RAGE AGAINST THE MACHINE WILL REUNITE FOR COACHELLA

[supaplex]

the audioslave greatest hits doesn't sound weird. i guess that's what labels do after a major rock acts break. tryin' to squeeze everything from the band.

[Jizzo]

i know that audioslave has said that they had a bunch of tracks that didnt make the albums. i hope for a rarities compelation, more than a greatest hits, but if thr gh has new songs ill buy it

[AxlsMainMan]

Do they even have enough "hit" singles to compose a Greatest Hits album

[mrlee]

http://www.mtv.com/#/news/articles/1552582/20070215/audioslave.jhtml

More comments from Cornell about the hows and why of his departure.  I appreciated his perspecitve on Rage, but the part that surprised me the most was his mention of an Audioslave Greatest Hits records at some point in the future.  Does that sound weird to anyone else?

can you copy n paste it please?

it wont load for my browser.

[bazgnr]

Here you go:

In a statement to the press announcing the imminent release of his sophomore solo album, Carry On, on Thursday (February 15) Chris Cornell confirmed months of rumors by announcing that he has left Audioslave.

"Due to irresolvable personality conflicts as well as musical differences, I am permanently leaving the band Audioslave," he said in a statement. "I wish the other three members" ? guitarist Tom Morello, bassist Tim Commerford and drummer Brad Wilk ? "nothing but the best in all of their future endeavors."

That was the extent of Cornell's statement regarding his departure. But this afternoon, when MTV News spoke with Cornell about his decision to leave Audioslave, he said he had been thinking about leaving since the band finished recording its last effort, Revelations.

"It was clear to all of us we needed some time apart, and what that produces is anybody's guess," he said. "In my case, it produced a very prolific writing period, and getting back into writing songs on my own, liking what that means ? which is sort of a freedom and time to just experiment with music to a degree I kind of like more ? and making records that have everything I like about music in them. Audioslave was a very fresh collaboration because it was very much like a young band, where you all write together in a room. But my experience, in terms of songwriting and record-creating, is not like a 19-year-old guy in a rock band. For me to be satisfied, I think I need to be able to be on my own, in the long run."

The announcement comes just two weeks after Rage Against the Machine revealed they would be reuniting for this year's Coachella festival in Indio, California, on April 29, ending seven years of dormancy (see "Rage Against The Machine To Reunite For Coachella Festival"). It also raises speculation as to what the future holds for Rage ? and whether a Soundgarden reunion could be in the works.

Rumors of Cornell's departure began last fall, when Audioslave elected not to tour behind last year's Revelations LP.

Earlier this month, Morello told MTV News that, for now, the Rage reunion would be a one-off, adding that his principal focus at the moment is his solo project, the Nightwatchman (see "Nightwatchman, Rage Reunion Have Morello Fired Up For Political Fights").

Morello said at the time that he wasn't sure what would become of Audioslave, saying that "Audioslave is currently not touring on the record" because "Chris [Cornell] did not want to tour. To me, it seems that the world needs songs of rebellion and revolution right now."

Just weeks before Rage were named one of Coachella's headlining acts, Morello demurred when asked by MTV News whether Audioslave was over, saying "[people] have been telling me Audioslave was breaking up for some time now. No new news there." He would not officially describe the band's status.

Cornell's album, which was helmed by producer Steve Lillywhite (U2, Rolling Stones) and is the follow-up to 1999's Euphoria Morning, will be in stores May 1. The LP will contain 14 tracks, including "Safe and Sound," "Scar on the Sky" and a slow-grind cover of Michael Jackson's "Billy Jean."

In July, Cornell denied Audioslave-split rumors, months before the band issued Revelations (see "Chris Cornell Working On Solo LP ? But Dismisses Rumors Of Audioslave Split").

"We hear rumors that Audioslave is breaking up all the time," he said. "Even in the beginning, when we were having business problems and we weren't necessarily going to be a band, we were still going to put out a record. We made a record and we loved it. I think that's where it starts ? the idea that we sort of started on shaky ground. You would hope that by now, putting out our third record, people wouldn't be thinking that way or be worried about it. But it comes up. I always just ignore it."

Of course, Cornell's since had a serious change of heart. "It hadn't really crossed my mind until a few days ago that I really have no intention of being in this band," he said. "It's been asked before, but it wasn't ever clear in my mind before, and I didn't really see any reason why we couldn't be a band at some point. But now, my feelings are what they are, and I just wanted to get things out on the table and be clear about it."

Cornell said the split was amicable and that, as far as he's concerned, Audioslave is finished, "Unless they want to go find another singer and go make other Audioslave records ? then maybe they can have two bands, with a different singer for Rage and a different singer for Audioslave, and they could go on tour and open for each other.

"I certainly don't have any animosity toward them, and I don't think anyone hates me," he continued. "And to be honest, I think those guys getting back and doing some Rage shows is great. I think one of the main reasons why I ever wanted a band like Audioslave was because of seeing Rage in 1996, and I thought they were one of the best live bands I had ever seen. That's why I wanted to do it. The thought of those guys playing shows and maybe becoming a band again I think is a great thing. There were times in Audioslave where I wondered whether those guys missed the visceral nature of the audience response that Rage would get. We had a different experience and a different crowd, but it was so specific to Rage, that kind of world that they were in, that I often wondered if they missed it."

Cornell said that Audioslave will issue a greatest-hits collection with some unreleased material at some point, "because whoever it is we owe it to will say, 'OK, we're going to put that out now,' because that's what labels do." He said he wasn't sure which label the best-of was owed to; the band released records through a partnership between Epic and Interscope.

And when asked about Soundgarden possibly reuniting, Cornell said it was doubtful. "I haven't received any phone calls from anyone in Soundgarden about a reunion since we broke up, nor have I called anyone," he said. "We were happy with how it ended. There was no unfinished business. Soundgarden wasn't a band where we broke up and everyone was like, 'I'm never f---ing talking to you again.' It wasn't like that. We've all talked to each other many times since then. Its something we don't feel we need to do."

[This story was originally published at 4:36 p.m. ET on 02.15.2007]

For more on Audioslave's historic gig in Cuba, see "History Made and Audio Saved ? John Norris Reports From Cuba."

[Malcolm]

Geoff Boucher of the Los Angeles Times reports that RAGE AGAINST THE MACHINE will join the WU-TANG CLAN for three shows under the banner of Rock the Bells, the acclaimed hip-hop festival that kicks off in New York on July 28 and hits Southern California on Aug. 11.

The Southern California show will be at the National Orange Show Events Center in San Bernardino while the third show, on Aug. 18, will be in San Francisco. The sites of the New York and San Francisco shows as well as ticket sales information will be announced by organizers on Monday.

RAGE is already the closing-night headliner of the Coachella Valley Music and Arts Festival on April 29 in Indio, a festival that sold out 80 days in advance due to the pent-up fan demand for the Los Angeles band. RAGE played their last show in 2000.

That Coachella show was announced as a "one-and-done" affair but the quick sellout and the harsh-priced ticket scalping already underway are among the factors in the added shows, according to sources close to the band. There's also the historical punch of performing with WU-TANG CLAN, one of the most ambitious and influential hip-hop outfits ever.

"RAGE will do four shows and just four in 2007," said Chang Weisberg, the founder of Guerilla Union and organizer of Rock the Bells. "Coachella is first, that's the granddaddy. And now these three with the WU-TANG CLAN represent a very, very special thing."

[JB9988]

fuck where can i get tickets to the nyc show??

[bazgnr]

Geoff Boucher of the Los Angeles Times reports that RAGE AGAINST THE MACHINE will join the WU-TANG CLAN for three shows under the banner of Rock the Bells, the acclaimed hip-hop festival that kicks off in New York on July 28 and hits Southern California on Aug. 11.

The Southern California show will be at the National Orange Show Events Center in San Bernardino while the third show, on Aug. 18, will be in San Francisco. The sites of the New York and San Francisco shows as well as ticket sales information will be announced by organizers on Monday.

RAGE is already the closing-night headliner of the Coachella Valley Music and Arts Festival on April 29 in Indio, a festival that sold out 80 days in advance due to the pent-up fan demand for the Los Angeles band. RAGE played their last show in 2000.

That Coachella show was announced as a "one-and-done" affair but the quick sellout and the harsh-priced ticket scalping already underway are among the factors in the added shows, according to sources close to the band. There's also the historical punch of performing with WU-TANG CLAN, one of the most ambitious and influential hip-hop outfits ever.

"RAGE will do four shows and just four in 2007," said Chang Weisberg, the founder of Guerilla Union and organizer of Rock the Bells. "Coachella is first, that's the granddaddy. And now these three with the WU-TANG CLAN represent a very, very special thing."

So we've gone from a "one-off" show to four shows for RAGE...excellent news.  Even better, the quote says they'll do "just four (shows) in 2007."  Seems to me to be a bit of a play on words.  Here's hoping that many more follow in 2008, and that Rage is back to stay.

[JB9988]

someone please help! Where can i get tickets to see rage in nyc?? Please help me. THANKS!!

[Malcolm]

Launch Radio Networks reports: Tom Morello and Zack De La Rocha, the guitarist and singer, respectively, of RAGE AGAINST THE MACHINE, took to the stage together for the first time in nearly seven years in Chicago on Saturday (April 14). Their appearance was part of a demonstration and rally-turned-celebration for the Coalition of Immokalee Workers, an organization of immigrant farm workers who pick vegetables for big businesses like McDonald's.

The rally was meant to be a protest, but just before the march was to begin, a McDonald's rep told the crowd their demands had been met. So the rally, due to inclement weather and that fact that it was now a celebration of the news of the agreement, moved indoors at the House of Blues.

The set started out with Morello coming out alone as THE NIGHTWATCHMAN, performing several songs from his upcoming "One Man Revolution" CD. After that, De La Rocha took the stage to perform a brand new song about the event that he had written on the plane ride from Los Angeles to Chicago.

At that point Morello joined in, and the duo performed the RAGE AGAINST THE MACHINE songs "People of the Sun", "Bulls on Parade" and "Down Rodeo".

[vietnow138]

I really hope they decide to do some more shows on their own, not festivals, I'd really like to get a chance see them since im going to miss out on Coachella.

[Doc Emmett Brown]

I thought at first this was going to be a negative article, but it turned out fine.  It's about RATM in the context of band reunions in general.

April 22, 2007
New York Times

Not Reunions, Reinventions (Back and Better. Really.)
By BEN RATLIFF

WAS that a queasy feeling you had recently, when you authorized payment on a $300 ticket for this summer?s Police reunion concert? What about that weird web of logic that made $249 for a three-day pass to the Coachella Festival next weekend seem an allowable expense, because you?d be seeing Rage Against the Machine, the radical-leftist punk-funk band that wrote timely songs challenging the domination of real-life power structures ... until 2000, when it ceased to exist?

And was that a shadow across your face the other day, when your friends were talking about the greatest rock shows ever, and someone asked if you?d ever seen the Pixies? ?Yes,? you said, brightly. But you qualified that. ?I saw them on their second reunion tour in 2005,? you murmured. Then you left the room, looking guilty.

We are going to have to come to terms with all these feelings, because reunion shows will soon become a much more normal concertgoing experience than we ever knew. More than that: I think we can meet them with an open mind.

If these reunited bands meant something to you in an earlier time, perhaps you?re feeling the dirty power of money, or the lameness of aging. (Maybe you really can afford that ticket now. Maybe it isn?t such a drag to drive to the stadium. At least you know there?s parking.) Perhaps some part of you tells you that you don?t deserve it; you didn?t put in your time in the rooms where that band started out, at CBGB, or the Rat, or North London Polytechnic, or wherever.

Or maybe something about these events feels broadly, even comically, illegitimate. Aren?t we supposed to form a community of taste around living culture, not afterlife culture? Isn?t a great band supposed to be more than just a band, but an embodiment of a particular age, a state of mind, a place? How do you identify, then, with an aging act whose members are well past their original states of mind, have mostly relocated to sunnier places, and whose prime motivation would appear to be making money through entertainment consortiums like AEG Live, which controls Goldenvoice, the concert promoter behind the Coachella Valley Music and Arts festival in California, and the pathbreaker in the marketing of recent-past reunions? And aren?t, say, 15 years of inactivity required before a reunion can be considered desirable?

Unless you are a lawyer or a promoter for one of these bands, all you have is your ears. Despite all the bien-pensant hand-wringing about how reunions smell fishy, a band is a band. It is not more powerful than the sound it generates on a certain stage at a certain hour, its grooves and tones and tension and release. It is made of musicians who are considered young for a while, and then become older. They play in a club, then maybe a stadium, and then maybe a club again. They have money disputes, or they don?t want to look at one another for a while, and they stop. Then the market changes in their favor, and they play again.

When Rage Against the Machine became popular in the ?90s, it seemed disconcerting that many of the band?s fans wanted to hear the sound of a metal chair bashed on a concrete floor rather than be alerted to new methods of revolutionary praxis. But it wasn?t the fans? fault: They were slaves to the whomp of that fuzz and funk, and the rhythm and pitch of Zack de la Rocha?s hectoring whine. The band?s sound eclipsed the higher brain functions, at least for a few minutes at a time.

More and more of my working life, it seems, is predicated on whether I can find a band playing a song for the 4,000th time to be in any degree convincing. I do, increasingly. I used to feel allergic to reunions. For each band I?d seen in its prime, I had an image in my mind and thought it worth protecting. Worse yet, I grew skeptical of bands as they moved past the 20-year mark.

But those shows over the last few years by the reunited Pixies and Stooges, they were loud and rude and fantastic. And they were judicious. Through their set lists, they located the potential excitement in the task of explaining what the bands had been all about.

It was a fundamentally weird decision for each of those bands to re-form earlier this decade. I don?t mean that they didn?t know a dollar when they saw it. Issues of credibility run to the marrow of a band like the Pixies. Now that we?re into the era of indie-rock reunions, we have to realize the bohemian rock culture of the ?80s nurtured the idea that credibility is more important than money, even more so than the bohemian rock culture of the ?60s had. But the Pixies and the Stooges were examples of reunions that ended up being more successful than a band?s original iteration. This is the part that seems new, and this is the part we will likely see more often, as long as a band has the platform of a Coachella or a Bonnaroo ? or any of the other sophisticated new festivals ? to stage its rebirth.

If you had working knowledge of the Pixies? and Stooges? albums, you may have been stunned by how sophisticated live sound has become since those bands disappeared the first time, and how they have adapted the advances to their own needs. And what about the best of those who never formally went away ? a band like Slayer, a performer like Prince? They carry so much maturity after more than 20 years that even if they don?t retain perpetual youth, they have something that might be more important: complete control over their own sound.

I realize that this view might seem to decontextualize music, and even depoliticize it, which might be problematic with Rage Against the Machine. But isn?t it more accurate to see music as music, and not as philosophy or policy? (Put it another way: If you admired Rage specifically for being a forthright radical-left political band, how could you ever forgive it for being absent through George W. Bush?s presidency to this point, only showing up after the Democratic landslide of the midterm elections?)

[Doc Emmett Brown]

contd....

There?s nothing new about an aura around a cultural event growing in proportion to the unlikeliness of its happening. Long before the Pixies, Pete Seeger, with the reconvened Weavers, sold out Carnegie Hall in 1955. Django Reinhardt and Stephane Grappelli?s recordings from 1946 can seem to have a bittersweet, lived-in feeling, made after the two musicians were geographically separated by war for some years. Gilbert and Sullivan?s reunion operetta, ?Utopia Limited? in 1893, benefited at the time from publicity about its circumstances: It followed a two-year breakup between Gilbert and Sullivan provoked by a lawsuit.

But there really is a lot of high-profile reuniting this summer: the Police will begin its first tour in 21 years. Genesis will tour for the first time in 15; Crowded House, 11; the Jesus and Mary Chain, 9; Squeeze, 8; Rage Against the Machine, 7; Smashing Pumpkins ? if you count two of four members a reunion ? 7. The members of the original Van Halen nearly made it to the starting gate for the first time in 22 years, but called their summer tour off in February.

There are clear reasons for this trend. We?re seeing the winnowing of the live-music era in America, as well as the end of belief in the album. Any crisis of belief leads to sanctification and orthodoxy; people want to see the saints work their magic. Ashley Capps, who helps produce mid-June?s Bonnaroo festival in Manchester, Tenn. ? which has booked the Police as one of its headliners this year ? put it in a slightly simpler way. ?When I was growing up, the release of an album was an event,? he said. ?We?ve moved away from the notion that the release of a recording is an event. Somebody can release a great album and get fantastic reviews and everybody?s talking about it, but how long does that last? Six weeks? In that sense, live performances are becoming the important event.?

Gary Bongiovanni, editor of Pollstar, the concert-industry magazine, is so used to old acts propping up the industry that he doesn?t believe this year?s picture is substantially different. ?Last year you had Bob Seger, this year you have Genesis,? he said evenly over the phone recently. He is not sure whether new bands ? Arcade Fire, say ? are striking deeply enough into the soul of the culture to necessitate their own reunions down the road. I think context will determine it. If there are lots of great new bands in the next 10 years, we won?t feel we need an Arcade Fire reunion. If there aren?t, we will.

It seems now that the audience position for rock is coming closer to that of jazz around the mid-1970s. Most of the forefathers are still with us; increasingly, they seem to have something important to teach us. And we are developing strange hungers for music of the not-so-distant past that might be bigger and deeper than the hunger we originally had. That feeling people talked about during the Pixies shows a few years ago ? the word ?eerie? was used a great deal ? seems similar to descriptions of the feeling generated in the Village Vanguard when Dexter Gordon played his comeback shows there in 1976, after living abroad. Since then, jazz has advanced into a culture of incessant re-experience, endless tributes. Actual reunions are barely noticed: a huge percentage of the music refers to great moments of the past. Yet that doesn?t mean that jazz can?t still be fantastic, even transformative. It is, all the time.

We have to allow for the possibility that Rage Against the Machine ? or the Police, or the Jesus and Mary Chain ? could be as good as it ever was, if perhaps a little more wizened, a little more skeptical. (It will depend on their practicing of course.) If you?re still looking for something sacred, it probably can?t be found in their values or politics or cult significance. It?s in you: It is your own reaction to how they sound. Nobody can take that away from you. 

[JB9988]

im going to see rage in nyc july 28th i cant wait and it sucks i have to sit through a lot of fucking gay ass rap shit. too bad rage and system arent touring together.

[DEAD HORSE]

I'll be there! COachella 2007 ,  3 days! 

[Malcolm]

RAGE AGAINST THE MACHINE's first show in almost seven years brought Coachella to a stunning close Sunday night (April 29).

Under a simple red star backdrop, the staunchly political quartet treated the biggest crowd of the weekend to an explosive set that spanned the whole of the band's career.

Communication with the audience was was kept to a bare minimum, with Zach de la Rocha kick-starting the comeback with a simple introduction: "Good evening, we're RAGE AGAINST THE MACHINE from Los Angeles, California."

The anticipated anti-Bush tirade finally came during the last song of the main set, "Wake Up". "Our current administration needs to be tried, hung and shot," the singer boldly stated, according to MTV.com. "We need to treat them like the war criminals they are."

RAGE AGAINST THE MACHINE setlist:

01. Testify
02. Bulls On Parade
03. People Of The Sun
04. Bombtrack
05. Bullet In The Head
06. Down Rodeo
07. Guerrilla Radio
08. Renegades Of Funk (AFRIKA BAMBAATAA cover)
09. Calm Like A Bomb
10. Sleep Now In The Fire
11. Wake Up
12. Freedom
13. Killing In The Name

[DEAD HORSE]

I was there, and the show was AWESOME!!!! 

[GnFnR87]

well they are only doing a few more dates in America cuz Tom Morello has some stuff to do with The Nightwatchman, his side project.? but i'm hoping after that they will decide to either record an album, or tour, or record an album and THEN tour.

[supaplex]

i hope someone filmed this show. it would be great to see their return

[CheapJon]

holy shit what an awesome setlist