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What's more surprising than Scream's R&B bells and whistles (provided by überproducer Timbaland) is that Cornell almost succeeds at that goal without tarnishing his hard-rawkin' legacy.
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80Though this hook-up frequently pushes at the boundaries of plausibility, there's lots about Scream that makes perfect sense.
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70This is a startling new direction, and while not entirely successful, it confirms Cornell as a vocalist of versatility and strength.
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60Scream has balls, Cornell vacating his comfort zone with admirable readiness. [Apr 2009, p.98]
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60Scream may be the most compelling train wreck of an album in recent memory.
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The new environment rejuvenates Mr. Cornell for good and bad: he sounds shallower than he was before but pithier too.
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50Produced with a heavy hand by Timbaland, the third solo album from ex-Soundgarden and Audioslave singer Chris Cornell is strangely appealing in its elaborately empty efficiency.
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50Sometimes it's good bizarre. Other times it's bad bizarre.
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50The resulting dynamic is two distinct flowers from the sound garden that produce an only occasionally sweet-smelling bouquet.
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The problem with Scream isn't that Cornell is too much of an artist to go pop, it's that the fit is so unbecoming.
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There are flickers of funky light on the lush old school soul of 'Ground Zero' and the Motown-esque 'Other Side Of Town', but for the most part it's all depressingly castrated.
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40Their collaboration suggests a nice philosophical dissonance, but only in theory. In practice, Scream is nearly awful.
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40Timbaland, who has sprinkled his hip-hop fairy dust on weaker voices, rinses away Cornell's inherent dirt and power, and compresses the godfather of grunge until he squawks.
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It never seems like a collaboration, it seems like it was assembled by committee, discussed in boardrooms, farmed out to contract players and stitched together on computer.
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30What we get when we put the pieces together: an album where every single song is approximately the same length; an album where you could take apart any one track, combine those segments with other stray bits of the album, and still have the same basic entity you started with; an album whose choruses consist of phrases like "No, that bitch ain't a part of me" repeated eight times; an album that, above all else, does not want you to think about it too hard.
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The idea of Cornell's sex-god wail over Timbaland's mechanized funk is appealing. But Scream draws out the worst tendencies in both of them.
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Timbaland rose to the challenge of making Chris Cornell a solo star by producing arguably the worst album he's ever had a hand in.
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The record sounds phoned in, plain and simple, and its awkward concessions to cliche, its trash heap lyrical conceits, and its dopey production have a cumulative effect that would be insulting if it weren't so transparently uninspired and uninteresting.
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Scream veers between drab–sleek and rock–dude soulful; Cornell's yowl never sounds at home.
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User score distribution:
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Positive: 35 out of 73
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Mixed: 4 out of 73
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Negative: 34 out of 73
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