Whether your liked Creed or not is beside the point when looking at the former-side-project-turned-major-act AlterBridge. Sure the band is 75% former members of the Wind-Up based faithful rock group (Mark Tremonti, Brian Marshall and Scott Phillips) but the binding ways of Scott Stapp’s vocals yield to former Mayfield Four frontman Myles Kennedy creating one of the ever popular “supergroups.”; Yet, AlterBridge isn’t it merely for the name, they’re in it for the art, and the band’s second release successfully keeps the sophomore slump at bay while crafting a fine, hard rock album worthy of your purchase.

Alter Bridge’s 2004 debut, One Day Remains, played it a little too safe to with a generic, almost Creed-like sound that didn’t do anything overly ambitions, but didn’t stick around in fans minds too long after the singles disappeared from the radio. The disc did achieve gold status, but was no where near the multi-platinum success Creed was able to produce. Its hard to talk about the band without mentioning their former work, but with Blackbird, the four-some really makes a name for themselves journeying farther and farther into the mainstream (with musical spots in CSI: Miami promos) while still preserving that garage band mentality of personally written songs with a hard, non-conforming edge.

Blackbirds’ lead single “Rise Today,”; released way back in July, really solidifies the sound the band was aiming for with this newest release. All 13 tracks produce a hard edge, with infectious guitars and Kennedy’s recognizable, yet soothing voice backed by great writing. The biggest different between Remains and Blackbird is the inclusion of Kennedy in the songwriting process, which successfully breaks the mold formed by member’s former band and gives a more unique and distinctive sound.

Guitarist Mark Tremonti was quoted as saying: “It’s a natural evolution after three years of working together. We knew Myles was an amazing singer, that’s why we hired him. What we found out when we toured the first record was that he’s also an incredibly gifted guitar player and songwriter, as well as a vocalist. It would have been a crime not to utilize all that talent. We wanted to use every weapon we had in our arsenal for this album”; (Source: Wikipedia). The evidence is clearly displayed throughout the album as the continuous flow from track to track creates a cohesive, engaging experience.

AlterBridge has successfully escaped the shadow of Creed by producing a record that both stands on its own and above the work of the Stapp fronted quartet. The album starts off hard and never lets up through its near hour runtime with the meat lying in the middle, rather than being front loaded. Fans of the band should be relieved to find out that the sound is still there, but behind that is a commendable effort to stand out as one of hard rock’s leading bands taking more chances and reaping the benefits. Even the radio-ready lead single strives to break the mold and makes Blackbird a must purchase for any hard rock fans this holiday season.

Nikki Sixx has lived the life of excess throughout the years, but now his take on sobriety has yielded a highly anticipated book and a soundtrack to accompany it, and wouldn’t you know it, The Heroin Diaries actually turns out to be one of the biggest surprises of the year.

As one of the founding members of Mötley Crüe, Sixx knows how to rock, and his evolution and talent as a songwriter are more evident than ever with his new band Sixx: A.M. It may be the source material that Sixx is pulling from, but the way the album is structured and its searing tinge of regret and hindsight really pull the listener into the depraved world of drug addiction and its self loathing inhabitants.

The album is a mix of rock styles ranging from slow, brooding retrospective to the fast-paced, almost pop. The album’s first single “Life is Beautiful“; actually sounds more akin to 30 Seconds to Mars while Sixx is never able to reach the same screaming pitch as Mars’ front man Jared Leto, the sound alike quality is definitely there. The mix of genres throughout the album all exhibit the transgression of Sixx into the hole of addiction focusing on the neglect of God to save him, the abandonment of those he cared about, and the questioning of why he got high in the first place.

The one thing that distracts is the spoken word tracks leading off, finishing, and transitioning in the middle of the disc. Sixx’s voice over a soft melody in the background seems to be reading directly from the diaries mentioned in the album’s title, but it really breaks up the flow of the album (especially the intermission) and doesn’t really seem to add anything.

It’s hard to call Sixx: A.M. a debut when the members of the band have been around for a long time, but their collaborative effort coupled with the material from Sixx’s Heroin Diaries proves to be an interesting and intriguing combination. The song writing is a long ways away from Crüe’s “Girls, Girls, Girls“; but the tracks here hit a much deeper cord and still manage to be marketable and relevant for anyone recovering from such an addiction. Reading the diaries while listening to the albums should prove to be a horrifying, yet enlightening experience. 

Here we are in the year 2002, and music all around is redundant once again. Everyone is looking for the new savior of rock. Surely the answer cannot be found in a band composed of contemporary rap-punk innovators Rage Against the Machine sans front man Zack de la Rocha and the former Soundgarden lead Chris Cornell, right? Rest assured, Audioslave isn’t that savior, however, they do release one of the best albums of the new millennium!

Chris Cornell had already established himself as a star through his later Soundgarden days, the Andrew Wood tribute album/band Temple of the Dog, and his solo debut in 1999, before he signed on to join the remaining members of Rage. His glorious wail and unparalleled vocal range assures his spot amongst legends as a great singer. Additionally, his songwriting abilities are top-notch, as revealed in the depth of his debut album Euphoria Morning, hinting at a softer side not often seen. In contrast, Soundgarden was a grunge icon, known for their stirring use of harmony to bring out the best of anger and sadness. Thankfully for Soundgarden fans, Cornell gets to revisit those days on Audioslave’s debut. Many of the songs here are similar to Soundgarden’s earlier work. Cornell is not solo anymore, and it shows; to back him up are Rage guitarist Tom Morello, and the killer combination of Brad Wilk and Tom Commerford on bass and guitar. Morello keeps all of his tricks from the Rage days, and Audioslave proves that a supergroup can do more than just produce “more of the same.”

The awesome might that is Audioslave begins with the radio-friendly “Cochise.” “Cochise” starts with a powerful drum introduction that grows louder until the guitar kicks in, and then everyone knows what is in store. In reality, “Cochise” is a token gimmick song with stale lyrics but a great beat. The vocals–much like every song on the album–are performed nicely by Cornell, letting the listener know he still has it. However, it is one of the weakest tracks on the whole album. Next up is “Show Me How To Live,” with a catchy bass riff and chorus, representing the funk-punk side of Rage with the melody of Cornell. “Gasoline,” the band’s kiss-off to the pains of society, contains one of the strongest examples of the energy and power of Audioslave at their peak. Every player connects with the others and produce so much noise that they could very well ruin Soundgarden’s reputation. “What You Are” is a change of pace for the supergroup, with a touching performance by Cornell and a trademark guitar solo by Morello. “Like A Stone” is yet another radio hit that features a subdued Morello on guitar but the best vocals on the whole album.

Easily the heaviest rocker is the following track: “Set It Off.” Its beauty is in its simplicity. It has a chorus consisting of a mere three words (repeating the title), yet it is funk-rock at its purest and best. If you aren’t head-banging to this song, you could be dead. After the sonic boom that is “Set It Off” finishes, the album seems to shift focus from explosive energy to lyrical and instrumental mastery. Morello proves his talent on “Shadows of the Sun,” and Cornell sings a genuine masterpiece in “I Am The Highway”–the latter is a poignant relief for your senses. The afterglow is short-lived, though, and “Exploder” quickly revives the head-banger in all of us, complete with cognitive verses of self-awareness. The sound explosion continues all the way up to the final track. “The Last Remaining Light” is the perfect way to end an album after assaulting the audience’s eardrums thoroughly; it’s softer and intriguing, with a chorus that leaves much to contemplate: “If you don’t believe the sun will rise, stand alone and greet the coming night.” Does that allow hope for a sophomore album, or is this supergroup done?

Audioslave does a remarkable job of combining the psychedelic funk and excellent guitar work of Rage Against the Machine with the deep and distinct vocals of Chris Cornell. One might think that being outnumbered three-to-one would weigh heavily against Cornell, but the truth is Audioslave derives more of their sound from early Soundgarden. For Rage and Soundgarden fans alike, that is nothing to fear. Cornell proves once again–in his fourth(!) musical outfit–that anything he touches is gold. Wholeheartedly recommended to Rage and Soundgarden fans, as well as those searching for something different in rock.

Audioslave is the best release of 2002.