![]() ![]() A red telephone once owned by Jeff Buckley sat on his left, and for accompaniment on his ballad “When I’m Down,” he sang with a vinyl recording of the piano part originally played by Natasha Shneider, who died in 2008. Without going maudlin, he connected with two dead friends. (He also performed Creedence Clearwater Revival’s “Long as I Can See the Light” the Beatles’ “Day in the Life,” complete with intense rising instrumental crescendos and, with a grandiosity counter to the rest of the show, John Lennon’s “Imagine.”)Įven in Monday’s biggest, highest vibrato wails - on Temple of the Dog’s “Call Me a Dog” and Audioslave’s “Wide Awake” - he sounded elegiac. Later, he went straight to the source, singing “Thank You” and “Tangerine,” from Zeppelin’s second and third albums. Plant and Jimmy Page wrote it from a distance. His voice, and some of his songwriting, owes a distracting amount to Led Zeppelin, and Monday’s stripped-down version of his song “Burden in My Hand,” from Soundgarden’s last record in 1996 - the group is finishing a new one - sounded as if Mr. Cornell also acknowledged his own classic-rock hall of fame. Cornell convened as a tribute to the singer Andrew Wood.Ī kind of historian at only 47, Mr. There were three songs from the 1990 album by Temple of the Dog, the Seattle band that Mr. Cornell skipped some of Soundgarden’s biggest, simplest, most aggressive songs - no “Rusty Cage,” no “Jesus Christ Pose” - in favor of prettier and more meditative ones, soundtrack contributions, leaden tracks from the Audioslave corpus and covers. (“Mind Riot,” from the 1991 Soundgarden record “Bad Motorfinger,” was the only electric-guitar song he tuned every string to E.) This was a full-retrospective, deep-cuts show, and serious fans, arcana requesters, filled the hall. He often made his voice the backdrop to his guitar playing. ![]() On Monday, up on a high stool with his guitars, he generated a dense sound, playing hard-strummed drones in open tunings. Cornell has spent much of this year playing solo acoustic shows, which has just resulted in a live album, “Songbook” (Universal). That was the year of Soundgarden’s first EP. According to a study in the Journal of Clinical Endocrinology and Metabolism, testosterone began a sharp decline in American men beginning in 1987. Maybe earnest peacocking naturally ran its course in rock maybe R&B has seized it for good, preserving it in humor. Cornell’s sounds a little like the battle cry of a period-drama warrior, as played for laughs by Steve Coogan. When Soundgarden started, that sound had a guaranteed place in the world: Led Zeppelin hadn’t been gone long and Robert Plant was still ringing in our ears. He can produce his gargled, glottal wail fairly quietly, and with precision. He’ll do impressions: in between songs at his well-wrought show on Monday night at Carnegie Hall, he mimicked a plummy old voice coach and a hoarse great-uncle. Sadly, now his own lyrics in this song could not be more relevant than at this moment, and I sing them now in reverence as I pay tribute to this unequalled artist who has given all of our lives so much inspiration and made the world so much more interesting.When you take Chris Cornell away from the drapery of big guitars, big drums, transformative reverb and all else that swaddled him in Soundgarden and Audioslave, you have something different: a vocal technician, a worrier, a careful, attentive man. ![]() It has a timeless relevance for me and practically everyone I know. “I performed his song Nothing Compares 2 U for the first time a couple months ago. “Prince’s music is the soundtrack to the soulful and beautiful universe he created, and we have all been privileged to be part of that amazing world,” he stated. It would be one of the last songs recorded by the singer – the final being The Promise, from the film of the same name. But of all these reinterpretations, it was his take on the Prince-penned Sinéad O’ Connor hit Nothing Compares 2 U that seemed able to stop any listener in their tracks. As he grew in confidence as a solo artist in his own right, Chris began putting his own stamp on famous songs by more mainstream artists including Michael Jackson, Bob Marley and U2. ![]()
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