Velvet Revolver: Contraband

I am very sorry that I went into such detail on every track, but I anticipated this album so much that I had to revere this to everyone. With the fusion of Guns N’ Roses instrumental section and Scott Weiland’s armor piercing voice, Velvet Revolver seems to be one of the most anticipated bands of the decade so far. Seeing Slash, Duff, and Weiland back on stage is such a treat. After Axl Rose reformed Guns N’ Roses and Scott Weiland’s abuse of heroin, I thought nothing would be able to salvage two of my favorite bands. But lone and behold the majestic child of two of the best rock bands of the late 80’s and 90’s. The release of “Contraband” was a god-sent for me who has been digging up albums like “Core” and “Appetite for Destruction” for the last four years just trying to keep my memory of the bands alive. So to see Weiland and old GNR members together was an overload. When I first saw this bands line-up I seriously yelped in utter and complete joy for the album. It a really well produced album and most of the song structures and perfect, because of their expertise and history as awesome writers. So get ready to pick up this album on June 14th, run if you have to, but please get this album, if you like STP and/or GNR, this will be a fantasy for you.

Track 1: Sucker Train Blues
Opens the album with rhythm guitar playing some quick little arpeggios with Slash fooling around in the background then all instruments jump in at a freewheeling pace that Stone Temple Pilots’s, Scott Weiland is barely able to sing at the right pace. Then the Velvet Revolver’s go into the chorus which actually sounds quite melodic and timed compared to the spastic pace of the verse. With Slash still shredding away at that same line Weiland goes into some of his signature screaming that can actually sound very well filling in with the guitar. After another verse and chorus, you can just feel Slash about to break into a solo, and when he does, the whammy masterpiece is far and beyond any of the solos on the radio nowadays. With perfect scales and merciless skill Slash whips up one of the best smelling solos of the new millennium. This track is an awesome opener to the album and you can just feel the adrenaline pumping through you body.

Track 2: Do it for the Kids
While the intro to this tracks seems like it is going to be just as hardcore as the last track this track actually becomes a little more controlled and utilizes some of the talented voices in the band to harmonize with Scott Weiland. The aggressive way that Slash plays the chord progression in the verse sounds a lot like pieces of “Appetite for Destruction” , but the way that Weiland harmonizes over the guitar then gives the riff a lighter feeling in the chorus. This harmonization is very soothing on the ears especially after that shred session Slash has after the second chorus. In true Slash fashion he opens up a can of quick scales along with the skill to make you want to drool. Although the drums seem to fade into the background while listening to Weiland’s earth-trembling and Slash’s maniacal solos, one must not forget that Sorum is a very credible drummer that knows when to shine and when to keep killer back up for the front men. All in all a great track to follow up the great pace of this record.

Track 3: Big Machine
Wow, the combination bass and drum opening to this is sick. Actually I have to admit that I want to tweak this and uses it in one of my bands song. Because it is much more subtle than Slash just shredding and Weiland wailing his heart out, it just seems so much more effective. With Weiland coming in softly singing:

“I don’t know because you said so, He’s a nasty boy until you said so, He's a junkie piece of s*** because you say so, All that first-class tough s*** brings me down, down, down”
-- “Big Machine” –Velvet Revolver

With a slow crescendo to the chorus, you can feel the tension raising just waiting for the moment Slash is going to join in the action. Finally at the perfect Slashes comes in, with all his head-banging glory, and sends the chorus into the next atmosphere with the amount of energy. Again during the chorus Weiland’s voice and the guitar chords strike at the perfect time and work together to create the effect of one huge plunge, which makes the chorus even more delectable. Rather than a real solo in this song Slash sometimes fools around behind Scott’s vocals using slides and other muted techniques to add a really cool effect behind the vocals.

Track 4: Illegal I
Illegal I immediately cranks into gear with the driving beat of Matt Sorum in the intro to the song. With the bass, drums, and guitar cranking away, Weiland jumps in with a nasally punk voice for the verse. The driving bass and drums drag the song into the chorus where the raging tempo seem s to simmer down for a small while, then resuming its maniacal ways. This seems to be one of the only songs on the whole album that has punk influences. But of course no song can be complete without a Slash solo, but there is a difference. This solo is much slower and elegant, not the normal shredding of scales common to a Velvet Revolver song. The chorus gives a soothing feeling that appeases the ears before the brash and torched vocals of the verse and some of the fanatic tirades that Scott Weiland goes into at the end of the song. Overall, this is one of my favorite songs on the record, maybe because it is a mystery where these punk influences come from. In the days of Guns N’ Roses and Stone Temple Pilots I really did not hear the amount of punk that is in this track. Don’t get me wrong the infusion of new styles is always welcome for me, it is especially cool using Hard Rock/ Punk.

Track 5: Spectacle
This is your basic rock song nowadays, with common guitar chords back Weiland’s now dimmed voice. But the song suddenly breaks out of the mold when Slash bust out in his one of a kind guitar solo. Until that point any guitar rock band could have pulled off this simple song, but when the solo comes you know that this band is serious. The solo at the 2 minute mark is simply breathtaking and sends this generic quick paced track into the spotlight. Even though it quickly goes back to Weiland’s nasally voice and the drab chorus the harmony at least makes it at least slightly interesting. I really don’t know why this song was included on this record. Because the riffs and drum beats are so amazing on this album I was expecting more than an unoriginal filler track. Probably my least favorite track on the record.

Track 6: Fall to Pieces
This track is much slower and thoughtful than some of the other freewheeling tracks on this album. There are definitely ‘stolen’ riffs and chords in the intro from “Knockin’ on Heaven’s Door” and “Sweet Child O’ Mine”, but I guess since Slash wrote both the guitar structures to these songs he is just trying to tie in some of the history of Stone Temple Pilots and Guns N’ Roses. The intro to this ballad, sounds a lot like a mix of “Knockin’ on Heaven’s Door” and “Sweet Child O’ Mine”, which works very well in a slow and more meaningful song. The best part is Scott Weiland tried to polish up his voice in some parts so he sounds really nice, but its also really nice to hear the raspy notes sometimes. This is the type of song which you can imagine with a moving biblical image in the background. Like while Moses was on top of Mount Sinai, you can just feel Weiland belting out this anthem right next to him. During the solo the camera pans up and Slash rocks the solo, in the sky floating down like a angel. Personally though, I usually don’t like corny ballads talking about love and what not, but this is awesome, definitely my favorite ballad of all time, maybe even one of my favorite anthems. ***** 5 Stars, Great Song.

Track 7: Headspace
After that great ballad we are ready for another great song and it is delivered in the form of this hard rock beast of a song. With guitar riffs that have enough power to knock one out, this is one of Weiland’s most personal songs on the album. The chorus actually sounds like a Rage Against the Machine, which I think is a good thing. The chorus riff in this song is a beast, quite brilliant if you ask me. The calmer verse leads in by Scott Weiland belting out,

“Me, I’m a man, who is trudging, best I can, through a mine field, build to blast. Can I make it? Will I last?
-- Headspace-- Velvet Revolver

The power of these lyrics I feel surpass any others on this album for being the most personal. Obviously talking about his addiction with heroin and how he needs it to stay out of his head space. With the trouble Weiland had in 2003, with his abuse of heroin , and him being forced under the spotlight, he hopefully will not go back to those awful habits. Unfortunately he has joined a band that contains members of a band that were quite the alcohol abusers in their prime. I truly hope all these habits are left behind and that this band remains together to make absolutely amazing songs such as this.

Track 8: Superhuman
I great dark intro to this track using a little guitar riff, sick bass, drums, and Weiland’s scratched voice softly speaking in the background. Pretty new age and unheard for both original bands. With the verse keeping the clutch guitar riff, Weiland laces it over with talk of a “big red lady”. The best part of the verse though is the almost silent distorted bass in the background. As Duff said:

"There's a song called 'Superhuman' where I actually doubled the bass, I played it twice. I put it through this fuzz pedal and it made it almost like an [Roland] 808. It's almost inaudible but it'll rattle your nuts."
(Total Guitar Bass, April 2004)

Even though this song is not the best on the CD, it is a pretty impressive change for the album. The chorus is more of a melancholy or darker sound that the verse, I enjoy how it is relatively harmonized between vocals and guitar in the first half of the chorus and then goes into an assault mode with Weiland screaming out a few notes then returning to the verse again to crank out some more lyrics about cocaine. They bass line on this song really does add a lot, even though it is not overpowering the song it helps to add effect to the verse. Near the ended of the second , my favorite part, Weiland goes into a pure shrill at the end of the last chorus that totally encompasses the feeling of the song.

Track 9: Set Me Free
Starts of with pure high-powered rock than engulfs one in the manipulative guitar riff. Soon the Duff and Matt join in just in time from Scott to sing over using his signature voice, that has a great low content that gives a sinister riff a great effect and manipulating the riff to how the band wants to use it. This song shows how all 5 people in this band can stay together so that no one takes a lunge into the spotlight, rather they no one when to use their instruments to make an amazing beat. With not really any solo from Slash, this song seems to basically just be a track for the band not to boast about their individual skills, but rather mold together and impress their audience with their cooperative style. Great Song for driving in the car or with friends.

Track 10: You Got No Right
Other than the normal power ballad this album seems to have two, this although seems more of a song for a smaller audience, rather than “Fall to Pieces”, which will be played at baseball games for the next years,. Actually the first thing I noticed was the rhythm guitar had a odd sound for the song, so I looked it up and behold Slash used a somewhat of a unique way to record the song:

Slash:"the tune 'You Got No Right' is played on a Takamine [it's actually a Taylor cutaway, says guitar tech Adam Day] recorded via microphone and pickup. Just to make it sound more electric. That was the only song I wrote on acoustic."
--(Total Guitar, April 2004)

Though it is another solid performance from the whole band. With Slashes ravishing guitar solos and Weiland amazing vocals this song slightly breaks out of the “ballad format” that has began to bore guitar and rock fans all over the world. Of course though on this ballad, there is on difference, no not the generic harmony, “No” not the bland drums that are just incorporated so Sorum has something to do. “NOOOO” not the basically inaudible bass line, it is the way Weiland and Slash can match the yearned of Weiland’s voice to the shrills of the guitar solos. The good thing about this songs, is for all you vocalists there is some great harmony in the song for you to sing along with. All in all not as strong as “Fall to Pieces”, but still a great song.

Track 11: Slither
This first single, Slither, has thankfully brought Velvet Revolver to mainstream with the playing of their video on MTV. Actually that is where I learned about the band. But the energetic and sweeping guitar riffs, just give the song an aura that makes it very catchy. With a pretty brute and distorted riff in the background Weiland releases and awesome verse that catches your ear and leaves your craving more. This addiction is quickly quenched when the chorus starts playing. To tell you the truth it sound like the chorus of “Straight out of Line” by Godsmack, I don’t know if that is coincidence or if they want to imitate that style.

While its seems like these lyrics are spilling out of Weiland’s mouth saying: “Yeah, here comes the water, It's come to wash away the sins of you and I, This time you see. Like holy water, It only burns you faster than you'll ever dry, This time with me”
--“Slither”--Velvet Revolver

But without a doubt the solo on this song is my favorite on the entire record. Slash goes berserk with scales and bends, showing why he is known as one of the best guitarists ever. And hell after that maniacal masterpiece how could you argue. If you want to see the video either just download it or look for it on MTV, don’t worry you will notice it by Weiland’s look and Slash’s cigarette and top hat combo. All in all, superb guitar riff, with a slight voice over by Weiland. But the whole band pulled song together and it rightfully so, became a hit.

Track 12: Dirty Little Thing
With the album coming to an end, you might think they would want to tone it down, but rather they made a hard rocking head-banging masterpiece. This song comes in hardcore from the beginning and nothing can stop them at this pace.

I really agree with Matt Sorum when he mentions: "Nice pocket on ‘Dirty Little Thing,’ which sounds like an old STP song, I used the bell brass, just to make it sound honking."
-- (Drum Magazine, April 2004)

Especially with Weiland’s voice this definitely seem as if it had come off one of the Stone Temple Pilots earlier albums, except for one thing. The major change is the masterful guitar work of Slash. The man can make a solo out of a pile of dirt and it will sound awesome. At the quick rate he plays and the use of scales, I don’t think I can remember a band where all the musicians are so talented and famous that they could make a solo album easily. But in the case of Velvet Revolver the infusion of all the musical styles really helps add a flare to the sound of their music.

Track 13: Loving the Alien
The intro sounds sort of techno and has some really cool effects in the background. With these being overlapped by a simple chord progression sounds really cool. Scott Weiland says this song is very hard to single, because of its element of truth. You can feel his yearning the recording of this medium tempo ballad. This soft-core rock track is the perfect outro song to this raging beast of an album. Letting all the angst and adrenaline go from the previous songs, Weiland belts out this track. Again with the guitar licks in the background and the stability of the drums this song just returns you to the relaxed start you were in before listening to the album. In true Guns N’ Roses fashion the last song fades out and allows you to return to your conscious that was blown away by songs like “Slither” and “Headspace”. Perfect way to end one of the most powerful albums that I have listened to in a while.

THE VERDICT: If you have $20 dollars left in your pocket and the end of the day and you are passing a record store, just get it. If you like rock/guitar metal, you will love this combination record, and treasure it over all the radio tracks for a long time.

P.S. You can go to the MTV website under “THE LEAK” and listen to all of the songs off the record for free. The website is:

http://www.mtv.com/music/album_preview/velvet_revolver/contraband/

K.V.


Recommended: Yes

Great Music to Play While: Listening