By at 1:18 AM Wednesday, February 11th 2009


Chris Cornell Should’ve Stifled This Scream

Chris Cornell, Reviews


Most Chris Cornell fans have been anticipating Scream, his third solo effort and much-hyped collaboration with Timbaland, with a fluctuating mix of trepidation and pessimistic confusion. We’ve been hoping for some semblance of redemption from the man who broke up Soundgarden and Audioslave, and topped it all off with the wall-to-wall disappointment that was Carry On, his sophomore solo record. While Euphoria Morning was a beautiful, fragile work of art, Carry On was a low-ball jerk around that we were all hoping he’d gotten out of his system while on a half-year bender. As selfish, demanding fans go, we’ve been longing for that classic signature wail from the man that was once the God of Seattle- we wanted something with meat, a new flash of the flame that drew us all like moths in the first place.

Timbaland feat. Chris Cornell

Therein lies the reason why this album will draw more fire than Kanye’s sad robot songs ever did; you can’t listen to Scream with any hunger for familiarity.  If you’ve heard anything by either of Cornell’s former bands in the past few weeks, it’s going to take some powerful weed to get your head out of the preconceptions that the man has to be a rock singer. Timbaland doesn’t do rock.

Don’t get me wrong- you’ll recognize the pipes here, but that familiar old engine sounds like another beast altogether inside a frame that’s been pimped, tricked and rimmed.  To pop that hood and look at it through any sort of rock purist lens would inevitably lead to an immediate determination that the album is a showcase of such horrific, malignant blasphemy as to render it utterly unlistenable, except in such cases where it’s necessary to present a shining example of Where It All Went Wrong.

Royally obnoxious horns open the album, like those old Imperial margarine commercials- a terrible sign right off the bat, made so much worse by a demonic voice welcoming us to “Chris Cornell… the movie… the experience.” This begins Part Of Me, the video for which you may have seen already:

Get the Flash Player to see the wordTube Media Player.

For all the promises Cornell made of this being the next Dark Side Of The Moon, the intro/outro segues that tie the songs together are the only threads of validity to his claims. But that’s a bit like saying To The Extreme was the next Thriller. It’s blasphemously absurd, and this first track (not to mention the video) is, quite honestly, all one needs to assess where this album is coming from. Furthermore, most of the segue strike the ear as oddly out of place, and do nothing to compliment the piece.

Time makes a pass at cheap Casio sounds and a cascading bridge to add dramatic flare, but the cringe-worthiness really hits a fresh low in the outro as we’re bombarded with repeating eighth-note points of Smokin on a cigarette / my six-pack right beside me several times over, in a southern drawl no less, not thirty seconds before Autotune makes its album debut. 

The coked out soul glow of Sweet Revenge is probably Justin Timberlake’s favorite song right about now, despite the fact that he actually lent a hand to Take Me Alive. There’s enough Autotune robotics to make T-Pain feel at home, and whatever the hell Cornell’s ranting about in barky spitfire rhythm is sprinkled with Timberlake-esque vocal harmonics. I keep coming back to the same thought: it’s all just too corny at the core to take very seriously.

I would’ve been at least a little excited about Take Me Alive in any other context- the Middle Eastern rhythms, the strings, the gliding chorus, it all fits together nicely- so I can’t cast a different color simply because it’s a part of this shimmering freak show. Or can I? Skwerl posed the question of whether or not I would react the same if it were labeled and sold as a Timbaland album with Cornell guesting, as opposed to the third Chris Cornell solo album, and I paused on that for a minute. I suppose to some extent I would see it with different eyes, sure, but the fact remains that there is virtually no trace of genuine rock to be found here. It’s a Timbaland album, and it should’ve been promoted as such.


Tim’s good at what he does. He’s a hitmaker, and there are some great arrangements here that would work wonders with another artist. There are pieces throughout that gleam with hook potential and dance-worthiness- but how many club mixes are we going to hear of Enemy? Without Cornell, Scream would’ve made a perfectly digestible Britney Spears or Madonna record- because we’re used to that elaborately orchestrated, beat-focused, high-octane emptiness from those names. But this is one album you won’t be needing on vinyl- unless you’re a DJ.

Even without contextualizing the album, however, it bears noting that there’s been a thread of poetic integrity to Cornell’s lyrics throughout the years (see: Badmotorfinger, Superunknown, Temple Of The Dog) that goes far beyond eclipsing the posturing gibberish found here. It’s hardly worth examining the light misogyny in a line like That bitch ain’t a part of me, and that’s just the tip of this particular iceberg.

The rock-riff glimmer of hope in the final 30 seconds of Get Up is suspect from the start, and gives away to a bizarre, hand-clappy outro that loops itself into the main beat behind Ground Zero, the backing-vocal squawking of which makes for a grating three minutes and change, despite what could’ve been a good vocal showing from Cornell with a little more cooking time. 

The repetition of the final three songs on the album seems to be evidence that the steam was running out on this train before it was fiscally advisable. Each song’s chorus is a nearly endless repetition of the title. There would otherwise be promise to Climbing Up The Walls, but the repeating lines are unbearable. On the other hand, everything that could go wrong with Watch Out, has. It’s a mess, an abomination of a lead riff and the most annoying chorus I’ve heard this side of the Pussycat Dolls. 

The smoky blues of Two Drink Minimum is promising, and likely the best of this batch, but in the end it’s too little, too late for a powerhouse collision of worlds that never should’ve been.

Truth be told, in all likelihood Scream will ultimately get more speaker time in these parts than Carry On ever has or will- partially due to my recent guilty-pleasure fixation with a certain mulleted 808s-loving egomaniac, but also because this album is a hell of a strange trip, and I still can’t decide whether Cornell’s gone artistically bankrupt or simply making his bid for new relevance in a genre that has zero prior reference for him. But I don’t suppose it matters, either way; in two months’ time Scream should be no more than a whisper to anyone.

scream cover

March 10, 2009
Interscope / Universal

1. Part Of Me
2. Time
3. Sweet Revenge
4. Get Up
5. Ground Zero
6. Never Far Away
7. Take Me Alive
8. Long Gone
9. Scream
10. Enemy
11. Other Side Of Town
12. Climbing Up the Walls
13. Watch Out
14. 2 Drink Minimum


Chris Cornell


Released: 10/03/2009
Label: Interscope Records
1. Part Of Me
2. Time
3. Sweet Revenge
4. Get Up
5. Ground Zero
6. Never Far Away
7. Take Me Alive
8. Long Gone
9. Scream
10. Enemy
11. Other Side Of Town
12. Climbing Up The Walls
13. Watch Out

Meanwhile, On The Internet...

  1. tng says:

    I was listening to “Sweet Revenge” while reading this…and I’m still astounded by this act of violence against the holy entity that is music. Just like (career) suicide.

  2. Spinett says:

    It’s always better to leave the party, before the lights go off.

  3. Skwerl says:

    i like long gone. it’s a pop/r&b song like all the others, but at least it’s a good one.

  4. Matt says:

    this is the same guy who wrote songs like “Cold Bitch”, HIV Baby, Slaves and Bulldozers. i cannot believe it and it makes me sick.

  5. Nate says:

    Annoying album. At least, I agree on what is said about “Two drink minimum”. If this new album had focused on that bluesy side of Mr. Cornell, it could have come out as something really worth listening.

  6. Richard Jizzlebaum IV says:

    chris cornell just needs to quietly go away.

  7. FetchMP3 says:

    Honestly I thought Chris Cornell died years ago lol

  8. Fucking Distracting Oh Good! says:

    I thought we all knew that Cornell has been a worthless embarrassment since the abysmal “Out of Exile.” He’s like the ham-fisted equivalent of a Jerry Bruckheimer movie. All bombast, but corny to the core.

  9. spin316 says:

    I heard Watch Out last night, immediatley put it on my wife’s iphone. She took it to work (radio news station) and played it for the newsroom. They were all jamming to it by noon. Great song! Addictive. We are still singing into the evening. Can’t wait for entire album. I’m a long time AudioSlave/Soundgarden fan, but ultimately it’s all about Chris’ vocals.

  10. To each their own, sir. Enjoy.

  11. Damon Perucich says:

    I think that the reviews in here are very one sided, and maliciously arrogant and written by a bunch of gay niggers. What Chris has attempted, is to delve into a very unfamiliar genre. Sure it’s not Soundgarden or Audioslave, and as soon as the first track kicks in you’d have to be an imbecile to expect the same sound.
    I did not like the album the first time I heard it, but it grew on me rapidly.
    Let’s face it; he went to Timbaland simply because Timbaland pumps out hits. Chris needed some hits, and the stage he is at in his life seems to be that he is temporarily, or no longer capable of pulling of the rock that he used to. This new album is not about creating poetical symmetry to previous work, it’s about exploration.
    I think it is a definite step up from recent recordings, and (being a big Audioslave / Soundgarden fan / proud christian sodomite myself) I have unlimited faith in the pure brutal fact, that any tool that compares an Artist’s previous work to their present is not only uneducated and unqualified to write a review, but they also have the common sense of an unflushed public toilet turd.
    Music is about progression, without it we would be stagnant. Any type of progress is good, as it can spawn a thousand more ideas, just like hitler did.
    Only then, Johnny Firecloud… only then can you be respected as a “critic”, for this is not a review, it is a “lynching” from an inexperienced and ignorant Blackshirt (or possibly a female which we all know have no comprehensive writing abilities) who has only achieved in providing an insufficient and extremely biased analysis on a musical project that they are obviously incapable of comprehending. Death to infidels.

  12. Skwerl says:

    oh come on you blowhard, if johnny said the album was great, you’d be kissing his balls. disagree if you want, but calling him a fascist lynch mob just shows how far gone one’s gotta be to call this album a “step forward.”
    it’s a timbaland album featuring chris cornell, and it’s a far cry from chris’ best work. i wanted to like it. i really did. i liked long gone when it leaked like a year ago. but the album just doesn’t deliver.

  13. zoopster says:

    Why does Chris Cornell “need hits”? Is this now just about money and not art? I’m sure he has more than enough money, but something keeps him going, creating, and it’s not the need for hits. It’s a need to keep growing, experimenting, pushing boundaries. This experiment didn’t work. Rock music is full of failed experiments. Doesn’t mean the guy sucks, just “better luck next time”.
    Comparisons to an artists previous work are valid, and also part of the critiquing process. While no one expects the exact same thing every time from an artist, there is a level of integrity that a listener does have a right to expect.

  14. piX says:

    Personally I’m glad he’s trying different things. Life is all about doing different things! As long as Chris is happy and wants to keep making music, who cares?
    Doesn’t anyone remember the trashing Euphoria Morning got when it was released? This record isn’t perfect, so what? If you want great rock there are tons of records out there you probably haven’t even heard, or you could even go listen to Soundgarden! Why expect Chris to tread the same old ground over and over?

    I salute your bold endeavours Mr. Cornell, long may they continue.

  15. I loved Euphoria Morning. I still do.

  16. Damon Perucich says:

    Skwerl, to be honest, I am not a big fan of the old “ball kissing” and I am open to criticism when it comes to reviews, but this just went too far. This review just seemed to miss the whole point and drivelled on into a real negative tone. I do agree, it is far off from his best work, sitting in the middle.
    Zoopster, answering your first question, I don’t know why he has an obligation to create hits, ask him yourself.
    I totally agree with you that rock is full of failed experiments, but remember, this is not rock. :)
    Got to disagree with you on your statement “Comparisons to an artists previous work are valid, and also part of the critiquing process”. How can you compare this to any of his previous work? It is a totally different genre. It’s like comparing apples and oranges, a false analogy.
    I agree on the second statement “there is a level of integrity that a listener does have a right to expect”. Integrity = consistency of values of what a listener perceives.
    Let’s face it though… sometimes ones perception of integrity can be clouded by personal expectations.

  17. Emil Kusan says:

    Wait a minute, this has gone too far! I see all of you people trashing something you simply don’t understand, and neither does the reviewer. Every good music critic can tell you that there are only two types of music – good music and bad music. What is good music? Whether a piece of music is good is to be decided by looking at three characteristics – technical quality, creative quality and consistenci (and by consistency I mean that an artist should be true to his inner musical motto – which should be an urge to explore and express himself in ways he sees fit). By all of these three characteristics Chris Cornell’s album Scream is definitely good music. Now lets run it all through, shall we? Firstly no one can argue that this is a brilliantly produced, played and sung album. Secondly, it is also clear as day that this is an extremely complex and artisticly well developed album in which Timbaland incorporates a variety of styles unfamiliar to this previous work (the use of guitars, some drum samples that sound almost classical, sometimes he even goes totaly out of his style like in two drink minimum and watch out), and Chris also sings in a manner completely unfamilliar to all of his old fans and overdubs vocals, backs them in strange ways, puts in a note of funk in his style, something none of us would ever expect from him. No one can argue this is not a creative album people, two worlds are clashed here, this is not an easy thing to do. And thirdly, both Timbaland and Chris Cornell are well know for their past work and how both of them always wanted to explore and do something new, never done before. Every Soundgarden album sets on a different route, it tries to reinvent the genre, even with Audioslave, Chris Cornell showed he was always trying to work on something different, something new. Timbaland is also known for his incorporating various r’n’b, pop, electronic, drum & bass and even classical elements in his both as a producer and performer. This all leads us to the conclusion that both of them followed their artistic urges and instincts, both of them set on a course for an unknown destination, both of them had the initial idea of creating something new and merging two worlds in a unique way. That being said, we also must confess that there are a few fantastic songs that will become worldwide hits, this is also something worth noting – the transformation worked. It is also pretty stupid to say that either one of them got into all of this form the money, Timbaland is the best payed producer in the music industry and Cornell made enough money during his career that he might as well be in Barbados or something, drinking martini and partying every night – this wasn’t for the money and it wasn’t because of some record deal, this was for the music. All the above most certainly leads us to the conclusion that this is definitely one of the bravest, and I would say one of the best so-called crossovers in music history, both Timbaland and Chris Cornell should be praised for their inspiration, their work and their courage. And finally, on a more personal note, I’m both a musician and a amateur music producer and I assure you that I know what I’m talking about. This isn’t a review, this truly is a lynching from an unadequately intelligent person who calls himself a music critic, real critics don’t write biased, and fan based reviews, they asses what has been given to them and write accordingly. I understand why some of the old Soundgarden and Audioslave fans don’t like this record, probably Timbaland fans also object to it, but none of that changes the fact that this is an extremely good record, probably one of the best things we’ll hear this year.
    (I apologize if I made grammar mistakes, English is not my native language.)

  18. Damon Perucich says:

    I agree (even though i did skip through most of your essay) and that is what I have been trying to explain.
    Unfortunately, this world is full of people that are good at their job, and other that just get by. This reviewer is apparently writing a novel… only god knows what pointless drivel will be created. From what I have seen here, it seems it’s primary function would be only for wiping your arse with when you have run out of toilet paper.

  19. Mister Hands says:

    Damon: “Got to disagree with you on your statement “Comparisons to an artists previous work are valid, and also part of the critiquing process”. How can you compare this to any of his previous work? It is a totally different genre. It’s like comparing apples and oranges, a false analogy.”

    Of course previous work is relevant to reviews of new releases: if Arcade Fire’s second album was atrocious in comparison to Funeral, then it would have been important to point that out. Previous work is what informs people’s expectations of new stuff – if the new stuff is divergent or significantly superior or inferior, then comparisons aren’t just inevitable, they’re important. The “after” picture is meaningless without the “before” picture to contextualise it.

    So, in the specific context of Scream, Cornell fans are, for the most part, expecting rock music, or at least guitar music. They’re expecting, as Johnny points out, a certain poetic element in the lyrics. They’re NOT expecting something that sounds like the by-product of Chris inadvertently wandering into the wrong recording studio and singing someone else’s lyrics over dated, predictable backing tracks, and, upon realising his mistake, having the temerity to say it reminds him of Pink Floyd or Queen. So it’s important for reviews to warn fans – or, to be kind, inform them – of the complete left turn Cornell takes on this record.

    Unfortunately, there was no left turn to take, and Cornell crashed that Lincoln with the suicide doors right through a wall, crushing everything good about his music in one fell swoop of utter, deranged, idiotic lunacy.

  20. Ven says:

    Maybe he’s just trying to make Carry On seem good. Either that or he’s been taking the same drugs as Joaquin Phoenix

  21. John Persh says:

    Johnny Firecloud says “As selfish, demanding fans go, we’ve been longing for that classic signature wail from the man that was once the God of Seattle- we wanted something with meat”

    No Johnny, some of us like artists who take chances and who don’t regurgitate the same old bullshit time after time.

    Brilliant record.

  22. Hahaha to each their own. But brilliant? Goodness no.

  23. Mister Hands says:

    Persh: That would all be well and good if the new record was listenable, or if Cornell’s previous work was bullshit. Neither happens to be the case, though.

  24. John Persh says:

    Firecloud: I’m new here so I’m not sure what your taste is? Are you a rocker whose sad that you lost one of your heroes because he didn’t make a rock record?

    Hands: The point of progress is that artists yearn to do new things. The success or lack of is irrelevant from Cornell’s perspective. He wanted to do something new and fresh and he’s done just that while making a great record.

    I fear most of you are the types that don’t like change.

  25. Skwerl says:

    well… i love my rock music but i also love when an artist bravely ventures off the beaten path… as long as the results are good.
    i like all kinds of music. i own (and listen to) tons of pop records. i can go from badmotorfinger to shock value to metallica’s black album to jay-z’s. my favorite band is refused, but i’ve listened to taylor swift’s album several times in its entirety. so i’d like to think i’m pretty free of preferential bias on this particular case.
    i wanted to like this album. i really did. i thought i would. when ‘long gone’ was released, i bought it on rhapsody. everyone was talking shit, but i liked the track. i was looking forward to antiquiet publishing one of the only positive, fair reviews of the album that everyone else would surely trash because it’s chris cornell and it isn’t rock.
    but johnny’s review is fair. it’s really not that great of an album.
    i like as many tracks on scream as i do on either of his other two solo albums, or any of the audioslave albums though. so i won’t call it a disaster or a regression. just another album that doesn’t quite blow us away like superunknown did.

  26. It never ceases to amuse me when a person makes their case with character attacks.

    We love change. Growth and artistic evolution are what make being a music fan so rewarding in the first place. I’m just a music lover who’s ultimately disappointed that one of my favorite artists made an utterly terrible album. I’m not saying it’s not a slick production – I’m not saying there aren’t more than a few catchy moments – but at the end of it there’s an absence of genuine *soul* that is present on nearly everything he’s done prior to this.

  27. John Persh says:

    Character attacks? Johnny, I hope you’re joking. Nobody attacked your character. I strongly disagree about the absence of soul though. Its all over the place.

    No big deal though…One of you thinks its ok and the other thinks its terrible, while I think its great.

  28. Skwerl says:

    you basically called him a crybaby persh, and suggested that him and everyone else here just doesn’t like change. that’s an attack, especially if you’re addressing a writer that takes pride in his work. if you’re going to call someone out, at least own up to it. we don’t mind trolls or assholes, but we don’t take kindly to passive aggressors.

  29. Fenriss says:

    I listened to Scream and immediately liked it, I understand that he comes from a Grunge background with the Nirvanas of the world. For one that movement does not have the relevency it once had 15 years ago. I can always appreciate an artist that is just tht an artist, unafraid to take risk, sometime you win sometimes you fail. U2 is a prime example of that, so is Madonna regardless if they are pop artist they dabble into other fields. Timberland has helmed hits for One Republic, Nelly Furtado and others, Justin doesnt count because he records R&B Albums…period.

    Chris Cornell voice is incredible and one of the few that can cross genres. That bitch aint a part of me is a club banger period, I look at his sound as urban rock. PAY ATTENTION – THIS IS NOT AUDIOSLAVE OR SOUNDGARDEN – THIS IS CHRIS CORNELL. Applaud the man for taking a risk, I have heard the CD in its entirety and I can honestly say this is a CD worth buying. I am a Hip Hop fanantic, so I understand what the purist are dissappointed in, I always appreciated Hip Hip artist that took risk ala Outkast, Common, Kanye West, Lupe Fiasco and others. I will not purchase a Beyonce CD because she plays it too safe and if someone else was featured on Single ladies I probably wouldve dug it.

    Allow for growing pains people and understand music is like life, it changes and grows and we hope for the better.

  30. “I will not purchase a Beyonce CD because she plays it too safe and if someone else was featured on Single ladies I probably wouldve dug it.”


  31. John Persh says:

    Firecloud wrote in his article he was hoping for the Cornell of yesteryear with his “selfish fans longing for the classic wail” comment. Then in his response to my comments he says he loves change and accuses me of character assasination.

    C’mon guys let’s get a gripe. We all have opinions, and that’s all they are.

  32. Mister Hands says:

    Persh: I’ll admit that I don’t appreciate change if it’s for the worse. Why would I? I applaud Chris for trying to step outside his own comfort zone, but I slap him around the throat for making an abysmal record.

  33. zoopster says:

    Fenriss: I had a hard time following your train of thought, but here goes anyway:

    1.To lump all bands that can be concievably called “grunge” into one group and describe them as the “Nirvanas of the world” is just wrong. There is only one Nirvana, don’t pluralize the name. The bands from that scene were, and are, (yes some are still around) actually very dissimilar and individual and each had its own sound. Pearl Jam doesn’t sound like Alice in Chains doesn’t sound like Soundgarden doesn’t sound like Mudhoney doesn’t sound like Dinosaur Jr….etc., you get my point? They all had unique sounds. They cannot be so easily dismissed as being “the Nirvanas of the world”, and truthfully, Soundgarden was one of the most eclectic of the bunch. They REALLY didn’t sound like they rest, so to lump him in there like that and say you “understand”, makes me think that you don’t.

    2.I disagree with the so called lack of relevancy of “grunge” some 20 years later(yes, 20, it didn’t start in 94 btw). It is very relevant now, not only to show the huge difference between real, honest musicianship, and what is passing for good music these days, but also because some, nay, most of that music is amongst the best any genre has ever produced, and is priceless, fucking timeless. It will always be relevant, no matter what crap is on the radio, or online, or on that shithole they call MTV. (Is that shit still on the air? Huh. Talk about irrelevant.) Listen to some Mudhoney tonight and tell me it didn’t make you feel a little better even though the world sucks right now.

    3.Give me an example of Madonna taking a risk. What other “fields” has she dabbled in? It’s not like she crossed over into Death Metal or Jam band stuff. She’s pretty firmly entrenched in her pop world, no matter how retro discoey she wants to try to get. Not a risk taker, imo.

    4. What, exactly, does “urban rock” mean?

    5. The people who are most disappointed in Chris’s album ARE his fans, and know well that this isn’t soundgarden, nor audioslave. No need to remind, in caps no less, of that fact. The truth is, this album doesn’t even stack up to plain ol’ solo Chris Cornell standards, let alone the other two bands he was in.
    And being a “Hip hop fanatic”, I don’t know how that gives you understanding of what “the purists” are disappointed in. I don’t understand how you put those two things together.

    Persh: you did effectively call him a crybaby. you shouldn’t be surprised at the blowback. And it’s “grip” not “gripe”. Not to be anal.

    I actually like the vocals on the songs, but not the “framework”, if you will, that they are arranged in,also, his voice does still sound great, and if you read the review carefully, I think Johnny said much the same. Something is just….missing.

    Interesting note, Chris himself said that he was trying to change how people look at a rock record, what a rock record is supposed to sound like, so the question becomes, is he really trying to “cross over” or “genre hop”? He still thinks it’s rock. Seems like he is trying to make the people come to him, a meeting of minds, as it were, instead of trying to, in the words of Ray Davies, “give the people what they want”.

    Euphoria Morning is still a great album, and it doesn’t sound like either Soundgarden or Audioslave.

  34. John Persh says:

    This record just keeps getting better and better. Great vocals, great songs, great production & flow to the record.

    The thing I find ironic is that most of you that slam this record, make it a point to say you like change, yet you keep making references to past works. Why is that? Trying to compare everything to an artists watermark work is fruitless and futile. Though, with “Scream” Cornell has set a new standard for artistic achievement. This may very well be the new standard.

    Oh and Zoopster, you want an example of Madonna taking a risk – I’ll give you 2 – “Justify My Love” & how about hiring William Orbit to produce “Ray Of Light” and the techno/electronic overtones of that record. No, she hasn’t delved into Metal but she’s done a good job of exploring many different sub-genres even if they all remain under the pop umbrella.

  35. Mrs Miller says:

    I actually liked reading the review and agree with so many things Johnny had mentioned. He, like me, rock fans throughout are disappointed in Cornell’s latest offering.
    One phrase struck me – if Timbaland produced one of his prodigies for this record, it will be a great one, but to use an artist who had performed for 25 years and gained a fan following only to suddenly change his direction is a shock to the system.
    By all means, Cornell should be exploring new pastures but nothing to suggest that he’s going through a mid-life crisis. He should have taken a more mature approach and sang songs of experience.

    Johnny, carry on writing. I enjoyed your review and the comments written below are interesting too – especially the one ‘I thought Cornell was dead’. I hope it’s only a temporary death before a transition into an opus of great material for his next release.

  36. Skwerl says:

    i just saw a promo video for puscifer, and it occurred to me that while we’re all agonizing over chris cornell’s departure into shitty lyrics about bitches, maynard james keenan, sanctified vocalist of tool, is running around singing “this lovely lady’s got the thickness, can i get a witness” over shittier beats than tim’s. why does he get a pass?
    or maybe he doesn’t. i care more about scream than the puscifer stuff, despite being a huge tool / apc fan. at least we’re talking about scream. that’s better than not giving a shit at all.

  37. Yeah Right says:

    Have you truely listened to the album yet Mrs. Miller..? Now don’t lie to me.. You clearly haven’t. But don’t worry, it’s easy to see that you’re not the only one here that hasn’t.

    While I too was hoping for something more hard rock (like the Audioslave debut album) to redeem his Michael Bolton-esque last release, I’m not going to go as far as to flunk it by saying it was worse than Carry On. On the contrary, it’s a lot better than Carry On for the fact that I don’t feel like I should be drinking a can of Ensure and pushing my grandchildren on a swingset when I’m listening to the song “Safe and Sound”. Or “Finally Forever” for that matter.

    So stop lying to yourselves by acting, or even just implying, that you liked Carry On better.

  38. Yeah Right says:

    When I first heard the song “The Mission” with Milla Jovovich, I thought it was some song by Shiny Toy Guns. I was actually pretty suprised that I didn’t recognize the guy’s voice as Maynard’s.

    They played that song on our town’s local extreme radio 107.5 known for manlly hardcore, hard rock, and industrial. You’d hear Tool, Slipknot, Korn, and others from the Genre. Knowing that, it’s easy to see that if this song wasn’t originally from Maynard, it never would have had a chance on that station. Now it’s in regular rotation.

    I understand that there’s no chance songs from “Scream” will be on that station. So the only other alternative would be on the stations that play hip hop. I called our DJ in our town’s biggest hip hop station asking him if Cornell/Timbaland songs were going to be played. He said that after getting feedback from the Cornell/Timbaland concert that was in town that week they would find out. That was in back in October I believe and as far as I know, they haven’t played any Cornell/Timbaland songs. So I guess the answer was “no”.

    If Cornell’s goal was to become popular in the hip hop music world, it looks like he’s failed. But then again, I would imagine it difficult to be a hip hop super star from your first shot. Coming out of nowhere. Especially in your mid 40’s. I guess Timbaland’s hit magic doesn’t work for everyone.

  39. Vanilla G says:

    are you freakin kidding me!!! you cant be serious!!! his new album scream is amazing, if you do not like it than you have no taste in music.

    chris has possibly one of the greatest rock voices ever, and he tried something new and went with the light rock/r&b sound. I think it is amazing, everybody who has said it sucks but with a way more complicated wording is stupid.

    it is hands down the best album he has thus far better than any soundgarden, audioslave, or temple of the dog album. not taking away from how awesome all of his other albums have been, i just like scream a lot better.

    seriously you all who hate it need to learn what good music really is, go listen to some shitty band like cattle decapitation because i know thats what you all like to listen to

  40. Uh huh.

    Anyway, to the acorn binger: Maynard doesn’t get an unwarranted pass. Puscifer is a niche project that was labeled appropriately – it’s his weirdo self-indulgent wine-sippin music, and it’s just fine for what it is. I wouldn’t buy the record, but I dig the music enough to go to the show when it comes to town.

    Cornell, on the other hand, has been hyping his album with baffling claims and comparisons (Dark Side of the Moon? Really?), blowing a lot of steam that doesn’t amount to much.

    Scream is getting more attention here because fundamentally it’s bigger than Puscifer – and structurally better, if we’re being honest – but it seems an inappropriate comparison being that they’re such different projects. If Maynard were to say “this is it, this is the direction I’m going in, I quit my day job for this and I’m really excited about it,” I’d have already ranted to Hell and back about his chubby-chasing creepo sex dungeon music. But that’s not it at all. He’s just having fun. Cornell, meanwhile, has swan-dived head first into this mess. Add in the layers of who he was, the bands he was in and what his lyrical stylings encompassed prior to all this, and it’s a total shock to the system to listen to these tracks.

    I wouldn’t feel differently about Scream‘s listenability if it were just a peripheral project, but like thousands of Chris Cornell fans out there, I can’t help but feel disappointed in the thematic, lyrical and instrumental change of direction.

  41. Craig :) says:

    This album has created so much split opinion, I love it!!! Whether you think its good or not, and personally, the jury is still out for me, you have to admit that this album has caused more division of opinion than any in recent memory! :D I certainly agree that people expect a rock record from Chris Cornell, but its not to say that I won’t listen to it and make up my own mind :) there are a couple of songs I liked instantly, and the rest i’m going to give a few listens, because I feel that the best music needs a few listens :) one things for sure, I think more and more people are talking about Chris Cornell now than there ever has been.

  42. Craig :) says:

    Only one thing I dislike about all of this. It really tires me to read all of these people trying to push their opinions on others, saying “you’re wrong”. But music is totally objective, one person’s masterpiece is another person’s flop. Please, please, please people, put across your own opinion, but don’t slate others for theirs.

  43. John Persh says:

    Every time a major artist takes a left turn like this, there is backlash. People don’t like change. Most of the great bands and artists have been through this.
    Fans cried when U2 made “Pop”, when Radiohead made “Kid A” and when Rush made “Signals”.
    Some will love the new direction, some will hate it. Nothing’s really different in regards to Cornell. He made something very different, a record he wanted to make. He’s quite aware that he’s made a record that alot of “rockers” aren’t going to like. He’s not worried about pleasing everyone, he’s more concerned with creating something that interests and satisfies himself.

  44. It may be worth noting that while listening to a random iTunes playlist (comprised of songs whose titles have ‘Drink’ in them – long story), the “bonus track,” Two Drink Minimum came up to bat, and kinda kicked my ass. It’s a damn good song. Perhaps the best on the record – hard not to point out that Timbaland is nowhere to be found on it.

  45. chris who says:

    good god please forgive me. after listening to this monstrous record i think i forgot superunknown completely. who is this chris cornell?

  46. tng/dharma69 says:

    Persh: “Fans cried when U2 made “Pop”,…They cried because Pop was an experiment that they failed to complete. The album was half-assed and not finished wehn they went on the road with it and even U2 admits that. Therefore we who “hate” it do so with good reason. It was a sub-par effort that should have been 10x better because that’s what they were capable of.

    Re-running the claim that people don’t like change with every other breath is tiresome, old and after the 57th time it losses any shred of validity and sounds like “you’re” running out of material.

    Anyhoo, most of us really like change and the balls to expand in our musical loves; I know I do. But even though the quality is subjective, Scream is a pile of steaming poo. Cornell has (or had) the ability to croon, wail, get his rock off and his soul on and this album could’ve been absolutely mind blowing if he’d teamed up with, not a music monkey like Timbaland, but an R&B producer who knows the value of the artist that he’s working with and would harness and accentuate their gifts. Cornell all but gets buried underneath the studio tweaks and noise and the lyrics are laughable. Nothing brilliant going on here. Just middle aged, striving for mainstream popularity sad.

    Do you agree? Of course not but I don’t care. It’s what my ears hear and that’s all that matters.

  47. John Persh says:

    tng: You guys are all the same. “We love change, but this new record blows because its different and its not such and such record” Then it becomes a quality issue. And I sound tiresome and old ?lol.

    Secondly, U2 never claimed that “Pop” was an “incomplete experiment”. They did state that maybe “Staring At The Sun” needed more work and could’ve been better had they had more time. Ironic, as its a great song as it is.

    Cornell wasn’t looking to/nor did he make an R&B record, therefore your claim that he shouldn’t have worked with Timbaland (a music monkey? – WOW – did you really just say that) is offbase. Have you really listened to this record?

    Scream is a brilliant achievement. If you don’t like it that’s fine. I’d be curious to hear what you think is good right now.

  48. Steely Fran says:

    I’m just going to crank up “Badmotorfinger” and pretend that I never heard this.

  49. tng/dharma69 says:

    “Secondly, U2 never claimed that “Pop” was an “incomplete experiment”.

    The word “experiment” was mine and still accurate; the word “incomplete” was there’s. they booked the Pop tour before the album was finished. When time came to hit the road they had to wrap the album as it was…incomplete. Simple as that.

    Yes, I really did listen to the whole record. Monkey. Nowhere did I say that Cornell wanted to make an R&B record. *re-reads post*. Nope, nowhere. Since Cornell went the Timbaland route I said he should’ve worked with an R&B producer who would harness Cornell’s talents. *re-reads post*. Yep, that’s what I said.

    I think a lot of music is good. The Atma, The Whigs, The Yelling, Adele, Rocco DeLuca, Gavin DeGraw, BRMC, Nico Vega, Jonny Lang, Spindrift, Shelby Lynne, Eagles of Death Metal, Kaki King, Beth Hart, Venus Infers, Chris Cornell, etc. None of that alters the fact that I think Scream is horrid.

  50. Nathan Andrew Robinson says:

    Coming from someone with an open mind, who favors metal and grunge, I can honestly say this album is great. Don’t listen to the haters, as I believe they are dull or have sold out. Scream isn’t as good as Superunknown, but it’s solid and original. Nuff said!

  51. Da Duff says:

    wow. sounded like Britney Spears to me….just joking! seriosly though, if someone such as me, a complete unknown, had released this as an album would you buy it? would 1 million people buy it? would you think it’s the great work of art that some of you claim? take the blinders off your eyes and view the hipocricy…..if anything the man should be stoned to compare this to DSOTM (pun intended).

  52. OldCharlesie says:

    I think FireCloud made some good points. If someone does not know who Chris Cornell is, and they listen to this new album, I think they’d compare the sound to other cheesy pop albums. The lyrics aren’t all that great either, and it’s unlikely any of the songs will be memorable. Chris Cornell is capable of making much better music. Maybe dismal sales of this album will depress him enough to make some serious music. And no matter how anyone tries to argue it or justify it, the fact is ‘Carry On’ just flat out sucked balls. By following up that album with this one only makes things worse. I take a lot of road trips, and always have something playing from Chris. But I can only go so far. I tried with ‘Carry On’ but couldn’t handle it, and neither can I take this new album. Someone used the word “corny” and I totally agree with that. Pop music has an obligatory sound with thoughtless beats and no real passion, just glossy styling and crusty vocals, and as cliche’ as it is, it hurts that Chris Cornell decided to get mixed up in it.
    I really love Euphoria Morning, even saw him live after it was released, and personally think he kinda fell off when “Revelations” came out. That first Audioslave C.D. was bad ass, but I think after that success something was lost. Maybe he stopped doing drugs and started taking medication, and lost the edge like Maverick did when Goose died.

  53. Damon Perucich is TOTALLY WRONG AND MUST BE TOTALLY INSANE. Or stupid. Or simply just kidding.

    PROGRESS????? Compared to anything Cornell has EVER recorded before, this could have been done in 10th grade.

    To suggest that we’re “tools” to compare this to any previous Cornell music is the dumbest thing I’ve ever heard. WHY DID I EVEN BUY THE THING??? BECAUSE I’VE BEEN LISTENING TO THE MAN FOR TWENTY YEARS.

    If this wasn’t a “Chris Cornell” album, then I never would have heard of it and neither would have you.

  54. chato says:

    Is this a joke? Is that video for real? THIS IS SOME SAD SHIT. HE KILLED IT. THIS IS PATHETIC. SOMEONE SLAP HIM

  55. No, No! NO! IT MUST BE A BAD JOKE!, man, I can’t understand a man who recorded some fantastic albuns with 2 great bands (Soundgarden and Audioslave, by the way we have Temple Of The Dog too) recorded this kind off stuff, this kind of music isn’t good not even when we have a hot chick dancing around!
    Or maybe we could understand why Audioslave has its end. (? ? ? ?)

    I remember listen Euphoria Morning and thinking how good is this album, Can’t Change Me still one of my favorites all time tracks. Carry On was a weak album, but not’s so wrong with that, BUT THIS?

    Yeah, like somene said here in comments, he killed himself, because if next year he tried a new one, even if it’s good, I will not wanna listen to. And I’m a person who likes a little surprise in music :S

  56. The mere fact that I even mentioned Temple of the Dog in the review was painful for me. The association is a crippling bitchslap to my most sacred musical memories.

    Unrelated note: I think I’ve been on Twitter way too fucking much – I think I’m programming myself to stay under 140 characters…like building mental blockades… @JohnnyFirecloud

  57. John Persh says:

    Let it go Johnny. Temple of The Dog was a great record 20 years ago. Let Cornell stretch out as an artist, while you continue to jack-off to shit like “Chinese Democracy”.

  58. Continue to? Chinese Democracy was a fireworks display that I definitely got excited about – like I said in my review, they were the first band I ever truly loved. It’s a great album, but its listenability doesn’t hold up.

    Temple of the Dog, however, does. And he can stretch all he damn pleases – just don’t expect me to lap that shit up. If the taste is bitter, it’s getting spit right back out. End of story.

  59. John Persh says:

    Did you see Cornell on Leno last night?

    My bad about ChDem- I must’ve missed that part. Yeah, its forgettable.

  60. Damon Perucich says:

    Jhon Ackerman, no offence but you are obviously simple, so I will go easy on you.
    Quote “To suggest that we’re “tools” to compare this to any previous Cornell music is the dumbest thing I’ve ever heard. WHY DID I EVEN BUY THE THING??? BECAUSE I’VE BEEN LISTENING TO THE MAN FOR TWENTY YEARS.”

    If you’ve been listening for so long, you would be aware that he has taken many paths. Why is it so difficult for you to understand this? Why would you not listen to an album before you purchase it? Congratulations, you have quite possibly posted the most idiotic comment up so far.

    Quote “Compared to anything Cornell has EVER recorded before, this could have been done in 10th grade.”
    Dude, no offence, but here is no substance in your argument. If you want to make a point, don’t use caps… use your intellect (if you have any) for the only thing you managed to invoke in here is people’s belief that you have no concept of musical diversity and are quite uneducated. If that’s the case, go back to the wardrobe you live in and close the door.

    Let’s keep this “forum” intelligent people, after all, even Johnny is starting to post comments with some traces of thought.

  61. chad haverty says:

    OMG!!! This is not the Chris Cornell I have grown to love. The new album sounds like ****ing Depeche Mode, and that’s not a good thing. The synthesized percussion and rhythm chords have stripped this album of any integrity. This album is teeny bop, bubble gum b.s. I honestly don’t know why Soundgarden and Audioslave broke up, but man I miss them. They played their instruments with fiery passion; which is what rock and roll is all about. I haven’t been this dissapointed with an album since ZZ Top’s “Afterburner” :(

  62. Fan says:

    This is a very good album! Soundgarden is my favorite band and the grunge scene was during my high school years and I dislike most hip hop, so this means something when I say it. Give this album 2 or 3 listens and you will find yourself repeating song after song. I immediately liked Take Me Alive, Time, Scream, Never Far Away. Then I listened to Get Up and found myself tranced listenging to it like 3 times in a row. Great tune! And then I listened to Enemy a couple times and found that one awesome. The point is, give it a few listens. Chris’ vocals are still stellar, the groove is great, and its produced to the max. I like it better than any Cornell solo to date. Great tunes in my opinion…Time, Get Up, Ground Zero, Never Far Away, Take Me Alive, Scream, Enemy. Thats 7 tracks! Not many albums have 7 tracks I find myself listening too. Even the last Tool album! (Which I LOVE Tool).

    I picture blasting on the stereo on a summer day on the deck drinking a few beers. haters will become fans if they just play it another couple times.

  63. jp says:

    I loved chris’ work with audioslave and soundgarden, and whilst this album is very different, I quite enjoy it, glad to hear him experiment rather than just go round in circles.

  64. psyphren says:

    chris conell was a generation X rock god, grunge royalty and patriarch. many of us are let down, firecloud is right. if you like it thats great, but its not our chris, it is blasphemous, its like mother teresa doing a porno. its so anti gen X. can you not accept that. that is why people are so pissed. we lost a great one.

  65. huh???? says:

    somtimes star’s get so famous that they can crap in bag and people will claim its the great sh%t ever. oh you want an example… SCREAM.

  66. Gil Costello says:

    Back in the ’40s and ’50s my dad was a crazed Irishman who was a major fundraiser for the IRA. He would only allow us to listen to what he called coded Irish songs, songs that kept the rebellion alive in melodies that alchemically alter the peripheral meanings of words (Chris Cornell’s rendition of Billie Jean connects with Peggy Gordon for me, which goes deeper than unrequited love – it is about how man and woman can no longer connect because of the cultural damage that has been done to the man/woman relationship, a curse that all Irishmen carry in their genes because they failed their moms, sisters, wives and children in trying to protect them from relentless invasions and occupations by foreigners). When I heard Chris Cornell’s Carry On album, it was a revelation – I thought to myself that somehow, possibly genetically, he had tapped into this phenomenon. I notice that many persons who don’t like Scream also didn’t like Carry On. This is enough to make me go out and purchase the album (I purchase an album about once a year). Although I love songs from the Pogues like Dirty Old Town and Waltzing Matilda (probably the best anti-war song ever recorded) with those fine traditional Irish instruments, there’s something In Cornell’s melodies and lyrics that hearken back to a strange childhood for me. It’s interesting, isn’t it? I mean, what everyone has written here is true for them. The thing about art is what many have alluded to: artists strive to connect with something that is very personal, and often unknown even to them, but what is deeply personal sometimes just does not generate a universal response. Nietzsche famously wrote, “I listened for an echo, and all I got was praise.” The artistic sensibility will always go deeper than any criticism, for or against an artist. I truly believe Mr. Cornell persists in an artistic adventure.

  67. Matt says:

    ”Fans cried when U2 made “Pop”, when Radiohead made “Kid A” and when Rush made “Signals”.”

    But those where experimental albums made by Bands at the height of their popularity. They had acheived something and wanted to experiment. Chris Cornell, as much as I love his work, hasn’t been relevant for the last few years. It just looks like he is trying to make some money on a currently popular genre.
    Change is wonderful, but if it sounds shit you can expect your fans to tell you.

  68. Valerio says:

    The songs are not that bad, but the whole project misses purpose. Are we gonna dance, rock or just listen to it. Maybe all at the same time. After listening to the record to a view times, I started to wonder what would have happened if the project would have been done with somebody else instead of Timbaland. What still remains is the fact that don’t matter with whom Chriss works is voice still amazes me.

  69. anthony says:

    chris cornell’s new songs is better then audioslave

  70. Orel says:

    I totally disagree with this review. It’s a great album. An unexpected record that crosses the line and moves boundaries. Cool tunes, great voice… what’s missing? Guitars riffs like in the 90’s? C’mon! Soundgarden was great, but it was. If like me you miss this band, well… turn on your speakers and listen to its albums again!

    Most people expect from an artist to do the same stuff over and over. Though this record is pretty far from what most of us could have expected, it doesn’t mean it’s a bad album!

    Some negative comments or reviews suggest it’s easy to write good tunes and satisfy everyone. Then why don’t you do it by yourselves? Hey, ‘smarter’ critics and reviewers, why don’t you show us your creativity? Re-invent the music of 2010! Experiment with something new too and release a five star album!

    Respect to people who dare taking risks! These are the real artists.

  71. Skwerl says:

    we caught a video of chris doing scream by himself with an acoustic guitar. the song was still bad. we realized that’s what it comes down to with this record- it has nothing to do with the fact that it’s a “risky,” “creative” or “reinventive” r&b album with timbaland. the songs just aren’t good.

  72. Gil Costello says:

    I’ve now listened to Scream from different settings and moods and am convinced it is a great album. I’ve never heard any Timbaland music – his own or those produced by him. I’m convinced that Cornell did not choose Timbaland to strive for some kind of pop success: Scream is simply an experimental album, and he chose Timbaland as a guide through electronic effects to evoke something he (Cornell) was experiencing interiorly. For at least a year John Lennon would listen to nothing but elevator music, and the result was Double Fantasy. Leonard Cohen disappointed many when he essentially abandoned guitars on his 10 New Songs album (my favorite from him). Scream, for me, continues Cornell’s exploration of how the depth of the man/woman relationship has been destroyed. An example is on the first track, “Part of Me”, where one can’t decide if he is singing about a man who has cheated on his girlfriend, or if the connection between a girlfriend and a man is at a terrible impasse because of cultural damage. The ambiguity of the lyrics together with the alchemically conjuring music evokes the mystery of love lost between man and woman in contemporary times. In any case, I suggest, if one is up to it, to take Cornell’s advice and listen to it with headphone, good ones, and I would add: let it go let it go let it go. And if in the end it still sounds horrible, then so be it. No judgment here. Music is something one connects with or doesn’t, for any number of reasons.

  73. disaster says:

    this is a disaster. its absolutely wrong. i feel betrayed

  74. Amazed says:

    Under what delusion do fans operate? Since when have fans assumed the authority to dictate to a musician what kind of music he can produce? I thought music was supposed to represent free expression, expression that changes as a musician grows and explores new avenues and new genres. Have the fans on this site ever moved past eating the same old macaroni and cheese they ate years ago? Chris Cornell is a musician who obviously wishes to explore fresh sounds. I’m sure if you want to hear same old same old, there are plenty of Audio Slave copy-cats around pumping out Cornell imitations.

  75. Sandra says:

    I´ve never heard of Chris before, don´t wanna offend anyone, and I must say… I really LOVE the groove on this album! Dance on dudes and chill!

  76. Chris Cornell says:

    Guys, thanks to everybody arguing on my behalf, but listen… Johnny’s right. This album is horrible. I don’t know what I was thinking… To be honest, I was taking a lot of Propecia to grow out my hair back to the way it looked when I first started Soundgarden, and the irony is I think it really fucked with my hormones and caused me to write this crap. I didn’t realize how far things had really gone out of control until I saw Kim, Ben, and Matt at the Pearl Jam show in Los Angeles a couple of weeks ago. I went over to give Kim a big hug and a kiss on the cheek which I learned how to do while living in Paris, and he just stepped back and punched me right in the face.

    The impact of his fist caused me to have a vision of Andy Wood. Andy just stood there above me just like how I sang about him in Reach Down almost 20 years ago. He just looked at me and said, “I get it, Chris. I know where you’re at. The fall is so much harder when the pedestal’s so high. But… don’t forget where you came from.”

    Then, Kim picked me up off the floor, handed me a cigarette, lit it, and said, “Chris, I don’t know what the fuck you were thinking, brother, but we’re going to try really had to forgive you. Remember when we used to write songs that mattered? Let’s do that again.”

  77. Mark says:

    Ha ha ha! -The usual staggeringly arrogant “Let me flex my Rock Critic muscles” First things first, I’m an old skool B-boy of over 27 years, ive done production Graff, and dance,and i’ll do them till the day i die -BUT i also play Guitar ( Electric and Acoustic),which i have done for approx 16 years I am and have been since i first heard them a huge fan of Soundgarden and Chris Cornell – who’s career i’ve followed since.Unfortunately, there seems to be an very narrow minded and ultimately marketing driven attitude that you can ONLY be a fan on on genre of music, an attitude that has roots in the virulent racism of the american music industry.What Chris Cornell and Timbaland have done has been brilliant – The sort of thing that music used to be about until the corparations got hold of it.” Lets get together brother, and see what we can make”.Hip Hop has been the music that has really reawoken the idea of colliding entirely different “genres” of music together.Rock used to be about that too ( Led Zep , Hendrix, Beatles)-But as soon as corparate marketing came in, that ended, and now we have two or three genarations of music fans, who have sadly been brainwashed into believing that some music genres should not mix. ( anyone who doubts this do some research: DJ Alan Freed and the roots of Rock N Roll).Bravo to you Chris for trying something different – Unfortunately, some of your fans want to remain small minded sheep,Who only want nice safe rock albums, and now have to find another idol to masterbate over!!

  78. Keyvan Acosta says:

    I actually started hating it, because I’ve been a Cornell fan over +20 years. But I’ve come around. Definitely, it’s a great album, if you learn to treat everything that you listen to without prior knowledge… if you set expectations, set up for disappointment.

    He has no reason to continue writing the same music he has in the past. This reaction people have to the album seems to be (plausibly, hypothetically) the same as if he released a polka, latin music record.

    The songs are in no way bad, and I cant believe people are so quick to crucify someone who wrote “call me a dog”, “all night thing”, and “Reach Down” 18 years ago. If you really know what he can do writing wise, you know this is definitely up his alley, which has always been an experimental one, even since soundgarden

    Stop Hatin’

  79. Yuki Cinelli says:

    Do these electronic cigarettes really feel like the real thing? I watched a video at this website but don’t know what to think. Are there any real smokers out there that aren’t promoting a product that can tell me what you really think?

  80. Chris Butler says:

    LMFAO You all are retarded. Chris Cornell did something NEW. He gave rock a break and went outside his comfort zone.

    Every other Artist is allowed to do that, to stray from their mainstream style a little bit, but Chris Cornell does it and BAM, everyone’s pissed. Get off your high horse; in singing competitions, we test people on the variety of their voice styles. Quit holding double standards; Lil Wayne wasn’t dogged for his Rock album like this.

    On top of that, it tells a story, a good story, something most albums don’t do. Its a sequence of stories. Thats pretty cool. Quit holding double standards for rockers vs other genre’s.

    BTW, I’ve introduced the album to ALOT of people who don’t know Chris Cornell/aren’t fans, and they loved it. Get your bias crap out of here. IF your going to write a review good, you have to be fair and un-biased.

  81. Cig says:

    Two talented artist working together; Great collaboration.
    The Video is sexy. :) Great job Chris and Timberland.

  82. rent cabin says:

    There may be a bundle to find out about this. You made good points also.

  83. very good post, i certainly love this website, keep on it

  84. Pif says:

    This whole thread of comments is actually quite fun to read a couple of years after the fact.

    Even more so now than Scream has been kind of retconed. My personal theory is that it was a mashup, and that we should leave it at that.

  85. click says:

    Just to let you know your website looks a little bit different in Firefox on my notebook using Linux .

  86. […] catalogue (something the other members never left open for question – there was only one Scream, after all). What makes Soundgarden’s return legitimate is more than the seasoned […]

  87. slgjs says:

    Nice info there. I didnt know.

Leave a Reply

Your email address will not be published. Required fields are marked *

Connect with Facebook

You may use these HTML tags and attributes: <a href="" title=""> <abbr title=""> <acronym title=""> <b> <blockquote cite=""> <cite> <code> <del datetime=""> <em> <i> <q cite=""> <strike> <strong>