Revelations continues the Audioslave tradition of pulse pounding groove, infectious vocals, heavy riff rock, and an unmistakable hook that has been consistent since their debut self-titled album. That first album was tremendously appealing with Tom Morello’s rip-roaring sonic attack guitar, a dynamic and very talented rhythm duo consisting of Tim Commerford {Bass} and Brad Wilk {drums}, all of which were formerly of Rage Against the Machine, and of course the voice of Audioslave, Chris Cornell, of Soundgarden fame, who has one of the strongest and most powerful voices in the rock community today. 2005’s Out of Exile showcased a slightly softer side but still remained consistent with their heavy influences brought a more passionate feel to the music.
One year later, after extensive studio work, they have put out their third album, Revelations. At first listen, it is easy to notice the blasting riff-rock and tight guitar riffs from rock god Morello, but one thing that is also recognizable is the new souly kind of sound that is partly responsible from the Cornell’s gospel choir vocals, grooving bass hooks, and some very controlled and dynamic set work from Mr. Brad Wilk.
The album starts out with Revelations, that goes from some very beautiful delicate guitar work from Morello and some light cymal from Wilk, and it quickly dives headfirst into a foot-stomping rocker behemoth. The verse is commanded by a strong groove and Cornell’s spectacular vocals. The chorus contains a feverish hook from Cornell, and the production on this track is absolutely perfect. Great snare lead into the final chorus, coupled with ringing bass and a torrent of guitar.
Next up is One and the Same that is built around an infectious wah wah lead by Tom that sets the tone for the rest of the track. It’s a stand-out souly songy that grooves so good and features some relentless stringed work and great beats from Wilk. Fantastic solo on this song where Morello strings as many notes together as possible with some wammy and trademark effects, and there’s a great drum/vocal breakdown right before the final chorus. Sweet song.
Sound of a Gun keeps up the consistency so far with a very inspiring, political song that contains a RATM era Morello riff, some nice clean guitar work in the verse, and Commerford’s bass really drives the song underneath that clean guitar during the verse. The lyrics deal with war and revolution and uncertainty, and Cornell shines once again with his fantastic voice.
Until We Fall slows it down a bit and makes for a very beautiful ballad with more fantastic lyrics, a great melody hook from Tom, and stellar musicianship from the rest of the band. Consistency, consistency, consistency. Great, great song.
With relatively large air play, Original Fire has been around since mid July on the radio and on television with their tribute music video to their heroes. The song grabs you by the nuts from the git-go with Wilk’s franetic drumming coupled with some Chris Cornell belting it out. Simple but effective riff, and another virtuoso Morello solo that sounds like a sonic Donald Duck on speed in a roaring laugh attack. Groovy tune.
Now comes Broken City, a song that begins with some palm muted guitar and a thick jazz tempo from the rhythm department. Very jazzy track. The bass line in the verse is one of the best on the album and contains some standard Commerford technicality that continues through the chorus. Cornell contributes to the jazzy tune with his post-chorus “Doo, doo, doo” and Morello takes the jazz tone to another level with his buzzing solo. One of my favorite tracks on the album right there.
Somedays is another favorite. I cannot get enough of the guitar riff and my favorite element of the song is the terrific grooving drumming from Brad Wilk. Cornell sings his lungs out on this track again, and his lyrics make perfect sense to those who can catch it. One of the best.
As we get a little closer to the home stretch of the album, we come across Shape of Things to Come, that takes complete control of you and doesn’t let go. Right from the beginning there’s a monster of a riff/drum groove that tears the roof off. Gorgeous verse lyrics and vocals and fantastic drumming. Morello delivers one of my favorite solos on the album that is so jazzy, soulful, and is delivered at break neck speed under of an aura of sonic bombardment.
Jewel of the Summertime is a fantastic song. Plain and simple. It showcases all three of the musicians in complete control of their instruments and all of them are tightly knitted together to form a very cohesive and dominant music force on this track. Cornell shines {noticing a trend?}. Just a kick ass song. I like it a lot.
Wide Awake stands out for all the right reasons. Great hook, powerful lyrics, terrific bass line, jaw dropping guitar, and a simply infectious groove that carries us through the song. Contender for my favorite album. A perfect, perfect song.
Nothing Left to Say But Goodbye brings to the table something different. The technicality in the drumming on this song is stellar, especially in the intro. The drum and guitar duo are keyed in directly and in an interesting way, with their carnival like tone through the verse, and the chorus contains a great vocal/lyric combo from Cornell that carries over into the vocal dominated bridge and a sweet Morello, Cornell breakdown section that makes for a very special song, but not my favorite on the album. Still maintains the consistency Revelations has kept up for eleven tracks.
And now for the finale.
Words can barely describe the masterful hook and musicianship of the closing track Moth. One of the most creative and inspiring tracks on the album that is so effective and emotional that it makes for my number one favorite track on Revelations. Cornell paints a picture in his lyrics that is very beautiful and metaphorical. Favorite guitar lick on the album from Tom Morello that is the underlying tone of the tune. Spacy organ sounding guitar in the bridge and some crooning background vocals leading up to the heavy outro and the closing moments of the album. All four members are firing on all cylinders on this track and Cornell belts out one of his most fantastic vocal pieces in his illustrious career that has spanned nearly twenty years. Terrific closer. Nuff said.
From start to finish it is a very consistent and calculated album. Brings back the hard rock riffy sound of their debut, the lighter elements of Out of Exile, and the new groove/soul sound, and morphs it all together to make for one of the best albums of 2006. Definitely check this one out. Peace out.
