By Joel Francis
There’s only one problem with this: the album isn’t all bad.
This is not to say that “Scream” is a masterpiece that will make fans forget “Superunknown;” it is a flawed album. But the biggest problem lies not with the album, but Cornell’s fans. The hard rockers who grew up with Cornell in Soundgarden and backed by Rage Against the Machine in Audioslave are unwilling to give his collaboration with hip hop producer Timbaland a chance.
Timbaland made his name in the ‘90s working with Missy Elliott and Jay-Z. He cemented his radio-/club-friendly reputation this decade through collaborations with Justin Timberlake, Pussycat Dolls. None of these names are likely to impress Cornell’s hard rockin’ fan base.
The album bubbles, shakes and bounces with a consistency that surpasses Timbaland’s 2007 vanity project “Shock Value” and harkens back to his glory days with Elliott. Thanks to inventive interludes, the songs flow from one to the next, never letting the energy or mood flag.
And for a dance album, Cornell’s songwriting is strong. It’s hard to imagine many club bangers – “Hey Ya” aside – working well stripped to acoustic guitar and vocals, but it’s not difficult to envision Cornell performing “Ground Zero,” “Time” or “Long Gone” unplugged.
If this had been a Madonna album the public couldn’t buy (or download) enough copies. When Lil Wayne straps on a guitar and he’s praised for expanding his sound and showing artistic growth. Why can’t rockers do the same?
“Scream” is far from perfect. Lyrics have never been Cornell’s strong suit and he comes embarrassingly short several times on this album. Next to the rhythm, the chorus is the most important element of a dance song, and Cornell flunks badly on “Part of Me.” “That bitch ain’t a part of me” repeated eight time with multi-tracked and auto-tuned vocals is the most egregious crime, but hardly the only offender. At other times, you can imagine Cornell and Timbaland standing in awe over a track they’ve created only to realize they need to add a melody and lyrics.
The dirty little secret is that Chris Cornell is the Roger Daltrey of his generation. Like Daltrey, he is one of the most powerful, dynamic and expressive voices in rock. Unfortunately, also like Daltrey, he’s only as good as the guitarists backing him. Supported by Kim Thayil in Soundgarden or Tom Morello in Audioslave, Cornell was great. Timbaland is obviously not a full-time replacement for Thayil or Morello, but he was a bold and inventive choice for foil on this project.
Although “Scream” is a pop album, it is not a naked bid for crossover success. Judging by the studied calculation of Cornell’s previous two solo albums, he knew the risks he was taking. Although “Scream” will be too rocky for the clubbers and too clubby for the rockers, it is an interesting leap that deserves a better fate and a second listen.