Libertad

by

Velvet Revolver

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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.

This album just doesn't deliver. I've listened through the entire thing 3 times now, and it is a labor to not hit skip about halfway through any of the tracks. On Contraband, I disliked most of the singles but found several killer tracks that made the album very worthwhile. Tracks like "do it for the kids", "sucker train blues", "big machine", "headspace" and "you got no right" brought together the best elements of the contributing members' former bands and had terrific, driving melodies.

Libertad by contrast has nothing. It's as homogenized as radio rock can possibly be. I've yet to find a single memorable guitar riff - a first for any record slash has signed his name to. The melodies are muddy and flat, and the high treble studio polish kills any emotion that might be buried in there somewhere. By far the biggest disappointment of records released this year.I wish everyone would hurry up and get over their respective grudges and rejoin their previous bands. STP was getting washed up towards the end as well, but still nothing this bland had come from Weiland yet.