Carry On Chris Cornell

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CD

  • Release Date: 06/05/2007
  • Sales Rank: 28,121
  • Label: INTERSCOPE RECORDS
  • UPC: 602517298309

Listener Rating: (13 ratings)

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  • Overview
  • Tracks
  • Editorial Reviews
  • Customer Reviews
  • Details & Credits
Track List
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Carry On

1LISTENNo Such Thing 3:44
2LISTENPoison Eye 3:57
3LISTENArms Around Your Love 3:34
4LISTENSafe and Sound 4:16
5LISTENShe'll Never Be Your Man 3:24
6LISTENGhosts 3:51
7LISTENKilling Birds 3:38
8LISTENBillie Jean 4:41
9LISTENScar on the Sky 3:40
10LISTENYour Soul Today 3:27
11LISTENFinally Forever 3:37
12LISTENSilence the Voices 4:27
13LISTENDisappearing Act 4:33
14LISTENYou Know My Name 4:00

About this Artist

Editorial Reviews

Chris Cornell's first solo album, Euphoria Morning, was released just after Cornell had shaken the shackles of Soundgarden and he was making a definitive break from their heavy heavy sound by indulging in bucolic singer/songwriter clichés. It went nowhere commercially but led him toward Audioslave, where he spent three albums pushing and pulling against the core of Rage Against the Machine. If Euphoria Morning was breaking from the past, Carry On is about reconnecting to it, returning Cornell to music that feels more comfortable than Tom Morello's staccato riffs. Right from the beginning, he pushes out arena-filling riffs that feel more at home on a Soundgarden record -- not as heavy and certainly not as tortured, but something more mature and more recognizably of Cornell's lineage than much of Audioslave. It sets the stage for a record that's seems like a rare hard rock maturation, but soon Cornell returns to the singer/songwriter mannerisms that seemed appropriate on his first debut -- he was stretching his legs after Soundgarden, after all -- but now feel anemic, particularly because they're executed with quivering sensitivity and a near belligerent tunelessness. These are the songs that feel forced -- as affected as his coffeehouse cover of "Billie Jean" -- but when Cornell loosens up and gives the music backbone (and a backbeat), he not only comes alive as a performer but the writing is sharper and better, pointing a way toward an artistic middle age that's richer and more compelling than what's heard on the bulk of Carry On. Stephen Thomas Erlewine, All Music Guide

Customer Reviews

Carry Onby Anonymous

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October 24, 2007: It's been eight years since Chris Cornell's last solo effort, and his world-turned-upside-down-life since then has had a profound effect on his music. Since "Euphoria Morning", Chris has gone through a well-publicized divorce, a happy remarriage, and for the first time since his early teens, began a life of abstinence from drugs, alcohol, and cigarettes. All of these changes have matured Cornell musically, vocally, and lyrically, as evidenced on his new album, “Carry On”. The range of musical genres Chris tackles so successfully on "Carry On" is nothing short of astounding: There's rock, blues, Beatlesque, R&B, and balladry, all done expertly. Chris Cornell has always been known for his disdain of repetition in his music, but there is little doubt that his personal life has seeped into his songwriting, perhaps for the first time, as "Carry On" delivers a glimpse of Cornell at his most passionate, much to the delight of all his fans!! A true winner!!

Carry Onby Anonymous

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October 20, 2007: Anyone expecting Chris Cornell to rehash and recycle well-pioneered paths from previous albums is in for a pleasant surprise with "Carry On". For Cornell, musical exploration and adventurous spirit trumps churning out variations on a commercially proven theme, a danger that his last band Audioslave flirted with at times on "Out of Exile" "2005" and "Revelations" "2006". It's no wonder then that Cornell was ready to strike out again on his own. Conscious reinvention or natural evolution, the results are magnificent and hardly unexpected given the recent tectonic shifts in Cornell's personal life. Having openly abandoned substance abuse, Cornell went through an apparently acrimonious divorce, married anew, had two new children, took up residence in France and restored and opened a hip Paris restaurant and club, "Black Calavados". It's not that there aren't nostalgic Cornell trademarks throughout the material -- to the contrary, actually: familiar chord progressions, riffs, vocal patterns and lyrical themes are judiciously "and naturally" integrated into the material. The shifting riff-driven hook of "No Such Thing" recalls both recent Audioslave work and Soundgarden hits of yore. Hardcore Soundgarden fans will recognize the chorus chord progression of the rocking "Poison Eye" as uncannily similar to "Down on the Upside" "1996" B-Side "Karaoke". Hooks abound in infectious pop gem "Arms Around Your Love", laden with rich harmonies, most notably in the chorus. Ostensibly a whipping from a vicious Monday-morning quarterback of a conscience about failures that drove a lover into another's arms, it's really a broader reflection of regret for things that weren't said when it counted. In this context, "she" could be interpreted as one's sense of regret ""she's gonna make you pay for it"", and the "he" with his "arms around your love" could be death, rather than the lover for whom your lover left you. "Safe and Sound" is extraordinarily well crafted in its evolution from observing global dysfunction, to diagnosing the causes thereof, to prognosis, if not prescription, for cure. Tapping into the zeitgeist of angst and uncertainty in the face of rampant consumerism, environmental destruction, tribalism, tyranny, militarism and terrorism, the quavering uncertainty of "Safe and Sound" in the verses nevertheless rises and resolves in the pre-chorus, chorus and bridge into a heartening, almost defiant optimism. After all, Cornell believes in a promised land. "Silence the Voices", epic and sweeping, embodies a cinematic sturm und drang not found in Cornell's work since Soundgarden's "Superunknown" "1994". The military drum, down-tuned chord progression, fluid bass and jangly guitar provide an ominous yet melancholy backdrop for the theme. Cornell is more at home in this type of broader social criticism than in the current-events-driven "Rage"-style anger of Audioslave's "Wide Awake", promising a more lasting relevance to this song than "Wide Awake". To be sure, the torment, depression, and ambivalence about fame that dogged Cornell through the time of his last solo album "Euphoria Morning" "1999" resulted in some profound music and lyrics. But although...


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