Stone Temple Pilots (Scott Weiland solo / Army of Anyone)

[Denis]

Même pas une nouvelle date d'annoncée !! Ca sent le parcours à la Audioslave tout ça...

mode Paco Rabanne on

l'album va pas marcher des masses, Weiland va faire le con en tournée, Slash & co vont retourner avec Axl reformer le vrai GNR, et Weiland n'aura plus qu'à espérer la reformation des STP.

[riktus]

et Weiland n'aura plus qu'à espérer la reformation des STP.

On prend les paris, ce serait commerçant en tout cas

[Olikatie]

1) je n'arrive pas à écouter les "samples" des chansons sur AOL (seulement pour américains); si quelqu'un sait comment faire, you're welcome
2) il semble que ces chansons soient très bien notées par les fans
3) les shows de Lisbonne (20.6) & Paris sont annulés mais pas les autres, exemple Zürich le 26.6 (http://www.velvet-revolver.com/)

[Olikatie]

on peut écouter les samples sur http://www.velvet-revolver.com/

j'aime beaucoup Last Fight & She Mine

[riktus]

J'arrive pas à écouter via velvet-revolver.com car il m'envoit sur aol....T'as fait comment Oli ?

[Olikatie]

ne clic pas sous "5/15: 'Libertad' Song Samples on AOL Music " mais

[riktus]

Ok j'avais pas vu merci

Il s'annonce sympa cet album....

[Spark]

Pour info : toute la tournée européenne est annulée.

[Olikatie]

OK, merci Spark

More European Tour Dates Cancelled
According to various reports and the official VR site, all scheduled tour dates in Europe after June 17th have been cancelled because of scheduling conflicts with promotional activities for the release of Libertad. There might be an earlier start of the summer tour in the U.S. It is expected that the band will come back to Europe later this year to make good on these cancelled shows.

par ailleurs, lors des nouveau shows aux US, ils reprennent Vasoline de STP

exemple le show à DC:

Set List

Let It Roll
Do It For The Kids
Sucker Train Blues
Superhuman
The Last Fight
She Mine
Big Machine
Get Out The Door
Fall To Pieces
Vasoline
Just 16
She Builds Quick Machines
Set Me Free
Wish You Were Here
Used To Love Her
Psycho Killer
Slither

[Olikatie]

[url=http://www.thetradersden.org/forums/showthread.php?t=38184]Velvet Revolver
May 12, 2007
Royal Oak Music Theatre
Royal Oak, MI[/url]

SPSM-1>SP-SPSB-1 (w/195Hz bass roll off)>Sony MZ-NH700>SonicStage>himrenderer>.wav>flac
Location: Varying 15-20 feet from the stage near the right stack.

This was a wonderful show, I suggest going to see them if you haven't; six new songs
in the setlist tonight.

1. Introduction
2. Let It Roll
3. Do It For the Kids
4. Sucker Train Blues
5. Superhuman
6. The Last Fight
7. She Mine
8. Big Machine
9. Get Out the Door
10. Fall to Pieces
11. Vasoline
12. Just Sixteen
13. She Builds Quick Machines
14. Set Me Free
15. Wish You Were Here
16. Used to Love Her
17. Psycho Killer
18. Slither

[Olikatie]

MP3 (128 kpbs)

The Last Fight - http://www.megaupload.com/?d=E7ZY926G
Psycho Killer - http://www.megaupload.com/?d=J11DV4OD
Just Sixteen - http://www.megaupload.com/?d=A2XZ7UUS

The Last Fight: http://www.mediafire.com/?bnbtmd01jui
Psycho Killer: http://www.mediafire.com/?ateysd163wg
Just 16: http://www.mediafire.com/?3oytbgjscd4

[Olikatie]

Plus, VR channel Clint Eastwood in forthcoming 'She Builds Quick Machines' clip.

by Chris Harris

NEW YORK — The rumors are indeed true: Velvet Revolver and the remaining members of Alice in Chains will be joining forces late this summer for a run of U.S. and Canadian gigs that will stretch well into the fall. But when you have two huge names on the same bill, the question one must ask is: Who will end up opening for whom?

"We'll be closing out the shows, as far as we know," Velvet guitarist Slash said with a gravelly laugh, adding that the trek, which kicks off in August, will run through October. Texan rockers Sparta have been tapped as the opening act for the tour's second leg, and Velvet Revolver are still mulling a number of potential openers for the trek's first half.

While Alice in Chains' imminent plans remain something of a mystery, it is believed the reunited band has been working on new material, with plans to release a full-length LP in the not-so-distant future. Last year, Alice in Chains re-formed for a series of highly successful summer and fall gigs throughout the U.S. (see "Alice In Chains Unlock North American Fall Tour"), with Comes With the Fall frontman William DuVall taking over at the mic for the late Layne Staley, who died from a lethal mix of heroin and cocaine back in 2002 (see "Layne Staley, Alice In Chains Singer, Dead At 34").

Velvet frontman Scott Weiland said he didn't catch any of Alice in Chains' reunion shows last year, but he's looking forward to the matchup nonetheless. "They're good friends of ours, and obviously they have amazing songs," he said. "People have been saying the shows were amazing, and they were drawing some pretty big crowds, so we figured it would be kind of a cool gig. It would be fun to watch them play every night and listen to those songs."

Before the tour, though, comes Libertad (see "Scott Weiland Pumped For Velvet Revolver LP, Solo Collabo With Pharrell"). Weiland and Slash agree that fans will be hearing a different Velvet Revolver when the band finally dishes the follow-up to 2004's Contraband on July 3. According to them, VR have become a collection of seasoned rockers who are more laid-back and comfortable with one another.

"The first record ... rocks with a real focus, and it is what it is," Weiland said. "I think it's vicious, and we felt we had something to prove because people doubted us in a certain way. On this record, we'd been touring for 18 months straight, and [in that time], you learn how to be a band. You learn each other's idiosyncrasies and then there's a trust that develops from that. So when you want to try new things musically, you feel a lot more safe to be able to do that in the studio and when you are writing and recording. That's probably why this record has a bolder feel. It's a more soulful record, as well as more experimental."

"I think everybody just felt a lot more comfortable," Slash added. "When we first started, we were just so excited to have four other guys to be able to do the same kind of thing with. That first record — it represents that period for us. But we've just grown over this period of time, and we stuck it out with each other, so the vibe is much more relaxed. Everybody just played what they wanted to play."

Libertad will feature a dozen tracks in all. "Get Out the Door" is a funk-filled number that tells the story of "someone tripping through West Hollywood and coming up upon a transvestite who they did not know was a transvestite and having an encounter that they weren't quite ready for," Weiland said. The album's likely second single, "The Last Fight," relays the story of a soldier who spends his last night in the U.S. arguing with his lover before heading to fight overseas. A cover of Electric Light Orchestra's "Can't Get It Out of My Head" is also tossed into the mix.

"That was [producer Brendan O'Brien's] idea," Slash said. "He goes, 'I have this great idea for a cover,' but then he wouldn't tell us what it was. Towards the end of the recording for this album, he finally comes out with it. I didn't know if we could cover that song, and I was against it at first. But I knew Scott was perfect to sing that sort of song. So Brendan was patient with me and had us just do an acoustic version of the track. The thing that did it for me was when Scott put a vocal on it. It just came out really good."

Velvet Revolver recently shot a video for Libertad's first single, "She Builds Quick Machines," with director Dean Karr (Marilyn Manson, Deftones). Weiland said the clip was "fun to make" and was born of an idea he's had for quite some time.

"We came up with this idea, and it just sort of coincided with the album idea and title," he said. "It originally started as just a spaghetti Western and then morphed into a combination of a spaghetti Western married to this freedom-fighter concept," with a splash of "City of God" thrown in for kicks. "We spoke with several different directors, and no one could wrap their head around that concept. It was a two-day shoot, and we had no idea if it would look like crap or if it was going to look amazing. We knew it had to be cool, that it had to have a vibe and it couldn't look cheesy. ... And it came out looking badass.

"I've always been such a huge fan of those spaghetti Westerns," continued Weiland, who bears an uncanny resemblance to Clint Eastwood — circa "The Good, the Bad and the Ugly" — in the video. "I always thought it would be cool to do a remake of 'A Fistful of Dollars,' so it was kind of a childhood dream to be able to do something like that."

The video pits Velvet Revolver against a crew of bad men who kidnap a fallen angel — literally a chick with wings who falls like a meteor from high above the Earth, crashing into the desert sand with atomic force. The VR boys use explosives, Molotov cocktails and powerful six-shooters to exterminate the evildoers and rescue the winged woman.

Originally, the treatment had Slash carrying matching black Les Pauls "symmetrically, spinning the guitars in a manner similar to Bruce Lee's nunchuck scene meets 'V for Vendetta' 's classic knife fight. One of the bandits draws a knife but is pinned against the wall as Slash flings one of the guitars through his midsection." A second bandit would then start firing off shots at Slash, who'd deflect the bullets with his other axe.

Sadly, the scene was never shot. Slash wasn't too jazzed about the idea.

"There was no way I was going to be doing that," Slash said. "There's certain things you do with guitars, and there's a line where there's cool and uncool — and that stepped over that line."

This report is from MTV News.

[Olikatie]

The new Velvet Revolver single in the CSI NY season finale!

<embed src="http://www.youtube.com/v/nXzwufqacEo" type="application/x-shockwave-flash" wmode="transparent" width="425" height="350"></embed></object>

[Olikatie]

VR ''She Build Quick Machines'' video
Converted from the original ASF file to AVI DivX

http://rapidshare.com/files/33050445/Sh ... es_VID.rar

[Olikatie]

Velvet Revolver - She Mine (Starland Ballroom, NJ 5-18-07)

<embed src="http://www.youtube.com/v/Kb1nEHkY4Wk" type="application/x-shockwave-flash" wmode="transparent" width="425" height="350"></embed></object>

[Denis]

nouvelle cover pour Libertad

[Olikatie]

Hello everyone, this is my first post and it will have some value. I've noticed no one has commented on the sounds of the new album, well a bunch of fans up here in Boston were able to get a listen to it before the show that was a few weeks a go. Here is what I remember from the songs I heard.

Let it Roll: Fast paced rocker, with a catchy riff that resembles Welcome to the Jungle, up tempo rocker with a melodic chours. Should've been the first single. The album mix is raw. This has a def Guns'N Roses Appetite for Destruction sound. Has more of a classic rock sound compared to Contraband's more modern sound.

She Mine: This is a weird, experiemental melodic-rocker. It has a Beatles white album sound, but with a dark Alice In Chains Chours. This sounds like something STP would write, suprisingly good and fresh.

Get Out The Door: The catchiest, most infectious rocker they have ever written. This song had to be born from an outtake from Appetite, but the band gives it a modern sound. Scott Weiland gives this song a great melodic overdub, with plenty of harmonies layered between each part. Incrediable Wah-guitar from Slash, one of his most inventive solo's.

She Builds Quick Machine: I really like this song, and I think the album was missing one or two more of these dark, heavy rockers. Sounds not much different from the live verison, except the vocal harmonies mixed in between.

The Last Fight: A good ballad, better than Fall To Pieces, but could of used perhaps a better chours. Weiland especially sounds good on this song, and Slash's trademark gibson solo is highlighted here. The production is slighty overdone, but it does not come out cheesy.

Pills, Demons, Etc.: This song has a terrific groove, and pile driving rhythems and riffs. This song glorifies Slash's guitar playing, again could of came from Appetite. Also Weiland gives it a fresher sound with a terrific odd vocal melody in the chours.

American Man: This song had a nice classic rock feel too it, sounds like it could of came from STP's no.4, has a mid tempo sound, with some nice keyboards layered. Slash plays a nice slow jazzy solo. Scott sings in a great high falsetto.

Mary, Mary: This is a decent ballad, sounds a little like Loving the Aliens, but with a better chours. Chours reminds me of Shangri La Dee Da sounds, especially the harmonies Weiland creates on this one. The guitars sound very lucious on this one.

Just Sixteen: Best song on the album, a terrific glammy rocker with a powerful chours. This song showcases the great chemistry that has evolved in the band, with Weiland coming up with something completely melodic and fresh, while Slash and crew compensate it with an updated Appeitite sound. It sounds like a sophisticated Appetite sound, as if David Bowie would of covered Rocket Queen. Also Slash's best solo on the album. You can actually here his solo's on this album, he seems inspired.

Can't Get It Out Of My Head: Sounds like a unnecissary filler, since the rest of the albums sounds so fresh and creative. I can sligthly remember the original, and to me it really does need to be here. Has some nice layered sounds, pretty acoustic guitars, but from what I heard at the live shows could of been replaced by Psycho Killer, a much edgier and more original cover.

For A Brother: A nice mid-tempo rocker, with a minor overtone especially in the harmonies. The song is kind of a filler, but I understand it probably had importance to Scott and Matt.

Spay: Again one of the best songs on the album, has a fast paced glammy punk sound, but with amazing vocal melodies. I love how raw this song sounds, it sounds like a sophisticated Dirty Lil thing, but with rock'n roll piano's, and better less repeative guitars. Also the intro to this song was one of the songs on Vlog 3, I remember loving the riff and anticipating the song.

Gravedancer: The best ballad on the album, and probably biggest departure in sound. A Slow moody pace, that some great ambient layered keyboard and guitar leads. Weiland sounds amazing on this song, and showcases why he is one of the best vocalist's in rock. It's too weird too be a single and hit, but it will be a fan favourite and will surprise listeners. I seriously never thought they could write such a great song like this, STP has even never wrote a tune like this.

Overall, I loved the album and think its one of the best albums of the year. It will surprise alot of people and alot of critics who are not fond of the band. There is a few fillers, and they should of used that song "Message's", but disappointed I was not with this album. Everyone brings their A-Game here especially Scott, whom I thought was the weak link on Contraband. Slash sounds much more focused, inspired, and creative compared to the last album. Obviously the production does more justice for his playing, and Matt plays with great precision. The album to me sounds a lot like a more mature sophisticaed Appetite, but with a song melodies remanicient of the last few STP albums. Its a deep album, one of which I thought Velvet Revolver were incapable of making, and shows they have more diversity than I thought. I'd give it a 4/5.

[Olikatie]

Classic Rock Magazine July 2007


Let's start off with the new album, Rock Rubin was meant to produce it but he was replaced by Brendan O'Brien. What happened?

Duff: We need to go bac a bit before that, We had come off the road after touring for 18 months. i don't care who you are, if you're five guys on the road that long you are going to get sick of each other. so we took some time off and it was hard getting started again. We don't talk alot. We don't talk about Music, We don't talk about Business, anything like that. What we do well is play music and we kind of forgot that. Once we got in one room again it was all good. So then Rick Rubin comes around and he wanted to do the record and we said: "We're ready to go." He said Great, so we picked a rehearsal space that he really liked, He showed up about a week later and said: I'm going on vacation - you need to write some more songs." four or five weeks pass and we find out he wasn't on vacation, he was working with U2. He came back - and by this point we had about 50 songs - and told us to write more songs. When a guy like Rick Rubin comes along and says "Write more songs", you begin to doubt yourself.

Slash i've known Rick for a long time and i don't want to disrespect him, but his way of working was too slow. Rick had about four different projects going at the same time - one mnute it's U2, the Metallica, and then linkin park - and he kept telling us to write songs, We're pretty diligent, we have alot og intergrity when it comes to songwriting. After a few months working with Rick we started to get a little disinterested. At some point there was a business glitch and that raised a red flag and we said: "y'know there's other producers out there..." That's when Brendan's name came up.

Scott We needed somebody to get into the frontlines with us. We had to move forward and get off the fence. we had to make a decision because the fence post with sticking up our asses. We caled Brendan O'Brien and it just so happened that a project he was on [Bruce Springsteen] feel through the day before. He was with us a few days later and that's when things took on a life of their own.

Is it true that Libertad was initially going to be a concept album?

Duff That was a comment made by Scott, He had that idea. But it was even before we wrote the songs. We had the title of the record before we even started recording, which was something new to us

Scott i've made nine records including this one and i didn't want to make just another rock record. So initially i had an idea that i wanted to make a concept album but, as we started writing, the market place got littered with concept albums and so we scrapped that idea. But along the way some things happened on a personal level that were pretty heavy for me and some of the guys. things also happened on a global level, i've never been a person who's politically overt in the songs i write. On past records i was consumed with my own state of being, being a heroin addict for a long time took up a lot of writing space. so after three and a half years of not having to worry about being a junkie [it] freed up alot of space in my notebook. since then when listening to th final mix on headphones, i've come to the conclusion that without trying to make a concept record there is actually a theme throughout the record, it's about the undeniable search for freedom, the eternal struggle, and that theme rings out in every song. i think fans proberly wouldn't expect some of the different directions and sounds from the guys that used to be in GNR. All we did was drop the various influences and have the balls to put them on record.

Did the sucess of your first record , contraband mean there were external pressures with this album?

Scott No, actually it was quite the opposite. i think to sell three million albums regardless of who we are individually is quite a feat these days, it doesn't happen very often. With this record i think we all felt a complete sense of freedom and daring and i believe that allowed us to push even further

Slash they call it the sophimore jinx. i think because there's a certain amount of collective arrogance with us that we refused to accept that. But at the same time, because we couldn't get our shit together to get in the studio to do the record, it was sort of like this distant black cloud the fuckin' second record thing. but we refused to believe it.

Duff i never felt outside pressure. We're our worst critics. We're pretty brutal on each other. We're so insular when the whole writing process is happening, i don't even know what's going outside, working with Brendan, he thinks about single and that kind of stuff. i don't know what makes a great hit, i've never figured out the fomula i just grew up listening to great music.

With the recent demise of Audioslave are you wart of being labelled as a supergroup?

Duff I though that about Audioslave when they got together and I’m sure people are thinking that about us. It doesn’t play into a band’s collective psyche. So long as the feeling is there… We don’t have this master plan to make three records and call it a day.

Slash the supergroup thing granted that’s an easy label to put in us. But we have no interest in being tagged with that. We had a lot of press when the first album came out and there were a handful of key questions that we got sick of, and that was one of them, I feel sort of vindicated that we’ve done another record and we’ve managed to grow over the course of time. Had we really been set in that ideology of being a supergroup that was created to sell a lot of records we probably wouldn’t have gone too far. We wouldn’t have had the creative tenacity to be able to hang on because it’s a lot hard work [laughs]

Scott We all grew up as kids right around the punk rock thing, and having that as a major influence as to what we’re all about, that’s always cast a shadow on how you perceive your music. There are certain little idiosyncrasies that are attached to a massive rock band or supergroup that I cringe at. The thing with STP is that we sold over 50 million records, GNR have sold 70 million – there’s not much more commercial than that, but I think what enables those bands to maintain a certain level of success is the integrity that there is in the music. It’s all about protecting protect your legacy. and that’s the same thing we do with Velvet Revolver.

There was a rumour that the band are not going to feature and GNR or STP songs in the show any more.

Slash okay, this is the deal, I did say that, but the ay it came out is not necessarily what I meant. What I said was that as this point I’d rather not have to lean on those songs. It’s like Pete Townsend not wanting to smash his guitar every nigh. We originally did it when we first started because we didn’t have enough songs. We’ll still be playing those songs, but I don’t want to feel like we have too. And there’s not a whole lot of songs by either of those bands that we feel comfortable doing.

Looking at it from a fan’s point of view, how would you feel if you went to see a band and they didn’t play any of your favourite songs?

Slash I don’t know… I feel there’s enough strength in the new record that we can do all that and get to the end and then maybe do a Doors song [laughs] . I’m not trying to erase my legacy with GNR.

Talking of which, this year is the 20th anniversary of appeitie for destruction. Any comment?

Duff it’s an awesome legacy to have, it’s hard to believe that we were 21 when we wrote those songs. That was a big part of my life, but it was just a part of it. I remember some of it – I don’t remember a lot of it, it gives me something extra when we play the world – people know me, we didn’t reinvent the wheel we just happened to be connected to punk rock and the 70s Nazareth thing. It was a weird mixture of things that a whole generation latched on to.

Slash it’s something that the record company’s not recognised. There’s no new special release.

How do you feel about that?

Slash that’s record companies, fuck ‘em, I care, but what are we going to do? I don’t deal with those people any more. I’m sure Axl wanted to do something but nothing came out of it.

Have you heard any of Chinese Democracy?

Slash No, I’m sure it’s got some amazing shit on it cos I know Axl and what he’s capable of. So I’m interested to hear it but patient enough to wait until he figures it out. Because I don’t have anything to do with it. It’s easy for me to say that [laughs]

Slash, you’ve recently been to rehav and cleaned up your act right?

Slash yeah, I’ve actually been clean for about 10 months, so we’ll see how long that lasts [laughs] I don’t really get into talking about it that much. One of the catalysts was I was having problems at home, problems with my wife because she has a problem. And we came from two different problems. And there was all this bullshit with the band, toward the end of the tour I was drinking bottle of wine after bottle of wine, cos I know how to do that [laughs]. So at one point my wife came to the conclusion that she needed to go to rehab. So when she went I knew when she came out I was going to have to go, because that was the only way we could sort things out. So while she was gone I went on a fuckin’ smack binge. Well it was Oxycontin – it’s easy stuff, you get it from a doctor so you don’t have to deal with dealers and all that shit. That went on for a couple of months, then I went into rehab and got some clarity. Being loaded worked for me in the early days but nowadays I cannot be effective or as convincing to anybody stoned, I guess it just doesn’t fly anymore [laughs]. Sometimes the idea of having a drink sounds nice but I know it won’t stop at that. And the whole smack thing – I knew when I was doing it, it was wrong. No matter what anyone tells you, trying to do a world tour with a heroin habit has got to be one of the most excruciating things ever.

How does being sober sit with the image you project – the rock ‘n’ roller with a bottle of Jack Daniels?

Slash I don’t know, There;s a part of me that;s used to hding behind that stuff because I’m not necessarily the most outspoken person. So that was my crutch. As far as image goes, I don’t know how important that is. Worrying if I could be creative without dope wasn’t an issue because when I was working I made sure it was just a couple of drinks and that was it. I’ve written some great stuff smacked out but not the majority of it.

Finally, do you feel that you’ve grown up as a band and worked through your various personal problems?

Scott yeah, defiantly I mean it was like that from the beginning. That was one of the main reasons that I joined a band again. I would not have joined the band if they weren’t a bunch of junkies and whores, no matter how successful they could have been, cos those are the only types of people that understand me and have my back.

- Libertad by Velvet Revolver is out july 3rd and is reviewed in next months Classic Rock.

[Olikatie]

Velvet Revolver - Vasoline live in NYC 07

http://www.youtube.com/watch?v=YfEl-fSnKGg

[Olikatie]

Velvet Revolver - Rock Am Ring video

http://www.megaupload.com/?d=0FMAQ690 400mb, asf.

http://www.megaupload.com/?d=A5QWVB6I 140mb, rm.