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Scream (Amazon Exclusive Version)
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2009 solo album from the former vocalist for Soundgarden and Audioslave. 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. 13 tracks including the first single 'Scream'.
About the Artist
Chris Cornell is a rock icon who thrives on contradictions. An innovator who resists genre labels, he was nonetheless the chief architect of the 90s grunge movement. Frequently ranked as one of the best voices in music history, he has successfully maintained his own unique identity over more than two decades as a multi-Grammy award winning musician and universally acclaimed singer, songwriter and lyricist.
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
Top customer reviews
While I do enjoy the gritty crunch of guitars in his songs, I'm also a fan of Electronic synths and beats, and his experimental Scream album is filled with melodic, high energy beats and tunes, expertly blended with his amazing, gritty vocal talents.
What's most unique is how each song blends smoothly into the next, as if it was one long, morphing song. The vocals are top notch, and combined with some of the best melodies Cornell had in his music arsenal, Scream is a blast to listen to for any fan of Cornell and Electronic Beats. One of my favorite Chris Cornell albums in addition to Soundgarden, Audioslave and his other Solo albums.
I actually thought that I had downloaded the wrong album from Amazon. Cornell's voice sounds as soulful and powerful as ever and Timbaland does a great job of mixing things up. But mixing gravel and slick beats wasn't what I had in mind. The production and sound are so far from anything else Cornell has done, 90's rock meets Young MC's beatbox. Cornell thinks his fans will come around to this sound, but I think that is very unlikely. Chances are he will start up a new fan base if he can sell his soul to kings of radio.
I admit that on my second listen to Scream, I discovered that a few of the songs were worth hearing again, hence a two star rating. However, I can never envision putting this on under any circumstances for a full listen. It's like listening to nails on a chalkboard after expecting to get Blackhole Sun, Spoonman, or anything off of Euphoria Morning. Die hard fans may be slitting their wrists two minutes into the first track.
I'm hugely admiring of Cornell as a singer, songwriter, and musician. He's done some fantastic things in his career and some not-so-fantastic things, but of his generation, he's certainly in the upper echelon.
So I felt equal measures trepidation and curiosity when I first heard about this project, as well as a good dose of confusion. An album with Timbaland - what the hell? I was aware of Timbaland's reputation as a producer and hitmaker, although that's not my genre of music, so I wasn't too familiar with his actual work. In fact, a lot of the stuff he's done in the past is stuff that I skip over when I'm changing stations, without listening to it, because I assumed (rightly or wrongly) that his genre of music wouldn't say anything to me. But what I *did* become very familiar with was the bitter, venomous reaction that the project was eliciting from some of Cornell's fans online - and to be honest, that made me even more interested in hearing the album.
So I bought it yesterday and have given it a couple of spins, and its not bad. Way different, absolutely, but not bad. Some of it I dig (I think "Long Gone" in particular is terrific), and some of it I don't care too much for. Obviously its a complete departure from the rest of the Cornell catalogue, which I realize makes a lot of people very uptight. The reaction of white male rocks fans to their heroes delving into areas they consider too black (R&B) and/or too gay (dance music) often betrays a lot of otherwise unexpressed racism and homophobia, and I think that shows in some of the the vicious response to this record. Reading some of these reviews, for example, you'd think this album was a crime that ranked somewhere between the cancellation of the original Star Trek and the crucifiction of Christ. Way over the top there, folks. As a wise man once said, its only a bloody record.
Cornell must have known that was in the offing, but he did it anyway, and I have to respect that. Its so easy for somebody of Cornell's stature and reputation to stay in his box, play it safe, and turn out the same album every couple of years for the rest of his life. Bands like KISS and AC/DC and Metallica have had long successful careers doing pretty much exactly that, and there's a loyal audience that comes back for the same thing year in and year out. And more power to those folks if it works for them. But for Cornell to so leap outside his comfort zone and to take such a risk, both artistically and commercially, well ... like I said, the man's got balls. Love or hate the album, you have to give him that. And as it will probably be a flop, you folks who hate it can always wait a couple of years for him to make the inevitable "return to form" record that will allow you to wag your fingers and say "I told you so" - easily the four most satisfying words in the English language.
Until then, "Scream" is the one work in Cornell's catalogue that will cause his fans to "make a little love, make a little war" because it is obviously not for everybody.