Recorded at Cello Studios, Royaltone Studios, Burbank, Akadamie Mathematique Of Philosophical Sound Research, Los Angeles, California; Audio Litho, Studio X, Seattle, Washington.

AUDIOSLAVE was nominated for the 2004 Grammy Award for Best Rock Album.

"Like A Stone" was nominated for the 2004 Grammy Award for Best Hard Rock Performance.

Personnel: Chris Cornell (vocals); Tom Morello (guitar); Brad Wilk (drums).

Audio Mixer: Rich Costey.

Recording information: Akadamie Mathematique Of Philosophical Sound Research,; Cello Studios, Hollywood, CA; Royaltone, Studios, Burbank, CA; Studio Litho, Seattle, WA; Studio X, Seattle WA.

Photographers: Rupert Truman; Danny Clinch.

Arranger: Audioslave.

It's subtle, but telling, that the cover of Audioslave's eponymous debut is designed by Storm Thorgerson, the artist behind Pink Floyd's greatest album sleeves. Thorgerson, along with Roger Dean, epitomized the look of the '70s, the era of supergroups, which is precisely what Audioslave is -- a meeting of Rage Against the Machine, minus Zack de la Rocha, with former Soundgarden vocalist Chris Cornell. Though both bands were leading lights of alt-metal in the '90s, the two came from totally separate vantage points: Rage Against the Machine was fearlessly modern, addressing contemporary politics over Tom Morello's hip-hop-influenced guitar, while Soundgarden dredged up '70s metal fueled with the spirit of punk. That these two vantage points don't quite fit shouldn't be a surprise -- there is little common ground between the two, apart that they're refugees from brainy post-metal bands. Of the two camps, Chris Cornell exerts the strongest influence, pushing the Rage Against the Machine boys toward catchier hooks and introspective material. Occasionally, the group winds up with songs that play to the strengths of both camps, like the storming lead single "Cochise." For Cornell fans, it's a relief to hear him unleash like this, given the reserve of his brooding solo debut, but this is hardly a one-man show. The Rage band, led by the intricate stylings of guitarist Tom Morello, gets their chance to shine, including on numbers that are subtler and shadier than the average Rage tune. Which brings up the primary fault on the album: Perhaps Morello, and perhaps the rest of RATM, are technically more gifted than, say, Soundgarden, but they never sound as majestic, as powerful, or as cinematic as what Cornell's songs need. His muted yet varied solo album proved that he needed muscle, but here it's all muscle, no texture or color. Consequently, many of the songs sound like they're just on the verge of achieving liftoff, never quite reaching their potential. There are moments, usually arriving in the first half, where Audioslave suddenly, inexplicably clicks, sounding like a band, not a marketer's grand scheme. Still, these moments are few and far between and it's hard to get through this album as a whole. By the end, it's clear that this pairing was a clever idea, but not an inspired one. ~ Stephen Thomas Erlewine

A modern day super-group composed of ex-members of heavy rock titans Soundgarden and Rage Against The Machine, Audioslave was subject to some pretty high fan expectations. Luckily, the group delivers just what the doctor ordered: a seamless mix of the styles that made the individual members famous. Basically a stoner rock record par excellence, AUDIOSLAVE strips the genre down to its core, serving up one pile-driving riff after another with minimal, but perfectly placed, production flash. In any given song, the band repeats said riffs with even more bone-crushing attitude each time.

Just when the listener thinks his/her head will go numb from too much stud-rock low E-string twanging and Montrose-era Sammy Hagar-esque wailing, however, Audioslave wisely throws in a ballad. Sure, it's a proven rock formula, but these guys are professionals fully in control of the situation; AUDIOSLAVE bristles with a no-frills, offhand intensity that throws down and reminds those silly nu-metal poseurs what heavy rock is all about.