Tag Archives: Robt Williams


The 25th anniversary of my favorite rock album started in the most appropriated way: with a huge hangover. I perhaps, didn’t accomplish the axiom sex, drugs and rock n’roll, but last Friday night was epic in many ways.

Still  yesterday I had strength enough and time to listen to Appetite for Destruction and watch a trashy copy of the unedited peak of Guns n’ Roses universe, their Live @ The Ritz, that show broadcasted by MTV. Ridiculous it hasn’t been officially edited yet, this is something beyond my understanding, really.

Anyway. 25 years since Appetite for Destruction was released. Amazing!

My first approach to this album was in summer 1989. I had this very posh neighbor who had this album in CD! Her parents were divorced and she could get whatever she wanted. You know, this sad blackmailing shit, with parents providing anything in order to achieve love and respect from their children and feel less regret for their marriage failure.

Beatriz had this album only because she liked Sweet Child o’ Mine. In her words, this song was a blast, but the rest of the album was crap. I borrowed it from here, and it was the hardest stuff I had ever listened, but there were a bunch of cool songs. But I wasn’t ready for Guns n’ Roses yet, and it took me another couple of years, till the Use Your Illusions’ arrival, to focus on what has to become my all time favorite band.

Many memories are attached to this band and this album: most guys I’ve been with were GN’R diehard fans too; my first show I had to travel to a city outside my hometown was in 1993 to see them in Madrid with my dad; we had to listen to It’s so Easy every night we were hanging out at least once; my favorite dance step is Axl’s snake dance; my “surname” and nickname in forums is the female version of Mr. Brownstone. And you all know I love Róbt Williams album cover so much, I got myself a copy of the poster at the Hellhouse. Ah, yes! My house is named after their rehearsal dump.

Appetite for Destruction was the most killing debut album ever, which immediately positioned Guns n’ Roses on top of the rock n’ roll Olympus, and christened them as The Most Dangerous Band in the World. Such was the overwhelming success, the band was unable to cope with the impact and soon problems started. It’s been a pity what’s happened over these years, and prefer not starting judgments nor discussions about who’s to be blamed, Axl, Slash or whoever. I just want to pump up the volume out loud, place the needle and listen to the best album in rock history, by the last great rock band on Earth, and enjoy.

Timeless, rough and mean… what else can you ask for, punk?


Robert Williams is an artist I have maximum respect for, since I discovered that he was responsible for the name and the cover artwork of one of the most iconic albums  not only in rock and music history. Do you have any clue which one I’m referring to?

What about this? Does this look familiar to you?

Yes, Appetite For Destruction was painted by the hot rod artist, and Axl Rose, not only had such a crush on the artwork, but also the name of the piece made such impact on him, he decided, well, better said, suggested, that should be the name for the debut album of the most dangerous band in the album, Guns N’Roses, and my personal favorite as you might already know. I reckon he nailed it. Surely you know this cover was censored due to the explicit content on it. Absolutely insane, yet super hypnotic. I’m sure I already told you about my own replica at the Hellhouse, what can I say?

Williams conceives his prolific work as Conceptual Realism, and also the term Lowbrow is frequently related. Not sure about what that means, you know artistic terms are not my strength, but yeah, it’s true he deals with realistic elements, of course translated into his personal universe. Knowing already my taste for the extreme and sometimes vulgar, you can imagine, illustrations dealing with underground culture imagery, it’s my kind of thing.

Hot Rod, easy women, sex, violence, past-present-future, all kind of icons, comic culture, countless elements to reflect dissatisfaction and disappointment with American society in essence.

If you dig a bit into this artist’s career and personal life, you come to the conclusion he’s a kind of art outlaw, a rebel. Involved in the car culture since very young, seems that his only way to stay out of trouble, and avoid the can, was to focus into his painting skills and passion. And he succeeded, as many publications and Juxtapoz magazine he founded in 1994, are the proof.

I remember seeing all these billboards and ads of Vans Vault Icons,  featuring him some years ago in Manhattan. I had a crush on some of his designs.

Williams, a revolutionary with a paintbrush, able to shock the world with his powerful stories, reflecting the lowest and darkest side of the mean society, with corruption, vice, greediness, we’re part of.

Most likely many of you dislike his pieces so color saturated and overloaded. On his credit, so much meaning implicit in every stroke, as to get hooked observing and noticing millions of details impossible to assimilate at just a glance. Personally, I find his work fascinating.