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70 of 77 people found the following review helpful:
5.0 out of 5 stars
Velvet Revolver passes the "sophomore slump" test , July 2, 2007
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.
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18 of 21 people found the following review helpful:
5.0 out of 5 stars
Freedom From What The Record Industry Tells You That You Want To Hear, July 6, 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.)
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11 of 13 people found the following review helpful:
5.0 out of 5 stars
Only Getting Better..., July 3, 2007
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.
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