Talkin' Jive: Guns N' Roses, Part 3

Breakdown. Let's hear it now. Ever since 1992, there have been numerous Guns N' Roses side projects and successor bands. I find this really interesting since the band has never officially broken up. But from 1993 onwards, GNR, with its revolving door of various band members, has recorded new material only very sporadically, releasing only one studio album of original material in the past 25 years. So it's no wonder that GNR members and ex-Gunners alike were itching to play something. So for your amusement, I'm going to do a quick rundown of all the post-Guns N' Roses albums that I've happened to listen to, in chronological order. Before I start, I just want to point out that I'm not a musical mind, so please understand if I don't end up going too in depth. I don't play any instruments, nor have I ever studied music theory or anything like that. But I do know a good song when I hear it. Let's begin.

Izzy Stradlin and the Ju Ju Hounds (1992) by Izzy Stradlin and the Ju Ju Hounds

Rhythm guitarist Izzy Stradlin left GNR in 1991, mainly because he was disinterested in the band's overwhelming superstardom and the ridiculous drama that came along with it. His first solo album was his attempt to get as far away from the Guns N' Roses reputation as possible; not only did he record it without first signing a recording contract, but also the album itself had a very different sound to it than one might expect. I'd say it probably still falls under the “hard rock” category – with a hint of punk and blues – but at a more relaxed mood. Izzy, who was always the coolest and level headed of GNR, takes on singing duties and does it admirably. Lastly, the songs are written rather well: what Izzy was always best at. Overall, it's pretty good: 4/5. The stand out tracks include “Somebody Knockin'” and “Time Gone By”.

Pawnshop Guitars (1994) by Gilby Clarke

After serving as Izzy's replacement on rhythm guitar, Gilby Clarke was basically forced out (depending on who you ask) of Guns N' Roses in 1994. The release of Pawnshop Guitars, his first solo album, pretty much sealed it, despite the record containing guest star appearances from Axl, Duff, and Slash. And it's too bad his stay with GNR was so short, because this album demonstrates his proficiency with song-writing and singing. The lyrics are surprisingly captivating and well-written. Musically, this album sounds a lot like Izzy's first solo album, except maybe just a bit heavier and with a more pronounced vocal style. It's also a bit bluesier, yet still fairly laid-back. In short, this is one of the better post-GNR solo albums out there, a hidden gem: 4.5/5. The best songs here are “Tijuana Jail”, “Pawn Shop Guitars”, and “Hunting Dogs”.

It's Five O'Clock Somewhere (1995) by Slash's Snakepit

Now this is the real deal! This is what Guns N' Roses' follow up to Use Your Illusion II should have been like. As the legend goes, Slash wrote every song on this album and presented them to Axl who then rejected all of them. His loss, because the music on this album so freakin' good! It's the type of face-melting Guns-style hard rock that the fans were so desperately wanting. The only difference is that this batch of tunes is very bluesy, which, if you're familiar with Slash, should come as no surprise. The band also features Gilby Clarke, Matt Sorum, Mike Inez (Alice in Chains) on bass, and Eric Dover (Jellyfish) on vocals. So yeah, it's a band that sounds very similar overall to Guns N' Roses. Cool. This is an amazing album. It didn't sell very well, but it can easily be found on iTunes. I'd highly recommend it to GNR fans who have already heard all the albums but are still hungry for more: 5/5. Best tracks are “Neither Can I”, “Dime Store Rock”, and “Good to Be Alive”.

Contraband (2004) by Velvet Revolver

Featuring Slash, Duff, Matt Sorum, and Stone Temple Pilots' Scott Weiland (on vocals), Velvet Revolver is the most famous of the post-GNR projects. The band made two albums, both of which were real hot sellers; they gave the fans just what they were wanting. But is the music on Contraband any good? It's difficult to say. I don't think many of the songs here are all that memorable, though they are kind of fun to listen to at first. They manage to take on both a hedonistic and harsh tone at the same time, as if there was no clear direction the album was supposed to take. In a way it reflects the musicians behind the music: middle-aged, with their best years behind them, yet still able to churn out some intense tunes. It's just too bad that the album as a whole sounds unfocused and (almost) generic. The album isn't bad, but at the same time it doesn't sound like anything special, which is what one would expect it to sound like: 3/5. Standout tracks are “You Got No Right”, “Dirty Little Thing”, “Loving the Alien”, and “Slither”.

Libertad (2007) by Velvet Revolver

It's not uncommon for supergroups needing two albums to get it right. The egos of the stars involved need time to gel together and achieve true synergy. On Velvet Revolver's second album, Libertad, the band finally becomes more than the sum of its parts. The songs make more sense than the ones on Contraband, and they're easier/more enjoyable to listen to. It's more cohesive and the melodies are easier to grab on to. Contraband is an album I only occasionally listen to, but Libertad is one that I listen to often: 4/5. The best songs are “Let it Roll”, “Get Out the Door”, “The Last Fight”, and “Gravedancer/Don't Drop that Dime”.

Chinese Democracy (2008) by Guns N' Roses

Yup, I am including this one on my list. I don't think the band that made Chinese Democracy should truly be called Guns N' Roses. First off, there's only one classic lineup member remaining. Second, this album sounds very, very different from the GNR that we're all familiar with. Its sound is really synth-heavy, and it combines several different musical styles together including hard rock, industrial, avant garde/experimental, symphonic rock, and funk/groove rock. It's epic, grandiose, and the perfect example of an obsessive artist who has taken his artform to its creative extreme. The album sounds very finely produced, which makes sense considering that the thing was in the works for approximately 12 years – becoming the most expensive album ever made in the process. The lyrics are exactly what one would expect of an aging, bitter, egotistical personality such as Axl. All in all, this album is quite good. Just keep in mind, it's an album you have to listen to on its own terms (it took me a few tries until I finally started enjoying it). Just curb your expectations, and take it as it is: 4/5. Best tracks are “Better”, “Street of Dreams”, and “There Was a Time”.

Slash (2010) by Slash

Poor Slash. I mean the guy was involved in not one but two larger-than-life rock bands that broke up due to the egos of their singers. Finding a steady singer is the bane of that man's existence. So for his first solo album, the Slash man just said screw it and brought in a bunch of guest stars to sing (as well as other musicians). Brilliant! ...Right? The guests range from old rockers – Lemmy, Ozzy, Iggy – to 90's stars – Chris Cornell, Kid Rock, Dave Grohl – and modern crap like Fergie and Adam Levine. OK, to be honest, the song featuring Fergie - “Beautiful Dangerous” - is actually pretty awesome. I wish I could say the same for the other songs. Yes, this album's greatest flaw is that most of the songs are extremely bland and forgettable. It also doesn't help that the variety in musical styles seems too wide, and not always suited to Slash's style of play. This is especially apparent on tracks like Cornell's “Promise” and Kid Rock's “I Hold On”. Slash himself sounds just as good as ever, but that won't change the fact that this is an album you won't be listening to too often: 2.5/5. Best songs are “Beautiful Dangerous”, “Back from Cali” (with Myles Kennedy), and “Watch This, Dave” (with Dave Grohl and Duff McKagan).

Apocalyptic Love (2012) by Slash

It's hard to keep a good man like Slash down. Myles Kennedy might not be the best rock singer around, but he's easy enough to work with, and for someone as desperate for a singer as Slash is, that's good enough. On Slash's second album, the overall mood is more laid back, with the songs sticking to Slash's familiar hard rock territory (with the exception of a couple songs). This mood permeates the music itself, making Apocalyptic Love an easier album to listen to than its predecessor. The only surprises here is that the best songs are the slower ones that give way to orchestral theatrics (“Anastasia”). It's an OK album. It's not great, but it makes way more sense than 2010's Slash: 3/5. Standout tracks include “One Last Thrill”, “Anastasia”, and “Far and Away”.

World on Fire (2014) by Slash

Now this is the Slash album we've been waiting for! Seventeen tracks of intense, high-octane fun. That's the perfect way to describe World on Fire: pure fun. Nearly every song has a memorable riff and at least one really catchy part. Even Kennedy sounds really good; he now harmonizes with himself on most tracks, and it sounds alright. Aside from all this, World on Fire isn't too much different than Apocalyptic Love. But I've found it to be much more enjoyable, especially if you listen to it in its entirety rather than song by song. Slash fans, rejoice: 4/5. This album's best songs are “Automatic Overdrive”, “Bent to Fly”, “Iris of the Storm”, and “The Unholy.”