Lo ponen "bien" mas o menos. hay cosas creo no interpretar al traducir. Aqui os lo dejo a ver q opinais.

LIBERTAD
Velvets still rock heavy on seocnd disc
By DARRYL STERDAN -- Sun Media

Listen to Velvet Revolver's "" at Canoe.ca/songs

Velvet Revolver
Libertad
(RCA/Sony-BMG)

Some bands have all the luck. Velvet Revolver has never been one of those bands.

From the git-go, this supergroup of ex-Stone Temple Pilots singer Scott Weiland, Wasted Youth guitarist Dave Kushner and three Guns N' Roses alums -- top-hatted guitar hero Slash, bassist Duff McKagan and drummer Matt Sorum -- has seemed on the verge of implosion. Overdoses, rehab stints, drug busts, court cases. And that was just Weiland.

While making this sophomore CD, the singer was apparently on good behaviour. But there were still plenty of hassles. The band reportedly had trouble coming up with tunes. They went through two producers (including Rick Rubin) before settling on Brendan O'Brien. Schedules conflicted and time was tight. Both Weiland's and Sorum's brothers died of overdoses. A few members supposedly backslid into some nasty habits. They even ended up dickering with their record label over the choice of single.

But if all that discord, decadence, dissent and disaster had any major effect on Libertad, you'd never know.

The disc dishes up another helping of the same meat 'n' potatoes arena-rock as their 2004 debut Contraband. Maybe it's a little looser and rawer and more spacious, with songs based around grooves and simple riffs instead of Slash's complex fretboard fireworks.

But even if doesn't always deliver the same wallop as its predecessor, it's still probably gonna be the guitar-rock record of the summer.

If that's what you've been waiting for, this is your lucky day.

Let it Roll 2:32

As they did on Contraband, the boys bust out of the gate with a hard-driving opener. The descending guitar riff supplies the momentum, while Scott's boomy vocal recalls Jim Morrison.

She Mine 3:24

Here's a change; the band channels the Red Hot Chili Peppers with a funky beat, some wicky-wicky guitars and lyrically flowing verses. The anthemic chorus and bridge bring the rock.

Get Out the Door 3:14

Guitarist Kushner supplied this rubbery riff-rocker, but the rest of the guys punch it up with a plonking cowbell and alien backup vocals. But geez, Slash -- you coulda let Dave do the solo.

She Builds Quick Machines 4:03

The record label pushed the band to pick this Slither-y rocker as the first single. Whatever. We just dig the syncopated guitar interplay -- and the moody middle that sounds like The Who.

The Last Flight 4:03

A martial snare and some of Slash's unmistakable burbling arpeggios introduce this midtempo, surprisingly poppy power ballad. Check out the big backup harmonies.

Pills, Demons & Etc. 2:54

Weiland sings about what he knows, while Slash pumps the wah-wah, scratches out some wicked licks and pushes the band through this dark funk-rock workout.

American Man 3:56

Duff earns his keep on this bass-driven rocker while the guitars jangle and clang on the sidelines. Weiland belts out the CD's biggest chorus, then lays back on a conga-flecked bridge.

Mary Mary 4:33

Sorry, it's not The Monkees tune. It's a swaggering number, driven by a low-rolling beat and big meaty riffs -- and accessorized with another hooky pop chorus and whoo-hoo harmonies.

Just Sixteen 3:58

Weiland sings the praises of a teenage teacher's pet while the band pumps out some chugging retro-rock that splits the diff between Chuck Berry and Buckcherry.

Can't Get it Out of My Head 3:57

Yep, it's a cover of the Electric Light Orchestra classic. Producer O'Brien reportedly suggested it. Not sure why -- but the dusty glam vocal and shimmering guitars speak for themselves.

For a Brother 3:26

The verses have a gritty riff spiked with cowbell and a buzzy countermelody. The chorus is catchy enough, but seems from a different song. The spacey bridge doesn't help.

Spay 3:06

Slash busts out the slide guitar for this fuzzy barnburner. The punchy, offbeat chorus is a killer. Ditto the searing solo.

Gravedancer 4:38

A classic closing power ballad brimming with jangly arpeggios and slowly weeping wah-wah licks. It's a pretty if predictable sendoff. But hang around for the real treat: The hidden track Don't Drop That Dime, a hilarious piece of Stonesy country-honk with acoustic guitars, barrelhouse piano and twangy nasal vocals.