ALBUM REVIEW - Ten -- Pearl Jam by David Jones

With the gift of hindsight, and the knowledge that this is generally considered to be Pearl Jams greatest album, and indeed one of the greatest albums ever, ranking as high as it does in numerous “best album of all time” polls, it’s hard to imagine that at the time of release, the band attracted some criticism for apparently jumping on the grunge “bandwagon” or, as Kurt Cobain put it, for selling out. However, “Ten” proves to be a masterpiece, and one that has been validated through its massive sales figures and the enduring popularity of both band and album. Indeed, far from merely leaping aboard to the freight train of grunge as it sped from Seattle and into record stores, the band created an album with a sound that, while undoubtedly heavily influenced by the new grunge movement, even based upon it, was at the same time apart from the likes of Nirvana as it incorporated the features of classic rock; with lengthy guitar solos and, in parts, some stunning blues playing.

Its this mix of style, the interweaving of classic rock and grunge, which lifts the album above many of its more mediocre counterparts, and gives it such timeless appeal. The grunge elements are clear both in Vedders’ voice and the chugging, heavy rhythm of many of the songs, while elements of traditional rock ‘n roll shine through in the face melting, bleeding guitar solos on the likes of “Alive” and “Garden.” “Ten” achieves the perfect blend, creating a heavy, powerful sound that resounds throughout but never loses skill and finesse. It’s a sound that’s raw yet polished, ferocious and strong yet, in parts, understated and subtle, and each song is delivered with such huge emotional depth that they are instantly believable. This depth is particular true of, for example, “Black,” a poignant, heart wrenching track almost certain to move the listener in the same way it seems to move the singer, who sounds close to tears himself as the final lines are uttered, and “Wash.”

The subject matter is in parts, fairly dark, “Alive” being famously written about the death of a father and a life of lies, “Once” charting the thoughts of a serial killer, and the soaring “Jeremy” based upon the story of a neglected boy who shot himself in front of his classmates, but this only serves to enhance the atmospheric nature of the album. With such varied and obscure subject matter, the album can be divided between the anthemic, sing along classics which even now set raised lighters waving in the air at festivals, including “Even Flow,” “Jeremy” “Alive” and “Once,” and the darkly atmospheric ranging from the sorrow filled “Black,” and pleading tones of “Wash” and “Ocean.” Deserving of a mention in isolation is “Garden” which, falling as it does into the latter category, is a sublime piece of song writing accompanied by haunting vocals and a heavy, claustrophobic feel enhanced by a stunning piece of blues guitar work that reaches deep inside and echoes eerily for a long time after the music has ceased to play.

All things considered, then, this is an album of amazing quality. It achieves a great deal in its fourteen tracks, taking the listener on a journey through disturbed minds, through sorrow, hope and finally, delivering a genuinely comical and funk filled account of a serial killer dubbed “Dirty Frank.” Vedder brings a distinctly heavy, dark sound to many of the songs with an unmistakably brilliant voice and, accompanied by the fusion of classic, blues rock and grunge, this produces a spectacular album, and one which will be regarded so for many more years to come. Indeed, far from selling out, Pearl Jam produced something which refused to be parcelled into the traditional grunge genre, something which rose above that label, and is all the better for it as the songs soar and dive in an album that never ceases to excel.

ALBUM OF THE WEEK - Argus - Wishbone Ash

Wishbone Ash were a well-known band in the 1970’s and part of the huge classic rock genre. Argus, their second album followed their self-titled debut album which brought Wishbone Ash to fame, it perhaps wasn’t until Argus however they began to gain respect from world-wide music fans and critics.

The first impression you get from Argus is the front cover, a fantastic painting of a knight or even a warrior standing over green fields and hills. Straight away you almost expect a real effort of a concept medieval album, they almost succeed. But the most striking thing about the overall theme is how no-one had tried it before and how vast the material could be.

The tracks themselves;

Perhaps a weak start to the album, a nine minute non-epic ‘Time Was’. The highlight of the song being the acoustic melody at the beginning, the song then turns into a fast-paced electric passage with a few too many solos. One gets the feeling the song might well have finished at 5 minutes.

The second song ‘Sometime World’ is in the same sort of format as ‘Time Was’, starting slow before launching into an electric assault. The only difference is ‘Sometime World’ gets away with it with accurate time-changes and just the right amount of solo at the end; it is really the chorus and its melody which lifts the song well-above the average album filler.

‘Blowin’ Free by many critics and music fans considered an ‘Ash’ classic, the lyrics open with a great harmonic sing-along verse/chorus. A slow section follows where you hear the beginning of the battle theme with the patter of drums, a
Wishbone Ash-Esq. solo follows finishing the song, again they may fall victim to over-soloing.

‘The King Will Come’ follows and it says it in the title that our theme really starts here. A monstrous track. Even at 7 minutes you never really get bored, from the excellent unique twin guitar at the start to the brilliant projection of lyrics, it will always be a Wishbone Ash classic. It is not the stand-out of the album but a VERY close second place.

‘Leaf and Stream’ follows this and is well-placed, at only 4 minutes I think it is needed, surrounded by longer songs. The listener needs a 4 minute song even with such progressive artists as Wishbone Ash so the album lengths don’t seem so daunting. The soothing melody and clean-guitar work makes it a perfect song for relaxing after a hard day.

Another classic ‘Warrior’ follows, again self-explanatory, it continues the medieval theme. The highlight of the song is the blast of chorus towards the end that the first-time listener would not have been expecting so late in the song. Coming 4 minutes into the 6 minute song it could have survived without it, proving Wishbone Ash’s not needing to depend upon catchy chorus lines, another classic.


Classic Wishbone Ash songs are certainly abundant on this album and this next one is no exception, definitely the pick of them all ‘Throw down the Sword’. You know a song is brilliant when it doesn’t feel as long as it was, at 6 minutes when listening to this you desperately think life is passing you by too quickly! It is hard to put this song in words but I shall try. Starting with a slow melodic guitar with drums they definitely achieve the battle/medieval feel they were going for. Two verses and two choruses make the song up with guitar intervals. But when the song will soon finish you find out what the song is so-far missing. As the two guitars go into a monumental twin guitar solo which neither Thin Lizzy nor Iron Maiden, later twin guitar masters, have matched. With this solo they truly showed their talents and proved their pioneering successful that they could come up with that. If you have listened to Wishbone Ash or are not that keen on what you have read, the least you should do is listen to this one song, a fitting end to the album.

Wishbone Ash definitely achieved what they set out to do, generally considered to be their finest album, they proved medieval and battle albums can be successful and I don’t think album completely achieved all that this theme can, I think artists could improve on Wishbone ash’s efforts, we shall see.

4½ out of 5

Michael Hedges

Have you heard of Michael Hedges? If you have, you are among the few these days. A legend passed. But just who is Michael Hedges; he is quite simply the greatest acoustic guitarist of all time. One dull afternoon in after university I was aimlessly searching through http://www.digitaldreamdoor.com/ at the music pages. I was interested to see where the guitarists I knew such as Mark Knopfler and Eric Clapton were placed in the ‘greatest acoustic guitarists page’ I was shocked to find neither there, slightly annoyed I hadn’t heard of anyone there I decided to see if the supposed no.1 was any good. So I searched Michael Hedges into youtube and found a song called Rickover’s dream and was utterly amazed, after listening to one song I did the unthinkable, found his most acclaimed album, rated 5 stars by Rolling Stone and allmusic went on Play and bought it, a huge risk that could have been £13 down the drain.

His style so different to others and nothing I had heard before. So far my music taste was near enough a one way street but suddenly… this artist was not of rock but was a world music artist, a new age artist, a genre of music designed for relaxation. An artist quite alright with staying out of the public eye, physical appearance – the last of his worries and absolutely no chance of dubbing on stage! A truly pure artist of music, that even the most avid music fan struggles to find especially these days. A man who creates albums that simply consist of the sound of an acoustic guitar and a backing bass, no vocals, no other backing and no production, simply music and that’s special, not many artists can claim that.

The album itself was not a disappointment. You find yourself amazed that all that music you’re listening to is from one instrument, his technique so complex that you wouldn’t even think to try. His techniques included use of right hand hammer-ons (particularly on bass notes), use of the left hand for melodic or rhythmic hammer-ons and pull offs, percussive slapping on the guitar body, as well as unusual strummings. He also made extensive use of string dampening as employed in classical guitar, and was known to insist strongly on the precise duration of sounds and silences in his pieces. For other albums he used different instruments, all played by himself including, piano, percussion, tin whistle, harmonica, and the flute. He also played the harp guitar a very rare instrument with only one other notable player, jimmy page.

His live performances were rapid, he almost gave away his secrets on stage. Seated audiences with him alone on stage. The sound would be so peaceful yet looking at his playing he was so aggressive with his guitar, but that was the only way he achieved the sound he wanted. He came alive, recordings only gave so much when you see actually playing live, then you start to understand just how talented he was. He played entire songs without playing a single note in the conventional way. A truly rare talent that has been gone nearly 10 years. Not many artists can completely neglect production of an album and get away with it. He got away with it because the music was so complex and so good that production just seemed to be something that tarted up mediocre songs.

Please go and search for Michael Hedges music fans, he will be different to what your used to, but you will not be dissappointed, I don’t want his music to be forgotten.

Paul is Dead Rumour by Jonathan Langton

Paul is dead? (the picture shows William Campbell - today's Paul McCartney?)

Paul is dead is the urban legend that has been discussed for decades. The myth surrounds The Beatles and Paul McCartney;

On Wednesday, 9th November 1966 at 5am Paul McCartney stormed out of the Sgt. Peppers recording session after arguing with one of the Beatles believed to be Ringo Starr. He rode off in his Aston Martin crashed and died. According to believers, Paul was then replaced with a winner of a Paul McCartney look-a-like and sound-a-like competition William Campbell; he was then given plastic surgery to cover up the differences between Paul and himself.
Many people believe the story is rubbish and a lot more have never even heard about it but there are significant numbers who do believe the story to this day. See the evidence and make your minds up

A big clue is a scar on Paul McCartney’s face shortly before his accident seemed to have disappeared after William Campbell took over, something the plastic surgeons missed out?

Sgt. Peppers is packed with clues linking to Paul being dead, the car accident and William Campbell himself. Here is a list of clues supposedly from the album cover from geocities.com

The people are looking at what appears to be a freshly dug grave.

The yellow flowers (directly below the flowers that spell Beatles) are in the shape of a bass guitar. Paul was the bass player for The Beatles.

There are three sticks on the yellow flowers that represent the strings of the bass. There are only THREE sticks to represent the THREE remaining Beatles.

Also, notice that the yellow flowers spell out 'PAUL?'; questioning Paul's existance.

The doll on the right of the cover (in the white, black, and red stripes) has a small white car, with a blood red interior, on her lap. This is a model of the car that Paul died in.

This is the first occasion where we see an open palm above Paul McCartney's head. There are many different theories as to what this signifies. It is generally taken to mean either that the person under the open palm will soon die or has recently passed away. As you will see, this turns up quite a few times

Take a small mirror, or the bottom of a CD will work, and place it perpendicular to the center of the drum, so that you split 'LONELY HEARTS' in half. Now read the combined writing on the drum and the mirror. It says 1 ONE 1 X HE DIE. '1 ONE 1' equals three, another reference to three Beatles. The 'X' crosses out Paul because he is no longer alive. And the arrow between 'He' and 'Die' points directly to Paul.

Lyrics from the album:'SGT. PEPPER'S LONELY HEARTS CLUB BAND'
"Let me introduce to you the one and only Billy Shears" As I mentioned earlier, Paul was supposedly replaced by William Campbell. Billy is a nickname for William.Also, Billy Shears can be seen as a play on words. Billy Shears-> Billy'S hears-> Billy's Here. As though they were introducing William (Billy) to the world.

'A DAY IN THE LIFE'
"He blew his mind out in a car, he didn't notice that the lights had changed" Describes, in more detail, the accident.
There are far more clues than the Sgt. Peppers album cover, including clues from every album after the supposed car crash. Including the Abbey road cover showing the beatles walking in a particular order - John Lennon first wearing all white - representing god? then Ringo starr dressed in a suit - representing a herse driver? followed by paul not wearing shows - representing a corpse? and finally george harrison in denim representing an undertaker?

Personally the whole subject has confused me so much that I cant form an opinion anymore. At the end of the day if it is true Paul McCartney and William Campbell have both produced great music.

Here are some links to more Paul is Dead Clues

http://www.geocities.com/sunsetstrip/3674/pid.html

http://uk.youtube.com/watch?v=zvRi7fhGRgU

ALBUM OF THE WEEK - Chinese Democracy - Guns N Roses by David Jones

IT'S HERE.....and the review right here on world-of-classic-rock WAS IT WORTH THE WAIT?!

To look at Chinese Democracy by numbers is a truly stunning, if not slightly terrifying prospect. Fifteen years, an estimated $11 million dollars, three prime ministers, two US led invasions of the Middle East and, of course, one mix tape run crushed under Axl’s car. Of the multitude of questions which arise from the sheer time span involved in producing the record, perhaps the most important would be “was it worth the wait?” The answer, without any further delay, is a resounding yes. Simply put, Chinese Democracy is an amazing album, and one which is almost ridiculously varied, if you find yourself disliking one track, you’re immediately confronted with something completely different as the next songs fades in. Of course, it’s virtually impossible to ignore the hype, the anticipation, the delays, which have shrouded the album thus far, but the music stands alone, and as such for the sake of this review we should try and ignore the legendary status the record had attained before it was even released.
What stands out most is certainly Axl’s voice. Almost every song is sung with a different tone, a different feel, but there is no doubt regarding the quality of his vocals, which are utterly faultless on every track. His voice embodies a rich, deep tone, but posses so much character and emotion that he creates for each song its own atmosphere, from the darkness of “Shacklers Revenge” to the emotive, tragic sorrow of “This I Love” and the defiant determination of “Scraped.” There is something deeply personal about the album, the inescapable realisation that, as Axl sings “I refuse to be told that I’ve been brought down in this storm” and “forgive them that tear down my soul” this is something extremely close to his heart, music delivered straight from his soul to you. This is coupled with the raw emotion of the vocals, makes many of the songs deeply poignant, powerful and hugely emotive, to such an extent that unless you have a heart composed entirely of stone you will not only be able to identify with them, but be moved by many. As such the album becomes extremely powerful, with the songs “This I Love,” “Madagascar” and the crunching “Sorry” elevating Chinese Democracy beyond the mediocre, empty releases of other artists.
Variation too seems to have been atop of Rose’s lengthy “to do list.” Upon first listen, the striking difference between each track is astounding; there is virtually no resemblance between “Shacklers Revenge” and “This I Love”, for example. Chinese Democracy is a seamless blend of a vast number of different influences and styles. The hard rock tracks like “Chinese Democracy” or “Shacklers Revenge” sit comfortably with the piano driven “This I Love,” while the industrial “Madagascar” with its dubs and synthesizers rests alongside the more bouncing rythm of “Catcher in the Rye.” The mix is such that if your find yourself disliking one track, the next will no doubt be different and thus, when Axl claimed that everyone would be able to find something which they liked on the album, he seems to have been telling the truth. He has managed to create something which defies genre, and an album which is all the better for its huge variety.
It’s worth noting at this point, however, that this is nothing like the Guns N Roses of old. While some tracks bare a faint, passing resemblance to some of the “Use Your Illusion” work, most notably “Chinese Democracy” can be, if you try hard enough, linked to “My World,” while the piano “epics” are slightly akin to “Estranged” and “November Rain,” but these resemblances are vague. This is something completely new, and better for being new, as any attempt to imitate the “Appetite For Destruction” era would have seemed hollow and pointless, considering that this is essentially a completely new band, with only one original member in the form of Axl Rose. However, as a new band, with its vast array of guitarist, a new sound has been created. Undoubtedly most will focus of Axl’s vocals, but the band as a whole works excellently together, producing the crunchy, metal sound as easily as it does the harrowing, epic blues style music. The guitar work is faultless, as Buckethead, Robin Fink and Bumblefoot interweave fluidly on each track, creating some stunning guitar solos which encompass, like the rest of the album, a wide number of genres, from blues to metal via hard rock. As such, the overall sound is immensely powerful, and as some tracks are raw, while others are epic, the whole album becomes increasingly special and, crucially unique.
So was 15 years worth the wait? Certainly, Chinese Democracy is a stunning album in its own right, putting aside all the controversy and media frenzy which surrounded (or should that be detracted from?) its musical prowess. However, it’s debatable weather the long wait and constant delays, as well as the bands internal strife, can be completely put aside, and perhaps it is better not to, instead viewing the “legend” of Chinese Democracy for what it is - the build up to a truly immense album, and one of epic proportions.

ALBUM OF THE WEEK - Grace - Jeff Buckley by James Hamling

Some albums were released and changed everything, such as dark side of the moon, never mind the bollocks and highway 61 revisited. But the album I will be reviewing has been more like an avalanche accumulating thousands of more fans every year.
Jeff Buckley is a cult icon, to his fans he’s adored for brilliant voice, unique lyrical content and his intense but funny persona. But outside of his fan base when he mysteriously drowned to death very few knew. But his only studio album that he completed has left a legacy of songs which far surpasses any singer songwriter since Bob Dylan and Neil Young in the 1970’s.
On the 1994 debut album of Grace, Jeff Buckley managed to mix powerful haunting songs with large swooping melodic hooks which keeps the listener coming back time after time, every year I come back to this album and its as fresh as ever. I will discuss the songs individually:

Mojo pin: Coming in with a slow haunting voice in the distance and ending with Buckley in full scream, is a powerful almost psychedelic song about heroin although its really up to the listeners interpretation. the song ticks all the boxes to be one of the best opening songs on any album

Grace: The albums namesake, shows Buckley at his melodic best, unique guitars with soaring vocals, which lead to one critic desribing Buckley as ‘Page and Plant rolled into one

Last Goodbye: it’s a lot easier to write a sad song than a happy one, which could possibly explain the emo movement, but this Buckley at his joyous best thinking of his final meeting with a lover it has brilliant slide guitar and a soaring uplifting refrains.

Lilac Wine: a unique emotional interpretation of a Nina Simone song, although not a favorite of mine, still a very popular song of his.

So Real: This song is poor in comparision to the rest of the album and the only song I would class as filler, its unfortunate placement behind track 6 (hallelujah) means its overlooked, but it is still a good song.

Hallelujah: I am not being hyperbolic when I say that this piece of music stands up next to any piece of music ever produced. The lyrical content the passion in his voice, is only beginning to get the credit it deserves, with the lyrics, “Maybe there’s a god above but all I’ve ever learnt from love is how to shoot somebody who outdrew ya”. Being sung to perfection its 6 minutes 45 seconds of pure bliss. A modern day hymn for the masses

Lover you should of come over: After one of the most powerful songs written it might be thought the next song would be an anti climax but instead is a beautiful lush sounding song about yearning, a beautiful ego free song about love, something that there is little of in rock music.

Chorpus Christi Carol: Most won’t be able to stand this song, but those who know the original see this as a brilliant interpretation, this song will divide people’s opinion.

Eternal Life: Despite having a voice of an angel, Jeff wanted to be a heavy metal star like his favorite band Led Zeppelin, this showcases it perfectly, with its heavy guitar although kept ‘Buckley’ by its intense other worldly lyrics.


Dream Brother: A bizarre sitar sounding guitar leads into one of the most inspired and unusual vocal melodies in rock music, a franticly original and interesting piece of music

Grace is know thought of as one of the best albums of the 90’s with mojo magazine rating best album of past twenty years, and with Buckley’s mysticism as well as powerful melodies and hooks I am confident his reputation will continue to improve.

Album Rating: *****

A work of pure class and genius, this will be talked about for decades to come Buckley has produced the most beautiful and unique songs of his generation, with the majority of this album being worthy of multiple repeat listens and fitting to its iconic reputation.

Nirvana vs Guns N Roses - David Jones vs James Hamling

Nirvana and Guns N Roses, excluding 'guns n roses'' comeback studio album, we're around exactly the same time. This was the time that nothing original was happening, the days of rock n' roll, blues, hard rock and glam rock we're gone. These two bands even with their differing styles were often compared, even today. But who was greater? Who influenced music more? Who were more original? and most importantly created the better music?

Nirvana - James Hamling

When I asked my dad why he liked Nirvana he said, “It was a breath of fresh air from all the hair metal crap that was a round”. That is well a truly what Nirvana and the grunge movement they spearheaded, ending the pomposity of 10 minute long songs with 4 minute guitar solos with bland innuendo and one eye on their pay check.

Nirvana took music back to its core with its focus on good lyrics good riffs and genuinely caring about the music they made and the fans. Kurt Cobain the front man of Nirvana from the beginning days as a garage metal band in Seattle was a brilliant front man, and David “I have a man crush on Slash” Jones may try and claim Nirvanas success is dependent on Kurt’s enigmatic personality and suicide is the reason for their longevity (with their greatest hits knocking the Foo fighters off top spot in 2001, without the need for constant TV advertising) however a bands only as good as its songs. Kurt was a brilliant lyricist, “The finest day I ever had was when I learnt to cry on command, I love myself better than you I know it’s wrong but what can I do” (On a plain, 1992).

His ability to write candidly about his experiences and with influences as far ranging as John Lennon to French poet Arthur Rimbaud shows the sign of a truly great lyrist. But to the music itself 1991 to 1992 was historical time for music, Nevermind, Nirvanas second album (voted third greatest album of all time) was released to massive acclaim. Smells like teen spirit the most popular heavy rock song of all time with its tidal wave of angst which cries out to go crazy to but retaining pop undertones as catchy as those of early Beatle records. The album is littered with classics from lithium with its soft loud dynamics which perfectly combines rock and pop. To in bloom and come as you are with their brilliant riffs and dark attitude.

I could continue all day about the brilliance of Nirvana I haven’t even touched on Heart shaped box, their unplugged set or the powerful live performances. But I feel it’s time to take about that pile of tosh that is Guns and roses. David would have you believe they were hard rock revival but they were cliché ridden down to small girly singer and the chain smoker leather pant wearing idiot. Who is a not even a poor man’s version but a hobos version of Hendrix and Page. I’ll go as far to admit they had a few good songs (and a few drawn out to their extreme) but their few popular songs go only a short way to cover the shallow pool of good songs (covers of Sympathy of the Devil, live and let die and knockin on heaven’s door fall woefully below par) .Guns and Roses are poor cliché ridden, band relying on standard metal riffs and axls squealing. While Nirvana are a band of integrity, heart and a brilliant catalogue as it doesn’t matter how fast you play but how you play it.

Guns N Roses - David Jones

Sometimes it’s difficult to argue. There’s always the sense that maybe, just maybe, no matter how hard you argue, how loud you shout, you may actually be wrong. That’s why when the chance to argue a point that everyone, no matter what they try to claim, knows is the truth, comes along, there is a certain satisfaction in knowing that not only are you unequivocally correct, but that everybody else knows it, and thus such opportunities should be grasped at all costs. Of course, this is the case with the Guns N’ Roses “debate”, or, more precisely, the fact that Guns are a good few billion light years ahead of Nirvana in every way: quality, skill, song writing, live performances, and any other measurement you choose to pick. Guns N’ Roses are better than Nirvana, it really is that simple.
However, for arguments sake, I feel I should prove my point with some indisputable facts. Most notably the sheer skill of the music produced by Guns; as I write the guitar solo ending “Dust N Bones” is rattling through my earphones, and the technical expertise of Slash’s guitar alone elevates GNR far above the simplistic, distorted, course and amateur chords of Nirvanas so called hits such as the plodding “Heart Shaped Box” and the course, brass shouting which characterizes the overly chart friendly “Smells Like Teen Spirit.” So, Guns win on technical ability, but of course music is about soul, meaning and the sheer feel of the songs, something which Nirvana never seemed to recognise, instead churning out a dull array of angst ridden, boring laments sung (or should that be growled?) through in a monotone, empty voice. Nirvana could never hope to reach the emotionally charged “Don’t Cry,” the sorrowful “Estranged” or the damning incitement of war which is “Civil War.” To put it more succinctly, Guns wrote and performed songs with feeling, with meaning, songs which can be identified with, with guitar solos filled with character and the blues, whereas Nirvana simply produced pointless dirges working on only the shallowest of levels. Anybody can draw a clear distinction between Nirvanas pointless moaning “And I swear I don’t have a gun” and Axl’s heartfelt “I’ll never find anyone to replace you, I guess I’ll have to make it through this time [...] without you.”
Undoubtedly, some will try to claim that Nirvana “changed” music, or that they’re obvious lack of talent can be justified by them doing something “different.” If you find yourself able to ignore the fact that Nirvana, through their downbeat, dull sound opened the way for the thousands of generic, empty bands which seem to have flooded the music industry of late, its worth remembering that at some point in the past, the Nazi Party was something new, something original, but it would be difficult to find anyone willing to praise Hitler for “doing something new.” Besides, Guns are widely credited with changing the music scene, rescuing the world from the empty, hair metal of the 80s and restoring a classic rock, bluesy style to a world that needed to learn how to rock again.Guns N’ Roses were, and always will be, one of the greatest bands ever to make music, with their technical skill, emotion and the sheer power of their live shows they shook the world, and are, without a doubt, hugely better than Nirvana, and even comparing them to the dull, primordial grunge seems is an insult.

So there are the arguments. My opinion aside, it is really up to the reader to make their own judgement.

Ii think both writers will agree, this was not music's finest hour, but still a fine one.