There are moments when Chris Cornell’s voice amazes. There are moments when Chris Cornell’s voice overpowers. There are moments when Chris Cornell’s music is enjoyable. There are moments when Chris Cornell’s music is heavy-handed.
Most critics who have weighed in on Cornell’s solo debut album, Euphroia Morning, have pretty much called it a flawed album. And on a minute level, that assessment is accurate.
Euphoria Morning makes a few baby steps away from the rough-hewned metallurgy of Cornell’s previous band, dabbling in blues and Brian Wilson-Beatles-esque etherealisms.
And while those baby steps seem forced and somewhat misstepped, the rest of the album sports Cornell growling over a mostly acoustic version of Soundgarden. (“Soundgarden-lite” as some critics dismiss it.)
But for all the obvious negative press this album has generated, one thing seems to be overlooked — it’s still a damn good album to listen to.
Despite its flaws — maybe because of them — Euphoria Morning works as a vehicle for Cornell’s voice. Sure, it gets overblown — another over- word — but when that voice roars over some metal-rock riffs, who can’t enjoy it?
Maybe all those bad reviews were to cover up the fact that critics secretly liked it.