ROCk

Martin Cooper checks out the style of Chris Cor­nell and Tom Morello’s bril­liant col­lab­o­ra­tive band, Au­dioslave.

Guitar Techniques - - CON­TENTS -

Martin Cooper delves into the play­ing of Au­dioslave’s Chris Cor­nell and Tom Morello.

Formed in 2001 by Soundgar­den’s Chris Cor­nell and Rage Against The Ma­chine trio of Tom Morello on gui­tar, Tim Com­mer­ford on bass and drum­mer Brad Wilk, Au­dioslave man­aged to not only blend the sound of their pre­vi­ous out­fits but also forge a new iden­tity that harked back to Led Zep­pelin from the 1970s and the grunge and rock bands of the 1990s. They re­leased three al­bums dur­ing their six-year ca­reer and sold over eight mil­lion al­bums world­wide in that time. Cor­nell left the band in 2007 cit­ing mu­si­cal and per­sonal dif­fer­ences, which was fol­lowed by a sub­se­quent Rage Against The Ma­chine re­union tour and, after em­bark­ing on a suc­cess­ful solo ca­reer, Cor­nell’s re­union with Soundgar­den.

Au­dioslave formed after leg­endary pro­ducer Rick Ru­bin sug­gested to Morello, Com­mer­ford and Wilk that they try work­ing with Chris Cor­nell after RATM vo­cal­ist Zack de la Rocha had left the group. From the out­set the chem­istry be­tween them was in­cred­i­ble and they de­cided to form a new band, rather than con­tinue with the Rage Against The Ma­chine name, writ­ing 21 songs dur­ing 19 days of re­hearsal. After some bumps in the road in terms of record la­bels and man­age­ment is­sues the band re­leased their epony­mous de­but al­bum in 2002, sell­ing over 160,000 units in its first week of re­lease in the US. Cor­nell suf­fered per­sonal is­sues dur­ing the record­ing and tour­ing for the first al­bum, but he man­aged to re­group and con­tinue writ­ing and record­ing with Au­dioslave for two fur­ther al­bums. The band re­united for one show in early 2017, with mem­bers ap­par­ently be­ing open to a more per­ma­nent re­union, but this was sadly never to be after Chris Cor­nell’s death on 18th May.

Our track this month fea­tures some clas­sic 1970s in­flu­enced riffs, but with a harder edge to them in terms of tone and per­for­mance. We’re in E mi­nor (E-F#-G-A-B-C-D) but there are some chro­matic notes in the solo, in­clud­ing C# and G# which give more of an ag­gres­sive edge to the Pen­ta­tonic phrases. The solo isn’t tricky to play, but check out the Play­ing Tips to see how to play it ac­cu­rately and au­then­ti­cally. The record­ing makes use of some tech­niques to get a big, live sound in­clud­ing dou­ble track­ing the bass gui­tar with one track be­ing over­driven, and us­ing par­al­lel com­pres­sion on the drums, where the com­pressed drum track is blended into the dry drum track. The rhythm is also dou­ble tracked and there is an ‘oc­tave be­low’ har­mony on the lead part.

NEXT MONTH Martin gets to grips with the prog in­spired sounds of US group Kansas

Au­diosla ve re­lea sed their first alb um in 2002, sell­ing over 160,000 unit s in the fir st week of re­lea se in the US

Tom Morello and in­stantly recog­nis­able ‘bitser’ gui­tar

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