What people search:
 | Title : Audioslave
Author : Audioslave
Release Date : 20021119
Binding : Audio CD
Regular Price : $18.98
Amazon.com Price : $13.49
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Editorial Reviews :
The debut of thundering supergroup Audioslave--featuring members of Rage Against the Machine post-Zack de la Rocha with ex-Soundgarden singer Chris Cornell--is as much curio as fascinating blend of visions. Cornell might be outnumbered, but his unmistakable holler and nihilistic imagery ensure that Audioslave, the album, recalls early Soundgarden. That's especially true since de la Rocha took Rage's signature rap and politicking with him. Still, if this is Soundgarden, it's Soundgarden set to stun. Rage guitarist Tom Morello is more of a mauler than Kim Thayil ever was--witness 'Shadow on the Sun,' which moves from bruising thud to psychedelic freak-out and back again--while the Rage rhythm section of Tim Commerford and Brad Wilk anchor the bottom end with pure instrumental cement. Intentionally or not, 'Gasoline' bears passing resemblance to 'Rusty Cage,' while the sweeping 'I Am the Highway' and slow-burning 'The Last Remaining Light' best showcase Cornell's surprisingly New Age-y lyrical bent. Cover art by Storm Thorgerson, who gave Pink Floyd records their distinctive stamp, underscores the set's inherent celebrity. Fans of Rage and Soundgarden can raise clenched fists in unison, for Audioslave is win-win.
Buyer Reviews :
This album was a long time coming. When I first heard about the line-up, I was excited but also slightly apprehensive. RAGE were renowned for their politically uncompromising lyrics. I wondered whether we were essentially going to have RATM Part II, with Cornell being the the voice to launch the groups political sentiments. Being a huge Soundgarden fan, I had hoped that this would not be the case, and that Cornell would stick to writing songs about life generally (as he's so good at it).
This album had also been hyped so much that it seemed inevitable that it would fail to live up to the perilously high expectations of the masses. However, I can happily say that this is quite possibly the album of the year. Fans of RAGE and Soundgarden alike will not be disappointed.
The album opens up with 'Cochise', with Tom Morello creating a helicopter-effect which launches an incredibly Led Zepplin-esque, pounding song. The next two songs continue in a similarly exhilirating fashion. Those effects-laden riffs which epitomised the RAGE sound are still there, as are the thundering bass rhythms. Cornell's vocals sound incredible: he has moved away from the more mellow styling of his solo album , 'Euphoria Morning' and has reverted to his unique, vocal chord-shredding sound which earned Soundgarden its army of fans.
The diversity of the group is first showcased on track 4, 'What you are.' Morello's show stealing solos, in which he created a plethora of amazing sounds, were always one of the biggest treats on any RAGE album. On this song, he shows his capability of creating more subtle effects, which a
slowly build the atmosphere of the song - although admittedly, he has a funky solo towards the end! This more mellow style is explored further on 'I am the Highway' and 'Shadow on the Sun', which is looking as though it will succeed as my personal favourite. It starts with a steady verse which explodes into a gutteral, roaring chorus. Cornell sounds incredible.
I have not listened to anything but this album for the past week. It is completely addictive; a rollercoaster of a ride which fluctuates from brutally hard tunes to more mellow song-stylings. However, I do have a minor complaint,and that is the last two songs. 'Getaway Car' is far from impressive. The lyrics border on being sappy and the song just never goes anywhere: you wait for it to take off, but it never does. This is also the case with 'The Last Remaining Light.' Maybe these flaws would not be so conspicuous if they were not lumped together right at the end of the album. Perhaps if they were sandwiched between some of the other gems, like 'Gasoline' and 'Show me how to Live', their failings would be less apparent. But after the blinding ride that is the rest of the album, during which the listener is on a permanent high, these songs disappoint. It would have been better if they had just been left out, leaving a 12 song album that puts the vast majority of other bands out there to shame.
(by A music fan)
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