Album production time: 15 years.
Album production cost: 13 million dollars.
Releasing a near-mythical album when there's no possible way to meet the expectations beset on it: Priceless.

So one of the important questions before heading into a song by song review is why is this album's release significant enough for anyone to listen to it, let alone write a review on it. The answer is simple. Axl Rose is here to save us all.

When Chinese Democracy finally made it's long (and I mean long) awaited debut this past Sunday, most people went into it expecting a washed up former metal god trying to recapture his greatness by releasing an over-produced, over-thought album that could never live up to the Guns N' Roses standard without under appreciated bassist Duff McKagan guitar icon Slash and arguably the band's most talented song writer, Izzy Stradlin.

While much of that statement is true, Axl Rose is anything but washed up. With Chinese Democracy he has proven that he is still just as effective with his trademark caterwaul as he is with his song writing and lyrical delivery. He can still hit notes that most people didn't even know existed. From a vocal perspective, it is a tour de force from one of rock's iconic front men.

The album starts off with the title track, which is also the first single. Following a very extensive intro, the song kicks off with a catchy guitar riff and one Axl's trademark screams, taking the listener back to 1987's Welcome to the Jungle. After that it settles into a mid tempo, powerful rocker that has some traces of the anthem rock of past ****cs like Paradise City, with more of an anarchist feel to it. That being said, it never seems to reach the crescendo the song promises from the start. 4 / 5

The second song will be recognized by some as the album's first official release, on the video game Rock Band 2. Shackler's Revenge is where the comparisons with the G n'R of old end and the comparisons with industrial metal begin. It sounds more like Axl Rose collaborating with Rob Zombie than Guns N' Roses, but it works surprisingly well with it's catchy beat and impressive guitar work. This song is one that will grow on you once you get past the fact that this isn't 1987. 3.5 / 5

The 3rd track, Better, is one that has been heard in many incarnations over the album's production and here we have the end result. It's a mid tempo rocker that starts off with a catchy refrain and guitar riff leading into a kick-you-in-the-teeth chorus that can only be described as very, very angry. Axl is in top form for "Better" as he delivers a performance worthy of the Illusion albums. One of the better songs on the album, the only drawback is that there are times when the song seems unfinished, or incohesive, but those are few and far between on this track that wouldn't be out of place on a Gn'R Greatest Hits album. 4 / 5

Street of Dreams chimes in at number 4 and as the first ballad of the record. Formerly leaked under the title "The Blues", this Elton John-esque tune showcases Axl's amazing vocal range, but it feels almost as if he tried to write November Rain 2. It's got fine piano work from Dizzy Reed and a decent solo, but ultimately the song's lack of personality makes it one of the more uninteresting tracks on the record. 2.5 / 5

So far I have compared each of the first 3 songs to others, but this is where it ends. At number is If The World, the biggest departure from the traditional Guns N' Roses sound. The song starts out with a funk groove leading into Axl's caterwaul that he uses throughout, adding a little growl here and there. The guitar solo sounds like something out of a Santana song, however it works well with this steadily building vocal triumph. Ultimately this song is a microcosm of the album, in that it is so different from "Guns N' Roses", and if treated as such stands tall among the crowd. 4 / 5

There was a Time is number 6, and arguably the best song on the album. It's a song that is greater than it's individual parts. It begins with what sounds almost like a trip hop beat with a good, catchy intro verse, leading into a powerful chorus. About 2 and a half minutes in there is the first of many outstanding guitar solos that are surrounded by about a 3 minute instrumental section peppered with seemingly random Axl screams. The end result leaves you feeling as if you need to catch your breath after the quick build-up and powerful finish. 4.5 / 5

Catcher In The Rye is next. A mid tempo pop-rock song that is probably the most radio friendly on the record, "Catcher" is one of those songs that is not terrible, but ultimately skippable, in the same way Shotgun Blues was on Use Your Illusion 2. It seems like an album filler that the more mainstream fans will like. It sounds more like it belongs on Velvet Revolver's Libertad. All that being said, Axl's vocals are one of the redeeming qualities it does have. 2.5 / 5

A weak song is followed by what I believe to be the weakest song on the album, Scraped. A very strange up tempo song that features Axl almost rapping the lyrics and slashing (no pun intended) guitars, it's yet another different ****on Chinese Democracy. This one however does not work as well. Since the album has entered my rotation, there was only the first few listens that Scraped survived being skipped. 2 / 5

Another up-tempo, powerful rocker, Riad and the Bedouins comes next, being the most reminiscent of the Appetite for Destruction days. Probably the least produced song on the album, it feels stripped down as Axl wails along on top of quick ripping guitars, much like 1987's Anything Goes. It's a refreshing change of pace. 3 / 5

Sorry comes in at number 10. Another departure from G n' R, this track sounds like an amalgamation of Pink Floyd and Metallica, starting off with a slow tempo, "Floydian" intro leading into the first verse. By the time the first chorus hits, the song becomes a heavy, plodding rocker in the mold of Sad But True. An Impressive fusion of ****, Sorry is unlike anything else on the album and stands out as one of the highlights. I can also see this being a staple of the live shows with alot of potential for extension and an eerie, "epicness" to it. 4.5 / 5

I.R.S. is another song that we've been hearing in various incarnations over the years. The final result is a song that feels fragmented. Some parts are up-tempo, angry rocker and some are mid range, stripped down, catchy-hook pop rock. The combination is a little strange, but on some levels it works. Axl again displays impressive control. It's not a ****c, but it's a certain quality and says, "I don't love it, but I can't skip it". 3.5 / 5

Madagascar is song number 12 and it starts to wind down the album in terms of pace. It's a slow to mid tempo song that the band has been playing live for a few years. It features emotional vocals and an almost forced "epic" feel to it, as it scrolls through various quotes from Martin Luther King speeches, Cool Hand Luke and various others. In the end it sounds more like a B-side of the Illusion recordings. 2.5 / 5

This I Love is a Marc Anthony-esque (yes you read that right) ballad featuring almost exclusively Axl's again impressive vocals and a piano. Although it's something G n' R has never done quite like this before, the emotional performance Axl provides as well as the formidable writing form a track that is one of the best ballads heard in a long long time. One of the highlights is a guitar solo that is as emotion-filled as anything this side of Estranged. 4.5 / 5

To close out the album, we have the up-tempo pop-rocker Prostitute. Again a very different song that you would expect, the record's 14th track is a very radio friendly tune whose lyrics almost read like a plea by Axl to give the album a chance, singing "If My Intentions, Were Misunderstood, Please Be Kind, I've Done, All I Should". It's got a very distinct feel to it and a very catchy hook as well as some fantastic arrangements. One of the more challenging listens filled with background guitars, keyboards and vocals, Prostitute offers a fitting close the roller coaster that is Chinese Democracy. 3.5 / 5

There you have my take on each one of the tracks that make up this vocal return to glory from Axl Rose.

However many people will not be able to listen to this record without drawing comparisons to the band's glory years.

That being said, once I got past the comparisons and listened to the album and judged it on its own merits, I discovered a collage of vastly different musical **** put together in an album that's far better than 99% of all the other crap we're force fed these days.

So how is Axl saving us?

Maybe he spawns a new generation of artists not afraid to fuse different sounds, and try different things.

Maybe we get away from these similar sounding rock bands all over the place (I'm talking to you Nickelback, Hinder, Daughtry, Theory of Deadman, etc...)

Maybe someone steps up and claims the position that Axl, Slash and the Gunners held for too short of a time in the late 80's/early 90's.

Maybe we start seeing a new breed of "individuals" burst onto the music scene, replacing these generic, wannabe rock star, single driven artists who will bring us albums good enough to be mentioned in the same breath as Appetite for Destruction, Use Your Illusion and yes, even Chinese Democracy.

One can only hope.