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Thread: AUDIOSLAVE

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    Here is the whole track listing for Audioslave (Chris Cornell / Rage Against The Machine Project). I listened to the whole thing and it just flat out rocks!
    THE FULL AUDIOSLAVE TRACKLISTING IS AS FOLLOWS:
    1 Cochise
    2 Show Me How To Live
    3 Gasoline
    4 What You Are
    5 Like A Stone
    6 Set It Off
    7 Shadow On The Sun
    8 I Am The Highway
    9 Exploder
    10 Hypnotize
    11 Bring Em Back Alive
    12 Light My Way
    13 Getaway Car
    14 The Last Remaining Light
    What is understood, need not be discussed.

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    You've heard the 'new' stuff or the demos? We've been talking about the demos for a long time, but I've only heard 'Cochise' of the new/mastered tunes. Also, the video for Cochise should premiere in a couple of weeks...I can't wait.

    Wouldn't it be cool if these guys toured with Pearl Jam?? I would die to see a Temple of the Dog reunion, even for just a song [img]graemlins/thumb.gif[/img] [img]graemlins/bounce.gif[/img]

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    I would die to see a Temple of the Dog reunion, even for just a song
    I was just thinking that last night when I pulled my Temple/Pearl Jam CD's out for a listen. I'm glad that the majority of Seattle scene musicians are still out there making music.
    "Right Now.....Mike is thinking about a solo project."<br /><br />"Victory has a thousand fathers. Defeat is an orphan."

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    Audioslave
    -MTV
    October 17

    Given Tom Morello's history as a political provocateur with Rage Against the Machine, it's not surprising that "Cochise," the first single by his new band Audioslave, was named after an Apache chief in the late 1800s. The cunning war strategist declared war against the Southwest United States and pillaged and plundered after members of his family were tortured and hung by the U.S. Cavalry.

    But there's little in Audioslave's "Cochise" to suggest the song was politically motivated. The track combines angular granite-heavy riffs — a Rage Against the Machine specialty — with Cornell's howling melodic vocals, and the lyrics — which include the chorus, "Go on and save yourself/ Take it out on me," and the line, "Put the blame on me so you don't feel a thing" — seem to be more about shirking responsibility than about mass revolution.

    The rest of the album, out November 19, seems equally unburdened by political content. Like much of Soundgarden's output, Audioslave are concerned not with social revolution, but personal revelation. And judging by many of the bitter and disconsolate lyrics, it sounds like the songs were motivated by a considerable amount of personal pain.

    On the dusky ballad "I Am the Highway," Cornell sings, "Pearl and swine bereft of me/ Long and weary my road has been/ I was lost in cities alone."

    The slow, lurching "Bring 'Em Back Alive" seems to address the confusion of being a former multiplatinum star in a new rock climate: "I was on my way to the center of the sun/ When I lost my wings and I fell into a crowd/ And they carried me to a hole in the ground/ And they buried me where no one could see and no one would be around."

    The most pointed songs on the record address false promises and failed relationships. On the abrasive "What You Are," Cornell moans about a past romance that's left its acrid aftertaste: "When you wanted me I came to you/ And when you wanted someone else I withdrew/ Asked for light I set myself on fire/ And if I go somewhere far away I know you'll find another slave."

    And on the weary, jazz-inflected "Getaway Car," he addresses a significant other who's giving him gray hair: "Settle down I won't hesitate to hit the highway before you lay me to waste/ And saddle up and I'll help you find something to drive before you drive me insane."

    Musically, Audioslave is pretty much what you might expect it to be. Rage members Morello, bassist Tim Commerford and drummer Brad Wilk latch into one surging rock groove after another, and Morello's skewed, skittering solos continue to push the boundaries of six-string exploration. But instead of promoting a hip-hop-based agenda, Audioslave blend Rage's rock characteristics with the atmospheric, surreal rhythms of latter-day Soundgarden, glazing it all with Cornell's powerfully emotive vibrato-laden voice, which will be instantly familiar to anyone who's played air guitar to Superunknown.

    While Audioslave's influences are surely recognizable, the band also roams new turf. "Like a Stone" features a shuffling beat, simple, ringing guitar and weary vocals, bringing to mind a hipper U2. "Shadow of the Sun" starts with a textural guitar passage and bobbing bass similar in tone to a Red Hot Chili Peppers ballad, and the soulful scat vocals of "Exploder" sound like Aerosmith.

    And for those who miss the shimmying thunder of Rage, there's "Show Me How to Live," "Gasoline" and "Set It Off," which all provide the band's heralded attack in a new vocal framework.

    Audioslave are currently coordinating a full tour, according to their management.

    —Jon Wiederhorn

    [ October 17, 2002, 06:40 AM: Message edited by: strungout ]

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    I can't wait for this one. I really hope it does well and that these guys are around for a long time.
    "Right Now.....Mike is thinking about a solo project."<br /><br />"Victory has a thousand fathers. Defeat is an orphan."

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    TOUR!!!!!!!!!! YES!
    From 3-13 to 10-6 and NFC South Champs.....go Saints!

    My Hurricane Katrina pics

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    Donor

    [img]graemlins/thumb.gif[/img]

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    Yes yes yes!!! [img]graemlins/bounce.gif[/img]

    http://www.vh1.com/artists/az/audios...questid=403691

    New pic of Audioslave at this link, and look at the cd, halfway down, it is listed as [cd/dvd]!!! [img]graemlins/thumb.gif[/img] [img]graemlins/devil.gif[/img] [img]graemlins/bounce.gif[/img]

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    That'll be the DVD-Audio version of the record, bro!

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    Damn [img]graemlins/cry.gif[/img] Still cool though. [img]graemlins/thumb.gif[/img]

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    Donor

    So we don't have any more multiple threads on this band, I'm going to compile all of the info that's forthcoming, (tour dates, appearances, band updates, etc.) into this one thread. Feel free to add anything you might find or any comments!
    FH




    Here's a write up from Rollingstone Magazine ........

    Chris Cornell knows how to say no. When musicians ask him for advice, he tells them to be clear about not just what they want, but what they won't be willing to do. So when Cornell, the erstwhile lead singer of Soundgarden, met with three former members of Rage Against the Machine to discuss forming a supergroup, he laid out the deal breakers: He wouldn't write political lyrics, and he wouldn't be the new lead singer of Rage. As usual in his life, he got his way. "It's just easier to say what you want," Cornell says. Audioslave seemed as unlikely a union as Prince and the Ramones. Soundgarden and Rage were both multiplatinum rock bands in the Nineties, but Soundgarden were heavy psychedelic grunge, while Rage were rock-rap innovators, known for their left-wing politics as much as for their science-fiction guitar sounds. Cornell's vocal role model was Robert Plant of Led Zeppelin, while Zack de la Rocha's was Chuck D of Public Enemy. Their fans weren't clamoring for this merger; the idea came from producer Rick Rubin. He was right: The music brings together many of the best qualities of the two bands, showcasing both Cornell's impassioned yowling and Tom Morello's mad-scientist guitar playing.

    Audioslave's music is a lot better than their name, which, frankly, is terrible -- the group's first choice, Civilian, was already taken. Cornell picked the current name, and the other members gamely claim that it has grown on them, carefully emphasizing that it's not meant to imply that they're slaves to music. "I remember days when I would come up with twenty cool names for a band when I had no band to name," says Cornell. "Once it was time to name a band, I couldn't come up with anything."

    After almost two years of recording and wrangling over business issues, Audioslave have now released their CD, Audioslave, and the time has come for them to give interviews to dozens of publications, from Finland to Japan. They do this in an upscale hotel on the Santa Monica beach outside L.A., each member in his own room. This has the advantage of press-junket efficiency, but it underscores a certain degree of separation among Audioslave's members. Although they have a warm professional regard for each other, they don't really hang out together.

    Bassist Tim Commerford splits his free time between his family (he has an infant son) and mountain biking; he talks with the enthusiasm of a sports fan calling the local talk station. Looking back at Rage, he says, "We went to the Super Bowl, and we won. But Zack got a contract with another team, so now I just want to beat him like all the other teams." Commerford and de la Rocha were childhood friends but haven't spoken in two years; in a more serious moment, Commerford admits, "I hope that one of us will be a big enough man just to say, 'This is bullshit. I love you.' "

    Guitarist Morello, a Harvard graduate and the nephew of the first elected president of Kenya, is quick-witted and infectiously cheerful. He speaks passionately about axisofjustice.org, where he has funneled his political activism. He's also now going without his trademark baseball caps, revealing his stylishly bald head. Brad Wilk is the rock-steady drummer who's been spending his spare time reading books on Buddhism and Siddhartha.

    And Chris Cornell? He's a rock star. Or at the very least, at thirty-eight he still looks the part: frosted tips in his hair, red undershirt, leather jacket and a steady flow of American Spirit cigarettes. He lights them with wooden kitchen matches that you half-expect him to strike on the soles of his motorcycle boots. He doesn't make much eye contact, and he'd clearly rather be discussing silent movies or his white German shepherd than Audioslave. ("Her pedigree was listed, with her ancestors. I think it was her grandfather who was Sir Hitler's von Schwartzbald. And another relative was called King Cocaine. And I thought, 'What's wrong with these idiots?' ") But he's genuine and acidly funny.

    Cornell has been splitting his time between the Seattle area and Ojai, California; he and Susan Silver (formerly Soundgarden's manager) have been together for seventeen years, are now married and have a two-year-old daughter, Lillian Jean. "It's really difficult to imagine the relationship you'll have with a person who doesn't exist yet," Cornell says. "But it turns out she's very charismatic and strong-willed. I notice when she pays attention to adults, it would be as if you were at a party and a rock star paid attention to you."

    Looking back at his former band, Cornell says, "There's no more Soundgarden worries. I like all the music, I like the fact that our integrity was always intact. And now, save us getting back together someday and destroying what we did, nothing can affect that."

    Cornell was small until puberty, which he says came late for him. But he learned to fight back with "psychological warfare," which proved handy with Soundgarden, he says. "I learned a lot from Kim [Thayil, Soundgarden's guitarist] -- like how to win an argument without being right." With Audioslave, the flash point came on March 25th, 2002: Three days after the band announced it would be touring with Ozzfest, Cornell left the group and went back to Seattle. "My dog looks at me wrong, I'm outta here," Cornell says. "I pretty much live my whole life that way. The last time I walked away from my wife in an argument, she had this metal cone-shaped arrangement holding her hair together, and she threw it at me like Bruce Lee throwing a Chinese star -- and hit me from thirty feet! You have to be careful what you walk away from."

    The main reason Cornell quit Audioslave was that the band's business issues were still in turmoil, primarily because he and the former Ragers had each kept their own management companies, who hated each other. The other members called him as soon as he left, to re-establish communication; Morello says, "We've made a concerted effort to learn from some of our past mistakes with both bands." About six weeks later, when the mix for Audioslave was finished, Cornell returned to the fold; everybody fired their former management companies, and they collectively hired the Firm. Similarly, Epic and Interscope resolved their claims on Audioslave by agreeing to take turns releasing their albums.

    The reason the other guys were fighting so hard to keep Cornell? "We had a great vibe," Morello says. "We wrote and recorded more new music in eight months with Chris than we did in the previous eight years with Rage Against the Machine."

    Their debut album is drawn from a nineteen-day jam session during which the band wrote twenty-one songs. After the first day, Cornell chose not to play guitar, feeling that it smeared the rhythms and frequencies, making the music less heavy. "I like playing guitar," Cornell says, "but if it's not needed, I don't make more work for myself than necessary." Still, whenever the band members got stuck with how to make a song work, they would thrust a guitar into Cornell's hands, who ended up writing a lot of bridges.

    The former members of Rage had to learn how to play with a vocalist who sings melodies rather than cadences: Epic ballads such as "The Last Remaining Light" required more delicacy than they had previously employed. Or, as Rick Rubin told them, "You need to learn how to come soft."

    Early on, Cornell noticed that some of Commerford's bass playing was clashing with his melodies. Cornell remembers his concern: "How am I going to tell this guy, who I don't know well and who has a tattoo over his whole body, that he can't play that note? Well, I'm pretty good at being assertive to anybody, so I said, 'Tim, you can't play that note.' " Cornell was expecting a confrontation, but instead found that Commerford wanted to know how his bass playing could best work with the singing. "From that moment, everything transformed," Cornell says. "Everybody felt comfortable bringing in things that they had never done with each other."

    "Like a Stone" synthesizes a lot of those disparate ideas; it careens from belting Cornell vocals to acoustic passages to a great Morello squeegee solo. Although the title makes it sound like an answer song to Bob Dylan's "Like a Rolling Stone," Cornell says, "It's a song about concentrating on the afterlife you would hope for, rather than the normal monotheistic approach: You work really hard all your life to be a good person and a moral person and fair and generous . . . ," Cornell pauses, thinking about the afterlife he's made for himself, and he grins. "And then you go to hell anyway."

    GAVIN EDWARDS
    (November 5, 2002)

    [ November 08, 2002, 09:40 AM: Message edited by: FH ]

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    Does anyone have the Audioslave demos? I need a hookup! [img]graemlins/sssh.gif[/img]
    Fast Eddie

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    An excellent interview! It sounds like to me everyone in this group tooktheir egos and flushed them down the toilet. I know another band that could learn from these guys.....
    From 3-13 to 10-6 and NFC South Champs.....go Saints!

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    Originally posted by Fast Eddie:
    Does anyone have the Audioslave demos? I need a hookup! [img]graemlins/sssh.gif[/img]
    They have 'em on www.winmx.com

    [ November 15, 2002, 04:09 AM: Message edited by: FH ]

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    An excellent interview! It sounds like to me everyone in this group tooktheir egos and flushed them down the toilet. I know another band that could learn from these guys.....
    Amen to that.
    "Right Now.....Mike is thinking about a solo project."<br /><br />"Victory has a thousand fathers. Defeat is an orphan."

 

 

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