Too much country music.

Alot of that has to do with the fans, with this whole ridiculous CD saga, have built these songs up to be something else than they actually are. Not in greatness, but in form.

After Prostitute was described by that one dumbass as Nightrain meets November Rain (the most inaccurate analysis ever), people got built up in their head that Prostitute was a rocker, a HARD rocker, in the like of AFD.

It was the furthest from that. It was a ballad, and very much a ballad, like nothing GN'R has done before with soft Coldplay-like vocals from Axl, before kicking into a unique fast paced but soft middle section, and closing out with a Michael Mann film-esque keys by one Mother Goose.

Great fuckin' song. My favorite (at this time) of the CD stuff.

But people REFUSED to accept it was Prostitute, even though it was so obvious. Why? Because they wanted the myth back. The song was nothing like they thought, and they wanted what was descibed. This is why Axl, very intelligently imo, has avoided describing these songs in certain manners over the years (unlike when he described the Illusion songs vs. AFD/Lies), because he wanted to avoid misleading people.

It's the same thing with Sorry. I was knocked off my ass with that song, because mainly it was something totally different than was described.

NOTHING about that song is doom metal, or like doom metal, or whatever the fuck. I remember reading an interview in 2006, which has escaped capture, where I specifically remember Baz comparing Sorry to Coma.

That was the clincher right there. What in the fuck did Baz hear? Sorry is not doom metal, and it ain't Coma. Furthest from it.

Some of this denial is because there's quite a few people around that WAY misdiagnosed these songs, and alot of fans still, in some weird delusional way in their head, REFUSE to accept these songs are what they are. They want the legend, the myth, of the title - Prostitute back. Sorry back. The only song that has seemingly captured people's impressions was This I Love.