Customer Reviews

Libertad

5 star:		(43)
4 star:		(34)
3 star:		(17)
2 star:		(14)
1 star:		(10)

 

 

Anytime a band has a successful debut album, the follow-up is always a challenge. The "sophomore slump," as it is called, has been known to rear its ugly head, time and time again, derailing the momentum of many up-and-coming artists.

For a "super-group," especially, the second album is going to be particularly important.

Velvet Revolver's debut album "Contraband" (2004) entered number one on the charts, selling two million copies in the United States alone, and spawned three huge singles. But was it all just a fluke? Did Velvet Revolver find success only because the band contained alumni from Guns N' Roses and Stone Temple Pilots? Can curiosity and hype alone account for the band's success? While Velvet Revolver's detractors will argue yes, the evidence points to no.

While "Contraband" has some flaws, like a muddled mix and a monotonous first third, when the album is good, it's very good. Songs like "Slither," "You Got no Right," "Set Me Free" and "Loving the Alien" among others proved that Velvet Revolver was more than just a band that looked good on paper. "Loving the Alien," especially, with guitarist Slash's signature bluesy soloing over singer Scott Weiland's soulful delivery, rivaled the best of vintage GN'R and STP, sounding like a glorious "November Rain/Big Empty" hybrid.

Taking three years to release their second album, Velvet Revolver are back with "Libertad," (2007) an album that proves Velvet Revolver to be more that just a novelty act; demonstrating that the band has some real potential staying power.

Upon listening to "Libertad" the first thing that's apparent is how much more cohesive the band sounds now than they did on their debut. Listening to this CD it's obvious that years of touring together has really jelled and solidified the band. On their new album VR sounds much tighter--yet paradoxically looser than they did on "Contraband." And while listening to "Contraband" one couldn't help but have GN'R and STP on the back on ones mind, aware the entire time that one was listening to a "super-group," this time that isn't the case. With "Libertad" Velvet Revolver have surpassed the "super-group" stigma, and now actually sound like an actual band, an individual entity, and not just a melting pot of Guns N' Roses and Stone Temple Pilots. Weiland and Slash, two powerful and creative forces, mesh very well, with neither trying to outshine the other, nor any other member of the band (Duff McKagan- bass, Matt Sorum- drums, Dave Kushner- rhythm guitar).

One thing that surprised me so much about "Libertad" is how much fun the band seems to be having. While there are some depressing themes on the album, (Weiland's brother passed away recently) "Libertad," overall, is a celebratory album--very buoyant and, well, just good fun rock n' roll; a far cry from the dour "Contraband." And while "Contraband" hits listeners over the head like a blunt instrument, "Libertad" isn't as forceful. The new album still rocks, but it's more groove oriented, with stronger hooks, melodies and with more satisfying textures. So while "Libertad" sounds good with just one listen, it gets better and better with repeated plays. "Libertad" also seems to have somewhat of a retro 70s feel in places, compared to the more 90s modern-rock styling of "Contraband."

Brendan O'Brien, who produced all five Stone Temple Pilots albums, really did a superb job on "Libertad," making sure all the elements can be heard, while bringing the best out of each player. McKagan's bass is more apparent here than on "Contraband," and Sorum has never sounded better. The sound on "Libertad" is crisp, each instrument audible, and not blurred as was the case on the debut.

"Libertad" kicks into high gear immediately with "Let it Roll" a rocker that sounds like Pearl Jam's "Spin the Black Circle" meets Guns N' Roses "Right Next Door to Hell," but better. The mid-tempo "She Mine" slithers along, its psychedelic peak irresistible. "Get out the Door" is a pop-savvy rocker that moves the album along nicely. "She Builds Quick Machines," the album's first single, took me a few listens to really like. It's probably the most Stone Temple Pilots sounding song on the album. While it's a tad generic, the hook is still there and it works. Musically a sequel to "Fall to Pieces;" "The Last Fight," concerns a couple's last argument before the husband/boyfriend leaves for war. While the song is moving, it's not overdone and is an obvious choice to use as the next single. The infectious "Pills, Demons and etc," a short-but-sweet rocker is followed by the 70s flavored "American Man." The pure ear-candy "Mary Mary" has a great groove, sounding a tad reminiscent of STP's "Big Bang Baby." "Just sixteen" is like "Hot for Teacher" on steroids and packs a powerful punch. While a lot of critics seem to be hard on the band's cover of ELO's "Can't Get it out of my Head," I personally feel VR's version is gorgeous and adds a really nice flavor to the album. Presumably a tribute to Scott Weiland's brother, the rocking "For a Brother" is touching, yet avoids any trace of sentimentalism. Weiland's declaration that "I'm free" is poignant yet relieving. The chorus sounds very similar to Pearl Jam's "State of Love and Trust," but Weiland gets a pass as it's been over fifteen years since he's entered Vedder-Ville. "Spay" sounds straight out of 1992. Imagine Nirvana's "Breed" meets STP's "Sex Type Thing," with a cool Slash solo thrown in, and that's what you get... awesome. The melancholy "Grave Dancer" sounds like a logical sequel to "Loving the Alien." Even if it's not quite as epic, it's still as good. The off-beat country bonus track "Don't drop that dime" is quirky, but actually sounds really good and is better than just a novelty.

While "Contraband" was a very good album and lay a great foundation, in terms of song-writing, production and overall flow, "Libertad" trumps the debut. With "Libertad" we see more than just a STP/GN'R mesh, we see something deeper, something more satisfying; we see a band that has formed its own identity, even while the individual band members remember where they came from. Velvet Revolver passes the "sophomore slump" test to make what will probably be the finest rock album of 2007.

On the enhanced CD Extra portion of Libertad (viewable on your PC), Scott Weiland says that Velvet Revolver's unified goal for Libertad was to, "make the best record that any of us have ever made." Congratulations, Scott. You've succeeded tremendously!

Libertad is to date the best Rock release of 2007. And it is indeed as good as any record that anyone in the band has ever participated in recording....Yes, even as good as the classic Appetite for Destruction Appetite for Destruction . Hence, it goes without saying that Libertad is as good as the best STP album and it's even better than Velvet Revolver's own 2004 release Contraband Contraband (and Libertad doesn't have that annoying copy-protection software attached to it that Contraband had).

Libertad rocks. It is a Hard Rock record with clear vocals, melodic rhythms and--oh my God!--tons of guitar solos! Clearly Velvet Revolver were not influenced by the countless Sons of Plunder label executives that roll up their sleeves and tell new modern rock bands that you need to sound like Nickleback in order to sell a CD. Could you imagine trying to tell Slash that he needs to cut back on his guitarwork? No worries on Libertad; this disk is full of some of Slash's finest playing.

Scott Weiland sounds better than I've ever heard him. His range is amazing, and I swear that I walked away from my first few listens thinking that this is one of the best Hard Rock singers on the circuit today.

Matt Sorum (drums), Dave Kushner (guitar) and Duff McKagan (bass) are all back and are all playing their best.

Of 13 tracks (or 14 if you count the drunken-country-bar bonus track), 10 will have you stomping your feet and pumping your fists in the air. Song after song...I looked at my stereo in amazement as each new track played. I haven't heard a complete album where I didn't want to skip a track in a long long time. But Libertad is definitely one of those disks; you never question whether the track has changed and you get a full disk of tunes that you'll want to rip to your media library.

Velvet Revolver slows it down a bit only for track 5 (The Last Fight), track 10 (an excellent cover of ELO's Can't Get It Out Of My Head The Essential Electric Light Orchestra ), and track 13 (Gravedigger).

The enhanced portion of the CD is titled Re-evolution and is a brief, but cool, "making of". The band will release a more extensive DVD/CD combo later this month.

Velvet Revolver Drummer Matt Sorum said that Libertad is a record "that you will enjoy for a lifetime." And I believe that couldn't be a more accurate statement. If you're a Hard Rocker, then Libertad is one that you do not want to pass on. Add it to your cart.

(P.S. -- If the enhanced portion of the CD doesn't automatically start when you put it into a Windows operated computer, or if your computer automatically plays the CD instead of the enhancement, pop out the disk, open My Computer then double-click the drive that you plan to insert it in. Pop the disk back in and the drive window will populate with files; double-click on the application file 'CDEXTRA.exe' to play the content...it's worth the trouble.)

Velvet Revolver is an admirable band for the simple fact that they are keeping the traditionalist, hard-rocking sound alive where other bands are opting for different avenues for rock. In some ways, the fact that Velvet Revolver have such a throwback appeal also might set them back from having a huge audience. While this probably should've hindered their first album, CONTRABAND, it worked in their favor as CONTRABAND debuted easily at No.1 with 256,000 copies and went on to sale a cool two million copies, hence garnering double-platinum certification. As much as you wish LIBERTAD could be just as commercially successful, especially following all of front man Weiland's problems of drugs, and crazy marital issues (for lack of a better phrase amid the rumors), you know that LIBERTAD will be a clear mark of the sophomore effect. Unfortunately, it was more of an effect than one expected as LIBERTAD slid on the Billboard 200 Charts at an impressive enough #5 bow, but with a tepid 92,000, down 164,000 copies from CONTRABAND opening. Despite cool receptions from buyers as well as radio ("She Build Quick Machines" isn't a radio hit by any means despite being top-notch), quality isn't sacrificed on LIBERTAD. Sure, there are a couple of "clunkers", but even the worst is never horrible and always minimally average. LIBERTAD is a strong album with a couple of flaws that don't really affect it that much.

"Let It Roll" gets things rolling for Revolver, and very well I might add. It's the perfect duration at only 2:32 and I guarentee if you buy this album you won't be able to stop listening to it. Weiland sounds exceptionally well here and the driving guitars coupled with the rockin' drum groove is 'in the pocket' as jazz musicians would say. "She Mine" isn't quite a stellar for me as "Let It Roll", but it is definitely a standout from this set. "Get Out The Door" is solid, though not stellar by any means while the underrated but great "She Builds Quick Machine" is Revolver at their best. Three more strong tracks follow in my eyes via "The Last Fight", my favorite of the bunch "Pills, Demons & Etc", and the straightforward "American Man" which truly does embody being 'the American Man' of which Weiland so convincingly sings about.

Following "American Man", the album cools down for a couple of numbers. Despite the slight downgrade in quality, nothing at all is horrible or as I stated earlier less than average. "Mary Mary" and "Just Sixteen" are solid, but not truly memorable when stacked against the best of LIBERTAD. "Can't Get It Out Of My Head" brings the album back to the quality instilled with such undisputed hits as "Let It Roll" or "She Builds Quick Machines". "For A Brother" seems like a backstep after "Can't Get It Out Of My Head" while the incredibly addictive "Spay" makes up for any missteps. "Gravedancer" isn't the 'finale' is should be (though it is solid), but the embedded hidden track makes it worth it.

Overall, LIBERTAD isn't 2007's best album and perhaps not even its best rock album, but it is certainly a contender and is deserving of any and all accolades that it receives. I personally enjoyed it and I hope anyone who buys it will enjoy it as much as I did. 3 ½ stars in my eyes.

If Velvet Revolver never made it to album number two, no one would be surprised. Afterall, a supergroup featuring ex-members of Guns N' Roses and fronted by arguably the biggest ego of the grunge era, Scott Weiland, didn't seem like a project built to last when they formed. But with "Libertad," Velvet Revolver have the goods to back up their place in the modern rock world. Not only is "Libertad" a stunning blow against the sophmore slump, but it is also the band finally gelling together, creating something new instead of something nostalgic. And as a triple threat, it's easily the most exciting pure rock album released in the past few years.

Unlike it's predecessor, "Contraband," this album sounds like a real band, not just a happy marriage of two different styles. Whereas "Contraband" sounded like lost Guns N' Roses material with Scott Weiland doing vocals, "Libertad" sounds like a different beast. Slash, Duff, and even Matt don't deny their musical heritage on this album, but they do an excellent job of reinventing their signature style. It's still got that ballsy, punk-rock meets classic-rock feel, but with a modern twist that ensures longevity and more creativity to come. Truly, Axl must be jealous by now. And also unlike the debut, Scott comes across more as himself than before, and the music actually allows it. No doubt, his performance before was merely conforming to the music. Here, however, the signature Weiland style can be heard in all it's glory, and it all works well together. "Let It Roll" and "Get Out The Door" may pick up where "Contraband" left off, and the stadium-rock appeal of "She Builds Quick Machines" and "Just Sixteen" will likely be memorable hit singles that will please everyone. But for tracks like the ELO cover "Can't Get It Out Of My Head" and "American Man," the STP and GNR comparisons are completely forgotten, as the band steps into some risky new territory. Also of note is "For A Brother," where Weiland lets down his guard for a rare moment and vents about the loss of his brother to a drug overdose.

Front to back, "Libertad" is Velvet Revolver becoming more than the sum of their parts. Rising above the supergroup label, and surviving beyond the trend (Audioslave, you will be missed) Velvet Revolver may be the success story no one expected. If these guys could keep it together for a second album and come out so clean, who knows what they could accomplish on the third album. But for "Libertad," we have a modern classic.

Velvet revolver put out contraband; it was a great album. Contraband suggested an answer to the question we all lose sleep over, "Is rock dead?" For those of you who believed in VR from the beginning, and could see a long lasting career way back in '04...i applaud you; because as of July 3rd, 2007 Velvet revolver has proved any skeptics to be completely wrong. Libertad is a classic "rock and roll" album (and as much a fan of this genre i am, it would help keep rock alive if we put the last nail in that term's coffin). Anyway, what do you expect from VR when their lead guitarist is slash. Let's look back to '87 - rock was at a decline when Guns N' Roses give us Apetite for destruction. I know, i know, the last thing we need to hear is another "VR is great, but slash should get back with GNR"; however i bring up the point that Slash has saved rock before, and the guys done it again. The man is the Jesus of Rock Music. In addition to slash is Duff, weiland, kushnor, and Sorum. These guys know what they're doing. I'm sure you've heard 'She builds quick Machines' by now, and in my opinion its a brilliant song, but that's not even the best one on the album. Contraband is the kind of album that you'll like a lot of songs from, but not all of them so you'll end up just listening to the same ones from it usually. There is not a song off Libertad that i ever feel like skipping. Velvet revolver has brought rock to new levels of popularity, hey pretty soon all the middle class white kids will listen to rock music (wouldnt that be weird)

I don't really understand why everyone in VR was saying this blows Contraband away. I've been listening to this nonstop since I bought it yesterday and, well, it just seems mediocre to me. I loved Contraband, its agressiveness, melodies, and all around awesome songs. I felt like this album is more "pop" like which dissappoints me. I guess I just wish there were more rockin' tunes, I feel like most of the riffs are kind of generic rock riffs that don't really interest me. What's up with the lyrics ? Most of them are just kinda crappy (she mine?...candy, candy?) And I think Slash holds back a bit on the solo's. He had some awesome solo's on Contraband, even the ones that he did hold back on were still great (Set Me Free, Illegal I Song, Big Machine) But I think you need a great song to make a great solo and maybe thats the problem here. It's too bad because I've been waiting for this album forever and there arn't many albums I do get excited about anymore so to me this was kind of a let down.

Now when I first bought Contraband I liked it, didn't love it. After about 10-20 listens it became one of my favorite albums ever. I really hope this album can do that, but I am a bit more skeptical about it. When I first heard She Builds Quick Machines I was kinda taken back. It just seemed like a lame chorus and too pop like for my tastes. I gave it 4 stars because I am being a little leanient thinking I will get into it more. I always thought Slash could never be a part of something that wasn't awesome, I hate to say it but unfortunately I think they missed the mark on this one...but like I said, I will give it a chance.

THE BAND: Scott Weiland (vocals), Slash (guitars), Dave Kushner (guitars), Duff McKagen (bass), Matt Sorum (drums & percussion).

THE DISC: (2007) 13 tracks clocking in at approximately 51 minutes. Included with the disc is a 6-page foldout containing song titles/credits, song lyrics, band photos, and thank you's. Recorded at Henson Recording Studios (Hollywood, CA). All songs written by Velvet Revolver except "Can't Get You Out Of My Head" by Jeff Lynne (ELO). The disc is enhanced and contains a 10 minute "Re-Evolution" making of Libertad - containing interviews and studio footage. At the end of the disc there is an untitled bonus track (within track 13). Label - RCA Records.

COMMENTS: I went into "Libertad" with no expectations. Knowing the band member history and especially the music capabilities of Slash (Guns 'N Roses) and Weiland (Stone Temple Pilots)... I, like so many listeners purchased on that fact alone. I'd be lying if I didn't say that I was slightly disappointed with the band's first, "Contraband" (2004). I had high expectations with their debut and was craving brilliant fireworks, and it just didn't come through (though "Slither" and "Fall To Pieces" were Top 100 hits - both great songs - but in the end, it was proven that 3 or 4 strong songs do not make an album). "Libertad" (meaning - 'the state of not being in control and being able to do whatever one wishes') comes though in a big way for me. Slash is playing guitar like he has something to prove. Weiland's voice sounds strong - and many a day I've wished his drug and/or alcohol dependencies were behind him... in the end, time will certainly tell. Typically, on first listen, I give a song about 60 seconds. If it's good, I let the whole song play. Same for the rest of the album. On "Libertad", I didn't hit the forward button once. The songs were catchy, the hooks memorable, song structure was varied - just a great rock album. I think the band turned it up a notch and released a slicker and more cohesive album. The rhythm guitar on so many songs are rich with texture, attitude and sleazy hooks.. .reminding me of Joe Perry (Aerosmith "Rocks" in particular)... "She Builds Quick Machines" is my favorite example (not to mention Slash simply shreds throughout the song). The album features 3 tracks destined for radio and ringtones - the rocker "She Builds Quick Machines", the slower main stream ""The Last Fight", and the funky "She Mine". All are worthy. Outside of "The Last Fight" and the band's average at best attempt at covering "Cant Get You Out Of My Head", the album is upbeat, fast and heavy. We all know Weiland can put his own spin on a classic (their version of Aerosmith's "No More, No More" and the his version of Led Zeppelin's "Dancing Days" with the STP's come to mind), but this ELO remake is my least favorite track on the disc. In typical STP fashion and humor, the last track "Gravedancer" fades out after the 4 minute mark, a brief pause, and then a bonus track in a country/western flavor that would make Loretta Lynn proud... or blush ("Don't Drop That Dime"). I'm not sure what the meaning of the title of this album is... "Libertad"... could it be a past/present/future feeling from a record label? Or some other hidden meaning that's special to the band? Either way, the disc rocks and I think it easily surpasses their debut (5 stars).

OK, if you're surprised that Velvet Revolver didn't implode before this album reached completion, raise your hand. If you're even more shocked that "Libertad" is as good or even better than "Contraband," raise that hand, shape it into a fist and start punching it into the air. Because the ruff-riots on this album will ultimately provoke that sort of response.

This cast of rock-and-roll petrol sticks had every opportunity to self-combust, but Scott Weiland, the candidate most likely, sounds better than he ever has and that includes his STP days. Slash is given free reign to solo away, and he does so with gusto (just listen to him rip on "Just Sixteen"). The rest of the support crew (Duff McKagen, Matt Sorum and Dave Kushner) bring on the chemistry. These five men sound like they are really a band and not just pent-up egos in a supergroup. There isn't a bum-song on the whole album. (Although I will hedge on the countrified bonus track "Don't Drop That Dime," complete with Weiland yodeling.) Better yet, no annoying copy-protection.

Velvet Revolver also make up for "Contraband's" greatest weak-spot; lyrics. Where songs like "Set me Free" and "Big machine" sounded like either toss offs or obscenity laden rants, the songs are "Libertad" really sound like they did more than try to load as many f-bombs into 3 and a half minutes. Drop in a glammy-cover of Electric Light Orchestra's "Can't Get It Out Of My Head," and you've got the best hard-rocking album of 2007 so far.

This album is great. It's a pretty much straightforward rock album. Slash does have some pretty good solos in there. This band has the potential to make great albums for years to come as long as they can hold it together. Comparing it with Contraband (their 1st album) is hard for me. Their first album seems more angry and in your face. While Contraband is more aggressive in my opinion, Libertad does have it's share of rockers. As a whole this album has a more clean and polished feel. While I prefer Contraband over Libertad, it is still a very good buy. It's definitely different in a good way and I'm not disappointed. I'm giving it 5 stars because compared to whats out there on radio and MTV Velvet Revolver is on top. So far this year it's the best CD I bought.

For those who thought that "Contraband", the 2004 debut from the Scott Weiland and Slash-led Velvet Revolver, was a lackluster taste of things to come from the supergroup, please throw those notions out the window. "Libertad" is a step well above and beyond "Contraband" to say the least, as it finds Weiland crooning like the old STP frontman we knew and loved, and Slash ripping out riffs like it's 1987 all over again. Opening track "Let it Roll" is just that, as it's rollicking melodies lead into other standout tracks like "She Mine", "Get Out the Door", "She Mine", "Spray", and "American Man". Weiland hasn't sounded this good in years, and the band as a whole sounds much more tighter than they ever did on "Contraband". The only real downside to "Libertad" is that when Velvet Revolver slows things down do things get boring. "The Last Fight" is hardly anything to write home about and just comes off as a generic ballad, but thankfully, pretty much the rest of "Libertad" is a great, pure rock blast. All in all, "Libertad" is a plesant surprise from Velvet Revolver, and may very well be the best pure rock album released this year so far.