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-THE ISLAND LIFE-
ON THIS DAY, November 18th, 2002, AUDIOSLAVE released their self-titled debut album through Epic Records.
"It's subtle but telling that the cover of Audioslave's eponymous debut is designed by Storm Thorgerson, the artist behind Pink Floyd's most iconic album sleeves. Thorgerson and Roger Dean epitomised the look of the '70s, the era of supergroups, which is precisely what Audioslave is," said Steven Thomas Eirwine in his review of Audioslave's debut.
When announced, the collaboration between Rage Against the Machine, minus Zack de la Rocha and former Soundgarden vocalist Chris Cornell, drew gasps as the blindsided fanbase of both groups uttered a collective, "didn't see that coming!"
All too often, when supergroups are formed, the whole is less than the sum of its parts. In this respect, Audioslave defied convention, producing a debut record that sounded classic and fresh but, more importantly, had the energy and conviction of a going concern rather than an exercise in musical revisionism or a stopgap until their respective bands reformed.
The opening track, "Cochise," thrusts and grooves its way down a road well-trodden by Led Zeppelin and Black Sabbath but with a contemporary feel. It sets the tone for the rest of the album, which trades in heavy, powerful riffage that cascades over rumbling bass lines and thumping colossal drums.
Subsequent tracks such as "Gasoline" and "Shadow On The Sun" continue to mine a similar vein, the latter climaxing spectacularly in a storm of throbbing guitars and broken-glass vocals.
The second single, "Like a Stone," was a game-changer, capturing the zeitgeist of the early 2000s. It was one of the mellowest pieces Tom Morello, Brad Wilk, and Tim Commerford had committed to tape. It beautifully demonstrates their dexterous musical ability to tap into all aspects of the sonic spectrum, a talent only barely hinted at with Rage Against The Machine's venomous, bouncing attack. It showed a commitment and willingness to venture into uncharted waters and separate themselves from their former affiliations.
The fourth single, "I Am the Highway," truly demonstrates how diverse a road Audioslave were willing to take. It is a beautiful ballad that never loses its hard emotional edge, avoiding even the vaguest hint of saccharine cringe. The album is laced with the unmistakable energy and joy of a group of musicians finding their sound for the first time, which is surprising when considering the backgrounds of those involved.
By the early 2000s, Cornell, Wilk, Morello, and Commerford were industry veterans, having traversed the alternative rock boom of the '90s. To hear them reinvent themselves in such a convincing and exuberant way leaves the listener in no doubt that all involved had a lot left in the tank and more to offer. Audioslave's debut is feel-good stuff, the sound of a rejuvenating artistic vision and all that can go right when the Rock N Roll planets collide.
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