Album Reviews
Audioslave
Audioslave
Epic, 2002
Velvet Revolver
Contraband
RCA, 2004
Review by: Preacher
Consumer’s logic dictates that if you have two successful tastes already, should you find a way to combine them; Voila!; it’s a new taste experience. This semi-retarded law of addition is much like a semi-retarded cousin; it can either be highly entertaining for the evening or a disappointment.
In music, this is a norm. One observes ‘collaborations’ between ‘great’ artists (any emphasis here is meant to be taken as sarcasm). There have been good collaborations (I enjoyed the work of Mad Season; which was a hodgepodge of early Seattle 90’s artists); there have been less-than-desirable ones (Sting working with Puff Daddy; I didn’t like the over-polish). Lately, it’s gone a step beyond collaboration; today’s ‘new hot shit’ is the Supergroup. This is not the Supergroup of your father’s generation (Derek and the Dominoes); at least they operate along a certain modicum of decorum now. Take 1 part media politicking; throw in volatile artists; add healthy dose of ‘needs to pay the bills’. Boom. Supergroup.
I’d naturally be leery of any such construction. I was pleasantly surprised by the work of Audioslave’s first album. I was worried that something might be lost; you have the existential crooning and self-absorption of Cornell; and the rampant rhythm obsessions of Tom Morello and co. Not minding any political agenda. Not at all. The very first track, ‘Cochise’, immediately assaults you with pounding drums and Morello playing tricks with his guitar, making ‘noise’. Cornell doesn’t disappoint; he’s back on top of his world; in his ‘Jesus Christ pose’, dying for the listener and cursing them at the same time. What strikes me as I go through the album is this is what today’s blues sounds like. I grow weary of horn-laden 1953 retreads that keep back and forthing with fusion jazz making reinvented noise for no reason and calling it art. This is driving music; there’s dark beating hearts here (and thank Morello and co. for that). I can’t help but think being freed from having to produce barrio-friendly music enabled him to pursue his love of rhythm in his music. And it makes each song. ‘Exploder’ and ‘Set It Off’ articulate their rage well; ‘Gasoline’ and ‘Like a Stone’ travel well; you want to ride with them; you’re Cornell’s blind trapped seeker looking for answers and escape, and running is the only cure. Cornell take his hand at a few subdued ballads; they do show the chops of a bluesier side of the band; but they’re not the album’s strengths. A surprising track is ‘The Last Remaining Light’; which takes a turn for the psychedelic; it is a very introspective tune that manages to avoid the mush of ‘I am the Highway’. These two personalities fit together; and I’m glad to see neither Soundgarden or Rage being reinvented here. On the eve of their new release, Cornell acknowledges that making the sophomore record is much easier because the pressure isn’t on to live up to old reputations. They’ve established a sound. I almost think that nervousness made the first album as tight as it was. I await the second, and will report in time.
Counter posed to this; another recipe. Take popular ‘rock before the grunge element’ Guns ‘N Roses, subtract headcase Rose, and add new headcase Scott Weiland. Before starting in on their album, I hearken to an interview I witnessed on VH1 involving Vince Neil of Motley Crue some time back. The man blamed the band Soundgarden for ‘destroying rock ‘n roll in the early 90’s’. He alleged that ‘late 80’s rock’ was all about ‘enjoying life and having fun’ and bands like ‘Soundgarden sung songs about how life sucked. What the (bleep) is that about?’ Draw your own conclusions from that statement (and from doing interviews on VH1 about it, and later a reality show et al). No doubt there are folks who believe it may be true (and elements of it are). Corey Feldman is good company to this sort of commentary. Now, upon listening to Velvet Revolver, my first impression is that this is how a slick producer like Bob ‘let’s turn Metallica into Southern Fried .38 Special with heavier guitars’ Rock would modernize the ‘hair metal’ sound. You know, give it a little depth. The ambition is there, no doubt. And on all the radio cuts, like ‘Sucker Train Blues’ and ‘Dirty Little Thing’, you can still hear Slash knock out quality 1989 riffs. They’ve got the token ballad ('Fall to Pieces'). The balance of the album follows the same idea. This is Guns N’ Roses for the Slipknot-weary crowd. I don’t feel the meshing I do with Audioslave; Scott Weiland’s throwing around the same bizarre heroin-strangled lyrics he did on the first two STP albums (who in the blue fuck knows what happened after that); but they’re more disjointed than usual. Hey, you don’t have to understand it; it would sound good in a Chrysler commercial. Surprisingly enough, they’ve managed to successfully tour. I chalk this up to the maturity of the backing band members; they’ve already ridden a hellride. Velvet Revolver has managed to reinvent (hell, I like the way they play STP and Guns N’ Roses songs better than the original bands did).
Listen at your own risk.
Audioslave Track Listing:
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 Run
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
Contraband Track Listing:
1. Sucker Train Blues
2. Do It For The Kids
3. Big Machine
4. Illegal I Song
5. Spectacle
6. Fall To Pieces
7. Headspace
8. Superhuman
9. Set Me Free
10. You Got No Right
11. Slither
12. Dirty Little Thing
13. Loving The Alien
©2010 The Elimination Dept.
