The Band: Chris Cornell (Vocals)
Tom Morello (Guitars)
Tim Commerford (Bass Guitar)
Brad Wilk (Drums
Released: 2002 (Epic)
It was October 2000 when political rap/rock group
Rage Against The Machine broke up, citing "a complete breakdown of the decision making process". Very quickly, rumours started circulating about what the various band members would do next, with it rapidly becoming clear that frontman Zack De La Rocha was planning on making a solo album that has sadly yet to see the light of day. For a while, however, the instrumental section remained in limbo, with record labels offering them chances to become the backing band for Ozzy Osbourne, and according to Tom Morello, even that of pop singer Macy Gray.
Thankfully, however, famed producer Rick Rubin persuaded Morello, Commerford and Wilk to enter the studio with Chris Cornell (formerly of grunge giants
Soundgarden) in March 2001, with brilliant results: 21 songs written in 19 days. The drama wasn't over there though, as Cornell briefly left the fledgling group, before rejoining at a later date. This album was the result of the subsequent songwriting, and features Chris Cornell's powerful vocals over what is probably best described as what is now an out and out "rock" band instrumental section.
The songs:
1.
Cochise. Opening with a jagged intro from Tom Morello, sounding more like a saw than anything else, this song opens with a broodingly menacing intro as Wilk and Commerford join him, before a hugely powerful riff kicks in. This song is about the plight of the last great Native Indian chief, and this emotive subject matter is definitely reflected in the power of this song, which acts as a brilliant statement of intent for the new group. The video for this features a huge fireworks display, which attracted the ire and fears of local residents who genuinely believed some sort of attack was taking place at the location of the video shoot due to the spectacular light show. Chris Cornell's shouted vocals really drive this song, without ever losing the melody as well. A very good opener, and therefore
5/5.
2.
Show Me How To Live. Another very powerful intro builds into Morello and Commerford playing a dangerously smooth riff in unison before Cornell's seductive vocals come in over the top, leading into a truly mighty chorus, featuring the line "You gave me life, now show me how to live." Perhaps a reference to the troubled formation of the new band? This song really shows to me the "rock" roots of this band, owing more to
Led Zeppelin than
Public Enemy. However, there's still some of Morello's unorthodox guitar playing style, with an effects-laden solo. This is one of my favourites off the album, and a very good rock song.
4.5/5
3.
Gasoline. Again, Tom Morello reaches into his bag of riffs for the intro here, with this song following approximately the formula of the first two. The guitar ducks in and out of the vocals, with the chorus absolutely exploding into life. This really showcases Cornell's vocals ( I consider him to be one of the great rock vocalists), with his singing ranging from what sounds like a near whine at times, to a dangerously menacing roar during the chorus. It's not quite as good as the opening two tracks, but absolutely not one to skip, featuring a very nice breakdown in the middle, where only Brad Wilk is left supporting Cornell, with Morello's guitar spiralling quietly in the background.
4/5
4.
What You Are. This song opens in a much more mellow fashion, which leads the listener to think that it's a rock ballad rather than anything else. This illusion lasts until approximately 1:05 into the song, when Cornell kicks in with the chorus, "Now I'm free, from what you want". I interpret this as almost a dig at the music press who expected another political album given the band's history, but that's just my opinion. It's another very powerful rock song though, that's guaranteed to get the crowd going when performed live.
4/5
5.
Like A Stone. This actually is a ballad, featuring one of the most simple guitar parts Tom Morello will ever play, a bass line that ducks and weaves in and out of the music. An out and out love song, this is probably my favourite song off the album, with the vocals again proving amazingly effective, this time at conveying a sense of yearning. The guitar solo in this is the strongest off the album as well, before something that I'd never thought I'd hear happens. Tom Morello playing the acoustic guitar before the final climax of the song. Quite brilliant, this gets
5/5.
6.
Set It Off. This song is a bit of a dip in standards, with a more distorted opening leading into a typically dramatic series of riffs. There's nothing actually wrong with it, and indeed I think it's one of the times on the album where Tim Commerford's talent is most notable, but it sounds too similar to the likes of
Gasoline without quite having the muscular power to make it work for me.
3.5/5
7.
Shadow On The Sun. Cornell to the fore again, with a quiet guitar part in the background. It build in the chorus before fading again. To me, this song shows that Audioslave are not the one-trick ponys that some of their critics label them as, but are capable of variety in the moment, as well as some quite exquisite musical moments, such as Cornell's low crooning during the verses. Like track 2 off the album, this seems designed to me to be played on a long journey, due to it's feel, and another great Morello solo.
4/5
8.
I Am The Highway. Another quiet kind of song that features the mighty duo of Cornell and Morello at their most wistful. There's nothing brilliant going on here, but what stands out for me is the band's ability to construct a very good chorus in the middle of what is one of the weaker songs off the album. Again, this gets
3.5/5
9.
Exploder. They're back with the rock in this. Commerford again has a proper bassline powering this along, with vocals that can only be described as arrogant in tone giving this an added swagger. Something I haven't mentioned so far is Brad Wilk's drumming, which often is criticised for it's simplicity. He's very much one of the "less is more" school of drummers, but here it is notable that he's doing the right thing at the right time, and helping to provide a very firm base for the guys out front to pull out their fireworks. This is a return to the earlier hights of the album, and ends with Cornell making strange noises, before the band play a one note outro, hitting their instruments in unison.
4.5/5
10.
Hypnotise. This is very much a drum led song, with Brad Wilk to the fore while the guitar stutters in the background. Cornell sings warningly "Don't keep your good luck to yourself" as the chorus. The solo to this is very experimental, and wouldn't sound out of place in a Rage song, but somehow Tom Morello does his usual feat of making it not sound out of place in the song.
4/5
11.
Bring 'Em Back Alive. I think it's at this point that the album starts flagging. Not because the previous songs have been bad, but because this is a weak song that sounds almost like an imitiation of the peaks of the album. It's also the second longest song on the album, which follows the formula of some of the earlier tracks. There's nothing completely catastrophic about it, but everyone knows that they can do better than this, based solely on the earlier tracks.
3/5
12.
Light My Way. An intro that sounds like a soaring wind leads into a very chunky riff, that quickly turns into something more electronic. This is a more mournful song than many on the album, in spite of another big chorus, but again, it seems that we've heard this before, in spite of a few nice touches such as a curious Morello effect in the verses.
3.5/5
13.
Getaway Car. I like this more than the previous 2 tracks. This is probably because they don't attempt to follow the previous formula, without quite the riff and chorus to back it up. This is a slow song, possibly the most so on here, and it's very easy to see them recording it in calm at the studio, with other people in the room. It's just got that relaxing vibe that shows that when they don't limit themselves to one strict style they can make different sounding music.
4/5
14.
The Last Remaining Light. Sadly though, this doesn't stand as a strong end to the album. It's a song that seems throughout that it could be a out to burst into life, but instead hovers on the verge of doing so, while Morello's guitar chimes in the background. Although it loudens shortly after 3 minutes in, it doesn't leave a great taste in the mouth, and so gets only
3/5.
Reading through this again, I feel that there are a few points that need to be made. First of all, although this is by no means a brilliant album, and some of the songs do get repetitive, there are some brilliant songs on here. The first 1/2 of the album is very strong, and it flags in the second half due to some repetiveness and also as the songs just aren't as good. It probably should have been trimmed to 10 or 11 tracks, and the fact it was not can be probably attributed to over eagerness on behalf of a new band wanting to make a mark.
What this album does do, however, is show the potential of the group. After it's troubled conception, they have made a good rock album, which serves as a solid debut, and hints at a promising future. One of the main reasons for some of the criticism is probably the same reason for the criticism suffered by Velvet Revolver. Namely that the band is not the same as Rage/Guns N Roses. To this I say that it's quite obvious why that is not the case. This is a different band, with different musical ideas. There is no valid way of comparing it with Rage. Incidentally, this album sounds better listened to as a whole, rather than individually critquing each track, not unlike albums by bands such as
Radiohead and
Pink Floyd. Overall, therefore, while this album is not a classic, it is a very good rock album, and has only one main fault, that being that it is too long by a few tracks.
Final rating:
4.1/5
