This 'Morning' not that sweet

Ex-gardener Chris Cornell's solo effort tries to shake grunge's image

BY MARK CARPOWICH
Staff Writer

The color scheme is similar. Both al-bum covers feature a frontal view of the man, while the back cover of each shows its respective artist from a more obscure angle, seated and slouched over. Each has liner notes which the singer uses to thank his "brothers" from his legendary band, which he has put on hold to pursue a solo project. Both even utilize a little-known session drummer, Victor Indrizzo.

Scott Weiland, meet Chris Cornell.

The two men are among the architects of the fabled and now nearly defunct early 90s grunge era. But, in comparing their solo efforts, the similarities stop there. Euphoria Morning, Cornell's solo debut, marks the former Soundgarden frontman's first step toward independence following a decade of building and supporting the fabled Seattle scene. Though he paved the way for bands like Weiland's Stone Temple Pilots, Cornell uses his new record as a way out of the monster he helped create.

That's the good news. It's also the bad news.

The record, which features several strong offerings, is mostly a success, but curiously sees Cornell simultaneously trying to shake his grunge reputation while still clinging onto it, longing to diversify yet afraid to let go. This combination makes the album a laudable effort. However, it also makes the album static at times, unable to achieve the brilliance of Weiland's complete departure from the rock style.

Though not quite the showcase of diversity or dynamics that Weiland's 12 Bar Blues was, Euphoria Morning more than has its moments, celebrating a range of styles that the previously pigeonholed Cornell attacks with fervor but meets with mixed results.

While Weiland tried to dabble in something completely different, Cornell seeks to pay homage to the variety of genres that have influenced him throughout the years, preferring to safely stay where he is while taking on a project that is collectively new but, on a smaller level, much older and more familiar.

Euphoria Morning is hardly Cornell's attempt to break new ground, however, he makes it easier to accept than if had he tried to play it up as something different. Treating the variety of styles as a tourist seeking a temporary diversion from a ho-hum daily life, Cornell visits Motown, R & B, acoustic folk and psychedelic rock in one whirlwind trip. Ultimately, though, any boldness that may have marked his intentions is softened by his ability to do a lot of things only moderately well, and the distance with which he does them.

What saves Cornell is his flat-out musical skill. No one can rival his ability to write an off-the-wall chord progression and make it work, a tool that comes in handy on tracks like the trippy "Flutter Girl" and "Moonchild," both of which are as close to Soundgarden as the album gets.

With a less punchy rock approach, Cornell uses these tracks to try out some different guitar effects, which make the instrumentation, and especially the guitar solos, more interesting than any Soundgarden song this side of the deservedly celebrated "Black Hole Sun."

Unfortunately, the quiet nature of most of the album's songs keep contained one of contemporary rocks most underrated voices. Cornell's vocals get better as they get louder, which none of these songs allows for. An exception to this rule is the excellent "Preaching the End of the World," a touching ode that signifies a simpler lyrical approach than the more abstract feel of a great number of Soundgarden songs. The vulnerability of the songs lyrics is seen in lines such as, If your intentions are pure / I'm seeking a friend for the end of the world, showing Cornell to be less the assuming and self-concerned rock icon that Soundgarden fans may expect.

The Southern rock feel of "Wave Goodbye," Cornell's tribute to the late Jeff Buckley, sounds better suited for the Black Crowes, making his handling of it all the more impressive. Like "Preaching the End of the World," this track wastes no words, clearly spelling out the importance of staying strong when someone close passes away.

Also among the album's high points is "Sweet Euphoria," a stripped-down acoustic song recorded by Cornell at home. Lacking the effects that mark most of the record's tracks, "Sweet Euphoria" drives home the point made by Cornell's outstanding solo efforts on movie soundtracks like "Great Expectations" and "Singles" - often, less is more.

For a solo album, Euphoria Morning sees Cornell relying heavily on co-producers Alain Johannes and Natasha Shneider, both of whom share songwriting credits with Cornell and play on almost every song. Also featured on one track is former Soundgarden drummer Matt Cameron, whose familiar rhythms make "Disappearing One" a solid but definitely non-Soundgarden track.

Euphoria Morning's buffet-style lineup paints Cornell as an adventurous yet overwhelmed solo artist. Unlike Weiland, it's hard to believe Cornell really wants to stray from his home base. The songs, while respectable and musically sound, are not carried convincingly enough to achieve the separation a solo album should give. Had he carried it all the way, he might have failed; he also might have become the undisputed flag-bearer of a new direction for rock.

Tired gangsta rap

When will someone tell the gangsta rappers that they either need to come up with new tricks or get out of the subject matter? For several years now, the style and premise for their music has fallen out of favor with urban music fans. Artists like MC Eiht who persist in their belief that they can bring glory to the "hood" by illuminating its worst characteristics are running against the hip-hop current.

On his latest offering, Section 8, the once-hallowed rapper retreads the long-discarded gangsta genre. The beats are largely West Coast derivatives, thanks in no small part to the production of L.A. rap and hip-hop don Mack 10. From lyrics to beats, there is nothing new on this album - and there are several beats that have probably been sampled a thousand times.

Though no significant strides forward were made with this work, Section 8 does have its moments of glory - provided one completely ignores the background music. Probably the best and most enjoyable track is "III Tha Hood Way," which features Ice Cube and Mack 10. Other fair songs include "Caution," which features a little more musical depth than most of the other songs on the album.

MC Eiht - and others like him - are waving an unloaded gun in the air. There has been little innovation in gangsta rap for a long time, and MC Eiht has only helped toss another shovel-full of dirt on a long-buried genre.

- Joel Sandi | Staff Writer

Copyright 1999 by the Daily Trojan. All rights reserved.
This article was published in Vol. 138, No. 20 (Tuesday, September 28, 1999), beginning on page 7 and ending on page 10.