early 80's or the fascination with everything English following the Beatles' arrival in the 60's, the

focus these days is on the music pouring out of the underground street scene in Hollywood.

Hard rock won't be the same now that Guns N' Roses have released Lies in 1988. The LP

combines the early independent set Live Like a Suicide (1986) with newer tracks recorded in

1988. The contrast of the high-energy punk-cum-metal mood of the Live ... cuts with the gentler

informal acoustic moments is typical of Guns N' Roses: surprising, unusual, striking ... and never

boring. In their unmistakable iconoclastic fashion, they have echoed the individualistic intentions

of their forebears-The Beatles, The Stones, The Kinks, The Who. Led Zeppelin. They operate

without the restraint imposed by cliche formulas, and succeed in presenting an authentic glimpse

of their musical world ... they are real. The true aficionado of rock will appreciate, indeed relish,

every subtle nuance of their performance-which hasn't been punched in, cleaned up, tweaked or

edited out.

The Live ... tracks, "Reckless Life," "Nice Boys," "Move to the City" and "Mama Kin," capture

the sort of excitement Guns N' Roses produce on stage. These are sounds which got the band

noticed in the competitive and overcrowded L.A. club circuit. The eclectic blues/rock-metal-punk


element runs through each song as a unifying thread-an element clearly recognized now as

Guns N' Roses' style. Check out the heavy riff of "Reckless Life" (Rhy. Fig. 1) which rivals the

output of AC/DC, or the blazing intensity of the song's guitar solo with its odd modal mixtures (B

Mixolydian and B major penatonic versus B blues and B Dorian). The notes blur the major/minor

relationship and defy categorization. Another point of musical interest in the Live ... tunes is the

singular chemistry between Slash and Izzy resulting in that elusive, loose-but-tight, two-guitar

interaction. This type of interaction is what also distinguishes some of the best work of The

Stones and Aerosmith. Evident throughout Guns N' Roses repertoire, a definitive example of this

rapport can be heard in "Move to the City." Here, the two guitars are foils for each otherconverging

and diverging with overlapped and contrasting riff figures of double stops, diad bends,

single-note phrases (as in the verse figures) and muted lines. The use of wah-wah pedal in the

solo is characteristic of the sparse but effective processing of Guns N' Roses' guitar sound. Note

also the gutsy slide guitar employed in "Nice Boys" and the tremolo bar phrasing in "Reckless

Life" (Solo) and "Move to the City" (Solo). The slide guitar has remained a staple in Slash's style

("Welcome to the Jungle" and "Rocket Queen," for example) but the tremolo bar is gone-Slash

swears by stock Gibson Les Pauls.

The remaining four numbers, "Patience," "Used To Love Her," "You're Crazy" and "One in a

Million," might be described as Guns N' Roses' answer to Rubber Soul (The Beatles) or Beggar's

Banquet (The Stones). The setting is distinguished by a shift to an acoustic guitar-based texture

and the mood is almost folksy country-rock. This is in stark opposition to the relentless hard rock

of the Live ... tracks. There is overt acknowledgement of the acoustic guitar motor-drive rhythm

playing of Pete Townshend and Keith Richards, as well as coy references to the music of The

Eagles, Crosby, Stills and Nash, and Creedence Clearwater Revival. The guitar orchestration of

"You're Crazy" (compare this version to the faster punk-inflected rendition on Appetite for

Destruction) and "One in a Million" combines electric- and acoustic- guitar timbres skillfully. In the

former, a clean twangy electric tone is blended with the brisk acoustic strumming (largely a

propulsive sixteenth-note groove) of the rhythm guitar, and in the latter, a distorted electric guitar

provides the driving rock 'n' roll background part, with the acoustic guitar taking the solo spot.

"Patience" (a genuine rock ballad) explores the signature two-guitar interaction with purely

acoustic colors and offers a melodic country-blues flavored acoustic solo (a la Joe Walsh). "Used

To Love Her" (a tongue-in-cheek sardonic "modern folk song") tastefully joins electric (clean tone)

and acoustic rhythm-guitar work with a gutsy "chicken pick in'" approach in the overdubbed

acoustic solo lines. This solo seems to have more in common with Albert Lee, Roy Flacke or

Jerry Reed than Angus Young, Joe Perry or Jimmy Page.

Hard rock hasn't been the same since Guns N' Roses ... but it has been alive and well.

Series: Guitar Personality
Matching folio to their second smash album, 56 pages

Mama Kin
Move To The City (Stradlin'/D.J.
Nice Boys
One In A Million
Reckless Life (Mckagan/Slash/Str
Used To Love Her
You're Crazy

Price: €29,99