Euphoria Morning

Chris Cornell | Format: Audio CD

Product Details

• Audio CD (September 21, 1999)
• Original Release Date: September 21, 1999
• Number of Discs: 1
• Label: Fontana a&M
• ASIN: B00001QGL2
• Also Available in: Audio CD  |  Audio Cassette  |  MP3 Download
• Average Customer Review: 4.4 out of 5 stars  See all reviews (269 customer reviews)
• Amazon Best Sellers Rank: #10,130 in Music (See Top 100 in Music)

Editorial Reviews

Amazon.com

Since Soundgarden's lamented breakup in 1997, grunge stud Chris Cornell has been working with his longtime friends and musical peers in the band Eleven--keyboardist Natasha Shneider and guitarist Alain Johannes. These stellar musicians make Cornell's latest album crisper, more musical, and less rocky than what one came to expect from Soundgarden. The soaring "Follow My Way" is epic in scope, and, in fact, Euphoria Morning is aptly titled; the album is a cohesive mood-invoking musical meditation, especially tracks such as "When I'm Down," which has a near-gospel feel thanks to backing vocals and a spare, uplifting vibe. Fans of Cornell's mellower work with the supergroup Temple of the Dog will enjoy this ardent and mellifluous 12-song collection from one of rock's most recognizable voices. --Katherine Turman

Product Description

Japanese edition of the former Soundgarden vocalist's 1999 solo debut with two bonus tracks added, 'Can't Change Me' (French Version) and his contribution to the 'Great Expectations' soundtrack, 'Sunshower'. 14 tracks total, also featuring the single 'Can --This text refers to an out of print or unavailable edition of this title.

Customer Reviews

Most Helpful Customer Reviews

36 of 36 people found the following review helpful:

4.0 out of 5 stars Going his own way, March 12, 2000

By 

Steve-O (Bellevue, WA United States) - See all my reviews

This review is from: Euphoria Morning (Audio CD)

Don't dismiss this as a typical front-man-gone-solo attempt to cash in on his former band's residual fame. Listening closely to this album confirmed my opinion that Cornell's musicianship was the cornerstone of the band's success. In 'Euphoria Morning', Cornell has clearly grown and evolved as a musician, much like the post-Beatles' Lennon, forsaking 'radio playability' for honesty and grace. The musicians with whom he recorded (especially Alain Johannes) are rock solid and lay an impressively understated foundation upon which his superlative vocal skills are showcased. While several of the songs ('Pillow of Your Bones', 'Mission') clearly have their roots in Soundgarden's burial plot, the majority owe their existence and are a tribute to Jeff Buckley, Cornell's late contemporary and close friend. Cornell's soaring falsetto and anguished wailing aptly evokes Buckley's 'Grace'. The songs on the album are not immediately catchy and will appeal to neither corporate pop radio nor hardened Soundgarden fans, but I see this as a positive trait- it sends a clear message that Cornell has neither 'sold out' nor 'bought in'. Final Evaluation: superb musicianship, excellent songwriting, very good album

18 of 20 people found the following review helpful:

5.0 out of 5 stars Chris Cornell post-Soundgarden, pre-Audioslave, July 17, 2006

By 

Murat Batmaz (Istanbul, Turkey) - See all my reviews
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This review is from: Euphoria Morning (Audio CD)

Following the demise of Soundgarden in 1997, everyone was curious what Chris Cornell would do next. Would he immerse himself in another band where he could display his blood-curdling screams or would he surprise everyone with something totally different? He chose the latter. With Natasha Shneider on keys and Alain Johannes on guitars, Cornell found the opportunity to break away from his heavily Zeppelin and Sabbath-rooted musical background, and he also asked some other musicians to make an appearance on the record.

The result is a very diverse album, highlighting Cornell's immediately identifiable vocals and relatively simpler songwriting. That said, he had the chance to incorporate a multitude of other instruments, including tambourine, theremin, and timpani. Besides the trademark blues rock-ridden songs that helped Cornell make a name for himself, he also digs deep into psychedelia, best heard on "Preaching the End of the World", a song that finds Cornell opting for thick, Radiohead-like arrangements, lofty acoustics, and a strange mix of keyboard and guitar effects. Not too different is "Disappearing One", guesting Soundgarden drummer Matt Cameron with its moving vocal melodies, shimmering keyboards and even a vague clarinet addition.

Surely, Soundgarden fans expecting a very heavy record with meaty guitars and lots of aggressive vocals will be sorely disappointed. But they need to realize Euphoria Morning was meant to be different way before Cornell started working on it. Solo projects serve the purpose of letting the artists express themselves in ways they are unable to in their own bands. And considering this, Euphoria Morning is a huge success. That said, there are still some songs where the band behind Cornell churns out some rocking riffs and rhythms, such as "Flutter Girl" and especially "Pillow of Your Bones" during the chorus. The former starts out in an almost poppy fashion but quickly picks up a playful funk bass line and is finished off with a cool blues lead; whereas the latter is more straightforward, employing lots of acoustic and electric guitars as well as weird percussion work. The final song "Steel Rain" is also a number that alternates between decidedly heavier parts and more haunting, ominous moments. The ethnic drumming (great tabla rhythms) on this track is quite experimental given Cornell's music with Soundgarden and later on with Audioslave.

"Follow My Way" and "When I'm Down" are the most moving songs, with the latter featuring a deft piano and organ melody beneath Cornell's heartfelt delivery. This is another song that embraces his love for bluesy guitar work and it also features some female backing harmonies during its pre-chorus. Similarly, the title track is a passionate piece where Cornell sings entirely a capella over acoustic guitars. There are no other instruments; Cornell plays his guitar and simply sings his heart out. A remix of the effect-laden "Mission" would later be included on the Mission Impossible 2 soundtrack while "Moonchild" became a minor hit with its eerie atmosphere along with the opening song "Can't Change Me", perhaps the most modern-sounding, upbeat song on the album. Despite being only three minutes though, its flow is majestic, borrowing harmonica, tambourine and shimmering keyboards that climax at the final second.

My European copy of the album contains a very different version of the opening song, with French lyrics, accordion, mandolin, and female vocals backing Cornell. The song returns to its English chorus at one point, but the rest is all delivered in French and perhaps more engaging than the original version in some ways.

Chris Cornell is one of the greatest voices in rock and this solo album is testimony to his greatness. When freed from any band restrictions, the man is capable of crafting some of the most moving and brutally honest songs ever.

8 of 8 people found the following review helpful:

5.0 out of 5 stars iPod Garage reviews Euphoria Morning by Chris Cornell, October 28, 2005

By 

W. Palmer (Pompano Beach, FL United States) - See all my reviews
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This review is from: Euphoria Morning (Audio CD)

After a day and a half of not being able to listen to anything but this album, I can tell you that it's definitely a keeper. I've always felt that Chris Cornell had the purest voice in the entire alternative rock genre, and part of what's made both of his bands stand out is his ability to take that pure voice and lay it over top of some rather, uh, loud material and yet still have it consistently shine through all the noise. If you've ever wondered what his voice would sound like with nothing but ambient sounds behind him, Euphoria Morning answers that question in a manner both pleasant and surprising.

"Can't Change Me" kicks off the album as something of a bridge between Soundgarden and the rest of the solo material. It starts with something of a "Soundgarden at half speed" tack until something that you're quite sure is a guitar solo ends in a manner that has you looking back and asking yourself if it wasn't a harmonica solo instead. It's at this point you realize that, for better or worse, synthesizers are going to play a role in this album. And while that thought might have Soundgarden fans heading for the hills and Audioslave fans wanting to light something on fire, the keyboards on this album are actually better more than often they're worse. While some of the sounds on the second track "Flutter Girl" might sound just a bit over-the-top artificial, the song manages to capture something of a late-era Beatles vibe, along with a heavy Asian influence. It shouldn't come as a surprise, as Cornell seemingly couldn't cram enough of either of those two particular styles into Soundgarden's masterpiece Superunknown.

Any connection to his earlier band is gone, though, by the third track as Cornell lays bare a gentle set of vocals accompanied by acoustic guitar that shape up not as a power ballad but instead simply as a pure ballad. This leads into the epic and fairly psychedelic "Follow My Way" which, quite honestly, doesn't fit into a single rock music subcategory I can think of. You'd never hear a song like this on any radio station, which is an indictment of radio and not of this song. It's one of those wonderfully intricate works that you could listen to on repeat for hours on end, and hear something different in it each and every time.

Cornell begins to change up styles from song to song from that point onward. Whereas "When I'm Down" borders on Harry Connick, "Wave Goodbye" brings a gentle funk to the mix. But the dreamy "Moonchild" marks the departure point from which, at the time, I was quite sure Chris Cornell would never go back to making loud rock music again. As borderline cheesy as the song is, it shows where the man's voice truly shines, and that's on breezy material such as this. Most singers couldn't pull off a "Moonchild" without coming off like some kind of latter-day Neil Diamond, but Cornell's faultless voice allows him to go places that others would dare not trek. And as if just to rub it in, he then spends three full minutes showing doing not but showing off his vocal talents on "Sweet Euphoria" which doesn't even so much as feature a rhythm section -- and for that matter doesn't need one.

If this album is so good, how come it never went anywhere? Well, a variety of reasons conspired to keep it from getting off the ground. For one thing, if Cobain's 1994 suicide signaled that alt-rock's days were numbered, Soundgarden's 1996 breakup represented the official end of the genre. And while some of us alt-rock fans hunkered down and decided to wait for rock music to get good again (for the record, it still hasn't quite happened), others left their alt-rock past behind and moved on for flourishing pastures elsewhere. Three years later Chris Cornell releases a solo album and the only way anyone was going to pay attention was if it was billed as a "solo project from the guy from Soundgarden," but that very mention got Euphoria Morning unfairly lumped in a genre that no one was still paying attention to. And worse, any Soundgarden fans who did take the plunge fully expecting to hear Superunknown II were in for the shock of their lives once they got past the opening track.

I can't tell you with certainty whether you'll like this album. If your reason for liking Soundgarden and Audioslave is that they're both noisy, then you might be in for a disappointment. But if your primary draw to those two bands is the uniqueness and purity of the voice that fronts both of them, then Euphoria Morning just might work for you. It's offbeat throughout, some of it almost uncategorizable, but every single song is intriguing in its own way, and although it almost goes without saying, they're all sung quite well. It's gentle in a way that makes it almost the antithesis of the genre for which Cornell is best-known, but it's powerful in its own unique way. If nothing else, it's a rather fascinating look at what was really going on during those six years in which rock history forgot Chris Cornell even existed. Learn more at iPodGarage.com