-Michael Roffman
President/Editor-in-Chief

The Beach Boys – “Do It Again” (50th Anniversary Edition)

So what if they have a collective age of about 350? If watching the original Beach Boys harmonize around the same microphone doesn’t give you goosebumps, then I’m not sure you should be allowed to call yourself a music fan.

Chris Cornell – “I Will Always Love You” (Whitney Houston cover)

Chris Cornell proves his mettle as an unlikely musical chameleon on this cover, which was recorded at a benefit for President Obama in San Francisco. Who’d have thought that one of the most stirring, heartfelt tributes to the late Whitney Houston would come from the guy who fronted Soundgarden?

K’Naan feat. Nas – “Nothing to Lose”

Granted, I’ve never been to Toronto, but something tells me it’s probably not exactly the rough and tumble gangsta’s paradise portrayed here by K’naan. I guess it must be hard to gain a dangerous reputation when your hottest rap export is a Jewish former child actor.

Elephant & Castle feat. tUnE-YarDs – “En Memoria”

Hop aboard spaceship tUnE-yArDs in this transcendental journey across space and time. It’s 2001: A Space Odyssey but with much better graphics and the coolest screen saver you’ve ever seen.

Lower Dens – “Brains”

Baltimore’s Lower Dens seem to be having some technical difficulties in their new video. Maybe that’s why lead singer Jana Hunter has an expression like someone just ran over his dog for the entire duration.

Polica – “Amongster”

What starts off as something you’d see on the Discovery Channel quickly moves into Pay-Per-View territory when a naked couple start doing it in the middle of the forest. Rolling around with snails, snakes, and turtles personally isn’t a big turn-on, but to each their own, I suppose.

Tyler, the Creator, Hodgy Beats & Domo Genesis – “Rella”

This is one of those clips that nearly defies description. It plays kind of like what I imagine would happen if Odd Future teamed up with Andy Samberg to make a Digital Short for SNL, but then the Odd Future dudes killed Andy Samberg halfway through production and filmed whatever the hell they wanted. The result? One word: centaurs.

Unknown Mortal Orchestra – “Strangers Are Strange”

This clip looks more like the trailer for a lost Wes Anderson film than a music video. The only thing it’s missing is Bill Murray in a red beanie and Ben Stiller in a track suit.

Yasiin Bey – “Niggas in Poorest”

The first track from Yassin Bey’s Top 40 Underdog series is a marvelous parody of probably the biggest hip-hop single of the year. The standout line has got to be “Who the f@#! is Margiela?” I still have no idea.

Yukon Blonde – “Stairway”

To quote one of the all-time greatest housekeepers Mary Poppins: “In every job that’s to be done, there is an element of fun.” In this video, Yukon Blonde frontman Jeff Innes proves that Mary’s statement is even more true when your work has some infectious indie pop as a soundtrack.

Chris Cornell has a broad history of tackling covers. Whether it’s aping Michael Jackson or sending his vocals to the ceiling during a rendition of “Ave Maria”, the Soundgarden frontman really knows no limits. Last night, at a benefit for President Obama at San Francisco’s Regency Center residence hall, Cornell segued into a cover of Whitney Houston’s “I Will Always Love You”, which in itself was a Dolly Parton cover to begin with, though as Paul de Revere contended earlier this week, it’ll always be Whitney’s. Check out Cornell’s version below.

The third annual Hangout Music Festival runs May 18-20th on Alabama’s Gulf Shores. As previously reported, Jack White will top this year’s lineup and he’ll joined by Dave Matthews Band and a soon-to-be-announced third headliner. Update: Red Hot Chili Peppers have been confirmed as the third main stage headliner.

Other heavyweights include Wilco, String Cheese Incident, The Flaming Lips, who will perform Pink Floyd’s Dark Side of the Moon, Chris Cornell, Skrillex, Dispatch, and Steve Winwood.

Also playing are Randy Newman, STS9, Coheed and Cambria, Flogging Molly, M. Ward, Dr. Dog, Alabama Shakes, Dawes, Cage the Elephant, Gogol Bordello, Young the Giant, Mavis Staples, Big Freedia, Shpongle, Michael Franti and Spearhead, Gary Clark Jr., G. Love and Special Sauce, Allen Stone, Zeds Dead, Paul Oakenfold, Yelawolf, Mac Miller, Hey Rosetta!, Paper Diamond, and Sleeper Agent. Additional acts will be announced in the coming weeks.

Three-day and VIP passes will be available starting Friday, February 10th at Noon ET. Visit the festival’s website for more information.

A number of familiar faces are in the running for Best Original Song at the 84th Academy Awards. Some 39 contenders have been shortlisted for the category, including The National for “Think You Can Wait” (Win Win), Zooey Deschanel and M. Ward for “So Long” (Winnie the Pooh), Jónsi for “Gathering Stories” (We Bought A Zoo), and OK Go for “The Greatest Song I Ever Heard” (POM Wonderful Presents The Greatest Movie Ever Sold).

Also on the list are all the nominees (minus Madonna) from the same category at the Globes: Chris Cornell for “The Keeper” (Machine Gun Preacher); Mary J. Blige for “The Living Proof” (The Help); Sinead O’Connor, Brian Byrne and Glenn Close for “Lay Your Head Down” (Albert Nobbs); and Lady Gaga and Elton John for “Hello Hello” (Gnomeo and Juliet). John also go picked for “Love Builds a Garden” from the same film.

The 39 will be whittled down to three to five (it varies) on January 24th, with the award then handed out at the ceremony on February 26th. See the complete list of shortlisted songs and the films they’re from below.

“The World I Knew” from African Cats
“Lay Your Head Down” from Albert Nobbs
“Star Spangled Man” from Captain America: The First Avenger
“Collision of Worlds” from Cars 2
“Dakkanaga Dugu Dugu” from DAM999
“DAM999 Theme Song” from DAM999
“Mujhe Chod Ke” from DAM999
“Rainbird” from Dirty Girl
“Keep On Walking” from The First Grader
“Where the River Goes” from Footloose
“Hello Hello” from Gnomeo & Juliet
“Love Builds a Garden” from Gnomeo & Juliet
“Bridge of Light” from Happy Feet Two
“The Mighty Sven” from Happy Feet Two
“Never Be Daunted” from happythankyoumoreplease
“Hell and Back” from Hell and Back Again
“The Living Proof” from The Help
“Coeur Volant” from Hugo
“It’s How We Play” from I Don’t Know How She Does It
“When the Heart Dies” from In the Land of Blood and Honey
“Ja Nao Estar” from José and Pilar
“The Keeper” from Machine Gun Preacher
“Life’s a Happy Song” from The Muppets
“Man or Muppet” from The Muppets
“Pictures in My Head” from The Muppets
“Summer Song” from The Music Never Stopped
“Imaginary Friends” from Olive
“Sparkling Day” from One Day
“Taking You with Me” from Our Idiot Brother
“The Greatest Song I Ever Heard” from POM Wonderful Presents The Greatest Movie Ever Sold
“Hot Wings” from Rio
“Let Me Take You to Rio” from Rio
“Real in Rio” from Rio
“Shelter” from Take Shelter
“Gathering Stories” from We Bought a Zoo
“Pop” from White Irish Drinkers
“Think You Can Wait” from Win Win
“The Backson Song” from Winnie the Pooh
“So Long” from Winnie the Pooh

For the second year in a row, Trent Reznor has earned a Golden Globe nomination for Best Original Score. Following last year’s nod and eventual victory for The Social Network, Reznor and collaborator Atticus Ross have been nominated for their soundtrack to The Girl with the Dragon Tattoo. Other finalists in the category include John Williams (War Horse), Abel Korzeniowski (W.E.), Howard Shore (Hugo), and  Ludovic Bource (The Artist).

Also worth noting are the 2012 Golden Globe nominees for Best Orignal Song: Chris Cornell for “The Keeper” (Machine Gun Preacher), Madonna for “Masterpiece” (W.E.), Mary J. Blige for “The Living Proof” (The Help), Sinead O’Connor for “Lay Your Head Down” (Albert Nobbs), and Lady Gaga and Elton John for “Hello Hello” (Gnomeo and Juliet).

The 2012 Golden Globes will air Sunday, January 15th on NBC.

Every musical project that Cornell has had a part in is featured in this album. Audioslave is toned down with the haunting “I Am the Highway”, Soundgarden’s distortion is intricately simple on “Black Hole Sun”. From his solo album Scream, there’s “As Hope and Promise Fade”, a heartbreaking, personal track where Cornell is “never more than two drinks away from crying.” There’s a few covers like “Imagine” and the tear-inducing “Thank You”. There’s even “The Keeper”, a catchy number that was written for Marc Foster’s film Machine Gun Preacher.

The fitting song selection isn’t the only thing that stands out here: The album sounds fantastic. The sparseness of the recording comes shining through with Cornell’s emotive voice sounding crystal clear, the mood and clarity resonating with each strum of the strings. Normally live albums get bogged down with loud audience chatter or too much talky-talk from the performers. Not in Songbook. It sounds sharp and the audience only appears in atmospheric hoots and hollers that don’t compete with the music. As for Cornell, while he does talk, he sets up the scene and lets it get on its way.

Songbook is more than a worthy addition to any Cornell fan’s collection; it’s a beautiful showcase of his career that any music lover should have. When his voice strains with emotion during “Cleaning My Gun” and Temple of the Dog’s “Call Me a Dog”, you feel everything he feels. And it’s wonderful.

Essential Tracks: “Cleaning My Gun”, “Call Me a Dog”

To launch his new solo LP WAND, Shudder to Think frontman Craig Wedren recruited famous funnymen like Paul Rudd, Michael Ian Black, and Joe Lo Truglio to serve as Youtube pitchmen. To promote the album live, Wedren will join forces with another legendary rock vocalist, Soundgarden’s Chris Cornell. Between November 1st and December 17th, Wedren will hold down the opening slot on the latest leg of Cornell’s Songbook tour. Check out the complete itinerary below, which includes a special performance at Carnegie Hall in New York just days prior to Thanksgiving.

Werden’s WAND is out now via Neverland, though you can still stream it in full at his Facebook. Cornell’s Songbook live album is out November 21st via Universal Music.

Craig Wedren 2011 Tour Dates:
11/ 01 – Memphis, TN @Minglewood Hall #
11/02 – Nashville, TN @ Nashville War Memorial #
11/04  - Orlando, FL @ Hard Rock Live Orlando #
11/05 – Tampa, FL @ Tampa Theatre #
11/06 – Miami Beach, FL @ The Fillmore Miami Beach at Jackie Gleason Theater #
11/17 – Albany, NY @ Hart Theatre at the Egg #
11/18 – Ridgefield, CT @ Ridgefield Playhouse #
11/19 – Torrington, CT @ Warner Theatre #
11/21 – New York, NY @ Carnegie Hall #
11/23 – Allentown, PA @ Allentown Symphony Hall #
11/25 – Jersey City, NJ @ Borgata Music Box #
11/26 – Jersey City, NJ @ Borgata Music Box #
11/29 – Burlington, VT @ Flynn Main Stage #
12/02 – Pittsburgh, PA @ Carnegie Music Hall of Oakland #
12/03 – Lakewood, OH @ Lakewood Civic Auditorium #
12/04 – Ann Arbor, MI @ Michigan Theater #
12/06 – Kalamazoo, MI @ State Theatre #
12/07 – Indianapolis, IN @ Egyptian Room at Old National Centre #
12/10 – Salina, KS @ Stiefel Theatre #
12/13 – Mesa, AZ @ Mesa Arts Center #
12/15 – San Francisco, CA @ Palace of Fine Arts #
12/16 – Los Angeles, CA @ Orpheum Theatre #
12/17  - San Diego, CA @ Balboa Theatre #

# = w/ Chris Cornell

Chris Cornell has always come off as sort of abrasive – at least in appearance. That hidden smile, those long locks of hair, and the pair of snake eyes that stare deep into your soul, all paint the picture that he’s more of a “to himself” sort of guy. His forthcoming live effort, Songbook, should disprove that. On new track “Cleaning My Gun”, Cornell speaks warmly to his surrounding fans, digressing on the unreleased solo track. He sounds as straightforward and down-to-earth as his friend Eddie Vedder. It’s not until he wails that you get the chills again, as he sings, “You know where I’m going, you know where I’m coming from.” Well, we do now. Check out the track below.

Songbook hits independent retailers on November 25th, as part of Record Store Day Black Friday.

Songbook Tracklist:
01. As Hope And Promise Fade
02. Scar On The Sky
03. Call Me A Dog
04. Ground Zero
05. Can’t Change Me
06. I Am The Highway
07. Thank You (Led Zeppelin cover)
08. Cleaning My Gun
09. Wide Awake
10. Fell On Black Days
11. All Night Thing
12. Doesn’t Remind Me
13. Like A Stone
14. Black Hole Sun
15. Imagine (John Lennon cover)
16. The Keeper

Photo by Karina Halle

This November, Chris Cornell returns to spice up your holidays with Songbook, a 16-track collection of live recordings from this year’s Songbook Tour (via Antiquiet). The tracklisting (see below) covers Cornell’s expansive career, featuring live renditions of hits from Soundgarden, Audioslave, his solo efforts, and even Temple of the Dog. Also included are two covers (Led Zeppelin, John Lennon) and his latest single “The Keeper”, which he recorded specifically for the recent film, Machine Gun Preacher. Fans who purchased tickets on his solo tour will be eligible for a free digital copy.

Everyone else will have to hit the stores November 21st. Don’t forget to read our latest interview with the grungy frontman.

Songbook Tracklist:
01. As Hope And Promise Fade
02. Scar On The Sky
03. Call Me A Dog
04. Ground Zero
05. Can’t Change Me
06. I Am The Highway
07. Thank You (Led Zeppelin cover)
08. Cleaning My Gun
09. Wide Awake
10. Fell On Black Days
11. All Night Thing
12. Doesn’t Remind Me
13. Like A Stone
14. Black Hole Sun
15. Imagine (John Lennon cover)
16. The Keeper

But by far the greatest thing keeping Cornell on his toes these days is the recent reformation of Soundgarden, which has resulted in a stunningly successful tour of North America and a new album that’s due in the spring of 2012. Consequence of Sound‘s own Karina Halle caught up with Cornell while he was in New York City to discuss everything from choosing a tour setlist to why certain albums suffer in the current digital age of music.

How has the reunion tour been for you?

There are a lot of different aspects of it. The first one being able to share the stage with the same people that I became a real musician with. The whole formation of me as a songwriter and full-time musician came with these guys. And then we traveled the world together in so many different facets, from driving ourselves in a van to buses and planes and going all over, where I had never left Seattle, ever. It was an intense experience with these guys, and we made a lot of music as well. Our last two albums were really so long that it was only the digital age that made them single albums; they both would have been double albums. That’s all kind of overwhelming when we’re onstage, and we are playing again.

And then there’s that whole new thing, which is that it feels really great to go out and play Soundgarden songs and approach it with another 14 years of experience that we all have playing music and making records and have the old songs evolving. It’s really a living, breathing animal; it’s alive again, and it’s pretty amazing. It’s very natural. The worst fears would be to be that band that has been broken up for awhile and then gets back together, and we’re just kind of struggling to pull off what we used to do. And this isn’t that. This is evolving and moving as if we never skipped a beat. And that’s what it feels like…really great.

At what point during the reuniting did you feel, you know what, this is the right thing to do?

It was really just a matter of making the decision to do it. Once we got in that room together… it was nothing but fun trying to figure out what is the best way to remember some of these songs. Mostly it was just playing them, and all the parts just kind of came back to our fingers.

That was a really big deal for me, because I hadn’t gone back to listen to that music much, and I was really happy and surprised at how great those arrangements were and how smart we were as record producers and songwriters. There’s a lot of stuff going on and layers, and we had to make a lot of decisions, and it felt like while I was listening to it, they were all the right ones. You never know, sitting and making records and writing songs, how you’re going to feel about it 20 years later. You know, like it’s your baby pictures, and you look so much better now. But I didn’t have that feeling at all. We were great, and that time evolving into the band that we were when we split up… we did a lot in a short period of time.

And a band that can write and play “Jesus Christ Pose” and then also something like “Zero Chance” or “Black Hole Sun” and do both while in both worlds completely authentically, I think it’s a great feat. It reminds me of The Beatles in a sense. That’s what attracted me to a band like that. They could do “Yesterday”, and they could do “Helter Skelter”, and you didn’t think it was weird.

How do you decide what songs from your repertoire to include on your setlist?

There were these other songs that we were considering playing that we either never toured on before, like “4th of July”, or a song we wouldn’t have chosen 15 years ago that kind of gained momentum over the years. So, there was that issue. Then there was the issue of that often times our best live songs weren’t the singles necessarily. A song like “Gun” is a great example; it was always really murderous live, and it was great, and we played that a lot over the years, and it was never a single. It was something that would be considered more obscure, and some of our more obscure songs are literally our best live songs, songs like “Behind the Wheel”, which is one of our best live songs we’ve ever done. It was important for us to play the songs that we felt great about playing live, as well as digging out some songs that we know people want to hear that maybe we never did before.

So regarding your new album, heavy metal is popular, as is grunge. Is there any pressure for the new Soundgarden to sound like you did back in the day?

We just naturally sound like us, like there is no way of avoiding it. It wasn’t difficult in any way. We never had to stop and consider, Will our fans like this? Not even for a second. And it doesn’t feel in any way like we are going backward; it feels very forward, and it doesn’t feel nostalgic, because it isn’t, and you know, all the new songs are all new moods, and we are naturally branching out like we always did. We went from Badmotorfinger to Superunknown to Down on the Upside, and there was a lot of branching out and testing what the boundaries of the sound of our band were and seeing what works and what’s comfortable.

We were a band that was a little hard to get. You couldn’t figure out Soundgarden by listening to only one or two songs. You had to listen to the whole album. You couldn’t figure out Soundgarden by going to one show. We weren’t as easy to package and sell, ever, and we still aren’t. But at the same time, it’s a very satisfying band to be in, and I feel really creatively confident writing music with the other three guys.

And yet, listeners tend to sample rather than purchase whole albums…

That’s a really bad thing for Soundgarden. I think it’s a bad thing for any band, to be honest. I’m not attracted to the world of recorded music that is just one song at a time. I’m not built that way. My favorite songs as a kid were the ones that weren’t on the radio. I went through a period where I was just finding Rolling Stones albums where there were songs that I had never heard before, where I could listen to songs by a band that I liked without having to hear a song I heard 10,000 times.

I also discovered at some point I would sequence albums in a particular way based on how I would listen to them. I remember placing “Black Hole Sun” as the seventh song on Superunknown because the seventh song was often my favorite one, and it was usually a deeper album track, and I never expected that that song would be a single.

I also didn’t think that people really got Soundgarden unless they would sit down and listen to an entire album. If people got the heavy side of it, we would sort of be considered this Black Sabbath throwback or a heavy metal band, and then they would miss like 90% of the rest of what we did. As a fan of music, bands that I always loved were bands that were like that. You know, if you picked out one or two songs, you were never going to get more than a fraction of what they were about musically. And I’m still that way. You know, it’ll be a sad thing if future generations don’t really have the attention span to sit down and follow a musical mood for longer than three minutes.

Teens are still rocking Nirvana tees, Pearl Jam has the ability to curate their own festival, and Soundgarden are set to headline Voodoo Music Experience 2011. In all, it seems Seattle grunge maintains a firm grasp on the hearts and minds of rock enthusiasts. But after more than 20 years the artists have undeniably changed… did anyone back in 1995 see Ukulele Songs or Scream on the horizon?

Last night, Soundgarden’s legendary frontman Chris Cornell took to the Ed Sullivan stage with just an acoustic guitar, one of rock’s most amazing voices, and his cohort Alan to perform “The Keeper” off of the official soundtrack for Machine Gun Preacher. The low-key performance showcased the elder Cornell; gone is the angst of early Soundgarden, replaced by a sense of wisdom, maturity, and renewed post-Timbaland humility.

The Machine Gun Preacher OST is available now via Relativity Music Group. Thanks to The Audio Perv for video support.

Back in 1991, Cameron Crowe was still riding the success of directing John Cusack’s boom box in Say Anything…, long before some emo band named themselves after his project and recorded an ODB cover song. During a movie pitch that had to have taken place in a dank Seattle bar basement pre-PowerPoint, producers aimed to cull together an ultimate grunge mixtape and tried to film footage around it wherein Generation Xers make important relationship decisions and/or have sex. After copious amounts of caffeine, Singles was born, and a certain sect of America celebrated with more coffee.*

While we’re all very familiar with the television series originally intended to be based on Singles–a sitcom titled Friends–the most famous tie-in would be its official soundtrack, backed by the film’s director who once wrote for Rolling Stone. This all-too-perfect collection/time capsule of songs includes pieces from Soundgarden (“Spoonman”, “Birth Ritual”), the Smashing Pumpkins, Pearl Jam, and a few other choice acts Kevin Smith couldn’t afford to have in Clerks two years later. Alice in Chains does appear on both compilations, though we suspect they’d have put their music on whatever paid for Staley’s drug habit at the time.

As a cinematic creation, Singles represents a lot of what love and the early 90′s music scene was like. By this time, AIDS and renewed femininity had already taken the world by storm; underground bands that many might have perceived as talentless were suddenly gods outside their garages, kicking a dead glam rocker when he’s down; angst was still a term not yet entirely cliche or riddled by teenagers pining over Nevermind 20 years down the road to feel “complete.”

Singles was released as the grunge explosion detonated, sparking a true musical movement. In the background, the unnoticed Citizen Dick lazily scoffs at the scene, because folks in their 20s were good at that in 1992. Now we just blog about our miserable job, then go back to selling Herbalife like dedicated automatons. Perhaps you’re listening to the Singles soundtrack as you read this. If so, you win. If it’s on cassette, you win by, like, a million or something.

I don’t know. I’m crashing right now.

To say the Singles soundtrack stands on its own is the world’s biggest understatement since the first “Rush Limbaugh is fat joke”; it so unwaveringly overshadows the celluloid counterpart that one seldom recalls the names of key characters from the film, yet nearly every band on the record remains synonymous with “alternative rock,” despite the Smashing Pumpkins now occasionally eliciting vomiting. (Thanks, Corgan!)

But Westerberg’s score, his two song inclusions (“Dyslexic Heart”, “Waiting for Somebody”), a double-whammy of Mudhoney and Hendrix for credibility (“Overblown”, “May This Be Love”), Ann and Nancy Wilson’s own Lovemongers covering Zeppelin (“The Battle of Evermore”), two Pearl Jam pieces once solely exclusive to this variety bag of tricks (“Breath”, “State of Love and Trust”), and PJ’s predecessor Mother Love Bone getting one somber chord in on the fun (“Chloe Dancer/Crown of Thorns”)… what’s not to love? The Smashing Pumpkins have their eight-minute “Drown” as an appropriate chaser, but you want Vedder and Cornell like Limbaugh wants cake.

That’s just what I heard on the grapevine. No, I don’t know what a “twitter” is. Are you damaged?

Another major talking point about Crowe’s Singles is the staggering abundance of cameos present. Not only does Pearl Jam appear as the faux band Citizen Dick–alongside Matt Dillon’s character, Cliff Poncier–you get performances by Soundgarden and Alice in Chains for additional sustenance. In the acting fold, we get Crowe himself as a rock journalist (as if that’s a far cry) and Eric Stoltz as a loud mime (just because). Even the acclaimed Tim Burton tags along for some reason. (Maybe he was sleepwalking. That’s how he directed Corpse Bride. I swear it.)

What’s also still enjoyable nearly 20 years later is how Crowe turned Seattle into such an enviable place to be. He takes us everywhere. You see the bizarre industrial leftovers in Gas Works Park, the tourist trapping Pike Place Market, Hendrix’s iconic grave in Greenwood Memorial Park, and the ultra-hip neighborhood of Capitol Hill, where the main apartment complex is located (and continues to sit today). It’s all in the background, but there’s just something alluring about watching the twentysomethings frolic around the Emerald City, engaging in situations that we mockingly (or self-deprecatingly?) hash tag as “firstworldproblems” today. Then again, maybe it’s just the music.

Matt Dillon’s Cliff Poncier w/ “Citizen Dick”

During a star-studded hour or two of relatively less well-known faces, some couples constantly teeter-totter from committed to commiserating, and Bridget Fonda takes orders for lattes. You can totally watch the movie on your old VCR from college if you need that summed up. I’m here to write aggrandizing remarks about the music. I’m an artist, damn it! Ask the Belgians.

To conclude, here’s a music video by Screaming Trees for posterity’s sake. We’re required by law to embed this song somewhere. I beg of you to have mercy, and thank the stars Collective Soul wasn’t a radio standard back then.

Did I mention that Cameron Crowe would later give birth to Jerry Maguire? No? It’s alright. He made Singles, and he trademarked the ultimate hopelessly romantic gesture. He gets a pass.

Cameron Crowe’s Pearl Jam Twenty debuts September 20th. Stay tuned for further coverage.

*This wording is indicative of 90′s misanthropy and not considered official canon. Please forgive my sugar-induced twitching.

This year – in addition to Lollapalooza and Nirvana’s Nevermind – Pearl Jam turns 20. For some, that’s a sort of revelation. For others, like the Seattle quintet’s “battle worn” soldiers, who have scars and stories for each year since… well, not so much. Regardless, everyone arrived Saturday morning at a very muddy Alpine Valley to help Vedder, Mike McCready, Stone Gossard, Jeff Ament, and Matt Cameron blow out the proverbial candles. Rain or shine, these past, present, and future Ten Club members reveled in the festival’s nostalgia-ridden confines, which even included a Pearl Jam Museum showcasing various artifacts (e.g. gig posters, music video props, original artwork, etc.) from yesteryear.

Nobody heeded Jeremy Piven’s 1994 advice (“What’s this? You’re wearing the shirt of the band you’re going to see? Don’t be that guy.”) and instead were “that guy” and more. Grouped together, you would be hard-pressed to find a tour shirt that wasn’t present. But that only added to the fun. As hours passed, so did stories and anecdotes from countless fans, who shared everything from homemade t-shirts to unique tattoos to tales of near-folklore. Cameron Crowe can gather hours upon hours of footage from the band’s vault – which he has for the forthcoming documentary, Pearl Jam Twenty – but he’ll never be able to touch upon this unique (and incredibly telling) facet of the band’s history.

Photo by Jeremy D. Larson

But it wasn’t just one big fanapalooza. This was a festival, after all. Each day’s activities began with promising sets by newcomers like Star Anna and The Young Evils and continued on with familiar faces Glen Hansard, Liam Finn, and Dhani Harrison’s thenewno2. These performances took place nearby on two alternate stages. They didn’t offer up anything unusual, or attract too much activity, though on Saturday, as gray skies and relentless rain made everything rather grungy (how fitting, right?), Hansard strummed out a fitting rendition of Hal David and Burt Bacharach’s ”Raindrops Keep Fallin’ on My Head”. Many poncho-wearing spectators joined along for that one.

Photo by Jeremy D. Larson

Admittedly, the real festivities started each day around six o’clock on the main stage. Mudhoney unlocked each evening with 45 minutes of straight up fuzz rock, spiraling through oldies like “You Got It”, “Suck You Dry”, and naturally, “Touch Me I’m Sick”. (No, Citizen Dick did not reunite.) Queens of the Stone Age and The Strokes made the best of their respective 45 minutes, too. “If we do this right, I know we can all get laid tonight,” Josh Homme exclaimed before diving deep into his catalogue. He dished out oldies like “I Think I Lost My Heachache” and “Mexicola”, a song despised by Pearl Jam’s Stone Gossard, who put out the group’s 1998 debut, as Homme explained. As for Julian Casablancas & Co., the boys appeared visibly excited. The only Strokes member with a voice, Casablancas admitted his love for Pearl Jam, stating that Vedder’s “got the best voice ever.” He attempted to prove that statement twice when the straggly frontman performed “Juicebox” with the band each set.

Photo by Jeremy D. Larson

These little cameos were highly enjoyable – especially on the second night. In addition to a varied setlist, each band – Queens of the Stone and The Strokes, specifically – turned heads with their onstage collaborations. Casablancas guested on “Sick Sick Sick”, and Homme returned the favor on “New York City Cops”. Vedder decided to also pop out with Queens, adding the now iconic cowbell fills to “Little Sister” and spitting out some flavor on “Make It Wit Chu”. These moments kept everyone on their feet and staved off any mixed feelings of experiencing the same lineup twice.

Photo by Jeremy D. Larson

Then came the main event each night. To no one’s surprise, Pearl Jam delivered two incredibly unpredictable sets over the weekend. Saturday’s set proved most valuable, however. Lacking many of the band’s hits, which would arrive Sunday instead, the band opted for a rarities-filled gig, dusting off relics like Binaural outtakes “Education” and “In the Moonlight” (which featured Homme, no less), Into the Wild track “Setting Forth”, Riot Act‘s “Help Help”, and Yield‘s hardly performed “Push Me, Pull Me”. It was uncanny seeing thousands of fans singing along to these unlikely tracks. That explains why nobody complained when nary a hit from Ten was performed – well, save for “Once” and “Porch”. That being said, no one griped when “Better Man” or “Do the Evolution” rolled on by, either.

Photo by Jeremy D. Larson

They also didn’t mind the eye-popping reunion of Temple of the Dog. Throughout the day, fans could be heard everywhere, whispering and chatting about the likelihood of Chris Cornell’s appearance. Given Cornell’s mischievous Friday tweet (“Just landed in Chicago. Now what?”) and that the first set of the weekend featured collaborations with everyone from Liam Finn to Dhani Harrison to Casablancas (who showed up mid-song to sing “Not For You”), it was sort of a given that Cornell would be there. Still, that didn’t stop the thousands of fans from tearing apart their seats (and nearby fans and newfound friends) in utter shock when Cornell strolled on out late Saturday night. Truth: a few even cried. Pretty hard not to, especially when Cornell led a tribute to the late Andrew Wood by performing Mother Love Bone’s “Stardog Champion” in addition to Temple hit “Say Hello 2 Heaven”. The dreamy, slightly surreal set continued with more Temple tracks, including the Soundgarden-esque “Reach Down”  and the ’90s rock radio duet “Hunger Strike”, which saw Vedder take center stage with Cornell – finally. This would happen again Sunday, only this time fans received other Temple favorites “Call Me a Dog” and “All Night Thing”. Unreal.

Photo by Jeremy D. Larson

That’s why on Sunday, when rumors of Neil Young surfaced, some fans took it as truth. Can’t blame them. If there was a Temple set, then why not a short Mirrorball gig? What other place would be fitting for a reunion of the 1995 collaboration? Unfortunately, it never happened, though the band did kick out a cover of “Rockin’ in the Free World”, paying homage to the unofficial grandfather of grunge. It wasn’t the only cover of the weekend, either. Pearl Jam rolled out quite a few of these, honoring their past mentors – and yes, they’re scholars of many. On Saturday, they kicked things off early with Joe Strummer’s “Arms Aloft”, blistered the night skies with their 2007 take on The Who’s “Love, Reign O’er Me”, and ignited a punk rock fiesta with Mudhoney by swinging through MC5′s “Kick Out the Jams”. In hindsight, these sort of grounded a band that’s certainly become their own by now. They also just made for a better party.

And that’s all Pearl Jam’s “Destination Weekend” was in a nutshell. But, given the band’s legacy to date, that’s pretty integral. Over 20 years, they’ve solidified themselves as a pertinent key figure in the touring industry, and no documentary, book, or album would ever suffice. That’s why the band’s six hours onstage this past weekend proved necessary. This was the essential commemoration. On stage… and with the thousands that put them there.

It was a unique experience, and although Alpine is essentially a large valley with a stage, it felt oddly intimate. Vedder recognized this, opening up mid-set with one little reflection about how putting your life into a band is a risky endeavor, one that in all likelihood doesn’t ever work out. But, for him, and for Pearl Jam, it did. It has worked wonders. Knowing this, Vedder thanked everyone again and again and again, but he also patted himself on the back, adding, “I want to thank that kid from back then for never giving up.” Heartfelt and poignant, the moment felt as organic as the band has all this time. And based on the rapturous applause that followed, rattling the beautiful wooden amphitheater for minutes on end, the band should be feeling the same way in 20 more years. We’ll see come 2031.

Photography by Jeremy D. Larson. For complete video coverage, check out our highlights from day one and day two.

Pearl Jam Setlist – Night 1:
Release
Arms Aloft (Joe Strummer cover)
Do the Evolution
Got Some
In My Tree
Faithful
Who You Are
Push Me, Pull Me
Setting Forth
Not for You (w/ Julian Casablancas)
In the Moonlight (w/ Josh Homme)
Deep
Help Help
Breath
Education (w/ Liam Finn)
Once
State of Love and Trust (w/ Dhani Harrison)
Better Man
Wasted Reprise
Life Wasted
Encore 1:
Rearviewmirror
Stardog Champion (Mother Love Bone cover) (w/ Chris Cornell)
Say Hello 2 Heaven (w/ Chris Cornell)
Reach Down (w/ Chris Cornell)
Hunger Strike (w/ Chris Cornell)
Love Reign O’er Me (The Who cover)
Porch
Encore 2:
Kick Out the Jams (MC5 cover) (w/ Mudhoney)

Pearl Jam Setlist – Night 2:
Wash
The Fixer
Severed Hand
All Night
Given to Fly
Pilate
Love Boat Captain
Habit
Even Flow (w/ Liam Finn)
Daughter/It’s Ok
Leatherman
Red Mosquito (w/ Julian Casablancas)
Satan’s Bed
Elderly Woman Behind the Counter in a Small Town (w/ Dhani Harrison)
Unthought Known
New World (w/ John Doe)
Black
Jeremy
Encore 1:
New Song
Just Breathe
Nothingman
No Way
Smile (w/ Glen Hansard)
Spin the Black Circle
Encore 2:
Hunger Strike (w/ Chris Cornell)
Call Me a Dog (w/ Chris Cornell)
All Night Thing (w/ Chris Cornell)
Reach Down (w/ Chris Cornell)
Sonic Reducer (w/ Mudhoney)
Alive
Rockin in the Free World (Neil Young cover)
Yellow Ledbetter/Star Spangled Banner

Gallery by Jeremy D. Larson

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During the first night of Pearl Jam’s 20th anniversary music festival in Alpine Valley, WI, Temple of the Dog reunited, Chris Cornell aided in a cover of Mother Love Bone, The Strokes’ Julian Casablancas lent his vocals for “Not For You”, Queens of the Stone Age’s Josh Homme guested on “In The Moonlight”, and Liam Finn, The Swell Season’s Glen Hansard, and Mudhoney’s Dan Peters joined the band for “Who You Are”. Night two better feature the resurrection of Kurt Cobain or I’m going to be disappointed.

Our complete recap of Pearl Jam 20 is forthcoming, but we culled together videos of the aforementioned highlights below. We’ll add in more clips as they appear.

Temple of the Dog – “Say Hello 2 Heaven” + “Hunger Strike” + “Reach Down”

The members of Pearl Jam teamed up with their former bandmate, Chris Cornell, for a three-song reunion of grunge band Temple of the Dog. The all-star collective last reunited in 2009.

Pearl Jam – “Stardog Champion” (Mother Love Bone cover)

Cornell also helped Pearl Jam cover Mother Love Bone, the former Seattle grunge band composed of Pearl Jam’s Jeff Ament and Stone Gossard, Bruce Fairweather, Greg Gilmore, and the late Andrew Wood.

Pearl Jam – “Not For You” (w/ Julian Casablancas)

Pearl Jam – “In The Moonlight” (w/ Josh Homme)

Pearl Jam – “Who You Are” (w/ Glen Hansard, Liam Finn & Dan Peters)

Pearl Jam – “State of Love and Trust” (w/ Dhanni Harrison)

Pearl Jam – “Love Reign O’er Me” (The Who cover)

The Strokes – “Juicebox” (w/ Eddie Vedder)

The surprises extended beyond Pearl Jam’s headlining set.

Soundgarden frontman Chris Cornell has contributed a brand new cut called “The Keeper” to the forthcoming feature film Machine Gun Preacher. Between now and Midnight tonight, you can download the track at a pay-as-you-please price, with all dollars generated going directly to Sam Childer’s Angels of East Africa charity. Then, on Tuesday, August 30th, the song will be available for sale on iTunes; the entire soundtrack will follow on September 2oth.

Based on a true story, Machine Gun Preacher is directed by Marc Forster (Finding Neverland, Monster’s Ball) and stars Gerard Butler (300, The Phantom of the Opera) as Childers, a former drug-dealing criminal who finds faith leading him on a path to East Africa. Shocked by the mayhem in Sudan, Childers becomes a crusader for hundreds of refugee children fleeing death and enslavement. The film will hit select U.S. theatres on September 23th; check out the trailer below.

It took a little longer than expected, but reunited grunge gods Soundgarden have announced plans for their first North American tour in 14 years. The band will look to follow up last summer’s headlining performance at Lollapalooza and possibly support a new studio album when they launch the trek in Toronto on July 2nd. Currently, only four dates have been announced, but an issued press release notes more will be added in the coming weeks. After Toronto, Soundgarden will hit Philadelphia, PA on July 13th, Morrison, CO on July 18th, and Los Angeles, CA on July 22nd.

Soundgarden’s fan club will have first dibs on tickets starting April 18th. A public on-sale for Morrison begins April 22nd, with the other three dates available April 23rd. Click here for additional ticket information.

Update: Per the band’s Facebook wall, The Mars Volta will open in Philadelphia, Denver, and Los Angeles.

Ahead of the trek, frontman Chris Cornell will wrap up his ongoing acoustic tour. Confirmed dates for both Soundgarden and Cornell are posted below.

Soundgarden 2011 Tour Dates:
07/02 – Toronto, ON @ Molson Canadian Amphitheatre
07/13 – Philadelphia, PA @ Festival Pier at Penn’s Landing *
07/18 – Morrison, CO @ Red Rocks Amphitheatre *
07/22 – Los Angeles, CA @ The Forum *

* = w / The Mars Volta

Chris Cornell 2011 Tour Dates:
04/22 – Chicago, IL @ Vic Theatre
04/23 – Milwaukee, WI @ Pabst Theater
04/24 – St. Paul, MN @ Fitzgerald Theatre
04/26 – Edmonton, AB @ Winspear Centre
04/27 – Medicine Hat, AB @ Esplanade Arts & Heritage Centre
04/29 – Victoria, BC @ Royal Theatre
04/30 – Coquitlam, BC @ Red Robinson Show Theatre
05/01 – Seattle, WA @ Moore Theatre
05/03 – San Francisco, CA @ The Fillmore
05/04 – Los Angeles, CA @ John Anson Ford Amphitheatre
05/06 – San Diego, CA @ Humphreys Concerts by the Bay

Soundgarden’s first-ever live album, Live on the I-5, has three things which make it stand out from other releases of its kind, right off the bat. For one, this is the first material Soundgarden has released since their breakup in 1997 (not counting last year’s resurrected “Black Rain”), which makes it automatically appreciated by any self-respecting fan. Second, the recordings were all captured during a slice of their 1996 tour, back when Chris Cornell’s voice was at its most powerful and the band still produced an aura of unity. Third…well, it’s Soundgarden. To say they were one of the strongest purveyors of grunge may sound outdated now, but there’s no denying the band’s near legendary place in that particular music scene.

The album title takes its name from Interstate 5, which runs up the West coast. The recorded shows all fall somewhere along that road, including Vancouver, BC, their hometown of Seattle, WA, Oakland and Del Mar, CA, and Salem, OR. Aside from playing a lot of their hits, such as the energetic “Spoonman” (in Del Mar), a raucous “Rusty Cage” (in Vancouver, BC), and the schizophrenic “Jesus Christ Pose” (in Oakland), there are some unusual twists and turns.  A successfully slinkier version of “Black Hole Sun” (performed in Seattle), and a frenzied rendition of “Ty Cobb” come to life, while a slowed-down cover of “Helter Skelter” and a version of The Stooges’ “Search and Destroy” give fans some “new” material to feast their ears on.

Cornell’s voice sounds noticeably rough and broken at parts (“Let Me Down” comes to mind), but, for the most part, he manages to maintain his famous guttural wail throughout. The sound is also exceptionally well-mixed, and the output from the audience never overpowers the songs. Instead, it adds just enough excitement and atmosphere. The only caveat here is that the recordings were done at different shows during the tour, which can hamper any feelings of continuity. Luckily, these recordings flow together nicely for the most part, at times giving the impression that they could have been recorded in one place, at one time.

There’s nothing too exceptional about Live on the I-5, but given that this is the first new release from the recent reincarnation of Soundgarden, it’s worth a listen. Plus, knowing that the band is working on new material, it’s just enough to tide over the band’s patient fanbase while still keeping people on their toes.

Fresh off the recent announcement of Soundgarden’s first live album, frontman Chris Cornell has an announcement of his own. Sorry, kids, no Soundgarden tour dates just yet, but Cornell will be hitting the road this Spring for his first-ever solo acoustic tour. The upcoming trek will follow a similar format to Cornell’s recent “Songbook” performances in Los Angeles, with setlists spanning the vocalist’s entire career, including selections from Cornell’s time as a member of Soundgarden and Audioslave as well as his solo efforts. For a preview, check out video from Cornell’s December 2009 performance at Hotel Cafe in L.A.

Those who sign up sign up for the Chris Cornell mailing list will receive a special pre-sale password. Head on over to the CC tour page for further event details.

Chris Cornell 2011 Tour Dates:
04/01 – Austin, TX @ Paramount Theatre
04/02 – Houston, TX @ House of Blues
04/03 – Dallas, TX @ House of Blues
04/05 – Atlanta, GA @ Center Stage
04/06 – Asheville, NC @ The Orange Peel
04/08 – Bridgeport, CT @ The Klein Memorial Auditorium
04/09 – Boston, MA @ Berklee Performance Hall
04/10 – Glenside, PA @ Keswick Theatre
04/12 – New York, NY @ Town Hall Theatre
04/15 – Atlantic City, NJ @ Music Box – Borgata Hotel & Casino
04/16 – Montclair, NJ @ Wellmont Theatre
04/17 – Washington, DC @ Sixth & I Historic Synagogue
04/19 – Poughkeepsie, NY @ Bardavon
04/20 – Toronto, ON @ Queen Elizabeth Theatre
04/22 – Chicago, IL @ Vic Theatre
04/23 – Milwaukee, WI @ Pabst Theater
04/24 – St. Paul, MN @ Fitzgerald Theatre
04/26 – Edmonton, AB @ Winspear Centre
04/27 – Medicine Hat, AB @ Esplanade Arts & Heritage Centre
04/29 – Victoria, BC @ Royal Theatre
04/30 – Coquitlam, BC @ Red Robinson Show Theatre
05/01 – Seattle, WA @ Moore Theatre
05/03 – San Francisco, CA @ The Fillmore
05/04 – Los Angeles, CA @ John Anson Ford Amphitheatre
05/06 – San Diego, CA @ Humphreys Concerts by the Bay

His latest move, as we told you last month, is to record an album of classic guitar rock covers. Sounds harmless until you get a load of the guest vocalists.

We’re talking brutal: Scott Stapp, Pat Monahan, Chris Daughtry, and Gavin Rossdale are some of the new breed he’s chosen to handle classics by Creedence Clearwater Revival, Van Halen, Def Leppard, and more. Where’s Michelle Branch when you need her?

Other potential crimes against music include Jacoby Shaddix of Papa Roach doing “Smoke on the Water”, Chester Bennington and Doors keyboardist Ray Manzarek on “Riders on the Storm” (hard to believe Manzarek was sober when he agreed to this), and Nas joining the effort for a cover of AC/DC’s “Back in Black” (WTF?).

However, there are a few intriguing selections. Chris Cornell has been tapped for Led Zeppelin’s “Whole Lotta Love”, and india.arie and Yo-Yo Ma are unlikely to butcher “While My Guitar Gently Weeps” — in fact, Olivia Harrison told Carlos Santana, “Listening to the song, it made me jump for joy and cry at the same time.” And hey, good things happen when Rob Thomas and Santana work together, so “Sunshine of Your Love” has potential.

It’s nothing to get worked up over — just a guy playing some songs with some expensive friends (or at least some names nabbed from a 2007 Top 40 chart). But this concept could’ve been handled brilliantly. How about Gogol Bordello’s Eugene Hütz doing “Free Bird”? Is there anyone in the world who wouldn’t buy the album on the strength of that track alone?

The tracklist is still in its working stage, so there’s still hope. The album, co-produced by longtime Santana collaborator Clive Davis, is called Guitar Heaven: The Greatest Guitar Classics of All Time and comes out September 21st on Arista Records.

Guitar Heaven: The Greatest Guitar Classics of All Time Working Tracklist:
Whole Lotta Love – featuring Chris Cornell (Led Zeppelin)
Sunshine Of Your Love – featuring Rob Thomas (Cream)
Can’t You Hear Me Knockin’ – featuring Scott Weiland (The Rolling Stones)
Dance the Night Away – featuring Pat Monahan (Van Halen)
While My Guitar Gently Weeps – featuring india.arie and Yo-Yo Ma (The Beatles)
Bang A Gong – featuring Gavin Rossdale (T. Rex)
Smoke On the Water – featuring Jacoby Shaddix (Deep Purple)
Photograph – featuring Chris Daughtry (Def Leppard)
Back In Black – featuring Nas (AC/DC)
Little Wing – featuring Joe Cocker (Jimi Hendrix)
Riders On the Storm – featuring Chester Bennington and Ray Manzarek (The Doors)
I Ain’t Superstitious – featuring Jonny Lang (Howlin’ Wolf, Jeff Beck Group)
Fortunate Son – featuring Scott Stapp (Creedence Clearwater Revival)

Details are scarce, but the classic rock covers disc also features Chris Cornell singing Led Zeppelin’s “Whole Lotta Love” and Joe Cocker tackling Jimi Hendrix’s “Little Wing”. With monster riff songs like these, Santana needn’t worry about being upstaged by the singers.

In an interview in the new Rolling Stone, Santana didn’t mince words on his motives. “I paid special attention to the groove so the females would get completely aroused,” he said. That’s right, ladies; partially or even mostly aroused doesn’t sit with Santana.

Also aboard is Doors keyboardist Ray Manzarek, who will lend his organ swirls to “Riders on the Storm.” Santana describes their version as “really far out and psychedelic,” which sounds about like the original. Too bad they didn’t choose “Craigslist”, Manzarek’s recent foray into self-parody with “Weird Al” Yankovic.

No title or release date has been announced. While we wait for more details, enjoy this clip of Santana and Eric Clapton tearing through “Little Wing” in 1974. These two certainly know their way around a fretboard.

Let’s see… options for Friday night: Coachella? Preparing for Record Store Day? What about Soundgarden‘s first concert since 1997?

Well, if you’re in Seattle tomorrow night, then you’re in luck. According to Billboard, Chris Cornell and company will make their public return at the Emerald City’s Showbox at the Market on Friday night.

Though an official announcement has not yet been made, The End further adds credence to the report, noting there is no show currently scheduled for the Market tomorrow night and that Cornell has been seen in Seattle this week. The End adds that the show may be a private party, “and some sort of ‘filming’ is supposed to be happening.”

As of now, Soundgarden only has one confirmed date on its upcoming itinerary — a headlining appearance at this year’s Lollapalooza. The band is also set to release its very first 7-inch vinyl single, “Hunted Down” b/w “Nothing To Say”, this Saturday, aka Record Store Day.

“The idea was really simple in the beginning,” explained Slash. “These are all artists I wanted to work with — that I thought it would be amazing to do something creative and collaborative. And I was so impressed with what everyone brought to the table. They were all so committed to doing a good job. And we had a lot of fun making these songs.”

Other contributors include Eric Valentine (Queens of the Stone Age), who served as producer, bassist Chris Chaney (Jane’s Addiction), and drummer Josh Freese (Nine Inch Nails).

In other news, Guitar Center has announced a first-of-its-kind, unsigned band competition that provides emerging artists the chance to win the “ultimate career-altering opportunity”: record a 3-song EP with legendary producer, Mike Clink (Guns N’ Roses, Mötley Crüe, Megadeth) and have Slash write, record and perform on the winning artists’ single. Interested parties can click here for more information.

Slash Tracklist:
01. Ghost (feat. Ian Astbury)
02. Beautiful Dangerous (feat. Fergie)
03. Nothing To Say (feat. M. Shadows of AVENGED SEVENFOLD)
04. Crucify The Dead (feat. Ozzy Osbourne)
05. Promise (feat. Chris Cornell)
06. By The Sword (feat. Andrew Stockdale of WOLFMOTHER)
07. Doctor Alibi (feat. Lemmy Kilmeister)
08. Saint Is A Sinner Too (feat. Rocco De Luca)
09. Watch This (feat. Dave Grohl/Duff McKagan)
10. I Hold On (feat. Kid Rock)
11. Gotten (feat. Adam Levine)
12. We’re All Gonna Die (feat. Iggy Pop)
13. Starlight (feat. Myles Kennedy)

“The 12 year break is over & school is back in session. Sign up now. Knights of the Soundtable ride again!

The band has yet to detail any specific plans, but, according to a source with knowledge of the reunion, West Coast dates have already been scheduled for next Spring. The band is also said to be “into the idea” of an appearance at this year’s Coachella Music Festival.

Soundgarden last performed together in 1997. On October 6, 2009, the band reunited during night three of Pearl Jam’s four-night stand at the Gibson Amphitheatre in Universal City, CA. It marked its first public appearance together since the breakup.

Per the aforementioned press release:

Starting in October and running through the holidays, the entire Virgin America fleet will feature Chris Cornell music on all flights. His latest LP, Scream, has been added to the airline’s music library and select songs will be a part of a collection of music that plays as passengers are boarding. Beginning in November, passengers will also have the opportunity to experience various Chris Cornell music videos and albums throughout their flight.

Point to Trent Reznor (see Scream is a “money grab” comment).

Of course, considering these comments were made by someone not really affiliated with Soundgarden and furthermore, featured the words “someone” and “kinda,” a reunion of  Cornell, Kim Thayil, Matt Cameron and Ben Shepherd isn’t probably as sure of a thing as say, oh, a Sunny Day Real Estate Reunion.

Still, it’s not like Soundgarden (minus Cornell), or should I say, Tadgarden got together earlier this year. So, maybe, Brent Smith aint’ lying…

Directed by Meiert Avis, notable for work with U2 (“Where the Streets Have No Name”, “With or Without You”) and Bruce Springsteen (“Brilliant Disguise”, “Tunnel of Love”), the video for this acoustic cut of “Scream” is simple: Chris Cornell sits in a room, playing guitar, while the camera circles him. Simple, sure, but it’s the delivery of the song that’s key here, proving that Cornell’s ability to write and perform still remains, even despite his recent endeavors.

It would be interesting to hear this album in such a stripped-down manner, and hopefully he’ll oblige one day. In the meantime, enjoy an intimate performance from the man who brought us “Rusty Cage” and “My Wave”.

Chris Cornell 2009 Tour Dates:
04/29 – Portland, OR @ Crystal Ballroom
05/01 – San Francisco, CA @ Grand Ballroom
05/02 – Anaheim, CA @ House of Blues
05/03 – Los Angeles, CA @ Wiltern Theatre

Inside the intimate confines of Pop’s, the rock legend put on a diverse set spanning the entire length of his career from 1989 to tracks off of this years, Scream.

Before he would approach the stage, however, there was the opening band to deal with, naturally. It’s a rare opportunity to have a band come along with so little music available to check out. Nevertheless, Los Angeles’s own Crash Kings provided a surprisingly loud set, or as a fellow photographer put it, “the loudest that’s been here since Motorhead.” While the band hardly resembled Motörhead, their thirty minute set knocked the crowd on their asses, especially with current single “Mountain Man” and one hell of a Black Sabbath cover (“War Pigs”) — all without the presence of a lead guitarist, too.

After the hour break in between bands, Cornell marched on stage to the sounds of “Part of Me”, one of the real diamonds off of Scream. Much like the album, Cornell’s immense vocal talent was buried under a wall of sound, coming off very insincere and, not to mention, muddled down. His piercing scream shattered through eventually, on the Casino Royale tune, “You Know My Name”. While not a brilliant song per say, the chorus parts brought Cornell back to what he does best, which seemed fitting given the remainder of the set.

Fans roared at the sound of what they’d obviously come to hear: Soundgarden tracks. Even this seemed rather hit or miss. Where a track like Down on the Upside‘s “Burden in my Hand” came off as smooth and relevant, especially given today’s music scene, a cut like “Rusty Cage” felt sloppy and forced. Throughout the latter track, Cornell appeared troubled at keeping up with the ferocious pace, and the same could be said for the hired guns behind him. They were fortunate enough to nail “Cochise” and “Gasoline”, two songs the middle aged crowd seemed to appreciate too much.

“Spoonman”, another Soundgarden classic, closed out the main portion of the set, and even though it was noticeably missing some solo work, the performance did feature a killer drum solo, and the segue into  Led Zeppelin’s classic, “Good Times, Bad Times” was much appreciated. Though what would a Cornell-patented show be without crowd favorite, “Black Hole Sun.” The moody, downer of a song rather fittingly closed out the equally described set, just before midnight, too.

He may not be the grunge legend his humble past insists, but as they say, heroes fall and get up. It’s still unclear as to where Cornell stands, but if this is any indication, he has some demons to battle. That is, until he dusts off that unused reunion card of his.

To be fair, and with all negatives put aside for the moment, some tracks do have redeemable qualities to them. If you can escape the first, let’s say, four tracks, then the middle part of this solo endeavor becomes quite listenable.

“Ground Zero” is fairly catchy and finds Cornell at his bluesiest here. On the whole though, it probably would have worked better for say…Nelly Furtado? (Odds are she didn’t want it.) Next up, “Never Far Away” finds him calling back to a girlfriend and explaining, “Girl there’s no doubt/ my love’s real as it comes.” If that’s not enough of a bone chiller, he continues with, “So rest assured/ our love endures/ I’m never far away.” Now, do you see the problem in taking the new hip-hop Chris Cornell seriously yet?

“Take Me Alive” goes all middle eastern on us before a guitar kicks in and brings you back to the rock universe. Considering what we’ve heard up to this point, this is probably the best track yet. “Long Gone” regresses backwards musically, but Cornell’s voice leaves it a step above those early tracks. There’s also a lyric here that seems to mirror the album’s disastrous turn of events, “That’s why I’m long gone, long gone/ You need to let me fly alone.”

Title track and current lead single, “Scream”, is just catchy, but more in the vein of Kanye West. Regardless, Cornell’s screams, alongside Timbaland’s programmed beats, work surprisingly well here. Unfortunately, the sonic pain quickly returns once “Enemy” kicks in, and when he growls, “I am the enemy,” you’re likely to believe it.

“Climbing up the Walls” almost feels like they told Timbaland to get out of the room. It’s amazing how uplifting a track this is in pale comparison to the rest of the album. The real drums fire up, the guitars rock, and Cornell sounds as good as ever. It’d be nice if the album ended here, but it wouldn’t make for a cohesively mediocre album. Much like the tepid opener, “Watch Out” ends Scream on a sour tone that’s just, well, awful.

What’s important to note is how each track transitions from one to another. It’s very subtle here, allowing the old song to fade out as a new one chimes in. It’s a shame the same can’t be said for this quantum “musical” leap in Cornell’s career. Looking back on Scream, the ex-grunge rocker could have used a better transition to this new style, especially if it’s one he plans on following up.