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Seattle trailblazers Soundgarden were a law to themselves, edgy, dark and deeply individual. Their savage soundscapes, coupled with Cornell's incisive lyrics and predatory roar, seduced audiences hungry for musical depth and complexity while leading trends in street fashion and iconic design. In 1989, they became the first Seattle band to sign to a major label. Their sound continued to change and evolve over the course of five pioneering albums.
Celebrated side project Temple of the Dog had already shown Cornell's more soulful side and introduced future Pearl Jam frontman Eddie Vedder to the world. Later, Cornell shocked the business once again with richly melodic, critically acclaimed solo album "Euphoria Morning", swiftly recognized for its alienation and despair. And as the millennium turned, he joined with three other musical pioneers from rap-rock's Rage Against The Machine to create Audioslave - a multi-platinum supergroup which lived to deny its detractors, producing three top-selling albums, touring the world and becoming the first American band to bring rock to Castro's Cuba.
Since then, Cornell has redefined his sound and vision to encompass new music, new collaborations and new activities. Having contributed solo songs to movie soundtracks from "Great Expectations" to "Mission Impossible II", he became the first American male singer to write the theme song for the James Bond franchise in its most successful film to date, "Casino Royale." His bold and bluesy reinvention of Michael Jackson dance classic "Billie Jean" courted controversy and attracted imitators. And his triumphant 2007 world tour brought together songs from every stage of his career, reinterpreting them for new audiences and blending their original fire with the shock of the new.
Outside music, Cornell fronted fashion designer John Varvatos's Spring 2006 collection and settled in Paris with his family, where he has helped revive a historic restaurant, the stylish Black Calavados.
Only the most confident would claim to predict exactly what comes next for Chris Cornell. Always eclectic, always experimental, his new collaboration with super-producer Timbaland - who calls their album "the best work I've done in my career" - will take him into fresh territory, establishing a new sound and marking the creation of a masterpiece that breaks all musical boundaries. Only one thing's for sure - Chris Cornell will continue to break rules, make history and challenge everyone's expectations.
Chris Cornell Bio by Clare O'Brien
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Most Helpful Customer Reviews
76 of 91 people found the following review helpful:
1.0 out of 5 stars
a really bad evolution...,
By Rhonda L. "andnowwhat gives" (S Florida) - See all my reviews
This review is from: Scream (AmazonMP3 Exclusive Version) (MP3 Download)
Everyone likes to go on about Cornell's artistic prowess, yet it's not just song and lyric writing that has always made CC's music superb: His voice could make or break many a song, and Cornell was a master at making his voice an integral part of his music. The songs on Scream are not in themselves horrible; without the Timbaland influence, many of the songs could be revamped into decent rock tunes. However, the entire album emphasizes Timbaland's role (the title should read "Timbaland's Scream, featuring Chris Cornell"), and Chris - Chris's voice - now seems like an afterthought to the music. When the greatest SINGER in rock history allows his voice to play 2nd (3rd, 4th?) fiddle to the music, well, it's MUCH WORSE than disappointing.
39 of 46 people found the following review helpful:
3.0 out of 5 stars
Better than I thought it might be,
By It's Me, "Really" (Houston) - See all my reviews
This review is from: Scream (Audio CD)
When I first heard Cornell would work with Timbaland, I braced for the worst, especially after hearing the awful work he did with Duran Duran last year. Usually, I find Timbaland's work too sterile (the beats, while danceable, too perfect to really groove). And that's somewhat the case here. I really like a lot of the old style synth sounds that are used, and the textures and deep bass are great, but the whole thing sounds a bit artificial. It's saved somewhat by Cornell's voice. Timbaland's usual pop or rap pairings mostly can't sing like this, so Cornell can take the songs up a notch. And as with Cornell's last solo album, the vocals are sounding much better than in the Audioslave era. He constructs some pretty memorable melodies. The thing that's missing vs. his previous solo work, however, are all the open guitar tunings and harmonic color provided from them. These songs give up so much to the rhythm of the loops that there isn't much room for the more interesting chord changes that characterize Cornell's best stuff. Some people will reflexively give it 1-star, but it's far better than that. Nevetheless, it's not as interesting as his first two solo albums, and so we hope its a transition on toward something more expansive. I admire his guts to try a project like this, but I might have chosen a different (more musically diverse) producer than is Timbaland. To go in this type of direction, someone like Danger Mouse might have been a hipper choice.
18 of 22 people found the following review helpful:
5.0 out of 5 stars
Huge Departure? Yes. Addictive? Oh Yeah.,
By rick33 (Sydney, Australia) - See all my reviews
This review is from: Scream (Audio CD)
As a Chris Cornell fan from about 1989 it is very telling that I've very rarely been disappointed by this artist.
I was heartbroken when Soundgarden broke up and a bit wary of Audioslave... then I fell under the Cornell/Morello spell. Then there are his three solo albums. All have their positives and negatives. "Carry On" is Cornell's one album I really had to work a bit get into, but eventually did. Then came "Scream". I have to admit, upon the first listen I was thinking, "What the hell IS this? He's gone down some funky, poppy, R&B road!" But man... once I got hooked by one song (Enemy) it wasn't long before I was hooked on all the rest. Plus, with the way the songs are designed to flow into eachother, I find it nearly impossible to just listen to one song at time. This album, though a huge departure, is by far Cornell's most energetic, addictive and just plain enjoyable solo album to date. He is a true artist who obviously has no interest in rehashing what he's done before and brave enough take a risk on new genre... and, as one would only expect from him, DOMINATE it. If you are purely a genre fan, no matter the performer, and you only tolerate the rock genre, then this album is probably not for you. But if you are a fan of an artist and trust a gifted one to create something special, then I highly recommend this album.
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