Audioslave - Audioslave > Reviews > Rage against the sound?

Author's product rating:   

Originality	Groundbreaking
Lyrics	Sublime
Quality and consistency of tracks	Flawless
How does it compare to the artist's other releases	Outstanding
Value for Money

Advantages:	Booming magnificence from metal veterans
Disadvantages:	None for hard - rock fans

Recommend to potential buyers:

yes

Full review

Rarely has a debut album come with such a massive weight of expectation burdening it's very release. But after the first word of the collaboration between the musical trio from Rage against the Machine and voice of a generation; Soundgarden's Chris Cornell, the gauntlet was thrown down. Surely they could not fail.

First of all, the members of Audioslave came together after the demise of their previous bands. Apparently Cornell was originally just going to replace Zack De La Rocha on RATM vocals, but the band decided to alter their sound instead.

Cornell was joined by expert guitarist Tom Morello, bassist Tim Commerford and drummer Brad Wilk for this mighty alliance. Cornell wrote lyrics, the other guys wrote the music. One of the boasts that appear on the inside sleeve is that 'all sounds are made by guitar, bass, drums and vocals'. Why such a ridiculous disclaimer? Well, some of the incredible sounds created here, especially by Cornell's voice and Morello's guitar, are startling to believe are made by these simple instruments.
Morello's expertise on six-string apparently comes from a dedicated 12-hour-a-day practice schedule, but Cornell's incredible vocal capacity is God-given.

1) 'Cochise'
Named after a Native American freedom fighter, this blistering power rock track was the first single release in the UK. Opening with bizarre guitar 'sound effects' that sound like a cross between a scratching record and a revving motorcycle, we soon crash into an insatiable and strangely familiar guitar riff, complete with pounding drums, twanging bass, and howling from Cornell, with the song being about a partner (or friend) reluctant to tackle their own problems, shifting the blame onto the other person. Superb stuff.

2) 'Show me how to live'
Probably the best track on the album, this leaps out of the speakers and uses your eardrums as punching bags. The third UK single, a foreboding riff is rolled in, with uneasily whispered verses, and funkified drum beats. As the first comes to an end, you sense you're in for something special, and the band don't disappoint, with a tsunami of a chorus, crashing strings and drums led by an insane howling chorus from Cornell about being crucified! I can't decide whether this is about Jesus, Frankenstein, or a possessed person, but it is lyrically flawless, and brings intense satisfaction! Enjoy!

3) 'Gasoline'
Uplifting, shimmering guitar, and wonderful verses define this song about a tormented arsonist. The clever chorus; 'Burning that gasoline' could suggest the arsonist's choice between arson, or driving away from his torment. A fantastic third song.

4) 'What you are'
A US single, this alternates between longing, whispered verses, and bellowed choruses about a partner who just takes, until Cornell is; 'free of what you are'. The incredibly loopy guitar licks are the highlight, Morello confounding expectations of how a guitar should sound.

5) 'Like a stone'
The second UK single, this is a ballad, done as only Audioslave could do. More stringy strangeness from Morello, and a funk rhythm from Commerford and Wilk. Anyone who heard Cornell's solo album 'Euphoria Morning' will not be surprised by his tender tones here, but others more used to his howls, drones and bellows from Soundgarden may be. More lyrical brilliance shines through, but hey, you don't expect anything less from Cornell. An aching tale of waiting for a partner to avoid dying alone, but realising that you must embrace your destiny, for you may wander through the vast expanses of the afterlife.

6) 'Set it off'
The bizarre vinyl-scratching sound effects made by Morello's guitar on the intro. have to be heard to be believed, then we have a strange 'swish' effect, before this monster grinds into life, with a superbly funky bass and drum beat, and hard-rock guitar. Cornell sets his vocal tones to hard 'n' heavy, and we have a degree of swearing for this bellowing behemoth about what sounds like a dying cult leader whose last words to his 'flock' are to start a fire! Excellence.

7) 'Shadow on the sun'
Low key guitar utterings with a hint of melancholy rule the verses, and bass and drums announce themselves about halfway through the first verse, building from Cornell's rumbling vocals to a bellowed and powerful chorus;
"I can tell you why people die alone,
I can tell you i'm a shadow on the sun!"
The second chorus is slightly different lyrically, and we have a highly inventive middle-eight interlude, with Morello playing a typically weird strained and warped solo, before another verse and Cornell howling "Shadow on the sun!!!" numerous times as the track closes on a very loud note.

8) 'I am the highway'
This slow-burning power ballad takes some digesting, but satisfies when you take it for what it is. Okay, that makes no sense, but it is slow, and affecting, in that Cornell puts on his soul voice, and sings to, presumably his partner, about his perceived importance;
"I am not your rolling wheels,
I am the highway,
I am not your carpet ride,
I am the sky"
Backing instruments are splendid, especially the atmosphere created by Morello's guitar.

9) 'Exploder'
I read that someone criticised this track. Well, the only criticism i can give this is it sounds slightly similar to 'Set it off', but ignore that. This is class. Loud, proud and with Cornell on top howling form, it is a lesson in being happy with your lot, with sublime lyrics;
"I met a man locked away for things he hadn't done,
Innocence on a ball and chain, he'll never feel the sun again on his face,
Or roses in his hands, but when he smiled at me i could understand:
If you're free you'll never see the walls,
If your head is clear you'll never free fall,
If you're right you'll never fear the wrong,
If your head is high you'll never fear at all"
Insightful and brutally loud, this is Audioslave at their hypnotic best. Infectious vocal stylings from Cornell at the climax too.

10) 'Hypnotize'
This is quite simply magnificent. An ingeniously throbbing, funky song about 'sharing the wealth', containing thinly veiled threats!
"Well i know you've got problems, i see it in your eyes,
But if you want to live to see the morning,
Give it up to your brother or you'll get a surprise"
The lyrics printed don't do the threatening nature of the song justice, as one of the last lines from Cornell is printed as; 'You can be', but sounds a lot more like; "You won't breathe!" There is also a background singer, but who it is i don't know.

11) 'Bring 'em back alive'
Strangely structured opening, this is a dark, mid-tempo track, with distorted, echoey vocals from Cornell all the way through, especially the howled chorus;
"Aa-a-a-a-a-agh! I am a virus,
Aa-a-a-a-a-a-a-a-agh! I live in silence!"
Some humorous high-pitched, stop-start scratchy guitar soloing again.

12) 'Light my way'
Faster track, but similar in many ways to the last, i advise you to read the printed lyrics to understand just how good Chris Cornell's wordplay is. The tempo kicks right up on the bellowed chorus, and this is a grower, with strange effects going on throughout, no doubt from the twisted fingers of Morello.

13) 'Getaway car'
Totally mellow, soft and smooth, until the ever-so-slightly 'power-ballady' chorus, this starts and ends as a very subtle and smooth easy-listening funk track, and winds down with Cornell pleading for his partner to drive well away from him. Some amazingly orthodox blues soloing from Morello follows, and Cornell croons more and more passionately, until the gentle end.

14) 'The last remaining light'
Highly ironic and fitting title for this album, which not only contains a lot of fire and arson references, but has a flame as the main logo and cover art. Of course, it also heralds the end to a tremendous album. Dizzily spinning in melody and direction, Morello adds a touch of psychedelia, and more orthodox blues touches here and there, while Cornell alternates between hazy vocals, and power-howling as only he can pull off. A quite masterful end from four highly accomplished musicians.

This should be widely available on e-bay and record stores for a reasonable price, as it is over two years old.
I give this full marks, and wait with baited breath for Audioslave's next effort.