THIS COVER of The Dead Boys' classic is a diamond among coals on the much-maligned 'Spaghetti Incident'.

ANOTHER cover, this time from Goth punk icons The Misfits. The ragged voice of bassist Duff McKagan suits this blitzkrieg stomp perfectly.

"WHAT WE'VE got here is failure to communicate." The quote that begins the song (from 'Cool Hand Luke') fits this sensitively wrought anti-war song. It could also sum up the internal problems the band were having at this point.

A GARGANTUAN prog-rock masterpiece that starts with a heartbeat and ends with the flatline sound of a cardiograph machine. The doctors' voices that can be heard through the song are the doctors who saved Rose following an overdose.

FEATURING LATE Blind Melon frontman Shannon Hoon on backing vocals this touching ballad is allegedly the first song the band ever wrote.

ANOTHER involved, cinematic masterpiece that clocks in at over nine-minutes. A turbulent break-up is the basis for the story but with so much musicality at work it could have been about anything.

THIS RANT against a career's worth of press criticism (which names, among others, former K! scribe Mick Wall) quickly became a fan favourite for its stirring 'us and them' invective.

AFTER PLAYING it at the Freddie Mercury tribute concert at Wembley in 1992 this Bob Dylan cover became Guns' biggest hit, reaching Number Two in the charts.

COVER VERSIONS would eventually come back to haunt them but this riotous blast through the Paul McCartney penned James Bond theme tune saw them hit the British Top 5 again.

A SLANG term for heroin, 'Mr Brownstone' is a raucous, though surprisingly cautionary tale about the dangers of addiction. The whole band were, of course, listening attentively.

'DON'T PLAY rock 'n' roll!' No shit. This rowdy rebel yell from 'Lies' (a cover of Aussie rockers Rose Tattoo) showed what everyone already knew: Guns N'Roses were not nice boys.

GRANDIOSE, SWAGGERING nine-minute orchestral majesty with a glorious OTT finale. Still holds the record for the longest guitar solo ever to make the American Top 10.

REFERENCING 'FAGGOTS', 'niggers', 'immigrants' spreading disease and railing on the police, this was perhaps not Mr Rose's most humanitarian lyrical creation. Somewhat amazingly it's a love song and would be beautiful but for the unfortunate content.

SOME SAY it refers to the lure of LA sleaze, others say it's another thinly veiled drug reference. What is known for certain is that if Slash's appeal for the lyrics to be changed to '...where the girls are fat and they got big titties' had been successful then it wouldn't have been quite the same.

THE WHISTLED intro and acoustic jangling was a huge swerveball but the inherent tenderness in Rose's lyrics saw it go Top 10 over here and Top 5 in America.

POSSIBLY THE sleaziest six minutes on 'Appetite...', 'Rocket Queen' has a huge chorus, monster riffs and the sound of Axl Rose shagging a stripper in the studio. How many takes it took to get the orgasmic screaming sounding right is unknown.

THAT RIFF kicks in, you get goosebumps like the first time you heard it and you simply have to stop whatever you're doing and stand there grinning. This song is responsible for thousands picking up a guitar... real or air.

TONGUE FIRMLY planted in cheek, Axl Rose sings of an ex-love he had to bump off because 'she bitched so much'. It caused a few outcries from the moral majority but was dwarfed controversy-wise by other songs on the album.

THE OPENING track on their earth-shattering debut full-length is a howl straight from the LA underground. The story goes that the famous 'You know where you are? You're in the jungle, baby. You're gonna diiiiiieeeee!' line came from an LA bum that accosted the band in their early days.

THE FIRST single from the '...Illusion' set saw Axl's mob in fine, shit-kicking form. Originally written during the 'Appetite For Destruction' sessions, 'You Could Be Mine' appeared in the 'Terminator 2' movie but not on the soundtrack despite Arnie himself appearing in the video.