《Sweet Child O' Mine》有著搖滾史上最令人難忘的吉他前奏，使得Guns N’Roses成為了超級(jí)明星。1988年夏天，這首歌登上了單曲排行榜的榜首，這多少有點(diǎn)令人驚訝——80年代末的熱門(mén)歌曲大多是民謠，沒(méi)有一個(gè)樂(lè)隊(duì)的聲音像槍花那樣粗糙、原始。

Slash的前奏riff是一個(gè)高亢優(yōu)美、回味無(wú)窮的琶音（分解和弦的一種），令人印象深刻。接著Izzy的節(jié)奏吉他進(jìn)入，隨之而來(lái)的是Duff輕快的Bass line，形成了前奏部分的三個(gè)聲部。Axl刺耳的聲音顯然不是情歌的最佳選擇，但它的確有效地傳達(dá)了一種痛苦的激情，而流暢、精致的表演根本無(wú)法做到這一點(diǎn)。事實(shí)上，這首歌取得的驚人銷(xiāo)量，正是因?yàn)楸M管Axl的歌詞看起來(lái)有點(diǎn)傷感，但它們實(shí)際上都是關(guān)于我們所愛(ài)的人喚起的原始情感和莫名其妙的聯(lián)想：她臉上的每一個(gè)方面都與童年早期形成的深厚感情聯(lián)系在一起，甚至讓他回到了懵懂的童年。因此，有人認(rèn)為標(biāo)題中的“甜孩”真的指的是Axl自己重新發(fā)現(xiàn)兒時(shí)的自己。

Slash的曲間solo是簡(jiǎn)單而抒情的，由新的和弦進(jìn)行引入，緊接著的是哇音踏板一次又一次的構(gòu)建和釋放，直到高潮。歌曲驟然停轉(zhuǎn)，在全員反復(fù)吟誦“where do we go now?”的驅(qū)動(dòng)下，Slash和Rose分別插入了偶爾的吉他聲和歌詞，直到歌曲重新進(jìn)入全速狀態(tài)。這里的人聲與吉他的相互作用絕對(duì)令人驚嘆：Slash在哭泣的吉他聲中穿插著Axl瘋狂、情緒化的歌聲。歌曲以Axl的長(zhǎng)嘯結(jié)尾，樂(lè)隊(duì)的演奏隨之停下。當(dāng)歌曲接近尾聲時(shí)，一個(gè)幾乎聽(tīng)不到的輕柔琶音向上飄來(lái)。

盡管這首歌素質(zhì)過(guò)硬，但樂(lè)隊(duì)在MV中引人注目的表現(xiàn)無(wú)疑幫助他們戰(zhàn)勝了對(duì)手。Axl對(duì)著麥克風(fēng)的蛇舞，讓美國(guó)各地的青春期男孩都試圖模仿（但通常都失敗了）；Izzy一襲黑衣，戴著墨鏡，嘴里漫不經(jīng)心地叼著一支煙，似乎對(duì)周?chē)l(fā)生的一切都漠不關(guān)心；而Slash則戴著一頂禮帽，露出濃密的秀發(fā)，緊緊抓住他的大G，好像這是他與外界交流的唯一方式。《Sweet Child O’Mine》在MTV和電臺(tái)上取得了成功，為《Welcome to the Jungle》鋪平了道路。

總的來(lái)說(shuō)，《Sweet Child O’Mine》完美地升華了槍花最初陣容中的一切，而一個(gè)能夠如此敞開(kāi)心扉的樂(lè)隊(duì)竟然還錄制了十年來(lái)最具攻擊性的硬搖滾歌曲，真是令人難以置信。然而，這也證明了樂(lè)隊(duì)給愛(ài)的等式的雙方帶來(lái)了激情，以同樣的強(qiáng)度將愛(ài)與恨戲劇化。這首歌立刻成為經(jīng)典，自發(fā)行以來(lái)，它的影響力絲毫沒(méi)有減弱。

以上為UP主親自翻譯自All Music網(wǎng)站的樂(lè)評(píng)，希望大家喜歡。

Boasting one of the most memorable guitar intros in the history of rock & roll (and there have been quite a few), "Sweet Child O' Mine" made Guns N' Roses superstars, sending their debut album Appetite for Destruction on its way to staggering sales of over 13 million copies. An edited version of the song, chopping out parts of the instrumental intro and guitar solo, hit number one on the singles charts in the summer of 1988, which was at least moderately surprising -- even though several pop-metal bands scored number one singles in the latter half of the '80s, most of those hits were ballads, and none of the bands had as gritty or raw a sound as the Gunners. None were as dark or controversial in their subject matter, either, but that didn't matter with "Sweet Child O' Mine," a mid-tempo rocker (not, as some have called it, a power ballad) with starry-eyed romantic lyrics written by lead singer Axl Rose for his then-girlfriend Erin Everly (daughter of Don Everly of the Everly Brothers). That ability to combine ruggedness and vulnerability was the perfect hook the band needed to establish themselves as a massive commercial force -- and the quality of their music didn't hurt, either.

Slash's intro riff is a soaring, graceful, evocative arpeggio figure that indelibly stamps itself into the listener's consciousness as soon as it rings out (a slight variation reoccurs in the chorus, which pushes it to even greater heights). After one complete run-through of the intro, Izzy Stradlin's rhythm guitar -- the foundation upon which the band was built -- enters and leads into a lilting bass solo by Duff McKagan, proving that he can be just as lyrical in the spotlight as he is moving underneath the music in a supporting role; there's a third, straight-ahead full-band run through the intro figure before the verses begin. Axl Rose's scratchy whine might not seem the most evocative choice for a love song, but it effectively conveys an aching passion in a way that a smooth, polished performance simply couldn't. And that actually sells the song better, because even though Rose's lyrics might seem a little sappy, they're really about the primal emotions and inexplicable associations that loved ones call up in the recesses of our subconscious; every aspect of her face connects with some deep reservoir of affection formed in early childhood, and even takes him back to that emotionally simple and expressive state of being. One starts to wonder whether the "sweet child" of the title actually refers to Rose's own rediscovered younger self.

Slash's soloing on the short breaks between the choruses and verses is simple and lyrical, and his major, extended solo (introduced by a new chord progression) begins that way, but builds into a passionate frenzy of wah-wah-pedal-driven licks whose tension he expertly builds and releases, over and over, until the climax. There is an abrupt drop-off into a completely new part of the song, a quiet section driven by a full-band chant of "where do we go now?"; Slash and Rose interject occasional licks and lyrics, respectively, until the song crashes back into full-band high gear. The interplay here is absolutely stunning, as Slash's almost literally crying guitar weaves in and out of Rose's frantically emotive vocals. The song ends with Rose wailing as the band brakes to a halt behind him; Slash playing a final lick that slides down the full range of the guitar, Rose gives a final cry in the background, and a gentle arpeggio, barely heard, floats upward as the song comes to a final close.

Even though the song was more than solid enough to stand on its own, the band's striking presence in the accompanying video certainly helped put them over. Rose's dance moves at the microphone were the stuff stars were made of, a snaky, sinuous pelvic hitch that adolescent boys across the country tried (and generally failed) to copy. Izzy, in all black, wearing sunglasses, a cigarette dangling nonchalantly from his mouth, seemed coolly indifferent to everything going on around him, while Slash, with his face hidden behind a top hat and a massive bush of hair, gripped his Gibson Les Paul as though it were his only means of communicating with the outside world. "Sweet Child O' Mine" was so successful on MTV and radio that it paved the way for "Welcome to the Jungle," a throttling, vicious rocker that had flopped upon its initial release as a single, to hit the pop Top Ten, a feat that probably would never have occurred otherwise and which cemented the band's status as the top hard rock act in America.

All in all, "Sweet Child O' Mine" is the perfect distillation of everything that made Guns N' Roses' original lineup so great, and it's almost incomprehensible that a band wearing its hearts so transparently on its sleeves could also record some of the most self-indulgently offensive hard rock songs of the decade. Yet it's also evidence of the passion the band brought to both sides of the equation, dramatizing love and hate with equal intensity. The song was an instant classic, and hasn't lost an ounce of its potency since its release.