![]() Those shows will certainly be a far cry from his solo experience. He and his band are working on their first album in 15 years, which will be followed by a tour. ![]() The bearded performer, who is once again sporting the long curly locks that approximate his early- to mid-'90s look, will soon leave behind the revamped covers for Soundgarden. He offered a stirring version of Led Zeppelin's "Thank You."Ĭornell capped the show with his smoldering, stripped-down version of Michael Jackson's classic "Billie Jean." ![]() Sure, he was compelling while delivering the Soundgarden staples "Fell On Black Days" and "Like a Suicide," and Audioslave's "Be Yourself." His unparalleled vocal range was on display during Temple of the Dog's "Say Hello to Heaven."īut he was at his best emoting while rendering covers. There was a problem filtering reviews right now. Although I still love Euphoria Morning and Higher Truth. Songbook could be Chris Cornell's best solo album ever. ![]() It surprisingly fits perfectly into the mix. All Night Thing - Recorded Live At Sixth & I Historic Synagogue, Washington, DC on ApLyrics. The song was written for the film Machine Gun Preacher and is probably one of Cornell's best songs as a solo artist. I Am The Highway - Recorded Live At Queen Elizabeth Theatre, Toronto, ON on ApLyrics. These intimate shows highlight the songs Cornell has written throughout his illustrious career and are made up of entirely acoustic, solo performances. The album ends with the only studio track, The Keeper. Perched on a stool, Cornell was flanked by six guitars - four acoustic, two electric. Chris Cornell presents SONGBOOK, an album of live tour performances featuring songs written by Cornell as well as a few covers. His accomplishments - whether as the leader of Soundgarden, the focal point of Audioslave, the booming voice behind Temple of The Dog or as an underheralded solo artist - are considerable. What Cornell (who will perform Friday at the Borgata) didn't play was almost as interesting as what he chose.Īfter leaving the Keswick, you couldn't help but think about myriad songs of his that didn't make the set list. Rock gods who are as remarkably consistent as he is seldom play small theaters. On his brand new solo acoustic live album, Songbook, every side of Chris Cornell shines. So open promise fade,And the sun forgets to rise I’m lonely and I’m thirsty But it’s better I stay dry No more than two drinks away from pain Stare into the glass And wait for the time to pass And I thank you for the offer But you know I must decline No more. It's hardly a surprise the Keswick show - and Cornell's entire six-week tour - sold out in no time. The last time I caught Cornell in such a small space was 20 years ago when his band Soundgarden played a record-release party at a loft in lower Manhattan. Part of the appeal of catching the vocal giant there is the relative intimacy of the theater. If only their name didn't sound vaguely connected to S&M.CONCERT REVIEW - Not long after kicking off his two-hour, 10-minute "Songbook" show at the Keswick Theatre Sunday, Chris Cornell expressed appreciation for the opportunity to play such a nice little venue as the Glenside theater. In swapping pro-Marxist rants for Jesus Christ poses, Audioslave gives commercial hard rock a much-needed kick in the ass. The Harvard-educated guitarist can still set it off with the best of them (see, er, "Set It Off"), but on "Like a Stone" and "I Am the Highway," he reaches a new level of introspection, unleashing sheets of sound much closer to Radiohead than Rage. Black Hole Sun is still preoccupied with his tornado-chasing superego (what does "I am a forest" even mean?), but in Tom Morello he may have found an even better foil than SG destroyer Kim Thayil. ![]() This is a good thing, particularly on the blistering "Gasoline" and opening war cry "Cochise" as bassist Tim Commerford and drummer Brad Wilk steamroll everything in their path, Cornell's leather-lined lungs bring the pain. This "debut" is surprisingly nimble, but mostly it's exactly what everyone expected: Chris Cornell blowing out his trachea over a familiar "Killing in the Name" liquid grind. It's no Back in Black, but neither does Audioslave resume the wheel spinning that stalled both Soundgarden, and to a lesser extent, Rage Against the Machine in their sunset years. Considering the Van Hagar-sized disaster that could've occurred here, this monsters-of-alt-rock hybrid acquits itself surprisingly well. ![]()
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