Guns N' Roses
GN'R Lies

The legend goes that Mike Clink, the then-producer of the Guns N' Roses, forcefully dragged the five gunners, so high on drugs and alcohol that they could barely stand, into the recording studio to record, in a single day, the acoustic set that would compose the B-side of this record.
But let's go in order: it's 1988 and the band's debut album, Appetite for Destruction, is topping the charts worldwide. Geffen Records, smelling the prospect of more money, decided to reissue the now hard-to-find debut EP of the Guns, Live like a Suicide, which the band self-produced in 1986 and which served as a calling card for various record companies.
However, the record was too skimpy, made up of just 4 tracks, and hence the idea of associating it with another group of 4 entirely acoustic songs recorded in a straightforward manner, without excessive overdubs or electronic gimmicks.

GN'R Lies, mistakenly considered a mini-album, mirrored the success of Appetite, catapulting the band to the Olympian heights of hard rock. The first part of the record, namely Live like a Suicide, consists of 4 tracks recorded live in small clubs, including the cover of the song Nice Boy, a flagship song of a little-known Australian group, the Rose Tattoo, which well represents the aggressive and rebellious spirit of the 5 Guns, as well as the track Mama Kin by Aerosmith, a true inspirational band for Axl and company.
Completing it are two unreleased tracks, Reckless Life and Move to the City, a clear example of streetwise and irreverent rock that the band will occasionally reprise in stadium mega concerts.
After this dose of pure adrenaline, a sweet acoustic guitar arpeggio followed by a whistled tune introduces us to the splendid Patience, one of the band's classics, which for the first time shows us their more intimate side as well as all the potential of our guys, capable of exploring traditional rock in all its facets.
The following Used to Love Her is a country song, neither praised nor criticized, while You're Crazy is the acoustic version of the homonymous track from Appetite for Destruction, which nonetheless leaves its aggressiveness intact.
The concluding One in a Million will be more remembered for its racially charged lyrics, in which Axl will shout the offensive term "nigger" multiple times, rather than for its inherent quality, enough to push the band to never perform it live again.

Thus, after barely 40 minutes, the listening experience ends with what feels more like a commercial move than an intention by the band to create a true album, perhaps also because the problems were so many that new recordings were the last thing on Axl and the band's mind. In fact, the abyss would soon widen, dragging them into a never-ending tunnel of drugs and various excesses, which only after a few years and after several detox treatments, would return 4/5 of the band (Steven Adler never came out of it) ready to make rock history once again. This is the classic transition album, yet an indispensable milestone for anyone who wants to know everything about this historic band.