Published on Mar 22, 2000
A lot of alternative rock fans were disappointed when the band
Soundgarden decided to call it quits. Finally last year,
Soundgarden frontman Chris Cornell came out with his first solo CD
since the breakup called
Euphoria Morning.
So, has Cornell satisfied Soundgarden fans’ hunger for grunge or
has he forged off into a different direction? The answer is a
little of both, which may have been a smart move for him at this
point.
No doubt most of you have heard the single, “Can’t Change Me.”
Cornell has written a nice pop song to start off the CD. The song
is tuneful and has a clever but simple lyric. There is a hint of
the Rolling Stones song “Paint It Black” in it, but just enough for
flavor. In short, it’s a perfect single.
The rest of the CD doesn’t come together quite as beautifully as
“Can’t Change Me,” but that does not mean it doesn’t have its
moments. “Preaching To The End Of The World” is a very effective
Radioheadesque ballad. It shows that Cornell has been listening to
what’s going on in the music world.
“When I’m Down” is Cornell’s stab at singing the blues. I think
he has one of the most powerful voices in rock, and if anyone in
the alternative world could pull off singing the blues, it’s him.
He does an admirable job although he does come close to Michael
Bolton overkill toward the end of the song. More on target is “Wave
Goodbye,” a lighter blues song that he nails.
The weird thing about
Euphoria Morning is that the songs that Cornell writes
himself are the ones that show him covering new territory. But it
is the ones that he co-wrote with Alain Johannes and Natasha
Schneider that have more of a Soundgarden feel to them. It’s as if
he wants to move forward but his partners want to keep him glued to
the past.
That said, some of these songs do work. “Flutter Girl” is a
solid middle ground between pop songwriting and alternative rock
edginess that comes off well. “Mission” is a gritty rocker that
will reassure Soundgarden fans that, yup the guy can still rock.
“Pillow Of Your Bones” has some chilling imagery, and the
arrangement complements the song effectively.
But then there’s “Disappearing One” which sounds like watered
down Soundgarden, lacking the sonic power of his old band, and
“Steel Rain” which has the sonic push but is unfocused and
rambling.
Overall,
Euphoria Morning should please Cornell’s more broad minded
fans, disappoint those wanting another Soundgarden CD, and possibly
pick up a few new fans in the process.
Euphoria Morning is a good CD, but I get the feeling that
Cornell hasn’t quite hit his stride as a solo performer, so let’s
hope for continued growth on subsequent efforts.